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NICOLE S. YOUNG
Nicole is a professional photographer and author,
focusing on food and landscape photography. She
writes books about photography, regularly contributes
to several podcasts, and writes articles for
photography and post-processing magazines. Nicole
is an Adobe Certified Expert in Photoshop and owns
and operates an online store, where she sells
photography-related post-processing tools and
Nicole has been blogging about photography for over
eight years and currently lives in the Portland, OR area
with her husband, Brian, and their dog and cat, Kodak
Ever heard of a fanatic? Levi is the epitome. He is
crazy about photography and learning and helping
others better their work. He bought a DSLR in 2009
and it consumed his life to the point that the classes
he teaches at the community college, the photography
club that he started, and the small business he runs
making pictures were taking up more time than his full
Levi is now a full time photographer and it’s the
adventure of a lifetime. He loves it, and is so glad to
be able to share his passion with others. Whether
making landscapes, travel images, or making portraits
indoors or out, Levi is most at home with a camera in
his hand. There is nothing Levi would rather do than
get together with others and make pictures.
He lives with his wife and daughter in Lake Oswego,
He is a founding member of Stocksy United (a stock photography co-op).ROB SYLVAN Rob Sylvan is a photographer. and instructor for the Perfect Picture School of Photography and the host of Peachpit’s Lightroom Resource Center. and author. Rob writes the “Under the Loupe” column for Photoshop User Magazine. Aside from also being a NAPP and Kelby Training Help Desk Specialist. trainer. and is the author of many photography related books: website google+ facebook twitter iv . is a regular contributor to Lightroom User magazine.
Rich is an internationally published author. as well as teaching his kids the joys of science fiction and comic books.RICH HARRINGTON Rich Harrington is on the forefront of the fusion of photography and video. Rich is also a member of the National Association of Photoshop Professionals Instructor Dream Team. DC. Rich enjoys traveling and digital photography. His book. A Master’s Degree in Project Management fills out Rich’s broad spectrum of experience. Rich owns the company RHED Pixel. He is also author of several books including From Still to Motion: A Photographers guide to creating video with your DSLR and Understanding Adobe Photoshop Rich also has several courses available at Lynda. a visual communications company in Washington.com. was the first of its kind to focus on Photoshop’s application in the world of video. website google+ facebook twitter v . Photoshop for Video.
He shoots on a Nikon and uses Lightroom on both his Mac and PC. He has also been featured in Forbes Magazine as a young entrepreneur.GERARD MURPHY Gerard has had a passion for photography since borrowing his Mom’s Pentax as a kid on family vacations. daughter Caroline and son James. Gerard has been featured on many national podcasts and large photography publications teaching Lightroom and talking about the future of photography. website google+ facebook twitter vi . Gerard lives in New Hampshire with his wife Elizabeth. Gerard turned this passion into Mosaic. which he co-founded. Later. Gerard grew Mosaic from a PowerPoint and a dream into a service used by tens of thousands of Lightroom users daily. His Lightroom videos have been seen by hundreds of thousands of photographers. He is also an avid Lightroom advocate and teacher of Lightroom tips and tricks.
photo by Richard Harrington
WHAT IS RAW?
A raw file contains virtually everything that your
camera’s sensor can see. The data is minimally
processed (it may have a white balance preset or
picture style flagged, but not applied). While your
camera may contain settings for sharpness,
exposure, or lighting conditions, the raw file stores
that info as modifiable information and captures
the original (unmodified) data that came through
your camera’s sensors. This is very useful because
it lets you easily adjust white balance, sharpening,
and more in Lightroom.
Each manufacturer treats the format differently, using a
proprietary format. Fortunately, Lightroom frequently updates its raw technology to support the newest cameras
on the market.
To find out if you can access a particular camera format
from within Lightroom, visit Adobe’s Web site at
A raw file is not ready for printing or sharing out of the
camera, you’ll need to process it with Lightroom. When
you develop images in Lightroom, you are working at a
bit depth of 16 bits per channel. This is an extremely accurate way to represent color. Raw files can be much
larger than JPEG files. This extra data is used to hold
more image detail, which can reduce, or even eliminate,
compression artifacts found in JPEG files. However, that
extra data can increase the time it takes for the files to
write to the memory card.
A developed raw file.
In 2004 Adobe released the Digital Negative Specification (DNG) file format. The code and specifications
were made publicly available so manufacturers could build in support for the format to their products. The
goal was to replace several proprietary raw file formats with a universal format. Despite initial optimism,
camera manufacturers have been slow to adopt it (some even refusing). At this point, DNG fi les are a useful
way to archive raw files and attach additional metadata.
You can find out more about DNG at http://helpx.adobe.com/photoshop/digital-negative.html.
RAW FILE EXTENSIONS
11 . in fact many cameras could only record to internal storage. Most photographers couldn’t afford multiple or high-capacity cards.WHY USE JPEG? When digital cameras first became available. smaller card. The desire was to store more images on a single. the memory cards used to store pictures were pretty darn expensive.
Internet connections were slow (the use of dial-up modems was prevalent). and it is a good format for continuous tone images. The JPEG format is also extremely efficient at compressing images. Small file sizes enabled consumers who lacked an understanding of digital imaging to attach photos to emails with minimum technical headaches. With these two scenarios in mind. such as photos. why do so many people use it? Money and resistance to change are the simple answers. It was a proven technology and one that was familiar tomany users.Combine this with how pictures were being shared and delivered. So. A JPEG file looks for areas where pixel detail is repeated. JPEG (Joint Photographic Experts Group). While JPEG is a good format for distributing images (due to their compatibility and small file size). it is not great for image acquisition or production. if JPEG is so inferior. 12 . Many users wanted to email photos to share with friends and family. additional compression is applied to the image. The visible loss in image detail or accuracy is referred to as compression artifacts. Over subsequent compressions or edits in Lightroom. A JPEG file is lossy. manufacturers turned to an Internet-friendly format. meaning that every time you modify it. the image quality can noticeably deteriorate. The file then discards repeated information and tells the computer to repeat certain color values or data to re-create the image. A dial-up modem — bring back any memories? Photo by Wilton Ramon de Carvalho Machado The JPEG format is extremely common because most hardware and software manufacturers have built support for it into their products. It’s a lot cheaper to shoot JPEG images because you don’t need to buy as many memory cards. This is similar to the act of making a photocopy of another photocopy: Additional image deterioration occurs with each processing step.
even many pros have been slow to abandon JPEGs. 13 . use a JPEG plus raw combination. The use of presets and camera profiles in Lightroom can accomplish the same thing without damaging the source file. Others claim that they want to do less work in post. The good news is that many cameras and faster memory cards have eliminated this issue. something that most people are short of these days. sharpening. Shooting JPEG allows the fastest frame rate (and increases the amount of images that can be stored in the cameras buffer). Learning how to use new technology requires time. and white balance to the image. This way you’ll get the JPEG file for ease of use and sharing and the raw file which has substantial benefits. Creating a JPEG file in Lightroom (or any other editor) is quite easy. The problem is that these changes are permanent in the JPEG file and become destructive edits that discard image data. There are some workflows (such as sports) are dependent on shooting high speed bursts.Additionally. Photograph by Sergio Martínez If capturing a JPEG is essential to your workflow. They argue that the camera saves them time by applying picture styles.
These raw (or native) formats have several benefits over shooting to JPEG. offer a much better series of formats.WHY SHOOT RAW? Most digital cameras (particularly ones aimed at pros and enthusiasts). 14 . collectively called raw.
12. • The files are easier to work with in Lightroom as they offer greater flexibility and control in image adjustments and color correction. • Raw files can show more details in the shadows and highlights. which means that the pixels contain more information about the color values in the image. or even 16 bits per channel instead of the 8 used by JPEG. The raw format also has a greater tonal range. 15 .• The images are usually captured at a higher bit rate. • Most raw files have a depth of 10. The images also have more color information.
Click here to get the app xvi .
Young Gerard Murphy photo by Nicole S. Young .2 QUICK FIXES Nicole S.
and because of this I am able to develop my photos very quickly and efficiently. 18 . Not only does Lightroom allow me to organize and sort my photographs. I use Lightroom primarily because of its ability to keep my photos organized. but it also has the tools I need to make quick adjustments so that I can share my photographs with the world.QUICKLY ORGANIZE AND DEVELOP YOUR PHOTOGRAPHS One of the reasons Lightroom is such an important part of my workflow is that it allows me to work very quickly through my very large catalog of images.
19 . In this section I’m going to show you some of the methods that I use to keep my Lightroom catalog clean. organized. Lightroom views the images from inside of a folder system. and easy to work with. just like you would view an image in a window on your computer. However. it’s very likely that you will want to sort your photographs within these folders without changing the file structure system. you need to have some type of organization method in place with your photographs.ORGANIZING AND SORTING YOUR IMAGES Before you can do anything inside of Lightroom.
. and you may find yourself using one or even all of them. AND LABELS The easiest way to start organizing your images is through the use of flags. To flag an image. Each of these has their place.FLAGS. RATINGS. along with ways you can use them in your workflow: Tip: To quickly flag your images. use the keyboard shortcut “P” for pick. and color labels. depending on the type of sorting you are trying to do. and “X” for rejected. There are two different types of flags: pick and rejected. 20 Flags: Flags are a good way to quickly mark the images that you think are keepers. Here is a break-down of how each of these works. highlight a photo and use the toolbar below the preview window to mark it with a flag by clicking on either the Pick flag or the Rejected flag (press T on your keyboard if you do not see the toolbar in your window). or to reject images that you want to keep out of your site. star ratings.
then you could stand to lose all of your flagging information.When you mark an image as a pick. and a rejected image will display a black flag with an X in it and the image will also be slightly greyed out. 21 . if you lost your catalog or it becomes corrupt and you don’t have it backed up. The only downside to using flags is that they are not retained in the metadata of a file. (If you don’t see the flag on a file. However. go to View > View Options and make sure that the Flag box is checked under the Cell Icons section. you will see a white flag in the corner of the photo while in the Grid view. The flag data is stored in the catalog. It gives me a good “snapshot” look at the photographs I initially deemed worthy of being post-processed or used in projects. which is fine so long as your catalog is working properly.) Flagging images as picks and rejects is always the first method I prefer using in order to sort through my images.
This means that the file will retain the rating information. Tip: How you define the stars is up to you.). or maybe you set your images to a rating of three stars for those that you want consider as “maybes. This way you do not have to rely on the catalog to store the information for you. such as you may have one star mean you don’t ever want to see the image. Lightroom has a star system where you can mark images from one to five stars by first highlighting the image and then using either the toolbar below the numbers on your keyboard (1 = one star. .” 22 One benefit of using the ratings system is that the information is embedded into the metadata. etc. regardless of where it is viewed.Star Ratings: Another method of organizing images is through a rating system. 2 = two stars.
23 . go to Grid view highlight the photo (or photos) you want to label.Color Labels: Color labels are a great way to organize your images even further. To apply a color label to a photograph. etc. use the Toolbar below the preview window to apply the color label.). They are great for grouping sets of images (such as a series of shots bracketed for an HDR) or to organize images based on how they will be used (yellow is for the blog. Then. purple is for print.
The best way to go through these is to sort through them … but how? When I come across situations like these. you can probably see at a glance the images you will not want to process. or add a color label to them so that they are organized properly.THE SURVEY MODE When you have a good grouping of images. The Survey Mode works by honing in on only the images that you have selected at that time. I always go to the Survey Mode to help me find my best images. it can be a little overwhelming to sort through and look at them all at once. Once you have your favorites. Here’s a step-by-step on how to use the Survey Mode: 24 . but the “good” ones are usually buried in-between similar shots. rate. Then you can further reduce them down to only your favorite shots by deselecting images to remove them from your view. After all. you can flag. perhaps from a photoshoot or images from a vacation.
LIBRARY MODULE First. 25 . or a subgrouping of images inside that folder. This could be all images within a given folder. Tip: To increase your screen-space. Your images will appear in the preview area as thumbnails. press the N key to go into Survey mode. highlight the photographs you want to sort through. press the Tab key to hide the left and right panels. SURVEY MODE Next. in the Library module.
for more information. hover over the photo and click on the X on the bottom-right of the thumbnail.) 26 . click on the photo and use the toolbar to make your changes. “Organizing and Sorting Your Images”. see the previous section.REMOVE PHOTOS To deselect photos and remove them from the Survey mode. or color label to the image. ADD DETAILS To add a flag. (You can also quickly flag or rate your images with keyboard shortcuts. rating.
When you are finished. or until you have organized your images to your liking. press the Esc key to exit Survey mode.KEEP GOING You can continue to do this until your favorite images are selected. 27 .
28 . Just select the folder you want to work in. or even from within your entire catalog. such as “flagged” and “rated”. and then press the backslash key “\” to open up the Library Filter options at the top.SORTING IMAGES WITH FILTERS Once you have your images organized. Once you have selected a filter from the drop-down. you can also use the attributes bar to add even more filtering your images. Let’s say you want to only view the flagged photographs within a certain folder. There are some existing default filter presets that you can work with. which work well if you want to sort through images you have organized by hand. you are now able to sort through them using filters.
Within the Library Filter options are four columns with different sets of information.You can also go even further with your filtering and select other criteria. 29 . You can choose the filter criteria from within those columns and then select on one or more options to filter your images.
so I have them listed here in this section. and they are all in different folders. meaning that when you use the keyboard shortcut B it will add any highlighted photo to that collection. right-click over top of it and select “Set as Target Collection”. but don’t necessarily need to have a permanent collection created in the Collections panel.COLLECTIONS One of my favorite features inside of Lightroom is the ability to add images to collections. Quick Collection: By default. One example of this would be if you need to export a handful of images for a blog post. 30 . located under the Catalog panel. the Quick Collection is the first collection you will likely have exposure to. Collections are great because they are similar to folders. There are a few different aspects to collections. This way you can make changes to the file and it will display those changes to that file across all collections where it is located. Tip: To set your own target collection. is the initial “target collection” inside of Lightroom. The Quick Collection is a good choice to use when you need to quickly group photos. The plus sign next to the collection name indicates that the collection is the current target collection and you can use the keyboard shortcut B to add your images. but you are able to store the same image within several different collections without having to move the file itself. By adding them to the Quick Collection you are able to easily group them together and export them together. This collection.
give it a name and select any other items as necessary. and they allow you a permanent place to organize your images. books.Collections and Sets: Standard collections and collection sets are all located inside of the Collections panel. etc. Ultimately. projects you may be working on (scrapbook.). (A Collection is where you will organize your photos.) Then. To create a collection or set. Some ideas for collections you can use are to organize your images based on who the client is. how you organize your collections is up to you. or even to collect skies and textures for composite images. and a Set is where you will group your collections. click on the Plus icon and select either “Create Collection” or “Create Collection Set”. 31 .
click on the plus icon in the Collections panel and choose “Create Smart Collection” from the drop-down. choose a location for your collection and then start to define the criteria in the main box. Smart Collections are great for quick filtering of images based on rating. and even criteria such as file type. etc. labels. And you can even create your own Smart Collection with whatever criteria you would like to specify.Smart Collections: If you want to have Lightroom organize some of your photos for you. flags. To create your own Smart Collection. There are a lot of possibilities with Smart Collections. 32 . it’s just a matter of what your needs are and how quickly you need the information. In the window that pops up. source folder. so you can take a look at those and see how they collect your photographs. then Smart Collections is a great way to do just this. There are some default Smart Collections already inside the Collections panel.
THE QUICK DEVELOP PANEL When it comes to processing photos. located inside of the Library module. However. or even adjust the white balance. there are occasions when I need to view a photo and quickly add some exposure. 33 . I’m typically very thorough and like to take my time. For these occasions I prefer to use the Quick Develop panel.
