Matt Kloskowski Exploring ON1 Photo RAW [Recorded Webinar]

all right let's let's roll with this so here's here's kind of how I was gonna handle this guy's is my my workflow changes over time I have taught I have taught workflow you know especially on one workflow many many times before so when it comes to managing and organizing your photos I'm not really gonna I'm not really gonna touch too much on that today I was gonna jump in here and kind of just show you kind of show you some things that over the last year have really made a difference in my photo editing and and and I hope I hope they can make a difference in your photo editing as well so it's it's kind of interesting the questions that I get the most are the things that I do the least two my photos and what I mean by that is I get a lot of noise reduction questions I get a lot of lens correction questions I get a lot of work flow like should I apply a lot first or last or a camera profile first or last or sharpening first or last or where does it matter if I do it in the in the stack of things and and I honestly I never even give a second thought to that I'm a very visual person so so what I see on my screen is what's going to determine what I do not a stacking order of something or an algorithm that gets used or anything like that so you know if you've got questions on sharpening and noise reduction go hit up the the on one website because there's plenty of videos on that stuff on sharpening and noise reduction and for all intents and purposes it hasn't changed in ten years so so sharpening and noise reduction remain the same the tools I'd like to share with you or things that I think have changed over the last few years and have become a big part of my workflow the part that I consider the most important part and not some of that some of that other stuff okay all right let's I'm gonna share my screen here and and I know I I know there's a lot of people joining in and I know we're getting a lot of highs and if you just kind of joined in and yours getting with us a couple minutes late I fully appreciate all the hellos if you would just hold back on them just because it makes that Q&A area crazy to try to go look through to find the questions in there I want to make sure we can see your questions and on that on that note Matt before you get started this is being recorded we'll have it posted to our blog here this afternoon so anyone I there's a couple people asking that question they're just wanted to make that absolutely clear yes yes it will probably mention it several times through because I know people I know people people that jump in kind of later ask the same thing - all right let's let's jump in Here I am I'm gonna work my way into on one so a couple of things that that I think have have changed when it comes to our our photo editing here I'll start pretty simple and then I'll work I'll work my way to some more complex stuff here a few things that have changed let's go grab a let's go grab a raw photo and head over here to develop one of I think one of the biggest recent enhancements is this little camera profile area right here at the top of develop what this does is if you joined in on Hudson and I webinar yesterday I apologize that I'm going to repeat myself but I know we have many many more people in here today so I know a lot of you weren't in there yesterday whether you knew it or not a profile has always been applied to your photo always it's just in on one it's been hidden to you and if you use two Photoshop and Lightroom in the past there was a way to see it but it was for the most part buried so far down in a place that most people would never go look so it was from ball intent so was hidden to you unless you were and if you don't think you're advanced if you knew where the profiles were you you're actually an advanced user so profiles have always been there when when you look when you look at your photo on your phone your phone it I'm using an iPhone Apple has picked the profile to show you when you look at your when you buy a new computer monitor that monitor has picked the profile to show you every screen you look at has picked a profile to show you which is why photos look different on different screens because because all these companies don't get together and decide to use the same exact profile so the profile has always been there what on one has done recently is giving you their standard profile is what is what the developers of on one have have researched and found this is a good standard place okay then what they've given you is some profiles that can give you some different looks for your photo okay standard is usually going to be fairly flat and then you'll see some of the other ones you know a landscape portrait vivid neutral will give you different looks and the name is usually pretty self-explanatory then as we get down here the camera ones these actually relate a little bit more closely to profiles that your camera can select and and whether you knew it or not when you look at your camera even if you have it on a flat profile even if you're shooting raw your camera is probably showing you a juiced-up version that has a profile in it so you can get a similar camera look like if you had a look in your camera was called landscape and you had that selected you can get that look here inside on one so that's what these are in the in the pecking order of things they're up here at the top I'll usually I'll usually bounce through them and and see what I like if it's a photo that I'm kind of you know if it's a photo that I I'm kind of I want to be a little bit quick about editing I can't say I spend a whole lot of time honest like camera landscape what's it do what's what's the difference right here let's look at the before and then the after so before and then the after I mean it's it's a little bit brighter it kind of a little bit more contrast II saturation a little bit more could I do that stuff with sliders probably probably could sometimes I want to sometimes it's nice I just look at it in something sticks I'm like OOP that's and I don't worry about doing it with a contrast or a saturation slider because I can see that and I'm like wow that like that did it that gave me the look that I wanted so I think if I had anything to offer when it comes to that is it's not so much black and white it's more nothing black enough black and white it's an the look of the photo but it's not so much on or off it's more one of those things you know I'll look through and depending on the mood that you're in that day you may want to go in here and stick on one of those or you may say you know what I'm not really crazy about any of them I'm gonna start to move down here to my sliders and start and do all that okay so ah that's that's one of the first things and that's a new feature in the latest version of photo raw so we just got that alright so from there I'm gonna do usually what I call my technical edits you know my shadows my highlights pull back on shadows and highlights if I decide I want to come down here the only other things I would do in here would probably be transform if I needed to come in here and scroll down here to the bottom if I had any vertical transformation problems or if it was architecture or whatnot I had any transform issues I had to do I don't really have anything on this photo so I wouldn't do it I did see a question in the in the Q&A section as we were we were kind of gearing up here from somebody that said you know is there is there transform controls where you can you know drag and drop and move things and it's it everything that you see here is what you get so there are no other transform controls inside on one but you know for the most part if you do have a little bit of if you do have a little bit of skewing or off angle stuff the vertical and horizontal and rotate should take care of most of it okay from there lens Corrections I don't spend a lot of time on lens Corrections I know this is going to be different for everybody in every camera for the most part it usually for most later cameras and later cameras and lenses it should go in there and find your lens correction