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(electronic beat)
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Welcome back.
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In this lesson we're gonna dive right in
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to editing your images.
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And we're gonna learn about
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white balance, adjusting exposure and dynamic range,
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and increasing definition of your images
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by adjust the presence lighters.
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Let's start.
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So here I am in the library module.
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First thing I wanna do is I wanna
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go into the develop module.
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One of the fastest ways to do that
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is to hit the D key on your keyboard.
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And that takes you right into the develop module
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on this image that we're looking at.
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So we're gonna start with white balance correction.
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And I like to think of white balance
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in two different ways.
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You can correct white balance
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to achieve the proper color of the scene
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or to correct white balance creatively.
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So let's start with correcting for the proper color.
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I've taken an image with a color swatch in it.
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And that's crucial for actually correcting
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for the proper color
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and using the white balance tool in Lightroom.
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The white balance tool is located right here
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under the basic panel.
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And you'll see that you have
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a little eye dropper tool which
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is what you're going to use to actually then
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pick up a neutral color in the scene
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in order for Lightroom to sample the image,
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find a neutral color and do a precise adjustment
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on the color itself.
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So I'm gonna show you how to do that.
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So I'm gonna click on the dropper tool
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and move it over to the color swatch
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that I have here.
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What I'm trying to do is I'm trying
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to find a neutral color in my image
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that then Lightroom could key off
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to actually balance the color in the scene.
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Now as I said before, I took this image
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with a color swatch which makes it really easy.
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All you need to do is pick one of the neutral colors
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up here on the top of the swatch.
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And you see that automatically it goes ahead
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and neutralizes the color in the image itself.
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Now in an image that I did not have
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a color swatch in it, you can also perform
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the same function.
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And the way that you do that is,
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I'm gonna show you right here in this other image.
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These are some Sandhill Cranes
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that I took in New Mexico.
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What we are trying to do
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is find an area like I did before
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that is neutral in the scene.
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And by neutral what I mean is
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an area of the image that has no color
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that is too warm or too cold.
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So for example, I'm gonna zoom in a little bit here.
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I'm gonna use the Z key on my keyboard to zoom in
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to a particular part of the image.
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I'm gonna scroll around
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until I find an area that to me looks
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as neutral as possible.
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I'm looking at this area down here.
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Right down in the shadow of the birds themselves.
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I'm gonna pick my dropper tool again.
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And what I'm doing is I'm going around this area
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and trying to find a spot by looking at this target
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that has an equal number in the R, G, and B numbers.
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So for example, in this particular spot
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that I'm hovering over, I have 34.3 for the red,
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29.6 for the green, and 27.4 for the blue.
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That's actually pretty close in the numbers
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so that is actually a very nice and good location
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to actually try to color correct this image.
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Now one of the things that you're gonna see
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is over here on the left hand side
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in the navigator.
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As I move my cursor around, it's gonna give me a preview
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of what the image will look like
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if I try to color correct it.
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So if I pick one of these places over here.
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And let's zoom out again.
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You can see that the image, the color's
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actually been much more neutralized.
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It's actually a very neutral color
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as the light was when I was actually shooting this image.
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Let's do the same thing on this image.
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In this case we're looking at an image
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that's actually a little too cold.
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The other one that we looked at
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was a little too warm.
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So what I wanna do is actually correct
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for the blueness in this image.
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And actually bring out what the natural colors
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were in the scene as I was there.
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Again I'm gonna pick my dropper tool
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and I'm gonna hover over this area of the rocks
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because I know that that area's kinda grayish
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and neutral in tone.
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I'm gonna find a spot that is as close
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in numbers as possible.
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Here I have an area that is 23, 22, and 23.
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So actually very very close in the numbers.
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And very neutral in color.
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So I can click with my mouse.
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And again, it tries to correct for that scene.
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Now it's not always going to do
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what you want it to do.
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It's not always gonna create the effect
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that you're trying to create.
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That's why I prefer to do what I call
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creative color correction.
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I want to correct for the scene
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the way I want it to look like.
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The way I saw in my mind's eye
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when I was making that image.
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So let's take a look at for example
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this other example here.
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This lighthouse in northern Maine.
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This was actually really early in the morning
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when the sun was actually coming up to the clouds.
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A very warm scene.
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But to me it is still not warm enough.
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One of the things I want to do
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is I wanna take my temperature slider over here
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and actually play around with it a little bit.
