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Welcome back.
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In this lesson, we're going to learn
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how to use Lightroom to make your images
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the best that they can be
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and we're going to do that by performing
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tone curve adjustments, color adjustments
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and we're going to be sharpening your images.
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In a previous lesson I talked about
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the contrast slider
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and how you can use that to impart contrast
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on your images throughout the entire image.
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But I also said that I don't typically like
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to use the contrast slider
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because there's a more effective
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and much better way of performing
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contrast adjustments on the image.
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And that's the tone curve.
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So let's take a look at how I use the tone curve.
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Okay, so let's open up the tone curve panel here
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in the develop module in Lightroom.
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And you're gonna find the tone curve panel
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on the right panel of the screen.
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The tone curve does a couple of things for us.
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One, it allows us to apply
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different levels of contrast in
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the brighter part of the images
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versus the darker part of the images
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which is very important.
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But what that really does for us
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is actually add a lot of punch to the images.
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Make the images look a lot more three dimensional.
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So that's why I love using the tone curve.
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A lot of people are intimidated
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when they first look at the tone curve
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because it's easy to mess up
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and make your image look a little bizarre.
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But I'm gonna show you a really easy trick
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on how to use it.
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Now, the tone curve panel in Lightroom
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has two different modes.
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One is the parametric tone curve
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which has all these different sliders here.
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The sliders in the tone curve
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are here to help you out.
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And they help you prevent
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making too coarse of adjustments.
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But, at the same time I find them
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a little bit hampering
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because you have to make adjustments
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to four different sliders
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to make the effect that you want.
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Now, Lightroom has also a
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what's called a point-curve adjustment.
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You manipulate the tone curve directly
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and that's what I'm going to show you
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cause I think that's the most effective
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and simpler way of using the tone curve.
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What you want to do is click on this
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little button down here
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on the lower right-hand side of the tone curve panel
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which will then switch the tone curve panel
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into the point curve mode.
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And what you can see is
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that all of the sliders
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or what I like to call the training wheels
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go away.
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And now you can manipulate the tone curve directly.
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Now, what we're trying to do
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is increase the contrast in the image.
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So we're trying to increase the whites
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or the brighter parts of the image.
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Making them a little brighter and lighter
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and deepening the blacks or the shadow areas
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in the image as well.
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Making them a little bit deeper and darker.
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That's what's gonna increase the contrast
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to make our images really stand out.
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Now, this is really simple.
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What we want to do with the tone curve adjustment
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is create what I call a gentle S curve.
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What we want to do is create two grab points
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in this linear graph that you see on the tone curve.
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We're gonna click on the line
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at about three quarters of the way up
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to make a little grab handle.
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Then we're gonna do the same thing
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three quarters of the way down
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and create another little grab handle.
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Now don't worry if by mistake
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you put a grab handle somewhere else.
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You end up with three grab handles in here.
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You can click on that grab handle
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and drag it off the screen
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and that makes it disappear.
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Now, what we wanna do is take
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this upper grab handle and move it up a little bit.
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And you can see how the brightness in the image
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has increased.
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And then we wanna take
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this grab handle on the bottom
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and lower it down a tiny little bit.
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And you can see that what I've done
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is create a nice, gentle S curve on the tone curve.
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And what that has done is really
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increase that contrast between
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the brighter part of the image
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and the dark parts of the image.
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But, what's remarkable about the tone curve
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as opposed to the contrast slider
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is that I can independently control
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the contrast in the dark parts of the image
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versus the light parts of the image
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which is something that you cannot do
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with the contrast slider.
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So, for example, in this case
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I wanna apply more contrast
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to the light part of the images
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but not as much on the dark part of the images
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because I have a lot of dark right here
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on this bear.
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So this curve is very gentle, you can see
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but the upper part seems to be
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a little steeper than the lower part.
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Let's look at another image
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and do the same exercise.
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Here's an image of a small stream
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in western North Carolina.
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I'm going to, again start by creating
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my two little grab handles
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at the upper third quadrant
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and the lower third quadrant.