profile usually just set that to auto and and let it do what it's going to do here and don't spend a whole lot of time on that if it doesn't find your camera or lens you'd have to hit the on one website and see what cameras and lenses are supported and you know any plans for adding future lenses inside of there but I don't believe there's a way for you there there's not a way for you to go in and add your own profile lens profile for four specific lens that might not be in here all right so that is kind of the technical stuff that I'll do you know comes to sharpening and noise reduction I mean I'll zoom in here to a hundred percent I'll kind of find a key area that's close toward the front of the photo here and then I usually just take my amount and just crank it up I crank it up and until everything looks good really so if I can get crazy crazy high with it I'll go there I mean then there's a couple nice little presets you know just depending on me if I want low or high or usually crank those up as well NORs reduction unless I'm gonna print big I don't do a whole lot of noise reduction and at all so but if I did it's usually just gonna be the luminance slider but for the most part that's that's the first part okay now the second part to me is is really the most important part of all this and that is I come into color toning and styling and all that so I would do most of that stuff when it comes to color inside of effects so as an example here you know a great place to start would be you know some of the going to the presets folder and if you just go down to the landscape section of course there's a lot of really nice landscape presets inside there so I could just click on one of those and that will give me a certain look and then once I kind of settle and I'll do different looks throughout this webinar here so it's not the only one I'll go through but once I kind of set on that I'll usually hop back over here to develop and I'll do I'll do what I consider to be one of the most important parts besides this look which is local adjustments I'm actually I'm working I'm working on a class right now what I'm going to do it for I'm gonna do four on one I'm also going to do for Adobe it's called no light no problem no light no problem basically say that way but the idea behind it is it's not to forget not to forget getting it right in camera it's to take into account all those situations that come up we just can't control for example this morning it's got some white sky back there it's not great there's just a there's a lot of stuff that's lit that I don't want lit and there's a lot of places in this photo that I'd rather you're I travel to that are dark so to me that's my job to come in here and do it so these are the types of things that I would do with that I'll start over here with the brush and we'll come over here I'm in the local adjustments section here and I'll go down here I'm gonna go to my exposure maybe even my highlights and I'll just start to to brush around the photo I can use the right bracket key to make the brush a little bit bigger and I'll start to brush around the photo and just kind of darken the spots that I don't really want you to look at as much all right and then once I once I've gone in there and darkened some stuff then I go up here and I'd add a new local adjustment layer and then I go the opposite way with it open up that exposure even open up my highlights a little bit I really like this nice little road here I was thinking about I always think of that John Denver's on country route whenever I see this for some reason I just start humming the song so I'll go in there and I'll start - I'll start to add a little bit if you if you happen to paint over something you didn't want to if you hold down your option or your Alt key you'll see the little middle sign goes from plus to minus and then I can you know kind of pull it away I'm good down here I'll paint I know I know I darken some of that but I also want to also want to go down here and maybe add a little bit a bit of some brightening these little areas to catch your eye I'll hit the left bracket key to make my brush even smaller and I'll go down trees like so a little bit more along the side of the road there and then I could always switch back over to that layer where I did my darkening so I can always switch back over to that layer go in here and target that layer and now I can start to add or adjust the darkening inside of there and I'll keep doing this I'll keep doing this I'll add other layers like maybe I want to darken some other things a little bit more and I don't want to go back and adjust what I had before so I'll make some areas a little bit darker like maybe just whoa that's way too dark hold on well that backup that's still gonna be probably too dark so pull up a little bit there and also make the brush bigger and it'll feather it a little bit okay and why I do that is because as I as I make a big kind of a big Wang swath of of this darkening area I can then hold down option or all I can make my brush smaller and then I can come in here and kind of kind of inch in at the edges of it and throughout and pull some of that away and so I got kind of a big area of darkening and then a little area and if just see it's just kind of it draws your eye into different place it's not one big area of dark you kind of get you kinda almost get the feeling of shadows and highlights as it goes to the photo so you can see there that's that's a big part of what I usually do inside of there if I wanted to finish this up a little bit I probably head over to effects world Google over here - over all settings and add a filter I can throw that little vignette filter on here big softy has always been one of my favorites but if I'm just doing a real quick vignette pull that back cuz I already I already kind of darken the edges a little bit so I don't need I don't need that dark of a vignette on here but I would put a little bit just to dive in there and pull that back ok so if we were to review what we did here okay we went into develop I did what I call technical edits you know just overall shadow tone contrast cropping new areas like that if you have to remove any you know dust spots or little blemishes or things in the photo those types of things technical edits any sharpening or noise reduction any lens Corrections I personally prefer to keep all my stylistic stuff away from there and that way I can come in here and change it right nice part is is if I don't stylistically like what I did here I can hit reset all of my dodging and burning and all my other stuff stays and now I can just come up here and go and maybe find a different look for the photo we've got landscape I stole I honestly still kind of like the the one that I settled on first so as I scroll through there I don't know that I'm gonna gold an hour sunshine maybe we'll try that one there we go but I could go in there and I could find a different look I still like golden glow sunshine the best isn't other thing that I've added into my workflow in the last year if you want to see what the difference is that's without the glow that's with it it's it's it's a really interesting it's a really interesting of phenomenon and I'm almost kind of given up trying to explain it because I don't know that I ever explained it very well other than I like the look of it it if you look at the before and after of the glow details are still sharp right it's not that it's not as if I made the photo blurry it just has a clue to it that's the way that I can explain it and it's it's a very very it's very popular photo editing technique and probably that fact in some ways I'm probably like one of the last to jump on board the glow the glow train because I've seen it many many times before for years and I never really used it and I've just it's one of those things that I've started to really incorporate into my editing again especially on a photo like this that has a softer type of a feel to it I think it just gives it a nice look but at the same time things are still sharp and to me that's so important on a tripod spend a lot of money on cameras and lenses the last thing that