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And see what the different effects,
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what changes are going to occur to my image
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as I move my temperature slider from left to right.
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As I move it to the right you can see
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that it gets warmer and warmer.
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As I move it to the left, it'll get cooler and cooler.
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In certain areas of the scene
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it'll look really really neutral as well
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because I am actually matching the color
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of the scene that was in that particular location.
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Now when you're looking at the temperature,
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you'll see that next to the temperature slider,
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there is a number associated with that.
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And that is the temperature in Kelvin.
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Kelvin is the measure in which
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we measure the temperature of the light.
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Typically neutral color during daylight
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is around 5,500 Kelvin.
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But in this particular scene because
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it was really early in the morning,
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the light was much warmer than that.
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As you saw earlier before I made any adjustments.
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The camera captured the white balance
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as it saw during that particular scene.
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Now below the temperature slider
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you will see also the tent slider.
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In some images you may notice
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you have a tent to the scene as well.
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Typically it goes between a green tent
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to a cyan or magenta type tent.
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And you can actually compensate for that
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by moving the slider from left to right.
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Again I like to do this to taste.
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Yes you can use a color swatch
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to actually get the perfect color
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as it appeared in that scene.
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But what we're doing here is creating art.
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And what I'm trying to do is actually
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adjust and play with my white balance
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to create the look that I like.
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The look that I saw in my mind's eye
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when I was on location.
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So I want to be able to use these tools
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not just in a precise way,
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but also in a creative way as well.
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Now you also will notice here
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that under the white balance heading,
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there is a little menu.
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And you can see that right now
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it's set to custom.
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And as you pull down that menu,
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you will see you have a number of different choices.
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These are the same choices that you will find
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in your white balance setting in your camera.
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And you can actually click on any of these
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and change the white balance
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to suit that particular setting
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in your camera.
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So for example, if I select daylight,
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what you'll notice is that my temperature slider
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went to 5,500 because daylight,
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full sunlight is around 5,500 degrees Kelvin.
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But I could pull down the slider
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and select cloudy
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which tends to be a little bit warmer.
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Around 6,500 degrees Kelvin.
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Or I can even go to shade
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which will be even warmer than that.
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7,500.
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So you can play around with these settings
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until you get the look that you like.
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Again I recommend that you do that.
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Not just go by the numbers
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and not just go by the picker.
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Yes the picker's a great tool
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when you need to achieve precise color
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for a particular scene.
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Let's say for example you're shooting
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some product photography.
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You need to make sure that the colors you see
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in a shirt match the true colors of the shirt itself.
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One last thing I wanna cover before we move on.
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And that's here under treatment.
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You'll see that you have two options
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for color because this image is in color.
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That's highlighted.
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Or you can click on the black and white button
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to convert your image to black and white.
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And this is a very quick and easy way
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to convert an image to black and white,
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however that's not the way I recommend
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you convert an image to black and white.
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I'm gonna show you a much better way
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in a later lesson how to convert images
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to black and white while retaining a lot more control.
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Let's move on to adjusting exposure and dynamic range.
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Here we have an image of Pronghorn
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that I took in Yellowstone a number of years back.
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And while this image is amazing,
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I love the detail in the image.
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I love the expression of the animals.
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Especially how they're all looking towards me.
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You know, it still looks a little flat.
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It could use a little more punch
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and a little more definition.
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So we're gonna get into that right now.
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We're gonna go into and adjust my exposure
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and the dynamic range on the image.
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First off you're gonna see here
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on the sliders I have an exposure slider
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as well as a contrast slider.
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And those are the sliders I'm gonna start off with
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when I'm adjusting my exposure and my dynamic range.
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So first let's look at the exposure slider.
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I'm gonna click on the exposure slider
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and I can move my slider left or right
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in order to adjust the exposure in the image
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to what looks right to me.
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Again there are all sorts of ways
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of adjusting the exposure
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in a more pragmatic fashion.
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But I prefer to do this for what looks right to me
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and what feels right.
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So I'm gonna adjust my exposure.
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I think I want a little more light
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in this scene.
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So I'm gonna adjust my exposure up
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by about half a stop.
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Maybe a little bit more.
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Now the next slider that you're gonna see here
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is the contrast slider.
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And the contrast slider's gonna add a lot of punch
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to the image.
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It's gonna increase the contrast in your image overall.