Then. select one image and press the E key to view the image in Loupe view.This panel allows you to make very quick adjustments to a photo or a group of photos without having to jump into the develop module. 2. make sure that you can see the Quick Develop panel over on the right side of the window. use the settings in the Quick Develop panel to make your adjustments. Here’s how: 1. 34 . Then. If you’re not there already head over to the Library module inside of Lightroom. Want to share a set of proof images with a client or friend so that they can see how their photos turned out? The Quick Develop panel is a great way to make quick adjustments to your photos. Next.
or make even more adjustments available than what you originally see with the default panel.3. 35 . You can also access several more features by clicking on the dark gray arrow to the right of each setting. This will allow you to do things such as quickly change the crop ratio.
depending on what module you are in and the adjustment you would like to make. In this section I will be discussing four different types of presets: Develop.CREATING AND USING PRESETS One of the quickest ways to make adjustments to an image is through the use of presets. 36 . Within Lightroom there are several different types of presets. Metadata. as well as Import and Export presets.
Process a photo to your liking using any of the Develop panels on the right. and can give you a good “snapshot” of inspiration. 2. Next. 37 . so I have a very large collection of presets in my catalog. Here’s how to create your very own presets: 1.DEVELOP PRESETS The most common type of Lightroom preset is the Develop preset. and then re-adjusted just as quickly. make sure that you are in the Develop module inside of Lightroom. Then. First. I really enjoy making my own presets. head over to the Presets panel on the left and click the plus icon. both for stylized and also simple edits. These allow you to save specific settings and use them in future images. The great thing about presets is that they can be applied quickly.
For example. Next. 38 . These check boxes are very important. and it’s very likely that you will not want all of the boxes checked. I never save White Balance or Basic Tone adjustments with any of my presets. to apply the preset. first. give your preset a name and then decide the location you want to place it. such as Split Toning. check the boxes for the types of adjustments you want saved with this preset. Those adjustments are much too image-specific. 4. Effects. In the window that pops up. just highlight a photo in the Develop module and select the preset from the list inside of the Preset panel. etc. So I typically stick with the more “stylized” adjustments.3. and I will have usually already changed those settings on any photo I want to apply a preset to. Your preset is now saved! Now.
and then fill in the sections that apply to you. 39 . Make sure that the boxes are checked for only the fields you want to save in your preset. 2. Here’s how to create your own copyright metadata presets: 1. In the Library module.METADATA PRESETS When you want to save specific metadata to a large group of images. go to Metadata > Edit Metadata Presets. You can have all of this information saved as a preset so that you can access it and apply it to your work quickly whenever you need it. The most common use of these is for applying copyright and contact information in your photographs. then Metadata presets are the way to go. Click the arrow to the left to make the fields visible. A new window will pop up with check boxes and empty fields. The two sections you can fill out are the “IPTC Copyright” and “IPTC Creator” sections.
To apply this preset to several photos at once.3. Tip: You can apply this preset automatically when importing your photos by selecting it from the metadata drop-down in the Import window. 4. click on the drop-down next to Preset and select “Save Current Settings as New Preset”. at the top of the pop-up window. and then go to the Metadata panel on the right. select your newly created metadata preset and a window will pop up asking which images you want to apply the preset to. Give your preset a name and click Create. Make your selection and the preset will be applied to those images. highlight a group of images in Grid view. 40 . Now. In the Preset dropdown.
Import Presets: When importing your images. set up your import settings as you would like and click on the drop-down to save those settings as a new preset. you can create and apply presets using the section the very bottom of the Import window. Using preset during import can save you a lot of time when you are importing similar files or images that will always go into the same folder. just select that preset from the list. To create a preset. to apply it. 41 . However.IMPORT AND EXPORT PRESETS It can be easy to get overwhelmed at the amount of choices in front of you when importing or exporting your photographs. creating presets for both of these can make the process go much more quickly and prevent you from putting your files in the wrong place. Then. Here are some tips on how to create and use presets when importing and exporting your photographs. Then. first go into the Import window by clicking the Import button on the bottom-left when within the Library module.
select a photo you would like to export and click the Export button on the bottom-left when within the Library module. give your preset a name and selected a folder for. etc. the best way to speed things up during export is to create and use presets. and all you need to do is enter your settings for that photo. and some are for printing or for use in books and eBooks. I usually need to export my images in different sizes. file formats. click the Add button on the bottom-left. locations. too. 42 . Because there are so many possible options in this window. The Export window will appear. To create an export preset. others for social media. The list goes on and on. Some photos are exported for use on my blog.Export Presets: If you’re like me then you have a lot of different ways that you like to export your images. Once you are finished. Now you can use this preset for future images without having to re-enter your settings.
BATCH PROCESSING AND SYNCING IMAGES One of the great benefits of using Lightroom is the ability to quickly process and sync together develop settings for similar files. 43 . here are two ways that you can quickly batch and sync several photos at once inside of Lightroom. this is one reason that so many people flock to Lightroom in the first place! So. without further ado. In fact.
however one thing I did not get into depth with was how powerful this can be to batch edit your photographs. just select the photos you want to work with and select a preset from the “Saved Preset” dropdown. To do this. The preset will be applied to all images selected without even having to jump into the Develop module.BATCH PROCESS WITH QUICK DEVELOP I mentioned how to use the Quick Develop module early on in this section. 44 . It can save a lot of time when you want to make a simple adjustment. Using it as a batch-editing tool is very simple: just highlight several images at once and use the settings Quick Develop panel to make changes to all images selected. Another great thing about the Quick Develop panel is the ability to apply a Develop preset to several photos at once. such as correcting the white balance or increasing exposure by one or two stops.
SYNCING DEVELOP SETTINGS If you have made refined adjustments in the Develop module. then you will probably want to use the Sync Settings feature to copy your settings from one image onto several others. Here’s how to use Lightroom to Sync your images and save you tons of time: 45 . or even to match up vignettes or noise reduction across your photographs. This feature works well for syncing white balance between images photographed in similar light.
click on the “Sync Settings” Button. Lightroom pulls the sync information from the first photo selected. highlight the photo that you want to use to copy settings to the other images. Next. or by holding the Cmd (PC: Ctrl) key and clicking on individual files to add them to your selection. select the other photos so that all of the images you want synced are selected.1. 2. so it’s important that this one is chosen first. In the Library module. Then. 46 . on the bottom-right. You can do this by holding the Shift key and clicking to select a large group of photos.
then make sure that those are the only two boxes checked. choose which settings you would like to have synced together. Then click the Synchronize button. if you want to retain the individual White Balance and Basic Tone settings for each image. And. In the window that pops up. For example. if you would like to sync the Split Toning and Vignette. 4. Now your images should all be fully synced and ready to go! 47 . then leave those unchecked. click on the Check All button.3. Or. to sync everything.
or all. There are a number of ways you can reset some.LIGHTROOM HISTORY AND SNAPSHOTS Did you make a series of ugly edits in Lightroom and want to undo them? No sweat. of your development edits. 48 . it is automatically tracked in Lightroom’s History panel. When you make a develop edit in Lightroom.
This means that by default. Every slider you move. First. you are not changing the original photo when you make development edits.as in the original file that came out of your camera . (No.Lightroom is a non-destructive photo editor. panel (upper left). These changes are listed sequentially. you’ll see a list of all the changes you’ve made to a photo. if you want to get back to zero . If you just want to undo your last edit. you can just click on that state and the edits will be undone. This will reset all of the changes you’ve made in Lightroom. although that would work too. tone curve adjustment or color tweak can be undone.) In the History sub-panel on the left side of the Lightroom’s Development module. there are a couple of options. you don’t need to just press Command-Z 10 times.you can always do this by using the Reset button in the lower right of the Development module. Using History is very helpful if you want to undo a series of edits because you changed your mind or made an editing mistake. To see what a photo looked like before you made an edit. However. If you want to revert to that state. meaning that they appear in the order that they were applied. you will see what the photo looked like before the edits were applied. if you want to undo several of your changes at once. you can do so by hitting Ctrl-Z (PC) or Command-Z (Mac) for Undo. you can hover over that change and in the Navigator 49 .
you should use Virtual Copies. This technique is also used for different crop treatments for a photo. but they both will refer to the same original photo. Feel free to make some 50 . A virtual copy of a photo in Lightroom does not create an additional master file. you should create a virtual copy.” The hotkey for creating virtual copies is Ctrl+ (PC) or Command+ (Mac). For instance. if you wanted to create a black and white version of a photo and a color version of the same photo. right-click (PC) or Ctrl-Click (Mac) and from the menu select “Create Virtual Copy. but instead saves a different editing recipe to the Lightroom catalog. If you want to actually create a different version of a photo. as well as turning effects on/off. You can create a snapshot by hitting the plus button in the upper right of the Snapshots sub-panel header in the Develop module. Along with resetting individual sliders and effects. Snapshots make it easy to toggle between states of a photo. To create a virtual copy. This will look like two different and independent photos in your photo catalog. Snapshots can be helpful. Lightroom gives you a lot of control on editing your photos.If you want to make a marker in the history to easily return to at a later point.
THE PERFECT CROP 3 Richard Harrington photo by Richard Harrington .
I frequently need to crop to a specific aspect ratio. it’s all about precision. Sometimes it’s for the screen (video projects and slideshows) as well as print output. I need the shape of my photo to precisely match my target. In these cases.CROPPING WITH A PRESET Often when I crop. Fortunately Lightroom makes this easy 52 .
let’s focus on using specific aspect ratio presets to get the job done. you can click the lock to unconstrained the crop tool. More on this later. • Original: This essentially uncross the image and restores it to its original crop. • As Shot: This matches the original ratio of the photo. A closed padlock means the crop tool is constrained to a preset. Step 3: Examine the Crop Overlay tool in the tool drawer. While. 53 . The following choices are available (international localizations may contain different sizes). An outline appears around the image with adjustment handles to modify the crop. Step 4: Click the a Aspect pop-up menu next to the padlock to choose an aspect ratio. • Custom: When the crop tool is unconstrained this popup switches to Custom.Step 1: Select an image for cropping Step 2: Choose the Crop Overlay tool by pressing the R key. This will even switch you from the Library module to the Develop module.
• 4x3 1024x768: This matches many older computer and revision monitors. • 5x7: Another sized crop used for prints and frames. These sizes are frequently used for multimedia projects. 54 . • 4x5 / 8x10: This is a popular print size. • 8.These next ratios are common print sizes.5x11: This matches a standard sheet of paper in a US standard. • 2x3 / 4x6: These two sizes are widely used for prints. Tip: If you’d like to use the Crop Overlay tool with the last settings used. press Shift+A. • 16x9 1920x1080: This is the aspect ratio for most video projects. • 16x10 1280x800: This is the ratio of most widescreen computer monitors. • 1x1: This is a square-shaped crop.
55 . You can also click to select the Crop Frame tool to freely position the crop. You can exit without cropping by pressing the Escape key. You can always revert a cropped image by choosing Original from the pop-up menu to restore an image to its original crop.Step 5: Drag a crop handle to crop the image. Remember. Step 7: Press Return (or Enter) to apply the crop. all cropping is nondestructive. Step 6: You can modify the crop behavior if needed with a keyboard shortcut. Press the X key to toggle the orientation of the crop between portrait and landscape.
you may choose to crop to a particular size purely for aesthetic reasons. they might not get the job done. Additionally. 56 .CROPPING TO A CUSTOM SIZE While presets are great. It’s impossible for the Lightroom team to predict every need for every project (particularly with the rise in multimedia formats and webconnected devices).
When you make a sixth. An outline appears around the image with adjustment handles to modify the crop. Ratios are entered in dimensions of width and height. If you need specific size. These sizes are appended to the bottom of the list. You can now enter custom sizes. You can also click to select the Crop Frame tool to freely position the crop. Click to unlock the closed padlock.Lightroom makes custom cropping easy. Step 2: Choose the Crop Overlay tool by pressing the R key. Step 3: You now have two choices. Lightroom can store up to five presets. You just need to decide if you need to crop to a specific custom size or prefer to take a more free-handed approach. You can freely crop to any custom ratio by dragging a handle. This means that the crop tool is now unconstrained. the oldest will be dropped from the list. but can be reversed as needed. 57 . Step 4: Drag a crop handle to crop the image. click the pop-up menu next to the padlock and choose Enter Custom…. You can exit without cropping by pressing the Escape key. Step 5: Press Return (or Enter) to apply the crop. Step 1: Select an image for cropping.
the changing of emotion. 58 . There is no right way to crop. But overlays are designed to help with all of these. after all the goals can be the removal of distractions.USING CROPPING OVERLAYS Lightroom offers several different overlays to help with composing your crop. or technical requirement.
Press Shift+O to cycle between a mirrored image version. This intersection is useful working with images that intersecting diagonal lines. 59 . a subject is placed at one of the intersection points of the grid. Most commonly.• Grid: The grid overlay works quite well for architectural images. The horizontal and vertical lines can help with edges as well as straightening an image. • Thirds: The Rule of Thirds grid is commonly used to compose balance. • Diagonal: The Diagonal overlay creates a series of 45˚ diagonal lines from the four corners. This option will pop-up whenever you rotate an image as well. • Triangle: A series of connected triangles create diagonal lines through the image.
• Aspect Ratios: If you’d like a good idea on how an image could be cropped use the Aspect Ratios overlay. You can in fact see several aspect ratios at once. 60 . To control which ones are used. Press the Shift+O shortcut to cycle through eight variations. choose Tools > Crop Guide Overlay > Choose Aspect Ratios. Check to enable as many aspect ratio overlays as desired. This is often used to place elements at the intersection points. It’s similar to the rule of thirds (which is more accurately a simplified version of the Golden Ratio). Golden Mean or Golden Section. • Golden Spiral: The Golden spiral is useful for placing leading lines and focal points in an image.• Golden Ratio: This overlay has many names including the Golden Ratio.
• You can select a specific overlay by choosing Tools > Crop Guide Overlay and choose from one of the seven options. 61 . • With the Crop Overlay tool active. • You can cycle through the available overlays by pressing the O key. • Press Command + Option + R (Mac) / Control + Alt + R (Win) to reset the crop. choose Tools > Tool Overlay > Auto Show. • To only see the overlay when you click and hold the mouse-down. • Overlays are automatically visible when you choose the Crop Overlay tool (R). double-click in the image preview area to apply the crop and exit the Crop tool. I find this mode easy to use overlays some of the time. but see an uncluttered image as I evaluate the crop. • To choose which items are included in the cycle choose Tools > Crop Guide Overlay > Choose Overlays to Cycle…. you’ll only see the Overlays when dragging the boundaries or holding the mouse down.There are several ways to work with crop overlays. IN this mode. • Press the H key to hide overlays from the Crop.
62 . I am really trying to push myself to get beyond the rule of thirds and try out some new methods.CROPPING WITH THE GOLDEN SPIRAL I’ve been spending a lot of time thinking about composition lately.
then carrying the results. 13+21=34 (and so on) A tiling image with squares whose lengths are successive Fibonacci numbers | By Borb — Wikimedia Commons If you draw circular arcs to connect the opposite corners of squares. 8. 13. 5+8=13. 63 . 1. This shape actually takes on the exact look of a nautilus and expresses the number Phi (or golden ratio). 8+13=21. 3+5=8.The method I’m experimenting with now is called the Golden Spiral. 2+3=5. He didn’t actually invent the series (it’s though to have originated from the Hindu–Arabic numeral system. 144 The sequence is often called the Fibonacci numbers and is named after Leonardo Fibonacci who was an Italian mathematician. you end up with an approximate shape of the golden spiral. 21. 0. 89. The sequence is based on adding the adding adjacent numbers in a string. 5. 1. 34. 3. It’s based on of all things an ancient sequence of numbers that often repeats in nature. 1+2=3. 0+1=1. 55. 1+1=2. 2.
The Golden Ratio | By Dicklyon — Wikimedia Commons Detailed photo of a halved backlit shell of a chambered nautilus (Nautilus pompilius) isolated on white |Photo by Fyletto Okay. The good news is that you can also get here through cropping in Lightroom. 64 . But it shows up in lots of other places too… by using this ratio. you can often add some energy into the composition. enough match class… but you have to admit it’s a little creepy how often this appears in nature… the most obvious is here.
65 . Aim for in-camera composition for the best results.There you have it… the Golden Spiral applied to postproduction as well. but use the Crop tool where needed. Give it a shot and see that you think.