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And I am going to start creating my gentle S curve.
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One of the things I'm trying to do
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is make those whites in the water whiter
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but also add contrast and punch to that foliage
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and to those dark parts of the image.
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And I'm going to show you the difference
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that just these little adjustments have made.
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I'm gonna add a little bit more dark contrast.
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I'm gonna turn off the effect
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and turn it back on.
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And you can see that just that little bit
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of adjustment in the tone curve
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really adds a lot of punch
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and dimension to the image.
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So, again this is one of
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your best friends in Lightroom.
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It's gonna be one of your most used tool
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because it packs a lot of punch.
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But, you've got to use it judiciously.
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You gotta make that S curve very nice and gentle.
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Okay, now that we've made our tonal
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adjustments to this image
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what I want to do is actually manipulate
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and adjust the colors in this image.
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And I can do that by using the saturation
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or vibrance lighting we saw in the previous lesson.
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But, I don't necessarily wanna saturate
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all the colors in the image equally.
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Thankfully, Lightroom provides
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a very easy and convenient way to be able to
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manipulate each individual color separately.
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So let's take a look at that.
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We're gonna go into the HSL panel.
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And HSL stands for Hue, Saturation, and Luminesce.
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When you click on the HSL panel
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you have three different sections here.
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You have for hue, for saturation and luminesce.
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You also have a sort of sub-panel or tab
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to the HSL color panel
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in that it sorts out the colors in a different way.
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The colors are the same, the same controls
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except when you click on color
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they're grouped by color.
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When you click on HSL, they're grouped
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by either saturation, hue, or luminesce.
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I typically like to use it on the HSL panel
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and start off with saturation.
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What you can see is here when we look
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at the saturation, is that I have
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all sorts of colors that I can
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adjust the saturation on individually.
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So, for example, in this image
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I can move the green
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and saturate those greens a little more, or less
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and leave all the other colors in the scene the same.
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So we're gonna set that back to zero.
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Now, the other control here
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that's really important to use is the luminance.
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I tend not to use the hue tab all that much.
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Hue is important for when you want to
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remove some color casting image
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and say you have a green cast on the image.
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Well you can use the hue tab
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and use the green slider to the left
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to remove some of that color cast in your image.
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Luminance will actually decrease
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the brightness of that specific color.
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And often times this can be a more effective way
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to actually increase the saturation of an image.
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As you saw earlier
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when I looked in the saturation
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and I moved the green back and forth.
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When I moved it to the left
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and I removed the saturation from the green
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that was a pretty dramatic effect.
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But when I added green saturation to the green
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it really didn't make that much of an effect.
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But let's look at the same effect in luminance.
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I'm gonna go back to the green
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and then gonna move the green to the right
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and you can see how it really effects those green
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and makes them brighter or darker in the image
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and actually makes them look even more saturated
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or less saturated.
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Now, you wanna experiment a little bit
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with the saturation and luminance sliders
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for each image to make sure
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that you get the effect that you want.
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One additional item here
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and I'm gonna show you another example
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in another image in a second
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but before we go there
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Often times you'll want to saturate
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or want to manipulate a color
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that is not just a simple green or a simple blue
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and because it's a mixture of colors themselves
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and often times it's hard to determine
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which colors you need to mix
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in order to saturate that specific color.
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Well, luckily Lightroom helps you do that.
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There is a color picker right here.
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This little round button that you can click on.
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I can click on that button
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and my cursor will change
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into a circle with two arrows and a cross-hair.
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I can go ahead and put that cross-hair
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in any color in the scene
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and Lightroom will automatically pick up that color
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and it increase or decrease the saturation
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or luminance depending which tab you have selected.
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So, for example, let's say I want to darken
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or saturate this brown of the rock here.
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I can simply just click on that area
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and then move up to increase the luminance
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or down to decrease the luminance
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on that specific area.
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Let's so that with saturation as well.
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Again, I'm gonna click on that brown area
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on the rock.