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But it's not a tool that I use all that often.
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And the reason is because a contrast slider
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is a very coarse tool to use.
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I much prefer to use the tonal curve
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that I'm gonna talk about in a later lesson.
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So for the mean time let's ignore the contrast slider.
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And like I said, I don't like to use the contrast slider
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because I find it a very coarse tool.
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I'm gonna show you a much better way
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that allow you much more control
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on adjusting contrast in your image
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to make it really pop.
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Let's move over to the other sliders.
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First we're gonna look at the highlight slider.
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The highlight slider allows me to control
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the highlights in the image.
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In a lot of cases, an image like this
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where I have an animal that has high contrast
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meaning that it has parts of the fur or the coat
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that are white, and parts that are really dark and black.
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As I try to expose for those two contrasting areas,
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you know I have to make sacrifices in one place or another.
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And typically what I want to do is
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I wanna make sure that I have enough detail
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in my whites as well as enough detail in the blacks.
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Often times what that means is that
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I need to bring down my highlights some
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because they may be a little bit overexposed
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or a little too bright.
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And that's what the highlight slider does.
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I can simply click on the highlight slider
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and move it to the left or to the right.
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That allows me to control the highlights in the image,
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the areas that are much brighter than anything else.
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And the same thing goes along with the whites.
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The whites control those areas of the image
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that are very very very bright.
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I also have a shadow slider control
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that allows me to bring out detail in the shadows.
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So areas that may be a little dark,
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that you may have lost a little detail,
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the shadow slider may be able to bring those out
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as I move to the right.
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Let's zoom in here a little bit on this Pronghorn.
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And you can see the effect that it has
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on this nose right here.
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We're gonna go back to the default setting
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and you can see you do not have a lot of detail
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in this nozzle of the Pronghorn.
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But as I move that shadow slider
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a little bit to the right,
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I'm starting to bring a lot of detail
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into that part of the image.
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Again what this allows me to do is adjust
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the exposure of the dark parts of your image
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independently of the brighter parts of the image.
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And that's what these four sliders do.
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Allow you to adjust the highlights independently,
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from the blacks, or the blacks independently
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from the whites.
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Or the shadows independently from the highlights.
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It allows you complete control to actually
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adjust the dynamic range
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and make that image really stand out.
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00:12:52,900 --> 00:12:55,200
So let's take a look at the histogram
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and how the histogram helps us
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00:12:57,433 --> 00:12:59,133
make those adjustments to exposure
335
00:12:59,133 --> 00:13:01,363
as well as to the dynamic range of the image
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00:13:01,366 --> 00:13:05,036
including the shadow and the highlight sliders.
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00:13:05,033 --> 00:13:07,933
So your histogram up here on the upper right hand side
338
00:13:07,933 --> 00:13:10,203
of your interface in Lightroom
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00:13:10,200 --> 00:13:12,830
shows you the amount of data that exists
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00:13:12,833 --> 00:13:15,103
within the image, and the different colors
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as well as the different tonalities in the scene.
342
00:13:18,900 --> 00:13:20,370
By the way, I'm often asked
343
00:13:20,366 --> 00:13:22,336
what does the perfect histogram look like?
344
00:13:22,333 --> 00:13:25,033
And I have to tell you there is no such thing.
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00:13:25,033 --> 00:13:27,263
Each individual image is gonna have
346
00:13:27,266 --> 00:13:30,396
its own unique histogram.
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00:13:30,400 --> 00:13:32,700
Okay so let's take a look at this histogram here.
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00:13:32,700 --> 00:13:34,600
And as I hover my mouse over the histogram,
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you'll see that different parts of the histogram
350
00:13:36,600 --> 00:13:39,600
are highlighted within the histogram itself.
351
00:13:39,600 --> 00:13:41,530
But not just in the histogram.
352
00:13:41,533 --> 00:13:45,163
If you look at the sliders in the exposure,
353
00:13:45,167 --> 00:13:46,697
highlight, and shadow sections.
354
00:13:46,699 --> 00:13:48,469
As I move my histogram, as I hover
355
00:13:48,466 --> 00:13:51,266
over the histogram, different sliders
356
00:13:51,266 --> 00:13:53,096
are highlighted as well.
357
00:13:53,100 --> 00:13:56,700
So for example, right here the highlight slider
358
00:13:56,700 --> 00:13:58,170
is highlighted.