I want to do is spend all this money on a camera and a lens and spend all this time trying to get a sharp photo and then go and make it blurry so it's a glow doesn't make it blurry it just adds this nice softer type of a feeling to it you'll also see it boosts the colors it adds a little bit of contrast and to me it kind of just smoothes out some of the chaotic nature in a photo with a lot of detail like this okay so and what I was saying before is the nice part about that is as you saw I just clicked reset and I was able to reset my style and add a whole nother preset inside here and then I can go back in there I think I took my vignette off so I'd go back and put that back on top of it as well and then if I wanted to reset everything then I just come down here and hit reset ah that will reset effects and develop so both of them get reset but that's why I keep them separated because if I just want to reset one no matter what module I'm in I can just hit reset and all the other stuff still stay so that's a pretty important workflow step if we want to take a before-and-after look here just hit the backslash key so that's before and that's after and again to me the most important parts that these little local adjustment layers are for me personally if if you were to if you were to take away every single tool in all my editing and you were to let me only keep one thing I would keep my brush so long as you gave me exposure shadows highlights the temperature contrast saturation as long as you let me brush those things up take away sharpening I don't even care I'm good I'll get a stark photo take my brush would be the one thing if I only have one tool to pick the brush would be the one thing that I would keep because I think that is where the magic in the photo is so again that's the before and the after there mr. Michael Morelli and he how we doing on there in questions I kind of look and I see yeah yeah there's there's quite a bit of questions there was one that jumped out to me from Gerald Pasternak let me see if I can find that here in it was asking about the stack in effects and the position of your filters Luntz presets within your stack just some insight as to how you set it up I believe is what he's asking yeah I honestly don't ever even think about it I don't ever think I don't ever really think about the stack and what order things are in I'm sure you know I'm sure as you move things around it could it could you know if I move the vignette down here maybe toward the bottom you know maybe if I move the glow down the stack a little bit it changes it a little bit I just honestly it's it's never even something that I give a thought to it will change the way that your photo looks on some of the filters in there but I'm a pretty visual editor so it's not the order that I put those things aren't anything that I really personally pay attention great great great stuff and then there's also a question do you ever use the levels view to see how your histogram is doing I don't use the levels view to see how my histogram is doing let me help over here to develop I don't use levels view why don't I use up part of it is the only thing the only thing that I care about on the histogram is did I blow out my whites or my my blacks black those are the only two things that I care about on the histogram everything else in the middle ball that doesn't make a difference because there is no right answer to a histogram there there is no right histogram and if you heard there is I hate I just I don't even want to say if somebody's wrong if they told you there is it's just the the way one photo looks is you can't expect if I have a really bright photo with a lot of sky in it that histogram is gonna look different so I don't personally think there's a right histogram which is why I won't ever go up into there what I do care about are did I blow out my whites and did I as is anything too black in the photo and so if you're to look at the histogram you could of course come up here and see all that for me what I do is if I'm concerned about if I think there's a photo that that could have a problem and if this photo if I were to print it could have a problem if I'm not gonna print that I'm not gonna really worry about it cuz I don't care if it's white you know and when I say don't care if it's white that's what I have in there I don't consider to be to be a problem now if the whites like looked like that now now we have a problem now it's overbearing now it's a problem in the photo it looks it just looks bad but something like this that I think looks very nice I don't really care if it's white or not if I'm not going to print it because your screen will just show it just fine and visually I think it looks good if I were to print it and it's white now we have a problem because you know you might not get ink in at that area if you want to check it what I do is I print the J key hold down the J key and you can move your whites slider and you see the little red specks in there so all those little red specks will show me that something is blown out white so I can pull that back and you can see at zero I really don't have anything I have a tiny little speck that would never worry about same thing on blacks as I moved my blacks you see how move my blacks to the left you see how I get blue so I would keep moving that to the left to get a little bit a black in there just a black point just to have a nice good contrast in the photo I think is what I'd be looking for now on the histogram you would see a gap here and you would see a gap here if there was some room to do that and so I know it spent a while answering the question but it's a question that I get quite a bit on why I don't use this grime and that's why the only information I care about is whites and blacks and I can get that just by moving those two sliders and it's just in a more visual way all right fair enough there's a lot of questions on Lightroom and using the Browse module I don't know if you want to touch on that now or later Before we jump or move on this webinar is being recorded there's a lot of people still asking that question so it will be recorded posted to our blog YouTube I'll make sure that gets a link as well so we'll take care of that for everyone and there's also a question mat on sharpening and do you tend to use that as an overall adjustment or mostly local with a brush I'm mostly just sharpen overall I just take the slide or crank it up I saw I saw one here I'm just looking at it now Brian in Rogers had said being as you double can't double click a slider like you can Lightroom what's the best way to reset a single slider you can't double click the slider but you can you can't go in here and double click the name of the slider and that will reset it to zero there are a few people ask you not about portrait retouching if you're gonna jump into that at all there's a lot of questions up above about Lightroom and Brow's few people asking about facial retouching so whichever direction you want to roll with it I'm not really this isn't on one webinar so I'm not really gonna cover I'm not really going to cover Lightroom why what I will say is is mning if you're still using adobe then your workflow would be to start in Lightroom jump over to on one effects do your stuff and then go back to Lightroom if you're on the adobe side if that's what you're doing which you wouldn't want to do is you wouldn't want to mix browsing in on one and then browsing in Lightroom and and you know what guys three years ago I used to use on one brows to do just that I used to browse inside on one because it was faster and then take my favourites and get him over into Lightroom Lightroom has gotten pretty quick right now so I wouldn't mix your workflow that way if you're in the if you're in the the library module inside of Lightroom it's it's your videos you or your videos your you're right our okay you should be able to mash it down and it should look like a video on there in the library module not in developed so I would say stay away from that if if you like using on one more don't start in Lightroom because now you're just gonna set yourself up for a lot