But what happens if you need to rotate the image or even flip it? Not a problem… these are all easy fixes.STRAIGHTEN. ROTATE. OR FLIP A PHOTO A crooked photo can be downright distracting (unless you really wanted it that way of course). Fortunately Lightroom makes it easy to fix an unbalanced ball head. 66 .
STRAIGHTENING A CROOKED PHOTO
Angle Slider: Drag the Angle slider to rotate the photo.
There are three ways to easily straighten a photo when
using the Crop Overlay tool.
Rotate Cursor: Move the pointer to just outside a corner
crop handle. The cursor will switch to the Rotate icon.
You can now drag to freely rotate the image (up to 45˚ either way).
Use the Straighten Tool: Select the Straighten Tool.
Now drag in the photo along a line or edge that should
be horizontal or vertical. You can also hold down the Option or Alt key to get a grid to help when dragging.
ROTATE OR FLIP A PHOTO
While your camera can usually flag images properly for
portrait and landscape, sometimes the motion in your
camera fails. Other times you might be shooting into a
mirror or reflection and want to flip the image.
• To rotate the image 90˚, choose Photo >
Rotate Left (CCW) or Photo > Rotate Right
(CW). You can also use the equivalent
shortcuts of Command+[ (Ctrl+[) for
counterclockwise and Command+] (Ctrl+])
• To flip the photo horizontally, choose
choose Photo > Flip Horizontal. This will
make a mirror image of the photo.
• To flop a photo vertically (from top to
bottom), choose Photo > Flip Vertical
photo by Levi Sim
OR JUST RIGHT?
The Histogram panel contains a number of tools to
help you evaluate your photo’s exposure and even
begin making adjustments. The most visible part
of the panel is the histogram itself, which is simply
a graphical representation of all of the tones
contained in your photo, from the darkest tones on
the left to the brightest tones on the right.
Here’s a tip, the histogram always reflects the area of the
photo inside the crop rectangle, so sometimes it is worth
starting your adjustments by cropping out any unwanted
areas of highlight or shadow clipping on the edges of the
photo. This way the histogram will reflect just the data
you are keeping, which will make your job easier when
you are performing basic tonal adjustments.
While there is no such thing as a “good” or “bad”
histogram, the histogram can be incredibly instructive
when examined alongside your photo. The histogram
above shows that the associated photo contains
brightness values that span across the entire tonal
range, from pure black on the left to pure white on the
When your cursor is over the photograph you will see the
percentages of red, green, and blue contained in the
pixels under the cursor displayed below the histogram.
When the cursor is not over the photograph you will see
exposure information from the photo’s EXIF metadata
displayed below the histogram.
The colors you see in the graph represent the red, green,
and blue color channels. Areas of gray occur where
image data from all three channels overlap, while areas
of yellow represent overlap of the red and green
channels, areas of magenta occur when blue and red
overlap, and areas of cyan represent overlap of the
green and blue channels.
CHECKING FOR CLIPPING
Clipping means that there are areas in your photo
that contain no image data. This can happen in the
shadow region or the highlights or even both at the
same time. Clipping on the histogram is
represented by spikes along the left or right
This histogram has a spike on the right indicating highlight clipping.
This histogram has a spike on the left indicating shadow clipping.
The histogram above is from an over exposed photo that
has lost all detail in the highlights.
The histogram below is from an under exposed photo
that has lost all detail in the shadows.
In the Histogram display, you’ll see two small triangles.
You can click the one on the left for shadows and the
one on the right for highlights. When enabled, clipped
shadows appear in blue, and clipped highlights appear
in red. Highlight clipping will warn you if any one of the
three RGB channels is clipped (fully saturated with no
detail). Shadow clipping will warn you if all three RGB
channels are clipped (black with no detail).
The triangles in the upper left (shadow) and right
(highlights) corners of the histogram are clipping
indicators. When all three channels are being clipped
they turn white, but if you see a color in the indicator than
only one or two channels are being clipped.
74 . Click that clipping indicator to keep the clipping preview turned on. You can get a real time view of where this clipping is occurring in your photo by placing your cursor over on an indicator.Shadow and highlight clipping indicators are enabled. You can also toggle the clipping indicator preview on and off by pressing the J key. Areas in your photo where the shadows are being clipped will turn blue. while areas in your photo where highlights are being clipped will turn red. Leaving these indicators enabled while you make tonal adjustments can be very helpful.
FIXING SHADOWS AND HIGHLIGHTS There is a direct connection between the histogram and the tonal adjustments in the Basic panel. 75 . If you hover your cursor over the left end of the histogram you will see the word Blacks appear under the histogram and the Blacks slider lights up in the Basic panel.
The connection between the regions on the histogram and the tonal adjustment sliders is so strong that you can actually click and drag within the Clicking and dragging in the Exposure histogram itself to region of the histogram causes a make adjustments. 76 . the tonal adjustments. and their affects on your photos. The Tone section of the Basic panel is one of the most frequently visited panels in all of Lightroom. Move a little further to the left to light up Exposure.Move your cursor to the left and the word Shadows appears under the histogram as the Shadows slider lights up. I prefer to use the controls in the Basic panel most of the time. slider. corresponding move of the Exposure While clicking and dragging in the histogram to make tonal adjustments is instructive. The reason it is so popular is because it is where you can manipulate the tonal data contained in the original capture to recover data in the highlights and shadows. and make adjustments that affect the overall exposure. followed by Highlights and then Whites. This is incredibly useful for learning to understand the relationship between the histogram. The Tone section of the Basic panel.
or you can double-click the Tone label to reset all sliders back to zero. 77 . let’s take a closer look at how we can use them to work with our photos. Lightroom can apply automatic tonal adjustments with a single click. while decreasing contrast has the reverse effect.Now that we understand the relationship between the tonal regions on the histogram and the sliders in the basic panel. while decreasing any tonal slider in a negative direction has the opposite effect of darkening the photo (and shifting the histogram to the left). or at least an interesting look at how Lightroom’s analysis of the photo thinks it should look. As a result. Clicking the Auto button once applies an automatic tonal adjustment to your photo. All of the sliders start at zero by default. increasing any tonal slider in a positive direction corresponds to making the photo brighter (and shifting the histogram to the right). The Contrast slider is somewhat of an exception as increasing amounts of contrast simultaneously makes brighter areas brighter and darker areas darker. The Auto button at the top of the Tone section can sometimes be a useful starting point. You can of course adjust any slider from there to tweak the adjustment.
Then I adjust the Shadows and Highlights sliders as needed. Here’s the steps I used to adjust the photo above. If the auto adjustment just isn’t to your liking.Figure 8: The unadjusted raw photo. The Exposure slider will have the biggest affect on the overall look of the photo because it affects the largest section of tonal values. as this focuses on fixing my shadow and highlight detail. or if you want to take the full manual approach. while attempting to have a minimal impact on the white and black points. I tend to start my adjustments by setting my white and black points first. you can jump right into moving individual sliders as you see fit. and finish by tweaking Exposure. 78 . Assuming my in-camera exposure was good.
while highlight clippings are red. The colored areas show where the shadow clipping is occurring.Shadow clipping is shown in blue. 79 . which means no clipping in the shadows. Step 2: Hold down the Option key (Windows: Alt) and drag the Blacks slider to the right to brighten the darkest regions. Step 1: Press the J key to turn on shadow and highlight clipping indicators. but let’s see if we can fully recover detail in those areas. This amount of clipping in these areas is not really problematic. As soon as I start dragging with the Option key down the photo goes white except for a few colored areas that show me exactly where black clipping is occurring. I drag slowly to the right until the image is fully white. I can see that there is a little bit of shadow clipping in the darkest shadow areas of the image and a tiny amount of highlight clipping on the roof of the van.
There is more clipping happening in this photo than the Whites slider can recover. Step 4: Holding the Option key again. I drag the Highlights slider to the left to further darken the highlight region. Once the photo is all black you know there are no more clipped areas. As I drag the entire photo goes black except for colored areas indicating where highlight clipping is taking place. With all clipping taken care of I’ll see if I can brighten up the shadows a bit with the Shadows slider. I can see that adjusting the Whites slider alone is not enough to recover all highlight data. The Highlights slider affects a larger tonal range and helps me recover all detail in the brightest areas of the photo. 80 . so I move the Highlights slider next. Step 3: Hold the Option key and drag the Whites slider to the left to darken the highlight regions.
Recovering detail and brightening the shadows has flattened the tonal range a bit. Next I’ll use the Contrast slider to add some snap back into the photo. Step 6: Increasing the amount of contrast means that you are making brighter areas brighter and darker areas darker. Step 5: I increased the Shadows slider to +80 to brighten up the interior of the van. Increase contrast to add impact to a flat looking photo. 81 .Brighten up your shadow regions with the Shadows slider. A setting of +40 does the job. which is exactly what I want to do to add more drama back into this photo.
as there are always multiple ways to approach an adjustment. then finessing the rest of the tonal range to match the vision I had in my mind at the time of capture. Just remember that you can double-click any individual slider’s label to reset it back to zero. 82 .If needed I would use the Exposure slider to tweak the overall brightness of the photo. so I left Exposure at 0. I just like the approach of dealing with clipping first. so there’s no harm in experimenting and pushing the limits of what Lightroom can do. but I think this image is where I want it. If my original capture was underexposed or overexposed I would have used the Exposure slider to compensate. The steps I took here are not carved in stone.
When Lightroom 1.ADDING PRESENCE The Presence section of the Basic panel is for when you really want to make your photos pop.” which is a good description of what it can add to your photo.0 was still in its planning stages the Clarity slider was almost called “Punch. The Clarity slider is considered a mid-tone contrast adjustment. 83 . and is a close relative to sharpening.
The Vibrance slider is designed to have the greatest affect on the least saturated colors while protecting skin tones. but no one likes to get punched too much. Negative clarity amounts can be really useful for smoothing skin or adding a gauzy or hazy feel to your photo. Saturation affects all colors equally. For this reason Vibrance can be really helpful for giving a slight boost to colors in a photo that contains people. without fear of making their skin tones go into clown territory. 84 . Let’s compare a setting of +50 Vibrance to a setting of +50 Saturation. Use sparingly in each direction. In fact I rarely use Saturation at all. which has the affect of softening the detail in your photo. Vibrance and Saturation are all about pumping up or dampening down colors. You may not have need to use these adjustments on every photo. Notice how much more the skin tones were affected by Saturation than Vibrance? A +50 setting of Vibrance is high. but still protects the skin tones.A little punch can add impact. Clarity also works in the negative direction.
A negative amount of Clarity can create a cool softening effect. You can also move Vibrance or Saturation in a negative direction to remove color from your photo. or anyone where you want to enhance every scar. and pockmark. pirates.The Punch preset is a combination of Clarity and Vibrance. 85 . Well. but with a negative amount of Clarity. then keep the Clarity slider at a positive amount. if you are shooting cowboys. For photos with people try starting with the same amount of Vibrance. but check out the section of this book on creating black and white photos with impact for more on that subject. The Punch preset under Lightroom General Presets in the Presets panel is a good starting point. The most common combination of settings from this section of the panel for non-people photos is a little bit of positive clarity plus a little bit of positive vibrance. blemish.
and then head to the Tone Curve panel to fine-tune contrast and brightness. and then circle back to how you can use this powerful set of tools. Let’s look at what is contained in the panel.MASTERING TONE CURVES The Tone Curve panel is all about tonal relationships. and it works hand-in-hand with the tools in the Basic panel. 86 . Typically you’ll perform the basic adjustments first.
This is also the key to understanding how this panel works. are divided equally across the tonal range. Behind the line you can see a representation of the histogram to help guide your adjustments. which is where the name comes from. which allows you much greater latitude when creating a curve adjustment. which when enabled allows you to make adjustments to the tone curve by clicking and dragging on the photo itself. In the top-left of the panel is the Target Adjustment Tool. from black on the left to white on the far right. The vertical axis of the graph 87 .The square box in the top of the panel contains the actual curve adjustment. which is a straight line by default. The tone curve is a graph just like the histogram mentioned earlier. The bottom axis of the graph represents the original brightness values in the image. Below the Region sliders is the Point Curve preset drop-down menu. By default the four regions The Tone Curve panel. It is important to keep in mind that the goal is to use the curve to make adjustments in brightness and contrast in your photo by changing the shape of the line. which allow you to apply tone curve settings with a single click. In the bottom-right of the panel is the button that toggles between the parametric tone curve (the one you see by default) and the point curve. Any adjustments made in this panel add a curve to that line. The sliders in the Region section of the panel allow you to affect the brightness values in each region. Along the bottom of the box containing the curve are three split points for controlling the size of each region represented by the Region sliders below the curve.
making the shadows darker. Any point on the curve that moves downward from its original point becomes darker. while the values in the highlights region were increased. The steeper the curve becomes the greater the amount of contrast that is being introduced in that region of the graph. OK. of this works. Like in many parts of Lightroom. which has the overall effect of adding contrast to the photo.represents the changes you make to the tonal values by changing the shape of the curve. If you place your cursor at the bottom-left end of the curve and move it gradually up the line you will see the original value (input) compared to the new value resulting from the curve (output) in the upper left of the Tone Curve window. and any point that moves upward becomes brighter. With this preset applied you should see that the values in the shadow region were decreased. let’s break down how all The Strong Contrast preset comes pre-installed. The quickest way to make an adjustment with the Tone Curve panel is to select a different Point Curve preset. there are Click the Point Curve preset multiple ways to achieve the same end. making the highlights brighter. and that is no drop-down menu again and go back to Linear. 88 . and this allows for smooth transitions between tones. so let’s start by selecting the one called Strong Contrast. By nature of the line behaving as a curve it is not possible to affect a single tonal value without having some affect on the neighboring tonal values. truer than in the Tone Curve panel.
Sometimes dragging on the curve or the sliders is not particularly intuitive. which is represented by the downward to darken or click-drag upward to brighten. To this end we have the Target Adjustment Tool (TAT) in the upper left corner of the panel. and you may find that you prefer looking at the photo while you are making your adjustments. Similar to the relationship between the Histogram panel and the Basic panel. 89 . Choose a parametric tone curve there Clicking and dragging on the curve is the same as moving its point in your photo that you associated region slider. Now as you move your cursor out over the photo you will see the brightness value under your cursor represented on the tone It is important to note that curve and the corresponding while in the default region slider highlight. If you click and drag at any point in the Tone Curve window you will see that adjustment reflected in a change of value on the respective Region slider. Click on its icon once to enable the TAT. light gray shape that appears when making an adjustment. This limitation is intended to prevent you from going too far with the curve. There are no such limitations when using the point tone curve. are limitations built in to how want to adjust and click-drag far you can adjust the curve. as you move your cursor over the line in the Tone Curve window you will see the corresponding Region slider light up.Another approach is to interact with the curve itself by either clicking and dragging within the Tone Curve window or by moving the Region sliders.
and for that I frequently look the regions and the sliders. 90 . for learning what For the ultimate in curve control you’ll want to click on the brightness points in your photo map to the various Point Curve button to switch to the Point Curve. I find the TAT is incredibly instructive The TAT can be a more intuitive way to work on your photo. that you can bend any way that you wish. Now it is just you and the line back and forth between the two as I work. This just gives us the freedom to focus on how our adjustments make the photo look and not worry about numbers. or the shape of a line. Gone are regions in the Tone Curve. sliders.Keep in mind that as you drag you are changing all of the pixels at that tonal range everywhere in the photo. This is still a global adjustment. and not just the point under your cursor.
The TAT can still be used. Most of your adjustments are likely to be made using the parametric curve. just click the Point Curve preset drop-down menu and choose Save from the bottom of the list. but now as you click and drag in the photo you leave behind a point on the curve that matches the tonal value where you clicked and dragged. The main benefit of the point curve over the parametric curve is the level of precision and freedom it supplies. The TAT leaves points on the curve when used on the point tone curve. 91 . which will limit the affect of subsequent points that you may add. That point serves as an anchor. If you create a point curve that you’d like to save as a preset.