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I'm gonna click, go up to increase the saturation.
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You can see how it turns a little warmer
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or more orangie.
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Or I can go down to de-saturate it.
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If you look on the right-hand side
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on the sliders on the HSL panel
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you can see that those are moving
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as I move my mouse up and right
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to increase or decrease.
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But you will also notice that multiple sliders
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are moving at the same time.
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We have the orange and we have the yellow moving
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in different proportions.
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Because the color of that rock
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is composed of both orange and yellow
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and Lightroom is smart enough to know
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which colors are in the area you clicked on
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and increases or decrease the saturation
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or luminance accordingly.
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Now, let's take a look at another image.
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And this is one of the best trick that I have
272
00:10:23,131 --> 00:10:26,451
for increasing the blueness in the sky.
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00:10:26,451 --> 00:10:28,171
In this particular image here
274
00:10:28,170 --> 00:10:30,760
of the waterfall in Glacier National Park
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00:10:30,758 --> 00:10:32,698
in northern Montana.
276
00:10:32,697 --> 00:10:35,237
I got a beautiful sky here with some clouds
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00:10:35,239 --> 00:10:38,119
but it's a little bit lighter than the foreground
278
00:10:38,118 --> 00:10:40,948
and I'm losing a lot of that blueness in the sky
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00:10:40,951 --> 00:10:42,141
but I can bring that back
280
00:10:42,136 --> 00:10:45,376
using my HSL sliders, really easily.
281
00:10:45,375 --> 00:10:47,205
So, what I want to do is
282
00:10:47,209 --> 00:10:49,639
increase the saturation in the blues.
283
00:10:49,635 --> 00:10:51,675
That will bring some color into that sky.
284
00:10:51,678 --> 00:10:53,128
You can see that.
285
00:10:53,130 --> 00:10:54,400
However, one thing I have found
286
00:10:54,395 --> 00:10:57,715
that if you just increase the saturation in the blues
287
00:10:57,716 --> 00:11:00,896
the sky doesn't look quite natural itself.
288
00:11:00,896 --> 00:11:03,646
It looks like what I call "Windex blue."
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00:11:03,648 --> 00:11:06,658
So, what I wanna do is go into luminance
290
00:11:06,655 --> 00:11:08,035
in addition to that
291
00:11:08,036 --> 00:11:10,946
and bring the luminance in the blue down a little bit.
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00:11:10,950 --> 00:11:14,250
To make that sky a little bit darker.
293
00:11:14,247 --> 00:11:15,997
Now you can see how big of a difference
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00:11:16,000 --> 00:11:19,760
just those two little adjustments made in blue.
295
00:11:19,761 --> 00:11:22,421
Increasing the saturation
296
00:11:22,420 --> 00:11:24,000
and decreasing the luminance.
297
00:11:23,999 --> 00:11:26,849
Look at the difference in that sky.
298
00:11:26,844 --> 00:11:29,364
Pretty remarkable.
299
00:11:30,504 --> 00:11:31,964
Now let's talk about sharpening.
300
00:11:31,966 --> 00:11:33,016
Sharpening is something that
301
00:11:33,011 --> 00:11:34,761
a lot of people don't understand
302
00:11:34,764 --> 00:11:37,164
how to do well within Lightroom.
303
00:11:37,167 --> 00:11:39,107
It's a little bit tricky, but it's pretty simple.
304
00:11:39,106 --> 00:11:40,706
Let's take a look.
305
00:11:40,708 --> 00:11:42,528
Okay, let's go into the detail panel
306
00:11:42,530 --> 00:11:44,970
and this is where sharpening lives.
307
00:11:44,969 --> 00:11:47,409
One thing I wanna tell you about first
308
00:11:47,407 --> 00:11:49,047
is that because of the way
309
00:11:49,044 --> 00:11:51,484
the digital imaging process happens
310
00:11:51,482 --> 00:11:54,412
every image that you want to display
311
00:11:54,407 --> 00:11:56,247
or you wanna use really needs
312
00:11:56,242 --> 00:11:59,392
at least a little bit of sharpening applied to it.