of frustration because on one's not going to see Lightroom's raw at it's just like Lightroom isn't going to see on one's raw so what I would say is you know when we got this question yesterday and the gentleman asked for some advice and he said you know personally it's like I like to start he likes to start and on one browse and he like to be able to go between browse and develop what should he do and my suggestion is is that's what you like you should stay there you know if you need to jump over to photoshop for something then then of course you have your will file menu up here jump over here to browse of course you've got your your file menu up here and you can send it over to whatever plugin or another program that you want if it's got a feature but I stick with one program to do the bulk of your browsing and raw editing as much as you can alright let's see here so hopefully that takes care of the the Lightroom stuff let's see here Landis said can you apply adjustments after you brush absolutely so if you noticed over here I went into my local adjustments I went into that section I have my overall adjustments and then local I went into that section I've got all those little adjustment layers inside of there I can do all that and I can still come back over here to overall and I can still look at it and decide if I want to do an overall setting onto it and I can still do effects on top of that so that's one of the that's really one of the strong points about one really is that it's brought it's brought raw editing and effects really into one world and and I know that can be confusing for some people because then you're like well where do I do everything and that's why I that's why I explained to you in develop I do my technical and it's in effects I do my creative at it so that way I can at least have some separation in there but if I'm in develop and I want to go over here and add a vignette it's the same vignette as effects same exact thing if I want to do black and white it's the same black and white as in effects it's not bad ones not better or worse than the other so don't think like you're hurting yourself if you do it in one place but develop is typically again where we do our technical toning and stuff and to me effects is where we do our creative stuff alright so let's see here tons of questions Peter if there is any difference between local adjustments when choosing from developer fat just I know no difference in local local adjustments how come my screen doesn't look like yours on the right and all these presets there's little icon that will show and hide things on your screen so it could just be that you have something something created in there sandy said new to hung one can you import two on one and create a catalog so that's a really good question cuz we got a thousand people in this webinar and I bet you I bet a lot of people think that on one kind of works like a catalog and you have to import things so the one thing to understand when you're when you hear you're here inside of browse which is where you would manage your photos this is simply a browser of your computer drive that's it it there really there is an import when you come up here to the file menu and you go under import there is an import here where you choose you can choose a card a card reader that's attached to your computer whatever happens to be but you'll notice when when you're inside of there that's about all you would do would do is choose a card reader because all it's really doing with although it's called import I actually don't think that's a good name for it I think of it as copy photos add photos because import makes you think you're importing it in Tom one and when you do this step when you choose your card reader over here and you got your photos and you come over here to a destination and you put it onto your drive somewhere all on one is doing so sandy and anybody else that was thinking about that question about importing in catalogs its just copying them over to your drive it in Lightroom you had to do import to make Lightroom aware of your photos on one is automatically aware of your photos because it's a browser it's a browser of a hard drive so all you do is navigate to a folder on your hard drive really really important point to remember when it comes to cataloging because it's not it's not what you typically think of a catalog in that sense let's see here so I'm gonna move on into into another photo here I know there's a lot of questions here I like Michael kind of go through and figure out cover next jump in here again we are recording the webinar it will be posted to our website in to our Facebook so yeah if you're just joining us or haven't heard recently there is a Q & A area that you can ask questions to me and to Matt there are a ton of questions I will try and get to as many of you as possible and I'll pass up everything I can to Matt so keep them coming cool let's see here another quick thing here let me dive in let's go to let's grab let's grab that phone that's a good one this kind of yeah you think I don't know I really liked the light on the trees when it was happening and then and I just I don't know I got it on the computer and I was like huh this really didn't come out the way that I thought I will show you really quickly in effects to me a real to me or a real nice enhancement and that is under add filter and this is in the latest version that came out in June the lots section inside of there so we can we can go down a rabbit hole with lot so I'm not gonna go down that rabbit hole in this video so what I will do is is in a second here when I'll kind of let Michael take over and get some questions and I'll get you guys a link to a video that talks a little bit more about it but basically a lot is called a lookup table and the reason why I'm covering this is you're gonna hear a lot about these things coming up I think a lot is a is the new preset of the future and that's why I think it's important to talk about because again you're gonna hear it a lot and you're gonna be like what the heck is a lot a lot stands for lookup table it's essentially a preset okay it's it's something that takes a photo and either makes one color if you think about what a preset does right warming cooling maybe it takes the contrast down and gives it a matte effect maybe it pushes the contrast up and gives it a grungy effect you know maybe it gives it a glow type of so if you think about what a preset is a lot is very similar it takes one color and it can make it warmer to make it colder you can take red and make it green you can take blue and make it Orange you can take blue and make it green make blue and make it purple what's cool about the way that you can create lots is with different programs there's one program called 3d lut great again I'll put the put a link in here toward toward the end I'll make sure we mention it and put it into the thing there there's one called 3d lut creator and you can map colors inside of this that you can't do really any other way so one second here you you can you can map a color that you really can't do in any other way you can for example we can use like I've used Photoshop I love the gradient map adjustment layer and Photoshop for black and whites but I could never get it anywhere else so we can save that gradient map adjustment layer as a lookup table or a lot file and then any program that takes a luck file can apply it so I can essentially get my gradient map from Photoshop in on one in light gray and whatever programs you're using won't say too loud but here's the thing I am going to say it loud because here's I think a lot of people watching this right now and I know what I wish we had like a little voting thing in there because I think a lot of people would say Amen to this I think you've probably got three or four even five there's even six different programs on your computer right now and I think based on your mood you probably bounce between a bunch of them here's why lots are cool you buy them once you can use them everywhere so gone are the days of you have to buy a preset pack for one and maybe you bought one for on one and then