This can be used to remove or introduce color casts. Note that you can create a point curve adjustment and then refine it further using the parametric curve. 92 . which can be used for both correctional and creative purposes Click the Point Curve FigApplying a curve adjustment to just the Blue channel to reduce a yellow color cast. button to switch back to the parametric curve.For more advanced adjustments with the point curve you can apply a curve adjustment to each channel individually by clicking the Channel drop-down menu and choosing the color channel you want to adjust.
With a bit of practice and experimentation I think you’ll find the Tone Curve panel is an extremely powerful and versatile tool. The contextual menu inside the tone curve window gives all the reset options. You can also double-click any region label to reset that slider or double-click the Region label itself to reset all sliders at once.You can ctrl-click (Windows: right-click) the area inside the parametric curve to access a contextual menu for resetting the regions. 93 . splits. or all at once. and point curve.
But we’ve always had Black and White. we’ve got Holgas and Dianas. we’ve got Instagram. and we’ve got all kinds of other new effects and techniques and types of finishing we can do to an image. 94 . it’ll never go out of style. we’ve got Polaroids. we’ve got color. It’s the original look of photography.BLACK AND WHITE PHOTOS WITH IMPACT We’ve got HDR. no matter what other trends come along. and.
95 . I’ll show you how to fine tune contrast with several tools. First of all. have given us control of the brightness of each color in the B&W photograph. Since we’re making use of the colors in the photo.Just like all the other techniques for finishing photographs. understanding that colors affect B&W tones. and there are mediocre black and white images. Get the white balance looking good. Let’s use Lightroom to make more of the great. and then click B&W on the HSL / Color / B&W tab and you’ll see the image turn monochrome. and direct our viewers’ attention with local adjustments. but the Lightroom designers. removing color isn’t usually the best way to make a B&W image. however. set the Camera Calibration sliders in the sweet spot. and fewer mediocre B&W photographs. there are great black and white images. The Saturation slider in the Basic tab could do that for you. and finish off with a little grain and Split Toning. it’s important to start with great color.
The Golden Gate Bridge is clearly the subject. Now I’ll click on the bridge and drag upward. and in B&W I can use brightness to do it. Let’s fix that. I’ll grab the Targeted Adjustment Tool (TAT). there are only two tones: pretty dark and pretty bright. The TAT adjusts all colors that make up the main color you’re clicking. which brightens whichever colors I’ve clicked on. the little bullseye in the top left of the B&W tab. in this case Red and Orange. the slider alone only adjusts that particular color 96 . As it is right now. but I need to direct my viewers where to look in the image.
97 . There aren’t really other colors in the original of this image. I’ll grab the center button and move it the left. so if I hover there. I noticed some purple tones in the hillside. I simply use the sliders. I’ll darken to give some dark areas in the image. so the Tone Curve tab is the next stop to adjust the tones. Right under the curve there are three buttons that you can move to adjust the range of each slider. and Highlights up to 34. I’ll start by brightening the lights to 30. I’m not a Tone Curve wiz who can manipulate the curve itself to make the image look the way I like. Let’s get some more. Now we’ve got distinct tones. and it works well. In the color image. Next the Darks slider goes down to -36. Hover the TAT around in the image and you’ll notice the slider of the colors you hover on is highlighted. the Purple slider highlights. but it can be done.and may separate the colors making the image look noisy. then the purple tones will be brightened or darkened. expanding which areas are considered Lights. That means if I click and drag there.
the nearer stanchion at the left edge of the image is the same brightness and distracts from the far stanchion. raise the Whites to 49. and reclaim the Highlights by sliding to the left. In the Basic tab. where all the lines in the image are pointing. 99 . I’ll use the Adjustment Brush at a medium flow (50) to brighten the lower section of the stanchion and the rocks around it.Now the contrast is helping direct us through the image. That looks good. Right click on the filter button and choose Duplicate. so maybe another dose would look good. However. a touch of clarity and shadows also make that area more distinctly the focus. It’s looking good. I’ll use a Radial Filter on an angle to create a gentle contrasty vignette by dropping the shadows and upping the highlights. but I’d like a little more punch overall. and choose Invert Mask at the bottom of the palette and raise the Shadows and Highlights over center of the filter a little more. but it’s still a bit bland. Then duplicate it once more. too. -86.
and direction into the image for the viewer to follow. I’ve added a touch of Grain from the Effects tab to ensure the whole image has a similar level of detail and nostalgia. and it looks much better than the default B&W settings. warms it up a touch and matches the grain and contrasty feel of the whole image. like my Copper Hue preset. Fix this with Noise Reduction in the Details tab. A gentle bit of Split Toning. 101 . The processed image with split toning applied. the adjustments I’ve done around that far stanchion have left it looking a little bit noisier than the rest of the image. Unfortunately.We’ve got good contrast. I added just 12 points of Luminance correction. Only thing left to do is print it large on a rag paper.
Click here to get the app cii .
Young .REFINING COLOR 5 Levi Sim Rob Sylvan Rich Harrington photo by Nicole S.
Next up is the HSL / Color / B&W panel.THE FLEXIBLE HSL ADJUSTMENT In the Mastering Exposure and Tone chapter we looked at ways to make global tonal adjustments to your photo using the Basic and Tone Curve panels. 104 . which is an incredibly powerful and flexible tool for fine-tuning the colors in your photo. We also discussed how you can affect colors using the Vibrance and Saturation sliders in the Basic panel.
and luminance values of different colors in your photo. • HSL: The HSL (stands for hue. 105 . saturation. and luminance) gives you the power to adjust the hue. saturation. • Color: The Color sections of the panel are really just the same set of controls as HSL presented in a different ways. The label you select will remain highlighted as the panel expands to indicate which option is active. Each label in the panel header is a button that is used to choose the set of tools you want open. • B&W: The B&W section of the panel is for converting a color photo to black and white (refer back to the Black and White Photos with Impact section in the previous chapter of this book to learn about B&W conversion).The HSL. Color. As you move your cursor over each label it will light up. and B&W panel is actually three panels in one.
Click any label to expose the controls for that group. saturation.HSL Let’s start by looking at the HSL section of the panel. You can see the labels for each grouping of adjustments. Looking at the All view. Each section has the same range of colors broken out into groups that allow you to make adjustments to each colors hue. across the top of the panel. or click All to see the controls for all three groups at once. Saturation and Luminance. Hue. and luminance independently of each other. you can see the full range of controls at your disposal. such as shifting a red color more toward orange in one direction or magenta in the opposite direction. The Hue section allows you to shift a particular color to a different neighboring color. 106 . Let’s look at an example which shows a photo that is ready for some attention from the HSL panel.
Now if I drag the Red slider to +100 you can see that same section of the Frisbee has shifted to orange. 107 .The photo prior to any HSL adjustment. If I drag the Red slider to -100 you can see that the red section of the giant Frisbee surrounding my ice cream eating friend has shifted to magenta.
108 . we reduce the saturation of that particular color. meaning we are affecting that color no matter where it appears within the photo. If we move the slider to the left. In reality this panel is most commonly used for much more subtle treatments. If we move the slider to the right we increase the saturation. in a negative direction. A -100 adjustment of the Red slider in the Saturation section of the panel desaturates all of the red in the photo.Obviously those are pretty extreme examples just to demonstrate how those controls work. It is important to remember that while we can work on an individual color it is still a global adjustment. The Saturation section of the panel gives us the control of the intensity of the hue.
Luminance controls the brightness of the hue. A -100 adjustment of the Blue slider really darkens the blue section of the Frisbee and all the other blues in the image. 109 . This can be a quick and easy way to darken a blue sky. A shift to the right brightens the affected hue while a shift to the left darkens it. though with a much gentler adjustment.
or TAT for short. 110 . In the section on the Tone Curve panel you may recall the Targeted Adjustment Tool.PUSHING COLORS While there may be instances where you find it helpful to work on an image by manually moving individual sliders around there is a more intuitive approach.
111 . purple. Using the TAT allowed me to desaturate all of the colors in that section of the Frisbee at once.THE TARGETED ADJUSTMENT TOOL The HSL panel has a TAT for each section of the panel so you can ignore the sliders and just focus on looking at the photo while you make your adjustments. With the TAT for the Saturation section selected I can drag downward in that same red section of the Frisbee and we see that there was a mix of red. orange. This is because most of the subjects in our photos will contain a mix of colors. you can really see how this affects all of those colors in all areas of the photo. As an aside. and magenta in there. If you look back where I set the red saturation to -100 you can see that there is still a bit of color in the formerly red section of the Frisbee. The TAT looks at all of the colors under your cursor and adjusts them all simultaneously.
So. but with the hope that my subject’s face becomes the focal point of the photo. A few moves with the TAT can make a subtle shift in a lot of colors very quickly. you can double-click the section name within a panel to reset all of the sliders within that section.PUTTING IT INTO PRACTICE OK. In all areas of Lightroom. I’m trying to keep my adjustments on the subtle side. and then I’ll do the same for the yellow section. Next I’ll set the TAT to Saturation and desaturate the yellow a bit and slightly bump up the reds. I’ll start by selecting the TAT in the Luminance section of the panel and dragging downward on the blue part of the Frisbee to darken it down a little. I tend to rely on the Luminance and Saturation adjustments the most as I find shifting the hue can easily lead to unnatural looking colors very quickly. if I double-click the Saturation label I can reset all of those sliders back to zero at once. For this photo I would like to make some color adjustments with the goal of making my subject stand out more from that colorful Frisbee. now that you have an idea of how the sliders in this panel work let’s reset everything and look at a more real world adjustment of this photo. 112 . You can also double-click any individual slider label to reset just that slider.
So. I didn’t reset my adjustments from before and you can see in Figure 11 that the same adjustment to the red saturation is displayed here. The major difference between the Color and HSL sections is that Color does not have a TAT because you can only work on one color at a time. If I click on the Color label in the panel header it switches to the Color controls. The Color panel simply groups the same hue. Let’s take a look. This provides a very focused way to fine tune specific colors within each photo. saturation. Along the top of the panel is a row of color swatches that represent each of the colors you can adjust. and luminance. if you absolutely know that you only need to work on an individual color you may find the presentation of the Color section useful. Since the controls affect exactly the same things the choice of which panel to use is entirely a matter of personal preference.COLOR Earlier I mentioned that the Color section of this panel simply presents the same set of controls as the HSL panel in a different way. Click any swatch to activate the controls for that color or click Check out this short video designed to help demonstrate the techniques I’ve discussed 113 . saturation. the All button to see all the controls at once. but in reality I do 100% of my color adjustments only using the HSL part of this panel. and luminance sliders by each color instead of grouping all of the colors under hue.
but that’s the least of it. What’s that mean? It means you can make a sepia toned image. Simply put.WHEN TO SPLIT TONES If there’s one tool tab that can give your images a vintage or old fashioned feeling. it’s Split Toning. Split Toning adds a color tint to your whole image while letting you select different tones for the highlight and shadow areas. 114 .
but it’s a great way to discuss Split Toning. so lets use a Hue of 40. it’s become a classic color tone for artist. Step 2: In the Split Toning tab. which is handy for seeing what color you want.Sepia is a kind ink made from a cuttlefish ink. and then I’ll show you some of my other favorite toning recipes. it’s too yellow for my tastes. It’s brown. Sepia is brownish. and Saturation of 30 Step 1: Start with a black and white image 115 . Personally. including photographers. and combined with old yellowed paper. and it’s what many artists used to sketch. press and hold the Shift key and drag the Highlights Hue slider to the right. The Option/Alt key shows you the colors you’re sifting through at full saturation.
Remember. combine that with UNDO. and how much is shadow—sliding to the right makes more of the Highlight Hue visible and sliding left makes more of the Shadow Hue visible. too. I usually prefer to tint the shadows. and especially make prints to see how you like different degrees of tint. and you can quickly see the differences. leaving the highlights alone for the most part. that double clicking on a a slider button or on the slider’s name will set it back to zero. lets do Hue 40 and Saturation 30 for both Shadows and Highlights. Step 4: Tinting the shadows is like using a colored ink to print your image. Anything that was white will now have the tint.Step 3: When you tint the highlights of a black and white image. 116 . but tinting the highlights is growing on me. You should experiment with these settings. The Balance slider adjusts how much of the image is considered highlight. it’s like using colored paper to print on. and it grades away the darker the tones become. For this Sepia tint.
It’s great for just about every black and white image. and it’s very subtle. and I recommend you save your favorites. COPPER HUE This one is my most used warm tone. too. I call it Copper Hue. It just takes the edge off the coolness of the black and white.MORE OPTIONS Here are a few other toning combinations I like. 117 . and my clients love it. It’s also really handy to save a Preset called No Tint that has the sliders set to zero so you can quickly go back and forth between tones. I save these in the Preset tab on the left hand side of the Develop Module.
BLUE TINTYPE My second favorite tone is Blue 227. It’s subtle and cool. 118 . Used in combination with printing on metal without a transparent substrate it creates a very nice tintype-like presentation.
It’s gently warm and pretty rich. 119 . I think you’ll like the subtle color wash. I find I like it best on images that have lots of darks.KELBY HUE 28 I’ve also had great success with a setting that Scott Kelby has shared on his blog (www.scottkelby. Hint: Try using these on color photographs. and I like it less on images with large highlight areas because they are not affected. My preset is called Kelby Hue 28.com).
I found that Split Toning may change the photograph significantly. 120 .GRAPE DREAMSICLE Now for something a little different. GERANIUM One more fun one. It’s vintage feeling and different. This is Grape Dreamsicle. Geranium reminds me of pink geraniums. Seeing harsh subject matter in pink gives you mind something to consider. I like the cool tones mixing with the warm.
Red eye is caused when the camera flash is reflected in a subject’s retinas. 121 . you’ve seen less and less redeye (cameras are also getting a bit better too).because the subject’s irises are open wide. This happens frequently in photos taken in a dark room.FIXING RED EYE Chances are as your photography has improved.
• Use a separate flash unit that can be held to the side or increase the distance between the lens and the flash. There are two ways for fixing red eye in the field: • Use the camera’s red eye reduction feature. This will strobe the flash and adjust the eyes of your subject.FIXING RED EYE WHEN YOU SHOOT This is one of those solutions that’s so easy to fix in the field that I’d be remiss if I didn’t help you fix it in production (rather than post). 122 . This strobing will increase the time from when you click the camera’s shutter and the photo is taken.
It’s really quite simple to use and it will effectively removes red eye from flash photos of people and white or green reflections in the eyes of animals. 3. 6. 4. Switch to the Develop module in order to access full controls for adjusting your image. Zoom in to really see the red eye in your photo (and make it easier to click). 2. 123 . 1.FIXING RED EYE IN LIGHTROOM Fixing red eye is such a common problem that Lightroom even offers a dedicated tool to the task. The pupil is the center of the eye and should be a rich black. Click Done to store the adjustment. 5. Click on the center of the affected eye and drag to draw a circle over the problem eye (try not to extend to far beyond the pupil or skin tones may be affected). Click the Red Eye Correction button. Refine the adjustment with the Pupil size and Darken slides.
It’s so wonderful to see a photograph on the back of the camera and see how the composition and the highlights are working. and then make changes.REFINING THE CAMERA CALIBRATION I started photography by shooting film in high school just before the turn of the century. and I don't miss it one bit. 124 .
but I learned it all again the first day I shot with a DSLR by looking at the LCD and making a change and trying again. There are picture styles or picture controls built into the camera that determine color saturation. and then we’ll see a powerful way to make your colors really pop. Simply choose an option and see if you like it. contrast. and there are different options for each camera brand and model. Portrait.CAMERA PROFILES I don’t know what I learned in school. Choose the one your camera was set to and you’ll see that you picture now looks just like the preview on your camera. Let me show you how to make your RAW images look like the previews on your camera. Faithful. Unless you’re using the Camera Calibration tab. Lightroom also applies a completely different profile by default to all RAW images called Adobe Standard. Lightroom lets us choose from any of these profiles. Standard. 125 . Vivid. too. Click on the drop down menu where it says Adobe Standard. but those settings are not saved in RAW images. color interpretation. For most cameras there are about six options. you have a lot of control over what your image looks like on the camera’s LCD. Your camera shows a jpeg preview on the back including the style setting you’ve chosen. First of all. Fortunately. You can choose from things like Neutral. and that just doesn’t look the same as the RAW image that shows up initially in Lightroom. but if you shoot RAW it may be frustrating. It’s powerful. but for older Nikon images I’ve seen many more that included some grandfathered formats that are no longer used. and they are saved into jpegs automatically. Landscape. and sharpness. and Monochrome. In the Camera Calibration tab you’ll see at the top a Profiles option. The camera shows a jpeg preview.