359
00:13:58,166 --> 00:13:59,666
As I move to the center of the histogram,
360
00:13:59,666 --> 00:14:02,396
the exposure slider is highlighted.
361
00:14:02,400 --> 00:14:04,570
And that's because what this is showing me
362
00:14:04,566 --> 00:14:07,136
or demonstrating to me is that I can manipulate
363
00:14:07,133 --> 00:14:09,403
that histogram directly.
364
00:14:09,400 --> 00:14:11,900
And if I manipulate this part of the histogram,
365
00:14:11,900 --> 00:14:13,570
I'm adjusting the exposure.
366
00:14:13,566 --> 00:14:15,166
And I'll show you what that looks like.
367
00:14:15,167 --> 00:14:18,197
What I'm going to do is I'm gonna click on the histogram.
368
00:14:18,200 --> 00:14:21,800
And as I move my mouse to the right,
369
00:14:21,800 --> 00:14:23,730
you can see that the exposure slider
370
00:14:23,733 --> 00:14:25,503
is moving a little bit to the right.
371
00:14:25,500 --> 00:14:27,870
Or as I move to the left, it's moving
372
00:14:27,866 --> 00:14:29,436
a little bit to the left.
373
00:14:29,433 --> 00:14:30,903
And I'm adjusting the exposure.
374
00:14:30,899 --> 00:14:33,829
It's another way to manipulate the exposure
375
00:14:33,833 --> 00:14:35,703
and the dynamic range of your images
376
00:14:35,700 --> 00:14:39,600
by manipulating the histogram directly.
377
00:14:39,600 --> 00:14:41,570
I prefer to use the sliders.
378
00:14:41,566 --> 00:14:43,666
Some people prefer to use the histogram.
379
00:14:43,666 --> 00:14:46,096
Again I can do the same thing here on the highlights.
380
00:14:46,100 --> 00:14:47,530
I can click on the highlights section
381
00:14:47,533 --> 00:14:49,263
of the histogram, and move that.
382
00:14:49,267 --> 00:14:51,737
And I can manipulate the histogram directly.
383
00:14:51,733 --> 00:14:52,863
And you can see that highlight slider
384
00:14:52,866 --> 00:14:54,996
move left and right.
385
00:14:55,000 --> 00:14:56,470
On the upper part of the histogram
386
00:14:56,466 --> 00:14:59,096
you're going to see two little triangle looking buttons.
387
00:14:59,100 --> 00:15:02,670
And what these are is showing me a warning
388
00:15:02,667 --> 00:15:05,397
for when I'm clipping my shadows.
389
00:15:05,400 --> 00:15:09,130
Or the button on the right will show me a warning
390
00:15:09,133 --> 00:15:11,333
when I'm clipping my highlights.
391
00:15:11,333 --> 00:15:12,503
So let's see what that looks like.
392
00:15:12,500 --> 00:15:15,470
I'm gonna click on the shadow button
393
00:15:15,466 --> 00:15:16,766
and you can see that that button now
394
00:15:16,766 --> 00:15:19,296
has a little marquee around it, is highlighted.
395
00:15:19,300 --> 00:15:21,930
And I'm gonna zoom in again on this nozzle
396
00:15:21,933 --> 00:15:24,603
of the Pronghorn.
397
00:15:24,600 --> 00:15:26,900
As I adjust my exposure,
398
00:15:26,900 --> 00:15:29,100
you can see that certain areas of blue
399
00:15:29,100 --> 00:15:30,730
are going to come up onto the scene.
400
00:15:30,733 --> 00:15:32,333
And that's telling me that those areas
401
00:15:32,333 --> 00:15:35,603
right now have absolutely no detail.
402
00:15:35,600 --> 00:15:36,970
That they're completely black.
403
00:15:36,966 --> 00:15:39,936
that I've clipped any information that's in there.
404
00:15:39,933 --> 00:15:41,133
Now let's take a look at what happens
405
00:15:41,133 --> 00:15:42,503
when I do the same thing,
406
00:15:42,500 --> 00:15:44,670
but instead of the shadows do it to the highlights.
407
00:15:44,666 --> 00:15:47,336
I'm gonna click off the shadow slider here.
408
00:15:47,333 --> 00:15:49,733
And I'm gonna reset my exposure on the image.