maybe one day you're using luminar just because it has a filter you like in it and like darn it I really like that preset that I bought four on one but I can't use it in luminar with with a lookup table with a lot you can't because they're cross-platform and that's what's really cool it's why I said you're going to hear a lot about these things I think they are the preset of the future so I wanna I won't do anything other than just to show you they're gonna look like presets you know as you go over here into this let's fill you got a bunch of different categories you got some really nice black and white ones you can do a lot of things with black and white that you can't do anywhere else got color grading color pop vignette color grading here I'll click on that one and then you'll see all these different presets inside of here but there's just some really nice looks inside of there and they they I always say this too there is a there's a discerning eye some people won't see a difference some people like oh yeah of course it's different from a priest and I can clearly see the shadows and the toning and the highlights and the and the 5/10 of the the blocking of this looks everybody's got a different eye and that's why there's all these different ways to do things but they do affect the photo we can affect the photo a different way when we create a lot than we can with a preset so and the nice part is is you can you still if you got one that gives you a lot of contrast or gives you a lot of warming you still have it doesn't mess with your any other sliders so you still have all your other sliders to do stuff with and then and then if you're interested I've actually got you can see here I'll even go over to the preset section I've got a I've got a whole bunch of a lot pack over at Matt Kay comm slash what's but I'll to here I'll jump in here you're gonna see there's a nice one a couple little Matt looks inside of there but if you're interested in that stuff on one's got plenty of them in there so it's not like you need anything else but these are ones that I really I spent a lot of time crafting and and they will work in every program so get used to that get used to things like this coming out that you can use in multiple programs because they'll work in seven different programs basically you buy them once you get to use them everywhere all right so that's the that's the one one of the new features I wanted to cover I'm going to show you another thing here that has changed in my workflow that I found that I've been using more and more will go over here to tone in color and yeah just I'm not going to do this is almost in place of doing a lot of tone and color adjustment to your photo you'd almost do this in place and that is luminosity masking so the main things that I would do over here and develop I would probably go over into transform and come down here first I go into lens Corrections it auto it's not really matching anything we have a little bit of distortion here so I can use the manual option to help that and that I can rotate it around here just a little bit and then I probably go in and just crop it just the hair like so so if you're of the luminosity masking group um what I would say is shadows make your shadows brighter or darker right highlights make your highlights brighter or darker what is luminosity masking it's just a more controlled way to do those things and it's not for everybody you know some people like paint just gonna be the sliders let me wiggle slide some people want to get down into the nitty-gritty so what I would say is if I really like a photo and I'm gonna spend some time on it then I come in here and rather than do a lot of shadow and highlight work in tone in color I go over here to adjustments my local adjustments and then what I'll do is I will make under the mask menu I will create a luminosity mask so it's tough to see and see you can price it a little bit bigger if I click on the mask over here it has made a mask of the luminance of the photo which is the brighter stuff so now what I can do is as I adjust things I'm now working on the luminance of the photo the brighter stuff in the photo and here's what's really nice about it and this is this is where you can again this is another rabbit hole we could go down for hours and hours and hours I'm kind of just trying to give you an overview of some different things you can do here but that's your mask but there's also all these settings down here that let you adjust your mask so you notice notice when I'm so I made a mask of the luminance which is the bright stuff and I want to start making that a little bit darker to me the whole photo is really getting darker right that's cuz the luminosity mask is it's still you know it's it's getting the luminance but it's getting other stuff too if you look at the mascara fact we can click view that's the mask right if you click the little View button right over there that's the mask so everything only the white stuff should get affected but all this is still kind of gray semi white so it's going to get effective when I make things darker how do you change that you can come over here to levels and now you see I'm forcing it I'm saying make all those gray areas make everything between this value of gray and this value of black make it all push it all to black so now let's go back over here I'll click on my off of view so now as I adjust and I'm not saying this is gonna be the right setting for this but as I adjust you see how it's leaving that rock in the foreground alone and see how it's just adjusting the brighter stuff again that's overkill I wouldn't go that far but kind of gives you an idea here so I can go I can pull back a little bit maybe I pull back a little bit on the highlights inside of there a little bit more on add a little bit of contrast to it okay and so now I'm able to go in and pray on some structure because that water would probably pop pretty nicely too and then I probably you know again let's go back and view our mask I don't know that I would make it this strict because there's a lot of black in here so I can pull that back and then you know what I here's I mean can we can go on and on and on with this stuff it's like it's a lot of fun but let's say because you saw watch from what you saw what happened see how the water starts to look funky but I really like the fact that that rock gets black because I don't want it to affect that rock in the foreground I'll deal with that on another layer right that's that part was part of what luminosity message so if I go that far things start to get funky because I make all this flak so what I can do I can pull back okay and now remember I am now working on my mask so as I brush because I have my brush tool selected up here as I brush I'd either paint in or hold down your option or Alt key and paint out and now I can make that whole rock black but I can keep this levels where I want it so it's pretty smooth above the water here and then to take that a step further click your little gear icon up there at the top turn on perfect brush and that way it'll sense your edges a little bit better I don't know I don't have to be perfect but then I'm okay if there's a couple little highlights on there and that's really unless it you know that would be my biggest people stress out over trying to get it perfect and I would say for most things it doesn't need to be nobody would notice those highlights around there and you'll really spend a lot of time and stress yourself out trying to get there so but let's go over here and turn view off so now as I adjust that water and the brightness the exposure everything look it's keeping the rock intact it's only adjusting that but it's a much smoother mask it's a much much smoother mask then had I cranked the levels over here so that it automatically made that rock black so we keep it in a smoother place and we just go in here and paint on the things that we wanted it to to leave alone so that would be one and then what I would do is add a layer okay come up here to mask create luminosity mask I got another luminosity mask here let's set it to zero so right now it's not