126 . all other formats will say. and you can’t change that. which is a real tragedy for me since I think the black and white settings in the camera are very fine. make a preset and make them happen at import [Chapter on Presets link] Adobe Standard There are a three caveats. I’ve created a preset called Neutral and I use the Apply During Import tab in the Import dialogue to make all my images have the neutral profile. I like to set my camera to Neutral and turn off all the highlight and shadow recovery options (see the caveats below) so that I can apply contrast and color changes myself. Monochrome will not be an option.Personally. but they can only be applied to jpegs. Lightroom doesn’t have it included in the presets. and I always start here in Lightroom. Since this is variable. but using the sliders in the Basic tab will quickly bring the same results. set the camera to RAW+JPG and get the best of both worlds. Embedded. Only RAW images will have options to change the profile. Second. Since I leave my camera on this setting. the camera is also capable of applying shadow and highlight recovery. Also. If you find yourself continually using the same settings. If you want the great black and white jpegs and RAW files.
I usually set the White Balance [chapter on white balance link] and then I come right back here to make the colors just right. Just slide to the right and watch that green tint disappear. though. This doesn’t brighten or darken shadows. However. Before the Shadow Adjustment. This is great for portraits because I often make shoot outside with green grass or trees nearby and light reflecting off those green plants throws green at the people. too. SHADOWS Lightroom understands which camera and what ISO settings your photograph comes from and it adjusts the image to make sure that blacks are truly black. 127 . Be gentle because a little goes a long way. but under the chin in the shadow areas you’ll often find an insalubrious green tint. this green light is overpowered by the sunlight.COLOR CONTROLS After setting the Profile I like. The Shadows slider has saved my bacon more than once for portraits. but rather adds a little green or pink to only the shadow areas. and the Shadows Tint slider can help fix it. I’ve never used it for that. I rarely go as high as 10. On the face. sometimes (rarely) the shadow areas may have a color cast.
and I love to use these sliders to get similar color from digital images. Before the adjustment. skin tones. but usually something more moderate between 30 and 70. AND BLUE PRIMARIES Landscape photographers who shoot film love to use Fujifilm Velvia for it’s rich saturated colors. and green trees all look better with a bump in the Blues.RED. red mountains. Start with the Blue Primary and bump it to the right. GREEN. but it also brightens the reds and gives the greens a little boost. sometimes as much as 100. 128 . If you start making the Blue slider a regular part of your workflow. Every image I shoot gets some increase in the Blue Saturation. this not only makes the blues more saturated. I think you’ll enjoy the richer colors. Denim jeans.
Whereas I always use the Blue slider. I rarely use the Red or Green sliders. orange. Before the adjustment.The Red and Green Primaries are also nice. but use a light hand with them because the colors can quickly become over saturated and unnaturally distinct. Saturation sometimes serves to remove the range of color in your image. taking a scene with a range from red to redorange to orange to orange-yellow to yellow and leaving only red. 129 . and yellow.
They change the fundamental colors of your image. but doesn’t often fit my needs. Before the adjustment.Also. I rarely move the Hue sliders. this one ended up with a lot more punch just using the Camera Calibration sliders. Still. and it could be a cool effect. 130 .
THE FINER DETAILS 6 Rob Sylvan Levi Sim Gerard Murphy photo by Levi Sim .
Lightroom packs a bundle of tools to help us reduce noise and enhance edge detail that allow us to make the most of the pixels we do capture.UNDERSTANDING THE DETAIL PANEL While pixel perfection should always take a back seat to your photo’s ability to tell a story. The reason the sharpening and noise reduction sliders are contained in the same Detail panel is because they work together and should be considered two sides of the same coin. 132 .
so your task when using the Detail panel is to find that sweet spot of smoothing out unwanted noise while protecting (and enhancing) important edge detail. Smoothing is the enemy of sharpening. 133 . Noise reduction is all about smoothing unwanted artifacts (noise) that can increase with high ISO settings and long exposures.Sharpening is all about enhancing edge detail. Lightroom needs your eyes to help it discern the difference.
134 .CHECKING DETAILS To evaluate your photo effectively for sharpening and noise reduction you’ll want to zoom down to (at least) 1:1 view to see what is present in the image before moving any sliders.
Give it a try and you’ll see that it is a very efficient means to quickly scan every pixel in your photo. 2. Evaluate that section and press Page Down again. but for most photos 1:1 works great. Lightroom will continue to move you downward through your photo until you reach the bottom of the image. There may be some cases where you will want to take a peek at higher zoom levels to really see what Lightroom is doing to edge detail. Note to Mac users. Changing the zoom level. click the zoom level drop-down menu on the Navigator panel and choose a higher zoom level (such as 2:1). A neat trick to easily scan through an entire photo at 1:1 using your keyboard works like this: 1. 4. The cool part of this technique is that once you reach the bottom you only have to press Page Down once again to have Lightroom scroll over to the top of the photo one screen width to the right so you can proceed down through the next part of the photo. Click once in the top-left corner to zoom in to 1:1. Press the Page Down button to have Lightroom scroll down a precise amount to display the next section of the image. Continue to press Page Down to travel through the entire photo. To go deeper. 3. depending on your keyboard layout you may not have a Page Down/Page Up button 135 . Evaluate that section of the image.The easiest way to do that is to click in the main area of the photo to zoom to 1:1. You can also press the Page Up button to proceed in the opposite direction. Click the photo once more to zoom back out.
Ctrl-click (Windows. and then just move your cursor over the part of the photo you want displayed in that zoomed window. Press the Esc key to stop using that tool.labeled. If you don’t see that in your panel you just need to click the black triangle in the upper-right corner of the panel. 136 . You can click and drag in that preview window to view a different part of your photo in there. but you should be able to get the same functionality by holding the Fn key while using the Down/ Up arrow keys. but an easier way is to click the square crosshair-like icon to the left of the window to enable it. The Detail panel also comes equipped with its own 1:1 preview window (Figure 3). right-click) inside the window to change its zoom level. Detail panel’s 1:1 preview window. which will reveal the preview window.
if you do shoot JPG your results from the Detail panel will not be as good as if you were working with a raw capture. A raw photo is unprocessed by the camera and contains 137 . It is important to remember that if you shoot in JPG mode then the camera has already applied some level of sharpening (and possibly noise reduction) in the process of saving the JPG to your memory card. For this reason.THE ROLE OF SHARPENING Lightroom was designed primarily as a workflow tool for photographers shooting raw formats.
a much greater amount of data than the JPG version created by the camera. • Amount: This controls the amount of sharpening being applied. Moire can occur when there is a repeating pattern in your subject. The purpose of sharpening at this stage in your workflow is to make up for the inherent softness of digital capture. • Detail: This determines how much of the finer detail between the prominent edges has sharpening applied. which draws in the human eye. • Radius: This determines how far that sharpening amount extends from the edges being sharpened. The higher the amount the more sharpening being applied. Masking set to zero means all areas will have sharpening applied. which is why this phase of sharpening is often referred to as capture sharpening. The ability to have such a fine level of control over sharpening (and noise reduction) is one of the major advantages of shooting in raw. then Lightroom’s sharpening can enhance detail. Lightroom’s sharpening controls. No amount of sharpening can correct an out of focus image. While softening the detail slightly reduces the likelihood of moire the tradeoff is that you get softer image detail. 138 . The higher the radius the farther the reach from the edges. • Masking: Provides a means to protect areas of the image from having sharpening applied. which creates an unwanted color artifact in that area. If you have a camera that lacks an optical lowpass filter then you will want to use a really light touch on the amount of sharpening. If your photo is in focus. The higher the setting the more of the finer detail edges will be sharpened. such as a window screen or a fabric pattern. most digital cameras use an anti-aliasing filter (also known as an optical lowpass filter) to soften the image data in an effort to prevent a problem called moire. A high masking setting means only the most defined edges will have sharpening applied. Although this is starting to change with higher resolution DSLRs. are all about edge detection and enhancement: The Sharpening controls.
Faces and one called Sharpen . then look under Lightroom General Presets you will see one called Sharpen . The key difference between scenic images and images of faces is that typically the more scenic subject matter contains a greater amount of high frequency detail (lot’s of fine edges) than your typical portrait photo (lot’s of smooth areas). and they can serve as an even better starting point for images that match those descriptions. Lightroom comes packaged with two excellent sharpening presets that are a little more fine tuned than the current default.Every raw photo has a default amount of 25 applied to it. with Sharpen . 139 . Conversely. Give each one a click to see how their settings vary from the default.Faces Radius and Masking increase along with the Amount. In many cases this default amount is just fine. If you expand the Presets panel. which drives the differences we see in the settings contained in those presets. while the Detail slider is reduced. which can help you focus on the details. These sharpening presets are great starting points. When moving the Amount slider you will see a grayscale version of the image.Scenic. To help you evaluate the effect of the settings you apply you can hold down the Option key (Windows Alt) while moving each slider. so don’t feel the need to move sliders around just because they are there. while the Radius slider decreases and Masking stays at zero. Non-raw photos do not have any sharpening applied by default. Notice that with the Sharpen .Scenic preset the Amount and Detail sliders increase. In fact.
140 . which we’ll cover next. My recommendation is to go with less at this stage. Areas in white will get the full amount of sharpening applied while areas in black (this area increases as you increase masking) are not sharpened at all. How much sharpening you apply to any one photo is a combination of subject matter and personal taste. This is incredibly useful for preventing the sharpening of noise. Lightroom automatically creates a mask based on edge detail. You can always add more sharpening to targeted areas in your photo later in your workflow if needed.Using the Option/Alt key in conjunction with Radius or Detail displays the edges in your image. This keyboard combo is most useful with the Masking slider as it will reveal the actual mask that is generated by Lightroom as it finds the edges in your image.
We just looked at the set of tools designed to help enhance detail.REDUCING NOISE At the beginning of this chapter I mentioned that reducing noise involves a certain amount of detail smoothing. 141 . and that we don’t want to undo all the sharpening work we just did. so as we venture into noise reduction we want to keep the big picture in mind that these controls work together.
142 . which is noise that tends to look like the monochromatic grain we see in film.Color noise looks like multi-colored speckles (often red and green). Take a look at the photo below. Very long exposures can also result in greater noise levels. Luminance noise is often easily visible in blue skies (though it can appear anywhere). There are two basic types of noise we will face. You can’t effectively evaluate your photos for noise at Fit view. Color noise is often found in the shadow areas of your photos (though it too can appear anywhere). The higher your ISO setting the more noise you will see through out your image. and these are represented by the sliders in the Noise Reduction section of the Detail panel. Just like when applying sharpening we want to view our photos at 1:1 view when applying noise reduction. There are two sets of controls for reducing different types of noise. First up is Luminance. when shown at Fit view you can barely see the noise even with the default noise reduction turned off completely. Let’s discuss each of these separately.
However. let’s look at how we can approach fixing this photo. 143 . once we zoom to 1:1 view we can see that this high ISO shot is very noisy indeed While Lightroom’s noise reduction and sharpening tools are good. That said. and we can drastically improve this photo. there’s no way to beat shooting at a lower ISO to get a higher quality image to start with. At 1:1 view the noise is easily visible.
The default of 50 is good for most photos.The first thing I’d do is reset the Color noise reduction back to its default setting of 25. Going higher than 25 should only be done in the most extreme cases. which does an amazing job of reducing most of the color noise artifacts (Figure 10). When you have a high ISO image like this one (or higher) you can also further refine the color noise reduction with the Detail slider. which controls the amount of color detail in the edges of the features in your photo. You can play with the amount of the Color slider. but at the cost of leaving some color speckles in the photo. but 25 really is a great compromise between eliminating unwanted color noise and preserving detail for most images. It is helpful to zoom to 3:1 to really see what is happening along those edges. 144 . The default color noise reduction setting is a good starting point. but for really high ISO images you can try increasing the Detail amount to improve color detail in the edges.
but if you still have some unwanted color splotching in your high ISO images after adjusting the other color sliders try increasing the amount of Smoothness to see if that results in an incremental improvement.The Smoothness slider is also the most useful with higher ISO images. The figure to the right shows the results of the final color noise The final settings for color noise reduction. 145 . correction. Its default setting of 50 is going to be good for most images.
I find it easier to deal with luminance noise after the color noise has been taken care of. The slider forces Lightroom to preserve more edge detail. adjusting the Luminance slider may be The default setting of 50 is a good balance between all you need to do. for most photos to remove Lightroom perceives as noise. moving the Luminance slider to the right increases the amount of noise reduction that is being applied. The Contrast slider is most useful for further you can use the Detail slider to throttle what 146 . Similar to the Color slider. Increasing the Detail luminance noise without overly smoothing detail. so now let’s see if we can reduce the remaining luminance noise with the least impact on image detail. A lower Detail setting causes Lightroom to sharper detail than an overly smooth image any day. For many photos. but higher you move that slider the smoother your detail will at the risk of treating some noise as good detail and not be. smooth all noise at the risk of smoothing good detail too. A value of 25 is about as high as you’d want to go The Luminance slider set to 25 does a good job of reducing noise while not overly smoothing detail. but if you want to tweak the results these two extremes. and I’d rather have a slightly noisy image with smoothing it.
really high ISO images. The figure to the right shows a before and after split view that demonstrates just how much can be done with Lightroom’s noise reduction tools. and it can be used to help preserve contrast and texture. 147 . A final step worth considering is to revisit the Masking slider in the Sharpening section to see if increasing the Masking amount helps to reduce the visibility of luminance noise by ensuring you are not inadvertently sharpening it too much. Check out this video designed to help demonstrate the Detail panel techniques I’ve discussed. A low setting will give an overall smoother result. The final result of Lightroom’s noise reduction is on the right.
and sometimes it’s because there was one pesky mosquito hovering in the frame. sometimes it’s because your subject has pimples. 148 . you will need to remove spots from your pictures. Sometimes it’s because you forgot to clean the lens. sometimes it’s because the camera’s sensor had some particles on it.REMOVING SPOTS Inevitably.
Basically. and use the descriptions below for quick reference. it will now make quick work of things like power lines.Lightroom 5’s spot removal tool is so powerful that it can take care of all these problems easier than even Photoshop. The great thing is that the brush settings are alterable after you’ve painted with it. starting in Lightroom 5. Just click on one of the target areas and move the sliders. and. or press the letter Q on your keyboard. I’ll show you all the tool’s settings. some of my favorite settings and use cases. the Spot Removal tool allows you to select a troublesome spot and cover it by selecting another. you can either click on the icon under the Histogram panel. too. 149 . Set Feather to about 30 for a well-blended edge. Removing temporary features 3. Cleaning up clothes and backgrounds 2. and then I’ll show you a bunch of examples and how to fix a batch of images in one fell swoop. To start using the Spot Removal brush. and set the Opacity to 96 to ensure a natural looking blend. spot to copy onto it. size depends on the spot. Reducing permanent features I start with the same settings for all of these. Watch the video. better. (Hint: if you hover over any of the tools you’ll see the keyboard shortcut for that TOUCHING UP PORTRAITS There are three things I use the Spot Removal tool for when touching up portraits: 1.
if you don’t see the circles. that you can resize the spots by hovering the mouse over the edge of the circle. or one wrinkle you’d like to remove. Remember. Click and hold on the sample area to drag it to a different place.CLEANING UP CLOTHES AND BACKGROUNDS There will inevitably be some flecks of lint or hairs on a dark suit. 150 . Just size the brush with your scroll wheel or track pad and click on the spot. be sure to match patterns in the clothing. Tip: When using the Heal setting. If you need to Heal near an edge. too. switching to the Clone setting will also solve the issue. Working with clothing and backgrounds. Most of the time. keep the edge of the brush away from the edge of an object in your image. which places your target area. The tool attempts to use the edge as part of it’s blending and the results are generally undesirable. The original photo. You’ll see a second sample circle appear with an arrow pointing to the target area (that little arrow helps me remember which is which. try straddling the line with the target. press H to unhide).
sometimes when I’m making portraits.When making pictures. The original photo. I’m in favor of getting things right in-camera. I’ve gotta shoot now. I was talking with my subject when he gave the gentle look seen here. I would have lost the mood and missed the moment. and that’s wonderful. However. and fix the non-human stuff later. including removing distracting elements from backgrounds. The Spot Removal tool now gives me the power to fix a background when necessary. 151 . In this business portrait. it’s more important to get the expression right into the camera. had I stopped my interaction to move the straps on the backdrop. when the eyes light up.