409
00:15:49,733 --> 00:15:51,833
And I'm gonna move over to an area that's white
410
00:15:51,833 --> 00:15:53,663
so you can see what this would look like
411
00:15:53,666 --> 00:15:56,396
as I click on the highlight clipping
412
00:15:56,400 --> 00:15:58,500
warning button.
413
00:15:58,500 --> 00:16:01,270
And I move my exposure to the right.
414
00:16:01,266 --> 00:16:04,696
You can see that some of the parts of the image
415
00:16:04,700 --> 00:16:06,170
are now turning red.
416
00:16:06,167 --> 00:16:08,397
And that's telling me that the image
417
00:16:08,400 --> 00:16:11,070
in this particular area, is being
418
00:16:11,066 --> 00:16:12,266
completely blown out.
419
00:16:12,266 --> 00:16:13,436
There's no detail there.
420
00:16:13,433 --> 00:16:15,533
This is akin, or very similar
421
00:16:15,533 --> 00:16:17,333
to what you see in the back of your camera
422
00:16:17,333 --> 00:16:20,633
when it's giving you an over exposure warning.
423
00:16:20,633 --> 00:16:22,263
What this is doing is telling me
424
00:16:22,267 --> 00:16:23,997
these parts of the image
425
00:16:24,000 --> 00:16:26,700
are completely over exposed, or under exposed.
426
00:16:26,700 --> 00:16:28,200
These controls can be very helpful
427
00:16:28,200 --> 00:16:30,470
in helping you adjust your exposure
428
00:16:30,466 --> 00:16:32,996
and your dynamic range in the image.
429
00:16:35,500 --> 00:16:37,130
Now let's take a look at how to increase
430
00:16:37,133 --> 00:16:38,633
the definition of your images
431
00:16:38,633 --> 00:16:42,833
by adjusting the clarity, vibrance, and saturation sliders.
432
00:16:42,833 --> 00:16:45,463
Here we have an image of a mountain hare
433
00:16:45,466 --> 00:16:48,066
that I took in Yellowstone a number of winters ago.
434
00:16:48,066 --> 00:16:50,066
And what I'm going to do
435
00:16:50,066 --> 00:16:54,166
is actually zoom in on the face here of my hare
436
00:16:54,167 --> 00:16:56,867
and you can see how well defined
437
00:16:56,866 --> 00:16:58,396
and sharp the image is.
438
00:16:58,400 --> 00:17:00,230
However, I still want to add
439
00:17:00,233 --> 00:17:01,463
a little bit more definition.
440
00:17:01,466 --> 00:17:03,396
I wanna really bring out that fur.
441
00:17:03,400 --> 00:17:05,300
And this is where the clarity slider
442
00:17:05,300 --> 00:17:07,670
really comes into play.
443
00:17:07,667 --> 00:17:10,367
All you really want to do with the clarity slider
444
00:17:10,367 --> 00:17:13,197
is adjust it a tiny bit until you see
445
00:17:13,200 --> 00:17:16,800
the individual hairs really pop out of the image
446
00:17:16,800 --> 00:17:21,030
and give you that distinct 3 dimensional look.
447
00:17:21,033 --> 00:17:24,733
Often times this slider gets overused
448
00:17:24,733 --> 00:17:27,133
and folks like to push it all the way to the end
449
00:17:27,133 --> 00:17:29,803
because they think that sharper is always better.
450
00:17:29,800 --> 00:17:31,700
And that's not necessarily always the case
451
00:17:31,700 --> 00:17:33,530
because one of the things, or one of the side effects
452
00:17:33,533 --> 00:17:35,733
that the clarity slider does
453
00:17:35,733 --> 00:17:39,503
is increase the contrast in your image as well.
454
00:17:39,500 --> 00:17:41,700
That's one of the unfortunate side effects
455
00:17:41,700 --> 00:17:43,470
of the clarity slider but that's because
456
00:17:43,466 --> 00:17:45,296
of the way it works.
457
00:17:45,300 --> 00:17:46,600
So what you really want to do
458
00:17:46,600 --> 00:17:48,700
is use this slider in moderation.
459
00:17:48,700 --> 00:17:50,470
Enough to bring that detail out
460
00:17:50,466 --> 00:17:53,396
but not make that image look artificial
461
00:17:53,400 --> 00:17:56,300
or what I like to say, crunchy itself.