doing anything to the photo well here's the thing it's the same mask that it was before it's a mask of the luminance so what I can do is invert it so now it's the reverse now it's a mask of the dark values in the photo and now I can go over here to levels and see how I can adjust it in the opposite way so I can what my goal for this now would be let's make the rock white let's make the water black because I don't want to touch the water so again I can go over here option are all to paint out which is going to give me black and notice it already did a good job on the sky I don't really have to worry about the sky but I can go through here make sure my perfect brush is on it is you can see as long as I keep fairly large feathered brush I can work my way around that rock and then the other thing to just come in here and experiment with transition sliders and everything else it's you can see here you can even look see it pulls less over when I use that transition slider so essentially what I did is I said hey only now what I when I effect when I go down here to the sliders only work on the dark stuff or that rock whatever I whatever I went in there and made white okay and whenever you open up your exposure on shadows you're gonna have to follow it with mu not that much more you're gonna have to follow it with a little bit of warmth you're gonna have to follow it with some structure you're gonna have to follow it with some contrast and I would I would probably never open it up that much something in that range there okay and then I can see a little bit of a glow here so I hit the left bracket key make my brush smaller remember I'm still working on the mask so now I can go in here and kind of adjust any little places that I saw that glow so if you turn it on and off you can see but my whole goal oh goal with that sup guys is I I want to light the photo I mean kind of back to my no light no problem you know once every once in a while we can really really really I don't get really lucky once in a while and I get great amazing like for for all of my shots but most of the time I have to go in there and I have to do it because it's just I don't have the means the money the time and all everything necessary to go travel and go go to that place over and over and over again to get the perfect shot I'm there when I'm there so for me my job later is to go in there and do these things and whether it's just brushing and going on if you think about what I did in that first example I did a lot of brushing think about what I did here I did the same thing right I made things brighter I made things darker I just used a luminosity mask in more of an automatic way but not too automatic to to go in there and affect those areas so two different ways that kind of do the same thing when do I use one or the other you know a lot of it depends on the photo of that first photo that you saw there was so much happening in there a luminosity mask I don't think would have done much good for me because there were just shadows highlights highlights peeking in through the trees were so much happening that it wasn't kind of cut and dry when I see a photo like this I think this is cut and dry like I've got sky I've got rock these are this is a good place for me to separate and kind of bring the attention to what I want to so that would be that would be my luminosity masking once I'm done with that now I'll come over and maybe develop the photo you know go into some toning push my whites a little bit more overall just make them a little bit brighter put some of those blacks back a little bit a little bit of temperature I probably head over to effects and take a look through our presets here another one that I'm going to use quite a bit it's going to be over in our filters sunshine so that's another one that I use you know a lot of times I'll go in here to the sunshine or the Sun glow again you get a nice glow from it I warm that up quite a bit and then I would all course finish everything up with a vignette but I'm going to show you a different way I'm gonna show you different way that I actually think will work better on this photo so when I go here and I add a vignette it's essentially adding black to the edges it's really what it's doing it's kind of a low opacity black which one I want to be really quick and fast about it works fine if it's a photo I really like if it's photo I want to spend some time on then a lot of times you got to apologize because this is just a flowing process for me guys and I'm just kind of to me the sky is too bright now so I'm going to go back to my adjustment and pull it back there we go there we go a little bit of warmth yeah all right so let's pick up where we left off and that was I decided not to add the vignette when I was here in effects okay what I would do is hop over to layers and I'm gonna manually add a vignette to the photo so we hop over here to the to the layers panel what we're gonna use is a blend mode okay by by adding black on top of the photo sometimes it works sometimes it just looks like you just added black and it's you reduce the opacity but if I use blend modes to to jump in here and add a darkening around the edge of the photo now it blends in with the photo blends in with the shadows and the highlights in a different way so it's not going to treat everything the same especially with this brighter sky that we have here that might be might be a good way to go it so as a I have a feeling that in in a couple minutes computers usually don't take this long to jump to layer they did a lot of stuff but you know the webinar software kind of slows the computer down a little bit too okay so we are in layers what I would do is press command or control J to make a copy of it change the blend mode to multiply and then come over here to the right hand side and you'll see the masking book okay click on that by default when you look at the the preset that it's going to give you it's going to give you a linear it's really meant to do a graduated filter like to darken the sky or do something like that so what I'll do is change it to vignette which basically gives me a radial it's that a linear it's radial and then I'm just going to click and now I can change the size I can change the feather of it and then of course it's a layer so I can change the opacity like so and then what I really like about it is when you have a bright sky that that vignette filter will typically just make it it's almost blah like it's think of putting black over something and it just it takes a color and it just makes it blah it's the best word I can think of for it so when you have a sky like this that multiply blend mode almost just intensifies the colors a little bit and you don't have to go multiply you can try overlay you try softly I don't think you want to go scream because screen would make it scream is the opposite of multiply so see there it makes it bright and you remember those glamour shots from the 80s they had that white like a glow and that white vignette to us of nothing nothing says 80s like screen blend mode and glamour shots but we can go in here and I can just pull that pull that back and then the other nice part about it too is I kind of like I like the moodiness it gives down here I don't like it as much up top but it is a mask which means I can always go over to my masking brushes and at the right our key or right bracket key make my brush bigger and let's say I don't like the way that it's inner fat interfering with the sky then I can paint it away and I really have to painting away all the way right I just kept the opacity at a hundred percent I can paint it away half of the way again do I do this on every single photo absolutely not this is reserved for we all have different degrees of photos of how we like them my suggestion to you would be don't edit everything everything doesn't get the same level of editing you know the photos that you kind of like you know you went to your family or friends member and they said hey can you think some photos of my kids birthday party those go through those go through as fast as possible they get vignettes they get all the automatic adjustments