I usually sample from a nearby area. use the H key to hide the circles. sample a different place The original photo. 152 . zits. Pimples. pay especial attention to the texture you sample from. If it looks bad. but anyplace that is smooth could work. As you use the Spot Removal tool on facial touchups. food on kids’ faces—anything that goes away—doesn’t need to be memorialized forever in a portrait. cuts.REMOVING TEMPORARY FEATURES Anything that may not be on someone’s face next week or next month is a temporary feature.
Use the opacity slider to decrees the impact of such features without completely removing them. Somewhere around 60% is good for reducing without removing. and completely removing them from an image may make them unrecognizable or may even be offensive. birthmarks.REDUCING PERMANENT FEATURES Moles. 153 . The original image. and wrinkles are permanent parts of a person’s face.
I use the same techniques on landscapes as portraits.TOUCHING UP LANDSCAPES. This is especially useful for preparing panoramas before sending them to PhotoMerge in Photoshop. your camera will end up with spots on the sensor. (Hint: the Copy Settings window is only accessible if you’re in the Develop module). use the Spot Removal brush to touch up one of the images. Sooner or later. then click the box at the top right for Spot Removal. first. To copy settings from one to another. Now press Command (PC: Control) and the letter C to bring up the copy setting window. Lightroom allows us to copy the spot removal settings from one image and paste them on another. Now go to the next image that you want to remove the spots from and press Command (PC: Control) and the letter V to paste the settings. Fortunately. Click the Check None button at the bottom left. Eliminating the same spots from image to image can be tedious. Lightroom will paste all of 154 . Keep an eye toward what is believable and appropriate and the Spot Removal tool will help you put the finishing touch on your landscapes and other non-portrait photographs. or on several at once. ETC. which will show up in the same place in each image.
and place them in the exact same place. You’ll see that there is now a button on the bottom right of the right hand panel called “Sync…”. To paste your touchups on a batch of images. choose Check None at the bottom of the window that pops up. See the tip below about using Snapshots for a little more finesse when pasting settings. sampling from the same place. Click on that button. so you may need to make some adjustments so things look right.the touchups you did. use your mouse and Command (PC: Control) click on multiple images in the filmstrip at the bottom of the screen. 155 . (Hint: the image on the screen will be the one who’s settings are synced) The original image. The Spot Removal spots have now been applied to the same place in all the photographs you highlighted. check the box on the tip right for Spot Removal. and press OK.
and then continue your finishing. When you go to the next image and are ready to apply spot removal settings. and not others you applied to the foreground. These are the spots that can be easily copied from one image to the next. however. Name it Sky Spots. you’ll see what I mean). It will only copy those settings applied to the point that you created the Sky Spots snapshot. With just a little forethought. Start by touching up all the sky spots. 156 . and paste them on the other image. go back to the first image. including any other spot removal. click on the + symbol on the Snapshots tab on the left side panel. Next. Setting the sample area.USING SNAPSHOTS TO FINESSE BATCH APPLICATION Usually you’ll see the most spots in areas that are brightly lit and lacking small details. This will create an easy reference to all the settings applied to the image to this point. copy the Spot Removal settings. Touching up the foreground becomes trickier because the details mean that the sampled area for one spot won’t look right in the next picture (try it. like skies. you can still maximize the power of copy/paste. click on the Sky Spots snapshot.
• Opacity: This setting adjusts how completely the target area looks like the sample area. this is the setting to use. The fastest way is to scroll up and down with your mouse wheel or track pad. • Reset / Close: Clicking Reset will remove all the adjustments you have made. or press SHIFT + [ ] . and even power lines. The best way is to press SHIFT and scroll the mouse or track pad. and reappear if you click it again. or use the bracket keys [ ] to change the size. or how gently it blends with the surrounding area. This is my default setting. I recommend using the smallest size to get the job done. It blends the sampled texture with the existing colors and tones. More feather makes a greater distance between those two circles. and the inner circle is where the adjustment is 100% effective. • Size: I am constantly adjusting the size of the tool to match what I need. which makes it perfect for pimples and facial blemishes. • Heal: When you only need to change the texture of the target area. This is a great way to see before/after. left to make it smaller. Lastly. Feather is continually adjusted.ESSENTIAL BRUSH CONTROLS There are several useful controls to truly use the Spot Removal tool. The outer circle of the brush is where the adjustment begins. 157 . and it helps changes to go unnoticed. When I zap pimples. it’s like the Clone Stamp tool in Photoshop. I use this setting 20% of the time. • Switch: Clicking the switch on the bottom left of the tool will make the all the Spot Removal adjustment disappear. It’s powerful because it allows you to minimize wrinkles or moles or other distracting elements without completely eliminating them. you can click and drag on the edge of the the target to alter the size. but you can also use the slider. and Close will simply close the tool. You can also move the slider to the right to make the selection area bigger. my default Opacity is 96. • Clone: Choose this setting to copy both texture and color to the target area. and makes the blending more gradual. Like Size. • Feather: This adjusts how sharp the edge of the spot adjustment is.
• Option/Alt: Press and hold the option key and your cursor will turn into a scissors icon which deletes a target area when you click on it. not only a circle. • Right-Click: Right-click on a target area to see a list of the options available in the panel. I prefer to use the H key to control visibility. (Hint: Don’t worry that it sampled an area for the first point) • Reposition: Rarely does the automatic selection choose the best sample area. You can click on any of the adjustment buttons to alter that adjustment. • Resample: Press the “/ “ key and the tool will choose a new sample area. This is a time saving shortcut (especially with a Wacom Tablet) so that you don’t have to travel across the screen to the panel. • Visualize Spots: This is possibly the most wonderful new feature in Lightroom 5. which makes it easier to see your work without distraction. • Straight Lines: To select an area in a perfectly straight line click at the starting point. 158 . then press and hold the shift key and click on the ending point and the target area will be a straight line between those two points. it shows up under the picture. and I leave this set to Auto. and it makes sensor spots readily visible. To reposition the target or the sample area. These spots are sometimes invisible or unnoticed until an image goes to print. the Spot Removal tool is truly a brush. • Tool Overlay: Toggle the bottom tool bar using the T key. just click and hold on the area and drag it to a new place. I rarely use this because it’s usually faster to reposition the area myself. so this tool is really powerful for perfecting your images. You can click and paint over an area of any shape. This will show you all the edges in your picture.MORE CONTROLS • H for Hide: Pressing the H key will hide and reveal all the adjustments you’ve made. Check this box (or press the A key) to see a simple visualization of the details of your image. drag the slider to adjust it’s sensitivity. The Tool Overlay options affect the visibility of the target and sample areas. • Not Just Spots: Starting in Lightroom 5.
It’s a graduated neutral density filter with a soft transition.USING GRADUATED FILTERS There’s a filter in my camera bag that everyone should have. It’s a rectangle and it’s dark at one end and totally transparent at the other end (kind of like classic Aviator sunglasses). 159 .
and the sky would be washed out. which means I get to make more pictures This tool selectively adjusts whole sides of photographs. I never use it. I’d hold it in front of the lens with the dark end covering the sky.If I were photographing the sunset at the beach. It would darken the sky enough that the exposure would be similar to the earth and give great color in the sky and detail and color in the foreground. Lightroom’s Graduated filter is so good at doing this same job. or the foreground would be nice. It’s a great filter. clearer. faster while the color is happening in the sky because I’m not messing around with filters on the front of my lens. and the foreground would be too dark. and it’s a powerful and fast way to put the finishing 160 . either the colors in the sky would look great. Without this filter. cleaner. I’m also likely to get sharper. and the transparent end over the earth/ foreground. images because there are no filters on the lens.
and then finesse the blend of the effect’s opacity across the image. all the special tricks it has hidden away. Lightroom has taken a classic photography tool. You can place the filter at any angle in your image. To use it. move the adjustment sliders. If you hover over the center line the cursor will become a curved arrow indicating that you can rotate the adjustment.touches on your images. the graduated neutral density filter. 161 . and as you drag across the image you set the blend of the adjustment from 100% to 0%. I’ll show you how it works. Clicking on the other two lines will adjust the blend and positioning. or press the letter M on the keyboard and the filter will open. you position the filter in your image. it rotates around the button. Clicking in a different area of the photograph initiates a new filter that can be adjusted independently. Basically. click on the rectangular icon under the Histogram tab. After you place an adjustment. you can move it by clicking and dragging on the button that falls on the center line (50%). To open the filter in the Develop Module. The place you clicked is where adjustments will be 100% in effect. and I’ll show you several examples in portraits and landscapes where it saves the day. click and hold inside your image and drag from one edge toward another. and the button can be repositioned by dragging up and down the line. but note that the gradient always starts at the edge you dragged away from to begin with. and made it truly powerful.
When your camera records a picture. most of the data is recorded in the bright areas. When I made the picture. I’ve used two filters in the sky (with the same settings). however. what settings I used. This image has a high dynamic range— that means there is a great difference between the light areas and the dark areas. Here. That means that as long as the bright areas are not clipped to totally white. ARLINGTON CEMETERY noisy) because there simply isn’t as much information stored there. and the least information is recorded in the dark areas. but not blown out. don’t look as good when brightened too much (they become 162 . and show you the before and after. Dark areas. I’ll tell you why I’d use it. and one more from the bottom for the foreground. So I shoot the picture brighter so that the dark areas have as much information as possible.THE GRADUATED FILTER IN ACTION In this section I’d like to show some ways I’ve used Graduated filters. I can use gradient filters to finish the sky and the foreground separately. I chose settings that allowed the sky to be very bright. The original sky. In this case. not clipped. I can probably darken the brights and find detail there.
163 . The original image.SEATAC: Seattle-Tacoma Airport has this enormous floor to ceiling window and highly reflective granite floor that doubles the effect. The graduated filter is perfect for reducing the difference between the two and adding more contrast and clarity at differing levels for each half. One filter up top and one down below.
The original image.PANAMA CITY SHIPS: This image is perfect for a graduated filter because the sky meets the land in a perfectly straight line. and maybe a little adjustment to the sea as well. Perhaps some color adjustments. I added another gradient to the top right portion of the sky to reduce the brightness and drive attention back toward the more interesting clouds and the ships on the horizon. 164 . Immediately I saw that more clarity in the sky could be really terrific.
The original image. 165 . Here are a few before and after examples. The original image. I often use this filter to reduce the brightness at the edges of an image and drive attention toward the face.MARTI & MANDY’S PORTRAITS In portraiture.
and finally enabled me to do this with the new Radial Filter. and let’s do some other tricks. too.USING RADIAL FILTERS When I started digital photography. I thought Lightroom 2’s Vignette tool was the greatest thing. Lightroom 5 came along. It allowed me to darken the edges of my images and draw attention toward my subject in the center. and I wanted to be able to place the bright center of the vignette over my subject. my subject wasn’t always in the center. Let’s do a vignette. Trouble was. 166 .
not the extra shadows intensity. multiplying it’s effect. If you click on the button and drag a little to one side. leaving a subtle focus on the light post. Click the light switch at the 167 . or click on the icon under the Histogram. you’ll see that there is a second filter button here. This creates a second filter directly on top of the first. I just want a second filter. Pulling down the shadows.VIGNETTE The greatest power of the Radial Filter lies in it’s subtlety. and increase the Highlights to about 40. though. it will make a perfect circle). Now drag the shadow slider to the left a little bit. making an oval (If you hold the shift key while you drag. so any changes should also be simple and subtle. The original image Open the Radial Filter by pressing SHIFT + M. Add a gentle emphasis to the light post by clicking on the light post and dragging outward. In this case. This image is very simple. We’ve brightened the center of the Radial Filter slightly and darkened the surrounding areas a little bit. maybe -18. set the shadows back to zero by double clicking on the Shadows slider. Right click on the button for the filter and choose Duplicate.
First. as well as the other finishing touches I used to turn a bright garage into a nine year old’s memory of grandpa’s basement shop. and my grandpa’s basement just has a few windows letting scattered indirect light through. I’ll show you how I used the Radial Filter to make spotlights of detail. This auto shop reminded me of my grandpa’s basement workshop which I would sneak into and explore as a boy. SPOTLIGHT THE DETAILS I led Scott Kelby’s World Wide Photo Walk in Lake Oswego. and darkened the overall exposure in the Basic tab (-1. Oregon last year and this is a picture I shot at that time. Global darkening and white balance. this was shot in an open garage on a sunny day. and I thought I might finish the image with that kind of feeling.bottom left of the tool palette to toggle the Radial Filter on/off to see the gentle effect. I use the White Balance dropper on the wall. 168 . Trouble is.30) to help the dark basement feeling. Brake Shop Original.
Click on the button and drag it over to another tool or area. 35. right click on the filter button and choose duplicate. The filter’s default setting affects the area outside the drawn circle. I just wanted a little more sheen and glow so it catches the eye. I’ve made mine wider than tall. Now increase the highlights. making a blur on the outside of the oval. Emphasizing the labels. Some get a little more Highlights. shadows. Click and drag a filter oval onto one of the tools. Lets feature the tools and components on this workbench. this time with the Invert Mask box unchecked. Resize the filter to fit. Now set the sharpness down to -100. Adjust each filter placement to taste. and the same settings are now in the new place. like the blue machine on the left. This looks good. and clarity sliders (35. like shining a flash light into your picture.Now we’re ready for the Radial Filter. some get more shadows. Now. and 53. I’m not trying to make the whole tool brighter. Make a new oval shaped filter in the center of the image. but this time we’ll click the Invert Mask button at the bottom of the panel. I even did an additional filter just for the label on the blue machine I think it’s looking pretty good. I’d like to feel like a large format camera made the picture with a selective focus and kind of dark lens on grainy film. I’m not concerned with them looking the same. you’ll see that you left the original behind. 169 . and duplicate it again for each of the tools on the bench. but it’s not enough for the nostalgic feel I’m after. like the exposure slider would do. The filter now affects the inside of the circle you draw. but I’d like to add the feeling that the picture was made long ago. like a memory. respectively).
right click again and duplicate once more. you can click and drag one button a little ways off to reveal the others underneath. Adding vignettes and a blur. Heck. If you wanted to adjust them individually. An easy way to do this is to pull down the overall saturation a bit. In the Basic tab. Now you’ve got three buttons stacked on top of each other. Pulling down the saturation.Right click on the button and choose duplicate to double up the action. 170 . Now let’s finish off the look of oldness. drop saturation to -31.
Adding grain. 171 . Size 71. Balance 28.In Split Toning. Using split toning. set the Highlights to Hue 231 and Saturation 29. Go the Effects tab and set the Grain to Amount 35. Shadows to Hue 33 and Saturation 46. and Roughness 59.
Midpoint 18. Feather 100. Applying lens corrections.I’d like more vignetting right close to the edges. Go to the Lens Corrections tab. I’d like still a little more vignette in a very gentle way. Roundness -100. 172 . so in Effects set the Post-Crop Vignette to Amount -33. in the Manual tab set the Lens Vignetting to -33. Adding a vignette.
Press the backslash key, \ , see
a before and after to appreciate
the full effect.