313
00:11:59,388 --> 00:12:01,138
So, you always should think as sharpening
314
00:12:01,141 --> 00:12:03,461
as one of the processes that you're gonna do
315
00:12:03,463 --> 00:12:04,323
to your image.
316
00:12:04,322 --> 00:12:05,532
But I also recommend doing it
317
00:12:05,529 --> 00:12:07,969
as one of the last steps.
318
00:12:07,967 --> 00:12:10,507
So here we have an image of a luna moth
319
00:12:10,509 --> 00:12:12,719
on a red bud branch.
320
00:12:12,715 --> 00:12:14,815
And, I said before that while you do
321
00:12:14,817 --> 00:12:17,587
wanna apply sharpening to all of your images
322
00:12:17,591 --> 00:12:19,461
you do not wanna apply sharpening
323
00:12:19,460 --> 00:12:20,690
to the entire image.
324
00:12:20,691 --> 00:12:23,281
You wanna apply what's called selective sharpening.
325
00:12:23,279 --> 00:12:24,199
And what that means is that
326
00:12:24,197 --> 00:12:26,087
I only wanna apply sharpening
327
00:12:26,089 --> 00:12:28,349
to the parts of the image that are sharp.
328
00:12:28,353 --> 00:12:29,913
I do not wanna apply sharpening
329
00:12:29,909 --> 00:12:33,109
to the out of focus areas of the image.
330
00:12:33,113 --> 00:12:34,513
And the reason for that
331
00:12:34,517 --> 00:12:36,017
is because if I do apply sharpening
332
00:12:36,016 --> 00:12:37,596
to the out of focus areas
333
00:12:37,594 --> 00:12:39,814
I run the risk of accentuating
334
00:12:39,812 --> 00:12:42,242
the grain or digital noise sets there.
335
00:12:42,238 --> 00:12:43,608
Or if you have areas that have
336
00:12:43,608 --> 00:12:48,138
really fine detail color gradations going on
337
00:12:48,136 --> 00:12:50,056
you can introduce some banding into that
338
00:12:50,051 --> 00:12:54,951
and it loses nice, smooth gradients in the background.
339
00:12:54,950 --> 00:12:57,490
So let me show you what I mean by that.
340
00:12:57,493 --> 00:12:59,413
I'm gonna zoom in here on this part of the image
341
00:12:59,408 --> 00:13:02,198
and I'm gonna apply sharpening
342
00:13:02,195 --> 00:13:04,665
by moving my amount slider
343
00:13:04,668 --> 00:13:07,618
in the sharpening section of the detail panel.
344
00:13:07,616 --> 00:13:09,616
And if I move that over to the right
345
00:13:09,613 --> 00:13:10,473
and I apply sharpening
346
00:13:10,472 --> 00:13:11,712
look what's happening in
347
00:13:11,714 --> 00:13:13,374
the out of focus areas.
348
00:13:13,375 --> 00:13:17,135
You're accentuating here a lot of that digital noise
349
00:13:17,135 --> 00:13:19,775
that's there in that out of focus area.
350
00:13:19,771 --> 00:13:22,051
Yes, you are sharpening the moth
351
00:13:22,047 --> 00:13:23,337
that's in the foreground
352
00:13:23,335 --> 00:13:25,255
but you're making that background
353
00:13:25,251 --> 00:13:29,351
kind of look clumpy and not at all desirable.
354
00:13:29,349 --> 00:13:34,349
So how do you do selective sharpening in Lightroom?
355
00:13:34,910 --> 00:13:36,810
Well it's pretty easy to do.
356
00:13:36,813 --> 00:13:39,633
That's where the masking slider comes into play.
357
00:13:39,635 --> 00:13:42,105
Now, if I take the masking slider
358
00:13:42,108 --> 00:13:44,908
and I move it right to left
359
00:13:44,906 --> 00:13:47,646
you see that nothing is happening in my scene at all.