I can get I get a photo that I really like I think I'm going to put in my portfolio maybe I'm gonna print it now I spend a little bit more time all right mr. Morelli if that still is your name there are a ton of questions I think there are more than we can answer yeah I think you might have set the new on one record for questions and a webinar here can I just thank everybody we have a thousand guys that's that's huge thank you so much for coming out today that's you yes thank you so yeah or do you want to start do you want to stay and just start asking me stuff and you're asking I'll go through I'm gonna get that uh I'm gonna get that a video for you guys on not how to make that me in fact I'm getting it right now on how to make the profile or how to make bucks so one question that I saw float across from my buddy Bob but was about albums in the Browse module and if you could kind of touch on those are they similar to catalogs in Lightroom how do you use albums albums are like collections so if you think about they're like collections if you came from Lightroom if you think about if you think about you've got a big folder of photos you got five hundred thousand photos in folder when you hold it down to your favorites I put them into an album essentially what it is perfect but Michel real quick what's the best place for me to post that link I think if you go to the Q&A area and choose answer by tech you can respond to someone's question and then rather than send it privately you can send it to just don't okay and probably might believe that I'll send it to everyone yeah I'm gonna do I'm gonna I'm gonna answer somebody's question that said hey go go ahead I'll put it in there yeah give it a try we'll find out if it if it worked or not okay I found a lot question I found oh no no no no crap I lost a lot question go ahead good the why me there was someone asking about correcting the horizon lines correcting I can't remember exactly what they said some kind of distortion maybe with the lens or just on the horizon line perhaps if you could just kind of show where that where you fix that type of stuff yes all right so real quick though I am I am currently answering somebody's question right now on how to create lots I'm putting a link so hopefully you guys can all see that in the Q&A cuz it should pop up in there so we want to see how we can go in here and correct correct their horizon yeah so best place to do it would be developed come over here to your crop tool a second let's go get a different let's get a full see if I can get a different photo oh there was layers that's why it was taking so long yeah and this the conferencing software definitely slows down yeah just so you guys know the conferencing software slows down and takes a drain on my computer which hence lets makes everything else run a little bit slower alright so we'll head over here to develop will hit the crop tool and when you go to the crop tool right up at there at the top you're gonna see a little level and you select that and then you just click and drag along and that was straighten it out super super simple there's a few people asking about the clone stamp let's see can I make a stamp copy and then go in two directions with the image without having to close out I think you might have to reselect a source on that one Gordon but Matt if you maybe wanted to show how where that clone stamp is for a few people there there's actually a number of people that have asked he said can we can I make a stamp copy and then go in two different directions a number of people asking you know how could I do something and maybe go in a different direction with a photo if you right click on a photo you can create a version and that's a whole nother version you're not gonna see it on you know it's basically think about it it owns like a virtual copy of the photo so now you can go in another direction with that and I saw a number of people have asked a question similar to that we hopefully hit a few people with that one yeah there was a lot of questions on also it looks like a couple people are asking about preferences with the scroll wheel on the mouse you can change that in the Preferences menu whether it affects if you want to jump over there yeah preferences menu there you should be about a mouse I don't even know but well that might not even work for you because you're not plugged in but yeah I use a all right there so yeah so if you do want to change that scrolling control there it's right actually in are generally presume if you click on that the top runners cooling controls you can change exactly what that does a lot of people are asking about how to change the brush size with that that be how you do it there and Matt there are a few people asking just what are your favorite filters what are your favorite go to presets this was back from about a half-hour ago but what you no luck so I just did a video if you go to on 1.com slash Matt Kay I just did a video that a that I did my top five my five favorite filters so on one comm slash Matt K and this one I've seen come through quite a bit throughout the entire webinar how do I save my images how do you save your images and what is the best way to export and or save alright so saving images of course when you're using develop and effects and browse you you don't actually physically ever have to come up and hit file save everything is going to automatically save for you so from there if I want to like you know I've got this photo I've done some changes to it and I wanna send a I want to send a JPEG to somebody and what you do is you go all the way down here to the bottom you'll see a little button here for export what if it's in the file menu I think it's in the file yeah you can go file export and it just opened up the right-hand side and essentially you just choose your file type your quality where you want to put it on your computer you come up here to photo size and you can change the size of everything inside of there so I can knock it down that's a pretty large file so of course go over there and knock that down to eight normal size and and then go through there you can rename it and hit export and it'll save it to wherever you typed your location to there so just cruising through this and again yes the webinar is being recorded it will be posted to our website to a YouTube channel and I am streaming it live to our Facebook page right now so if you are on Facebook I believe that'll keep the recording there after we're done with this live stream so you can just go right to our Facebook page and re-watch it right after we're done here if you want we are getting close to the end of our time limit and that so if you have another direction you want to go real fast or anything you want to hit on real fast now would be the time to do it well let me let me see if I have some low hanging there's a lot of questions in there so let me see if I have some low-hanging fruit on what I can answer somebody had asked something about the LUT so that is in there if you guys still have questions on that stuff what you can do if you go to my way I put the link to the video where I created that kind of show you how you can make your own it's not for everybody it's it's a complicated thing so it's definitely an advanced topic but I put that link in there if you got questions just go to Matt K comm / lots Lu yes I'll get you over to my website and there's there's of course a contact page on there and all that stuff so if you want to find out more about that stuff going to see a ton of questions in that area yeah um let's see here Matt let's see here GPU CPU questions I've seen flow by and if you do have anything that's on one support related just head over to our website on Wong comm slash support there is a contact form there we are starting to get unburied from the twenty 18.5 release so now would be the time to send in a question to the online support team so yeah just to head off some of those questions that keep coming through cool let's see Matt is there a way to apply DxO nick plugin affects it on one photos yeah you could you know click your photo and browse and go to the file and you