If you’re like me, you’re thinking
to yourself, “Can’t I just use the
Adjustment Brush?” Yes, you
could do the vignetting and the
spot lighting with the Adjustment
Brush, and you could get very
good results. But it would take
more time. You’d have to get the
feather set just so, and the flow
down to the right setting so that
the effect blended well, and
then do it again for each area.
It’s really much simpler to use
the Radial Filter. Combine the
vignette and the spot light
techniques, and your portraits
and landscapes will begin to
have a much more masterfully
BRUSHING IN ADJUSTMENTS
When I started digital photography, I took a
Photoshop class, and shortly afterward I bought
Lightroom. Thanks to the Adjustment Brush, I
didn’t use Photoshop again for several months.
The brush makes it simple to make local adjustments,
and it’s really powerful. Also, comparing it to Photoshop
adjustments, using the tools in Lightroom are never
permanent and are infinitely undo-able without saving
huge layered .psd files. I’ll show you how I use it to put
the finishing touch on portraits, change white balance
selectively, do a few special effects, and lastly how you
can use it to hand tint black and white images.
Press K to activate the brush (or choose the icon under
the Histogram). Set the brush to a small feather, maybe
15 (use the slider, or press SHIFT and scroll the mouse
wheel/track pad). Mouse over the eyes and scroll up or
down to set the size of the brush so it’s slightly smaller
than the colored iris of the eye. Make sure the Brush
section of the panel is set to 100 for Flow and Density,
and uncheck the Auto Mask box.
Three things we may want to touch up on a portrait are
the eyes, teeth, and skin. This brush makes it easy, and
even has presets to get us started. Lastly, we’ll dodge
and burn for a finished look. Let’s start with eyes.
Hint: press the letter O to see the overlay of where
you’ve painted; press it again to turn it off.
Now just click and paint over the iris, and take care not
to spill outside of it. Do the same for the other eye.
Now let’s adjust the sliders for the brush. Interestingly
(and sometimes annoyingly) the brush opens with the
settings that were applied before the brush was used
last time it was opened. Just double click on the word
Effect at the top of the panel to reset all the sliders.
We’re adjusting eyes, so let’s use a preset intended for
just that purpose.
1. Click on the word to the right of Effects, right in the
middle at the top of the panel; it may read Custom.
2. This drop down menu offers several brush presets
with descriptive names.
3. Click on Iris Enhance and let’s see what happens.
4. Make sure the Overlay is turned off, and you may want
to hide the button so you can see the eyes clearly;
go ahead and use this preset. but you can reposition as much as you want. That’s the beauty of Lightroom presets: they just position the sliders.Also. instead: The Iris Enhance on the eyes is too strong If you want to make baby’s eyes look like C3-PO and senior portraits with alien eyes. “Wow. Personally. or even increase the effect a bit more. if you want to increase the effect you’ve painted. nice job photoshopping the eyes!” try these settings for the eyes. try right clicking on the brush button and choosing Duplicate. but the last thing I want is for you to look at my portraits and say. 177 . I like a little punch in the eyes.
and most of the time they look good.With Real Iris applied.” I named mine. “Real Iris” and I just paint with this setting to make the eyes look great. make a preset. 178 . I like these settings. Just click on that drop down menu for presets and go to the bottom and choose “Save Current Settings as New Preset…. Anytime you find something good in Lightroom that you’ll use again.
If you still have the brush open after adjusting the eyes. Begin painting with the brush’s + symbol in the center of a tooth. 179 . The Auto Mask makes sure that the affect is only applied to areas of similar tone and color to the area under the plus sign. Or maybe the white balance you’ve chosen for skin tones leaves the teeth with a bit of a warm hue. That’s so cool because it means I don’t even have to paint inside the lines. I’ve found that people spend more on portraits when the teeth are looking great. Size your brush so it’s slightly smaller than the largest teeth (you might want to zoom in).TEETH Let’s talk about teeth. about 5 for the feather setting. or the pink dress. Now click the box under the Brush settings that says Auto Mask. but those rarely exist in the real world. From the brush preset menu choose Teeth Whitening. Even people with apparently white teeth often end up with a green tint from the light reflecting off the green grass. The dentist’s office is replete with photos of sparkling white smiles. and paint all the teeth while keeping the plus sign on the teeth. just press RETURN/ENTER to get a new brush. Make your brush hard edged. so I regularly play dentist with the adjustment brush.
I think Lightroom has overdone it again with this Teeth Whitening preset. and I save the preset as Real Whites. try duplicating the brush (right click on the button). Here are the settings I usually use. It’s just too bright and colorless. The finished teeth. 180 . If the teeth need a little more.
Here are my settings for Real Whites.Bonus: you can use this same technique on the whites of the eyes. because too bright whites are a sure sign of too much retouching. try increasing the Shadows slider to the right. If there are red veins in the eyes. Real Whites applied to the eyes. though. Be wary. 181 .
182 . Hairs and pores are very evident. I sometimes use the adjustment brush to soften the skin and help maintain focus on the eyes. After using the Spot Removal tool to remove large blemishes. and who wouldn’t want younger looking skin? Just be light handed so it doesn’t look fake. and may be a bit distracting.SKIN My camera creates images that are 36 mega pixels big —that means that a close up portrait has lots of detail in the skin. This may also make the skin appear younger.
like the eyes. and I’d start with Auto Mask checked so that the skin is easily selected without bleeding onto the hair. maybe 30. but I think it’s too heavy handed. and then use the eraser to reveal areas that should remain sharp.I’d use a little bit of feather on the brush now. you can double the effect without repainting by right clicking on the button and choosing duplicate. eyebrows. and remember. lips. and nostrils. I usually turn on the Overlay (O) so I can see where I’ve painted. I find it’s easier to paint with broad strokes on the skin. 183 . just press and hold the Option/Alt key to switch to the eraser and remove the over brushing. Here are my Real Soft settings. Don’t worry if you brush on the hair or clothes a little bit. There’s the Soften Skin preset.
For adjusting highlights and shadows on a face. about 60. and darkening an area is called burning (you’ll find presets in the menu). and use a soft edged brush. I think of flow like using spray paint: the first pass lays down some paint. and then with each successive pass more paint is applied. This is not for every image. I’d set the Flow to about 25. This makes it simple to blend with surrounding areas that aren’t painted. Traditionally. brightening a specific area is called dodging.SCULPTING WITH LIGHT We can really add a little drama and finesse to a portrait by sculpting with light. but if you’re making a beauty portrait it really hits the spot. 184 . A key setting for this work is Flow.
and darken the sides to make the cheek bones appear more pronounced. and use the eraser with low flow and a soft edge to help you draw it back. and the crest may be dodged brighter. Similarly. the sides of the nose may bear a little burning. tops of the structure on the neck and décolletage. as well. and maybe the point of the chin.Now I’ll brighten the tops of the cheeks. Go easy. 185 . Dodge the forehead and brow.
The original image. Looking at it with fresh eyes will help you see if you’ve done too much. 186 . go work on another picture for a while and come back to this one.After doing this kind of sculpting.
I’m a snob about the color of light in my pictures. and the Adjustment Brush helps realize my vision without costly preproduction that would really slow me down. and pointed it into the corner of the ceiling to add a little more soft light to the room. and make sure the Auto Mask is unchecked (the letter A is the shortcut to toggle the Auto Mask). and they sometimes don’t look very good when they shine together on a single subject. The carpet or edges around the window may also have some of the blue from the outdoor light.ALTERING WHITE BALANCE There are so many colors of light in this world. added a gel to my flash so it would be the same color as the light bulbs. a small bump to the right on the tint slider may also be appropriate. Get a hard edged brush. 187 . I would set the flow to about 25 and paint with a very soft brush (70). The original image. Paint over the window. Fortunately. The lights inside we were incandescent lights which are very orange. so I used that white balance setting on the camera. However. the sunlight outside is very blue in comparison. but that takes a lot of time while the client is waiting and kinda makes me look like a snob (it’s okay to be a snob about light as long as the client doesn’t know you are). I could have put large gels on the windows. To counter this we need just a light dusting from the brush. then adjust the Temp slider to the right to warm it up and counter the blue color outside. I was photographing this interior to help sell the house. I knew the Adjustment Brush would help me.
Sometimes I want to add a little flourish to an image. I had been driving a Tesla Model S for two days and gotten it pretty dirty going from Mt. In this example. and I thought it’d be funny to write in the dust on the car like kids write “Wash Me” on dirty car windows…but no way was I going to risk scratching the paint on a hundred and twenty thousand dollar car by writing with my finger! Plus. but don’t want to create a new Photoshop file to do it. Here are a couple of special effects that you can try in your work to get you thinking. I liked the idea of the car getting dirty because it was being used. The sky is really the limit with this tool. you can use any of the techniques we’ve discussed so far in various creative ways. I’d probably misspell a word and ruin the whole thing.SPECIAL EFFECTS WRITING As you become more familiar with the Adjustment Brush. with my luck. Hood to the Oregon Coast. and I love to see how other people use it so I can apply it in new ways in my work. 188 . The original image.
Start painting and let yourself go wild. so I painted with a hard edge. 100% flow and bumped the exposure very high. The painted effect. or add free flowing designs to an image. This brush makes it so easy to experiment. Use the color swatch at the bottom of the panel to add any color you wish. You could mimic sky writing with a softer edge.It’s a white car. and just played with the other settings until it looked the way I liked. 189 . I also turned down the sharpness to ease the edges. This could be done with the exposure set low to write darkly.
Start with a very big brush.SELECTIVE COLOR The Adjustment Brush is a great way to have color in only a certain part of your images. and set the saturation to slider to 0. In this image. let’s start by making only the green dish retain it’s color. Now. get the eraser by pressing and holding the Option/ Alt key and press A to engage the Auto Mask. but that’s only because we look at images all day long. Paint over the entire image. 190 . As photographers. This works most simply and powerfully in images with isolated colorful subjects. and make sure Auto Mask is unchecked. The original image.we’ve seen this look a lot and may feel it’s overdone. I still have clients who go crazy over this on certain images. now size your brush to about the width of the dish and paint over it to reveal the original color. Desaturate the entire image with a brush.
Painting back the plate. Go ahead and use the eraser with Auto Mask on the berries. then this brush is only working with or against those settings. That is. Restoring the red. That’s okay looking but I think the store selling the dish would also appreciate the berries in color to really emphasize how colorful food will look in this dish. if you set the Saturation sliders for all the color channels to 100%. 191 . It would take another layer of painting set to 0 to make the color disappear. It’s interesting to note that if you have adjusted the global sliders in the HSL / Color / B&W tab. too. then painting with the brush and setting the saturation slider to 0 only brings the image back to normal saturation.
I often use the 192 . you may want to brighten the darkest areas slightly. like the rose in this image. I used special colored pencils to tint my images. then turn off the Auto Mask to fill in the spaces (remember. This was a common practice for black and white prints. it was really fun and gave them a classic look. I think pin-up and vintage images would look really classic this way. Also. The initial black and white conversion. Click in the color picker box that opens to choose a color to apply. it’s really nice to do this kind of coloring work with a tablet. just use the adjustment brush to paint on a certain area. I use a Wacom Intuos. and even though it took hours to finish. Depending on how much color you want to show through. Fortunately. and they were all printed in black and white and then hand painted to have a gentle color wash. like something from the ’40’s. They are the high school graduation portraits of her kids.HAND TINTING BLACK AND WHITE There are five portraits hanging on the wall in my grandmother’s bedroom. We’ll start with a black and white image. Auto Mask to outline an area. click on the Color Swatch at the bottom of the Brush palette. I’d do it in the Basic tab by sliding the Blacks and Shadows sliders to the right a little bit. the Adjustment Brush makes it possible to get reproducible results from your hand tinting. letter A is the shortcut for the Auto Mask). Once you’ve painted an area. Slide the Saturation slider to increase the density of the color Most simply. and I even did it a few times in my high school photo classes. and I’ve recently had a few people asking if this is still done.
these will change the color’s tint. even if you think you’ll use the same color as another area. Using a new brush will allow you to make changes later to this single area without altering another. Now. brighter or darker. then press and hold the SHIFT key and move your mouse over a color in the image and the Swatch will become that color. 193 . Just right click and choose Set this Swatch to Current Color. That means you could start with the original color image. and then paint them back into the Black and White image and get the vintage look with the true colors. You may end up with lots of brush buttons. The finished image.The hand-painted red rose. you can dial in a specific Hue at the bottom left corner. and there are also swatches where you can save favorite colors at the top. you’ve chosen. Regarding the Color Swatch. I’d recommend using a new brush for every area you want to color. fill the Swatch with colors from that image. click and hold in the color picker box. but you can hide them with the H key. make adjustments using the Highlight and Shadow sliders in the palette. If you’re working in a color image.
I also used the Kelby 28 preset for the toning here. I used the Kelby 28 preset from the Split Toning Chapter. 194 . For this image. before and after and the buttons so you can see how many brushes I used. mix Hand Tinting with Split Toning for a real vintage feel. The original color image.Also. Here’s another image.
Landscape photographers typically want the finest detail possible. which comes from fine grained films.ADDING GRAIN Grain is a word used in film photography to describe the fineness of detail a film or paper is capable of capturing. 195 .
Documentary photographers and journalists may need faster speeds (higher ISO’s) and will compromise detail for speedier films that have more grain. leaving them just a little soft. I think you’ll find that more Roughness is better than less. In digital. Slide the Amount to the right and adjust the Size and Roughness. “FIXING” FOCUS First. So. if detail is the desired result. why would we want to add grain and reduce detail in an image? There are three reasons I might add grain. If I’ve fouled up I might use grain to fix it. So I used the Grain adjustments to remove just enough detail that the difference in sharpness is unnoticed. but the sharpest focus is actually on a rock behind the couple. go back up to Amount and see if you can get away with less. This kind of thing drives me nuts! I’m a snob about where sharpness falls in a picture. Having altered Size and Roughness. 196 . noise is the compromise we make for shooting faster ISO’s. and the latest camera’s biggest improvement is usually related to the detail maintained even at very high speed ISO’s. when Roughness approaches 0 it begins to look distinctly digital and distracting. I liked this photograph of Jane and Cody in the desert.
The sharp focus is no longer distractingly inaccurate. but the expression made the image worthwhile.’ 198 . so adding grain made the thing more artsy. which is the next reason to add grain.Here’s another image where focus was way off. and there’s the added bonus of a vintage look.
And one of the big allures of film is the classic look of the grain. Simply adding a bit of grain to an image helps remove the focus on technical perfection and emphasizes the composition and color and tones. Come back an hour later and look at the image again with fresh eyes to see if it’s too much. If you’re like me. and old cameras are selling for more than new. Kodak had a booth all about film at WPPI this year. I live in Portland where hipsters abound. and but with time you’ll refine a style to your grain use. shooting film is hip. In fact. Add grain.ADDING A VINTAGE LOOK Let’s face it. 199 . then sculpt it to perfection. and that’s the first time I’ve seen them there. you’ll do too much at first.
I’d be very gentle. Noise Reduction is a great boon. This portrait was shot at ISO 25.REDUCE THE IMPACT OF NOISE REDUCTION The third reason I add grain to an image is to ease Noise Reduction. 201 . the noise reduced version. but it may leave my photograph looking something from Barbie Doll world. It’s got all kinds of grid-like noise and color noise from the high ISO. with skin that’s just too smooth and everything looking like molded plastic. In this case. and the grain added version.600 on my old D700. Adding a little grain back in makes the image more believable. Here you can see the original.
202 .The original image.
Vignettes can really make your photographs look masterfully finished. and many of us fall to their siren song. but they can easily be applied too heavily and overshadow the real subject of the image.ADDING VIGNETTES Vignettes are a two edged sword. Right now I’ll show you my favorite way to control PostCrop Vignettes in the Effects tab. 203 .