462
00:17:56,300 --> 00:17:58,330
And again just keep in mind
463
00:17:58,333 --> 00:18:00,603
that clarity is also going to add
464
00:18:00,600 --> 00:18:03,430
quite a bit of contrast to your image.
465
00:18:03,433 --> 00:18:06,263
Often times I find myself having to go back
466
00:18:06,266 --> 00:18:09,696
to my exposure slider and add a little bit more
467
00:18:09,700 --> 00:18:12,230
exposure to the image after I've adjusted
468
00:18:12,233 --> 00:18:14,103
my clarity setting.
469
00:18:14,100 --> 00:18:16,030
Here I'm gonna use another image
470
00:18:16,033 --> 00:18:19,763
to show you how to use the clarity slider.
471
00:18:19,766 --> 00:18:21,736
And the reason I wanna do that is because
472
00:18:21,733 --> 00:18:23,833
I have found, again that this slider
473
00:18:23,833 --> 00:18:25,763
gets overused quite often.
474
00:18:25,767 --> 00:18:27,197
And you don't want to overuse it
475
00:18:27,200 --> 00:18:29,830
otherwise your images will not look natural.
476
00:18:29,833 --> 00:18:33,063
They'll look a little bit out of sorts.
477
00:18:33,066 --> 00:18:36,396
So I'm zooming in onto this mountain goat.
478
00:18:36,400 --> 00:18:39,030
And you can see here as I move my slider,
479
00:18:39,033 --> 00:18:43,263
my clarity slider, the definition
480
00:18:43,266 --> 00:18:45,996
of that fur, and even of the background
481
00:18:46,000 --> 00:18:48,000
actually comes much more into focus.
482
00:18:48,000 --> 00:18:50,530
And the way it's doing that is by applying,
483
00:18:50,533 --> 00:18:52,903
again a little bit of contrast to that.
484
00:18:52,900 --> 00:18:55,700
If I were to really push the clarity slider
485
00:18:55,700 --> 00:18:58,000
all the way to the end,
486
00:18:58,000 --> 00:19:01,230
the image would just look way too contrasty
487
00:19:01,233 --> 00:19:03,403
and just not natural at all.
488
00:19:03,400 --> 00:19:06,100
So you wanna use this slider judiciously.
489
00:19:06,100 --> 00:19:09,270
And not overdo it.
490
00:19:09,267 --> 00:19:11,997
This is one of the great mysteries of Lightroom.
491
00:19:12,000 --> 00:19:13,500
A lot of people get confused
492
00:19:13,500 --> 00:19:15,100
or don't really understand the difference
493
00:19:15,100 --> 00:19:17,170
between vibrance and saturation.
494
00:19:17,166 --> 00:19:20,436
Because they seem to do the exact same thing.
495
00:19:20,433 --> 00:19:22,433
Let's talk first about saturation.
496
00:19:22,433 --> 00:19:22,563
498
00:19:22,566 --> 00:19:24,100
What does saturation do?
497
00:19:24,100 --> 00:19:26,400
Saturation slider, what it does is
498
00:19:26,400 --> 00:19:29,670
it increases the saturation or the richness
499
00:19:29,666 --> 00:19:32,466
of all the colors in your scene equally.
500
00:19:32,466 --> 00:19:34,996
So it's gonna, an image like this of my son
501
00:19:35,000 --> 00:19:37,630
at Glacier National Park.
502
00:19:37,633 --> 00:19:39,603
If I were to move the saturation slider
503
00:19:39,600 --> 00:19:40,770
what it's going to do is it's gonna
504
00:19:40,766 --> 00:19:43,466
increase the green in that foliage,
505
00:19:43,466 --> 00:19:46,366
it's gonna increase the red on his jacket
506
00:19:46,366 --> 00:19:47,996
and on his shirt.
507
00:19:48,000 --> 00:19:50,770
And it will also increase the blues in the sky.
508
00:19:50,766 --> 00:19:53,536
However the problem with using saturation
509
00:19:53,533 --> 00:19:55,763
in a situation like this, and I'll show you that
510
00:19:55,766 --> 00:19:58,766
is I take the saturation slider and move it to the right
511
00:19:58,766 --> 00:20:00,696
to add saturation to this image,
512
00:20:00,700 --> 00:20:03,730
skin tones get affected quite a bit.
513
00:20:03,733 --> 00:20:06,203
And now my son is looking kind of orangey
514
00:20:06,200 --> 00:20:08,200
which is not what you want at all.