can tell most applications and if you don't see your application there you just send it to another application and it'll it'll choose it for you our lens profile is provided by a camera manufacturer canon this one's from Jim the the camera profiles are the camera profiles our camera and our camera dependent they could be different and look different based on different cameras it's a camera profile actually applied to the image from bill yes the camera profiles applied to the the image think of it as a filter or setting or slider it's like anything soon as you apply it this one's from Steve are using this in addition to for example Lightroom or is this your main editor I've heard from some folks they don't use Lightroom or capture one any longer only on one this one's from Steve McCarthy so Steve it's different for everybody I mean I run into I run it most people on this webinar are probably using on one as their main editor me personally I'm a Lightroom and Photoshop user but I teach photo editing so just like just like I teach photography you know I thought a I thought a photo workshop in Costa Rica the other week I I didn't limit it to just Sony tutors which is what I shoot it's come down there I'll show I'll show you how to shoot it with with any camera that you have that's kind of my philosophy here is I teach photo editing and so for me the application doesn't matter they're they all pretty much do the same thing you need to set on one that feels right where you kind of gravitate toward but for you know for me personally the edits inside of develop the brushing the luminosity masks I can do those in a number of programs and to me that's the magic behind the editing it's not it's not who's got the best sharpening cuz they all have good sharpening we've got the best noise reduction that's that's the suckers been the the stuff is in the creative eye and that that you can do in any program ah let's see here so holy crow there's just so many quick norman's got a question about the future of on wanna let they'll let norman hit the on one website they can ask them because it's just a feature of those features that they've added Landis what's the difference between your drive and catalog folders which one should be using why a good question their catalog folders the drive is over here these are your local drives if you want to and and you this is primarily what I use if you take a folder like let's say you've got a folder with all your photos in it and you want to be able to search and filter through that folder and mutt as well as other folders on your drives you'd have to make them catalog because when you go down here to the filters that's what I can explain it land this is that when you come down in here to filters it's just showing you when you filter in here it's just gonna show you the folder you're in ok it won't look through your whole hard drive it will just filter and search and keywords and look at all those things in that one folder if you've got a parent folder and you've got like a hundred different folders inside of it and you make that a catalog folder now when you come down here to filter and you want to search based on keyword and all these it'll look inside all those folders so on ones kind of giving you the best of both worlds people that want it simple stay here don't ever go up here okay people that have moved from Lightroom and are used to the way Lightroom works well that's why they added these things in here because they want them to have a place to go to be able to look through all those filters let's see here really with people asking about sidecar files and if you use them or not if you want to touch on that yeah so so sidecar files good quite a drill that's actually a really good one here where is it under yes so if you go to your on one preferences and you go from General over here to files okay you're gonna see save on one side car files for non-destructive edits I would suggest turning it up what's gonna happen then is let's head over let me right click on this photo and show this in my Finder window and you're gonna see see how we'll put a little on one side car file next to it okay here's what's cool about this is just about every other asset manager out there Lightroom bridge luminar doesn't even have one sure one they're not gonna really work well on multiple computers not much of a problem for me because you know I've got a workflow most of my stuff is over here I'm good with it but if you use multiple computers by creating these sidecar files so think about the way on one works right we know on one is not a catalog when I when I get a laptop and I open on the side got my laptop right over here and I open up on one on that laptop and I point it at my hard drive it'll see those sidecar files and it'll render all my changes that doesn't happen most other managers most other asset men don't really work well with multiple computers no that's one of the nice things about the way that they did the sidecar files and everything is that you can have multiple people hitting the same drive and they'll see everybody will every computer will be able to see the edit since not in there so that's where that's definitely why you would want to turn those sidecar files on another thing is it's kind of just a little backup of your changes to so if I'm one crashes and then you have to reinstall it when you reinstall it that'll look at the drive and it will pick up all the sidecar files Gordon said do you do all your work flow in srgb from start to finish no Gordon I actually keep my photos I again ie I use Lightroom so Lightroom is Pro Photo I keep it in Pro Photo and when I export then I export a JPEG in whatever format is required if it goes on the web then the at srgb I'm gonna send it to a printer just depending on the printer sometimes could be srgb could be Adobe RGB all right let me see here so I think we're Michael yeah I think we're gonna have to raise the flags on this one we are getting to the end of the time limit on the webinar and I'm not sure if it's gonna kick us out here what so everyone if we didn't get to your question feel free to send an email two on one or two Matt our contact form on one comm slash contact - on one Oh in the number one you can also email CS and on one if you're having any issues technical support issues send us an email we'll definitely be able to get to you here right away if you had a question that wasn't answered on this webinar send that in the customer service - I know I'm going to be looking at it some here today so I'll get to some of your questions and just guys you can't you know hit up my website um you know if you if you see wherever you see me on social media between Facebook mostly between Facebook and and my website I answer just about every guy can't guarantee I answer within 25 its customer service I do but it's just a general editing question I will get to it so so feel free to feel free to stop by the site hit the contact and and just keep in mind if it's a question that involves of the word crash involves something's not working for you gonna get an email back from me that says you'll have to contact support anything about those exactly so yes if you have any issues contact our support team here at on one we can definitely help you guys out quickly with that Matt thank you so much for joining us today I'll get this webinar posted up across all our mediums this afternoon and if you have any closing words for everyone now's the time I got nothing man just thank you so much for the amazing turnout I really appreciate it and if you guys are interested again just swing by the website and hopefully you know I'm sure I'm sure we'll see you around there or the website that's so thank you very much for everybody for coming out today yep thank you everyone and thank you Matt I'm gonna close out the meeting now everyone so thank you one last time and everyone have a great day [Music]

Channel: ON1

Views: 5,242

Keywords: Photo Editing, Photo editing software, Image Editing, Image Editing Software, Digital Photography, Digital Photo

Id: nFkOMFWvCB8

Length: 74min 47sec (4487 seconds)

Published: Thu Jul 19 2018