I mean drop it down to the negative side. Our Post-Crop Vignette is applied the image you see. but then I learned that it’s differentiate from the lens vignetting available in the Lens Corrections tab. 204 . Sliding to the left makes a darkening vignette. For everything else. And when I say crank it up. I’d suggest that there are very few images that will benefit from a white vignette. then go ahead and slide to the right.The name Post-Crop Vignettes used to confuse me. no matter the crop you’ve made. and then bring it back. If you’re after that 1986 high school senior look. and it you’ve cropped half the picture away. and sliding to the right makes a lightening (white) vignette. That vignette is applied always to the original full size image. keep it to the left. only half the remaining image will get the vignette. The best way to use this tool is to crank it up.
Step 1: Start by sliding the Amount slider to the left significantly (-50). Step 2: Drop the Midpoint to 25. 205 . This brings the vignette more toward the center. You could leave the vignette like this and just adjust the amount to the appropriate level. but I find that shaping the vignette is a better choice.
increase the Feather to about 70. it becomes a circle. which changes the shape of the vignette from an oval to more of a rectangle. Sometimes I’ll drop the Feather to 0 so that can clearly see the edges I’ve defined with the other sliders. If you slide it to the right. which blends the vignette more gently from the edges to the center. like the image. 206 . Step 4: Now.Step 3: Now. drop the roundness to about -50.
even though I’m using the Color Priority setting.Step 5: Back at the top of the palette. Step 6: Fortunately. The default is Highlight Priority. This protects the colors in the vignette and helps keep them from becoming muddy or grayish. In this case. I switched it to Color Priority. Since this image is all about colors. the Highlight slider at the bottom still lets me bring back up any of the highlights I may have lost with the vignette. and there aren’t many highlights near the edges. I’ve slid all the way to 100. you’ll see a menu to the right of the word Style. 207 . which helps make sure that highlight areas affected by the vignette are blend more naturally and gently.
I dropped it to -11—just enough to push attention down the road in the image. decrease the Amount slider significantly.Here’re a few examples. For this one. There are certainly times when a dark vignette is an important part of the finishing. but it’s not usually the case for landscapes and normal portraiture. including the settings. I’ve also included one using the vignette tool to make a border around the image. 208 . I’ve seen very fine photographs lose points in competition simply because the vignette was too dark. Step 7: Lastly. before and afters. Our biggest mistake is to make the vignette dark enough to be noticeable. but not so dark that it’s noticeable.
Gradient. Radial Filter. 210 . Red Eye and Adjustment Brush. These tools include the Spot Healing.DELETING/CHANGING LOCAL ADJUSTMENTS One of great enhancements in Lightroom 4 and Lightroom 5 is the quality and vast number of uses for the local adjustment tools.
You can use these tools to paint in various effects to greatly enhance your photo. which hides the pins from view. you can select the pin and then press Delete. you’ll then see this node pin appear in the Development module. smoothing skin. Typical uses of the local adjustment tools include removing dust spots. it’s because it is! To change an effect. or enhancing the lighting in certain areas of a photo. you can delete or change the local adjustment effect. If you don’t like an effect. paint in more. 211 . then the adjustment used in that effect will be visible.If you click on the node pin.) You can control when the pins are visible from the Toolbar. removing unwanted small distractions. Happy painting! When you start to use these tools. or adjust the settings on that effect. You can then move. first select the pin. a node pin is placed where you first started the effect. (If you don’t see the pins. you may have hit the H key. If this sounds a lot like Dodging and Burning in Photoshop. you can press Enter / Return to leave that effect. After you are done with the local adjustment. After creating this effect.
7 FIXING LENS ISSUES Rich Harrington photo by Nicole S. Young .
This is why you should take the extra step to remove lens distortion. The technology is built right into Adobe Camera Raw so you can access it when developing RAW files in Lightroom. 213 .FIXING LENS DISTORTION Do you want to ensure that your photos are as accurate as possible? You should realize that all lenses distort images (at least a small amount).
• Vignetting: This creates a darker edge around the image (especially the corners). This is most noticeable in photos with a sky or landscape where tones should be even. 214 . Fixing the distortions is relatively easy. The developed photo without lens correction. This defects may be more prevalent at certain focal lengths on a zoom lens. • Pincushion distortion: This distortion causes straight lines to appear to bend inward. • Barrel distortion: This distortion causes straight lines to appear to bend outward.WHAT KIND OF DISTORTION? There are three kinds of lens distortion you’ll likely see.
Profiles that tackle distortion are applied automatically based on the Exif metadata that identifies the camera and lens used to make the photo. Check the Constrain Crop option to avoid any gray pixels from appearing at edge that can be introduced during lens correction. 215 . 3. 1. 4. 2. If you shot on a micro four-thirds camera.A profile is then matched to the photo to fix it. Check that the Make of Camera and Model of Lens match what you shot. Go to the Lens Corrections panel in the Develop Module.FIXING FLAWS AUTOMATICALLY Most of the flaws in an image can be quickly fixed thanks to lens profiles. Check the box next to Enable Profile Corrections in the Basic controls. Click on Profile to see full controls. the profile correction is often embedded in the file automatically 5.
or shooting angle. 8. perspective. This affects the amount of vignetting in the original photo. This is a useful adjustment to even out the edges of a photo.6. A higher value will apply additional correction while a lower value reduces it. 7. 216 . use the Manual tab to further refine and adjust for tilt. The adjusted image before the lens profile correction. • Vignetting The slider range is identical to distortion. Click on the Profile menu to see if more than one profile is available. Customize the correction as need by adjusting the Amount sliders: • Distortion The default value is 100 which uses 100% of the distortion correction in the profile. Try your options if you have more than one. If needed. This is different than post crop vignette which is an effect that can be applied later in the development process. You can use a value between 0–200).
64 MB). rate and comment on the online lens correction profiles that are created and shared by the user community. But where do these profiles come from? It turns out you can create your own or rely on the Adobe community to do the work for you. Win ADOBE LENS PROFILE CREATOR The Adobe Lens Profile Creator is a free utility for creating your own lens profiles. 1. but you don’t need to wait that long. This is a free companion application to Photoshop. vignettes. download. Lightroom.The process involves shooting a test chart. and the Camera Raw plug-in. Win 217 . It lets you search. For more information read the following guide. and color fringe). The profile describes the types of optical aberrations that exist in a particular lens (such as distortion.KEEPING CURRENT ADOBE LENS PROFILE DOWNLOADER The Lens Profiles are pretty easy to use and relies upon profiles for specific lenses and cameras. then entering in some data about your lens and camera. 1. It then takes steps to correct the lens distortions in an image captured from the same lens. Download: Mac. be sure to get the free Adobe Lens Profile Downloader. Keep in mind. Download: Mac.64 MB). Read More (PDF. Read more here (PDF. If you want to keep up on the latest profiles released by others or made by other photographers. each Lightroom or Camera Raw update also usually ships lens profiles.
It’s caused when a lens fails to focus all the colors to the same point of convergence.REMOVING CHROMATIC ABERRATION & FRINGE While advances in lens and camera technology have greatly reduced it. check Wikipedia. In case you’re already scratching your head. chromatic aberration is a type of color distortion. For a deep geek dive. 218 . there are still times chromatic aberration pops up.
This is most typical in areas of high contrast (particularly where dark and light areas overlap). I was shooting on an Olympus OM-D Micro Four-Thirds camera at 300mm (which behaves like 600mm). Notice the magenta and green fringe along high contrast areas. In the case of the image at hand. The issue is often caused by the different color sensors blowing out. You may miss chromatic aberration if you don’t zoom into at least 100% and really examine your raw files (JPEG files often have it removed automatically incamera). The problem is more likely when you’re shooting a backlit subject using a long focal length. My subject was VERY far away so I was fully zoomed in with a harsh backlit subject.You’ll see the problem manifest as fringes of color. where one or two channels can capture detail. 219 . but the others cannot.
Check the box for Remove Chromatic Aberration 4. Fortunately Adobe Camera Raw (which powers Lightroom and Photoshop) as well as Apple Aperture offer controls to fix this. Adjust the Amount and Hue sliders to refine the strength of the adjustment and the range of the hue affected. In Lightroom do the following. 220 . Access the Lens Corrections controls 2. 5.As I developed the raw file and restored highlights and shadows. Toggle the Preview to see the before and after state. the chromatic aberration just got worse. Choose Color 3. 1.
Original image Corrected image .
Whether it’s a crooked camera or an off-angle perspective.GET IT RIGHT WITH UPRIGHT Besides the distortion introduced by the lens the photographer can also add to the problem. Upright is an automated approach that can often solve these problems in a mostly automated way. the subject can appear tilted or skewed. 222 .
This will produce a more accurate image. and Auto perspective corrections Note: If you’ve already used a crop or perspective adjustment. you can refine the adjustment by manually modifying the slider-based settings in the Manual tab. hold down the Option (Alt) key when clicking on an Upright mode button. Locate the Upright command. • Auto: The balances level. 1. Before applying Upright. The new Upright feature provides four modes of automatic perspective correction. 3. check the box next to Enable Profile Corrections. From the four Upright modes available. It can be found in the Lens Corrections panel in the Develop Module. Vertical. • Vertical: Perspective corrections favor vertical details and level corrections • Full: A combination of full Level. 223 . click a mode to apply the correction to the photo. To keep them. they are removed when you apply Upright.WHAT IT FIXES The Upright adjustment works on most images. After applying an Upright mode. You must have a sense of perspective (and preferably some lines that should be straight) in the image. 2. and perspective corrections • Level: Perspective corrections favor horizontal details. aspect ratio.
click Reanalyze to examine the file and EXIF data. 5. so give all four a try. If syncing settings across multiple images.4. Every image is different. Try all four of the Upright modes until you find the most preferable setting. Not all options will be pleasing or desirable. No Adjustment applied 224 . be sure to use the Upright Mode and Upright Transforms options to get consistent results across images. Note: If you accidentally uncheck the Enable Profile Corrections checkbox. Experiment and then decide.
FINISHING IT OFF 8 Gerard Murphy photo by Richard Harrington .
If you’re a serious photographer. 226 . you’ll love this feature. it’s the ability to copy development edits from one photo to other photos.COPYING & SYNCINC EDITS If there is one feature in Lightroom that blows serious photographers’ minds.
This feature does have a limitation. You make some edits to one of the photos and you want to see how they’d look if they were applied to the rest of the photos in that series. you can do this in just a couple clicks. First.This scenario plays out a lot for most of us. This will copy ALL of the development settings from your previous photo to this current photo. and this can be a real time saver in your digital workflow. You take a series of photos in a short amount of time with the same light. will get copied between photos. all local adjustments (including spot healing and adjustment brush settings). 227 . There are a couple different ways to copy or sync your development settings from one photo to another. What this (admittedly cryptic) button does is copy the previously edited photos’ development settings to the currently selected photo. though. as well as crops. subjects and camera settings. In other words. the easiest way to copy the development settings from one photo to another photo is to use the Previous button in the Lightroom development module (circled in red). This can produce mixed results if your subjects have moved or are completely different. Luckily.
This will also work if you want to copy the settings onto multiple photos. you will notice that the Previous button will be replaced with the Sync button. etc. Press OK and the settings will be automatically pasted. You can then copy just the settings you want to duplicate on the photos (such as white balance. This will also happen when you are in the Library module and you are in Loupe view. In the Library module. color treatments. when you select multiple photos from the Filmstrip view in the Development module (or when they were selected in the Library module before entering the Development module). 228 . This will be visibly represented in Lightroom by being a slightly brighter white color than the other selected photos. Then. then use the Copy button on the bottom left of the development module. sharpening. If you want to copy your metadata from one photo to another. except the edits will be applied to multiple photos at once. select the photo you want to copy from the Grid View. You can also copy the development setting by right clicking (PC) or Control-Click on a photo and selecting Development Settings > Copy Settings.) and uncheck others (like crop and local adjustments) that you may not want to copy. use Shift-Click or Control-Click (PC) / Command-Click (Mac) to then select multiple other photos. Hitting the Sync button will act like the Previous button. Lastly. You will then need to paste these copied settings onto one or more photos.If you want more granular control over what gets copied. The first photo you’ve selected will be “super-selected”. You can also accomplish a very similar copying of the development settings from the Library module. you can also do this using the Sync Metadata button next to the Sync Settings button. Then press Sync Settings in the lower right panel to bring up the same dialog that is available when pressing the Copy button in the Development module. basic tone.
The default position of this toggle is off. the button will change from Sync to Auto Sync.You will also notice that there is an on / off toggle apparent in the Sync button. you should be able to speed up your workflow so you can edit lots of photos in record time. There you go! Using Lightroom. If you turn the toggle on. 229 . What this means is that you can now apply development edits and see how they are applied to all of the photos in real time.
though. because Adobe has made the ability to use Photoshop with Lightroom extraordinarily simple. Fear not. but there will likely come a time when you’ll need the advanced editing capabilities of Adobe Photoshop. we’ll discuss when and how to use Photoshop with Lightroom. 230 .USING PHOTOSHOP WITH LIGHTROOM You can do a lot of editing in Lightroom’s Develop module. In this section.
WHEN TO USE PHOTOSHOP WITH LIGHTROOM There are a few instances when you should use Photoshop. • Advanced Retouching: If you want to have pixel level control for publishing. this can be fairly often or practically never. • Panoramas: With Photoshop. if you want to blend images together to pull out the highlights and shadows from multiple exposures. • Advanced Healing: While you can remove blemishes. Photoshop is your answer. and remove small objects in Lightroom. or if you want to make an arm thinner or a person taller. Photoshop is needed. Depending on the type of photography you do. • HDR: Although there are some great HDR plugins available for Lightroom (Photomatix). Photoshop can do this. stray hairs. 231 . whiten teeth. the capabilities aren’t as awesome as using the content aware magic of Photoshop’s healing brush and patch tools. • Composites: When you want to slice and dice a couple of images to create a single awesome image. you can stitch several photos together to create beautiful panoramas.
In addition. etc. DNG or a virtual copy. You can also go to Photo > Edit in > Photoshop or use the shortcut Command + E. double-tap or right-click an image in Lightroom and select Edit in > Photoshop. you’ll be presented with the window shown in the image below.” Here’s a brief description of what each of these options means: • Edit a Copy with Lightroom Adjustments: Choosing this option will create a copy of the photo that includes the adjustments you’ve made in Lightroom. Note. When you’re done. DNG. choosing “Save As” will create an entirely new photo. This could be the raw 232 . If you’re opening a file type other than raw. simple select “Save” in Photoshop and the edits will be updated accordingly in your Lightroom catalog. Choose the appropriate option for your needs and then edit the photo in Photoshop. users can choose “Open as Smart Object in Photoshop.HOW TO USE PHOTOSHOP WITH LIGHTROOM To begin. which will not be imported into your catalog. but does not include the adjustments you’ve made in Lightroom. • Edit a Copy: This option does the same as the option above. • Edit Original: This option will open your actual file on disk. Tiff. then open that copy in Photoshop. JPEG. Be careful when selecting this option as Photoshop can be destructive. file.
or a combination of both tools. In the end. After you edit the photo. so you can open this layer and edit the image with Adobe Camera Raw.With this option. The adjustments you’ve made in Lightroom are then embedded in a Smart Object layer in Photoshop. Lightroom packages the adjustments you’ve made with the raw or DNG and then moves this package over to Photoshop. both Lightroom and Photoshop have the ability to bring out your post processing creativity. denoted with -Edit. Simply evaluate each project on a case by case basis. only Photoshop. 233 . you may need only Lightroom. Depending on the needs/demands of your current project. click “Save” and the resulting PSD will be sent back to Lightroom.
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Gerard Murphy – unless otherwise noted All Rights Reserved No part of this publication may be reproduced. without the prior written permission of the publisher. Rob Sylvan. ccxxxvi . Gerard Murphy. recording. Young. distributed. and Think Tap Learn Publishing For more information contact thinktaplearn@gmail. except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. Levi Sim. Richard Harrington. or transmitted in any form or by any means.About this Book ©2014 Think Tap Learn Develop Great Images in Lightroom ISBN 978-1-939638-04-5 By Nicole S. including photocopying. Rob Sylvan. Young. Richard Harrington. or other electronic or mechanical methods.com All images Copyright Nicole S. Levi Sim.