515
00:20:08,200 --> 00:20:10,130
In a situation like this what you want to do,
516
00:20:10,133 --> 00:20:13,763
use the vibrant slider versus the saturation slider.
517
00:20:13,766 --> 00:20:16,496
What the vibrant slider does is increases
518
00:20:16,500 --> 00:20:20,870
the saturation of all the colors equally,
519
00:20:20,866 --> 00:20:23,036
except for the oranges and the reds.
520
00:20:23,033 --> 00:20:27,263
It actually increases those at a much smaller rate.
521
00:20:27,266 --> 00:20:30,466
Therefore you can actually boost the saturation
522
00:20:30,466 --> 00:20:32,636
of all the colors here in the scene
523
00:20:32,633 --> 00:20:36,063
without making my son look orange.
524
00:20:36,066 --> 00:20:37,996
Maintaining his skin tones.
525
00:20:38,000 --> 00:20:41,000
One of the reasons why you wanna protect those reds,
526
00:20:41,000 --> 00:20:42,800
not just to protect the skin tones
527
00:20:42,800 --> 00:20:44,170
on someone's face.
528
00:20:44,166 --> 00:20:46,236
Is also because the reds tend to block up.
529
00:20:46,233 --> 00:20:47,933
And you start losing definition on the reds
530
00:20:47,933 --> 00:20:49,503
very very quickly.
531
00:20:49,500 --> 00:20:51,630
As you increase the saturation on the reds.
532
00:20:51,633 --> 00:20:54,903
So my rule of thumb is if you want to increase the colors,
533
00:20:54,900 --> 00:20:58,070
if you want to increase the saturation on an image,
534
00:20:58,066 --> 00:21:00,366
typically you wanna use the saturation slider
535
00:21:00,366 --> 00:21:03,436
unless you have reds or people in the scene.
536
00:21:03,433 --> 00:21:05,603
If you have people, or reds in the scene
537
00:21:05,600 --> 00:21:08,030
typically you'll want to use the vibrant slider
538
00:21:08,033 --> 00:21:09,703
more so than saturation slider.
539
00:21:09,700 --> 00:21:11,530
That doesn't prevent you from using both.
540
00:21:11,533 --> 00:21:14,233
In certain cases I may actually use a mixture of both
541
00:21:14,233 --> 00:21:16,363
because I do want to saturate those reds,
542
00:21:16,366 --> 00:21:19,296
I just don't want to saturate them all that much.
543
00:21:19,300 --> 00:21:22,230
And I tend to use the vibrance a lot more.
544
00:21:22,233 --> 00:21:23,433
What I hope in this lesson,
545
00:21:23,433 --> 00:21:24,533
I've been able to show you
546
00:21:24,533 --> 00:21:27,003
how incredible Lightroom is as a tool
547
00:21:27,000 --> 00:21:30,200
to bring out the best qualities of your images.
548
00:21:30,200 --> 00:21:32,630
But remember, it is no substitute
549
00:21:32,633 --> 00:21:35,103
for creating great images out in the field.
550
00:21:35,100 --> 00:21:36,730
The better the images you create,
551
00:21:36,733 --> 00:21:38,533
the better the end result will be
552
00:21:38,533 --> 00:21:41,463
once you bring those images into Lightroom.
553
00:21:41,466 --> 00:21:43,466
As you know, practice makes perfect.
554
00:21:43,466 --> 00:21:45,166
So I'm gonna give you a little bit of homework.
555
00:21:45,166 --> 00:21:48,596
Select a few images to practice setting the white balance.
556
00:21:48,600 --> 00:21:50,870
And do it both for correction purposes
557
00:21:50,867 --> 00:21:53,797
as well as to exercise your creative muscle.
558
00:21:53,800 --> 00:21:55,870
Also select a few images
559
00:21:55,866 --> 00:21:58,396
to experiment with saturation and vibrance
560
00:21:58,400 --> 00:21:59,570
and help you determine
561
00:21:59,566 --> 00:22:00,896
which is the right tool to use
562
00:22:00,900 --> 00:22:03,130
for any of those images.
563
00:22:03,133 --> 00:22:05,633
In the next lesson, we're going to cover
564
00:22:05,633 --> 00:22:08,363
presets, history, and snapshots.
565
00:22:08,366 --> 00:22:13,166
(electronic music)
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