360
00:13:47,646 --> 00:13:48,726
So you're wondering
361
00:13:48,725 --> 00:13:50,895
what is this masking slider doing?
362
00:13:50,896 --> 00:13:54,666
Well, the proper way to apply masking in Lightroom
363
00:13:54,669 --> 00:13:57,509
is you want to hold the option or alt key
364
00:13:57,513 --> 00:14:01,053
on your keyboard, then click on the masking slider
365
00:14:01,054 --> 00:14:02,134
and what you see is happening
366
00:14:02,134 --> 00:14:04,714
is that your image is turning all white.
367
00:14:04,711 --> 00:14:07,391
And what this means is that the entire image
368
00:14:07,393 --> 00:14:10,223
is now receiving sharpening.
369
00:14:10,226 --> 00:14:12,456
As I move my slider to the right
370
00:14:12,454 --> 00:14:14,564
you can see that what's happening is that
371
00:14:14,568 --> 00:14:18,228
parts are out of focus are turning black
372
00:14:18,225 --> 00:14:21,295
where as the parts that are in sharp focus
373
00:14:21,290 --> 00:14:23,790
are remaining in white.
374
00:14:23,786 --> 00:14:24,746
So what you wanna do is
375
00:14:24,749 --> 00:14:26,569
you wanna move this masking slider
376
00:14:26,571 --> 00:14:29,261
as far to the right as possible
377
00:14:29,265 --> 00:14:30,865
to the point in which
378
00:14:30,867 --> 00:14:33,107
all your out of focus areas are black.
379
00:14:33,108 --> 00:14:34,508
So that meaning that they're not
380
00:14:34,512 --> 00:14:36,902
gonna receive any sharpening at all
381
00:14:36,904 --> 00:14:37,944
while you're still sharpening those parts
382
00:14:37,939 --> 00:14:41,199
of the image that you need to sharpen.
383
00:14:41,201 --> 00:14:44,201
So now, we zoom back into this area.
384
00:14:44,196 --> 00:14:45,356
Look at that background.
385
00:14:45,357 --> 00:14:47,037
That background remained the same.
386
00:14:47,041 --> 00:14:50,361
Now I'll move this amount slider a little bit again.
387
00:14:50,361 --> 00:14:54,261
And you can see that as I move my amount slider
388
00:14:54,262 --> 00:14:56,732
the moth itself is what's getting sharpening
389
00:14:56,735 --> 00:14:57,965
but my background is not.
390
00:14:57,965 --> 00:15:01,065
My background is staying nice and silky smooth.
391
00:15:01,064 --> 00:15:03,754
So that's the proper way to apply sharpening.
392
00:15:03,758 --> 00:15:05,498
By creating a mask.
393
00:15:05,500 --> 00:15:08,760
Now, there are two other sliders here
394
00:15:08,762 --> 00:15:10,422
in the sharpening panel.
395
00:15:10,422 --> 00:15:13,422
There's radius and detail.
396
00:15:13,417 --> 00:15:15,077
Now, what the radius slider does
397
00:15:15,078 --> 00:15:17,318
is increase the intensity.
398
00:15:17,318 --> 00:15:18,098
Not necessarily the amount
399
00:15:18,096 --> 00:15:19,896
but the intensity, if you will
400
00:15:19,895 --> 00:15:22,355
of the sharpening process.
401
00:15:22,357 --> 00:15:23,597
Now, you gotta be very careful
402
00:15:23,599 --> 00:15:26,169
about using the radius slider.
403
00:15:26,164 --> 00:15:31,164
I typically will use a radius of 1.1 to 1.9
404
00:15:31,458 --> 00:15:32,438
on the extreme.
405
00:15:32,434 --> 00:15:35,914
Usually I do not go beyond 1.9.
406
00:15:35,916 --> 00:15:38,656
I'll go up to 1.9 only when an image
407
00:15:38,656 --> 00:15:40,086
is not critically sharp
408
00:15:40,084 --> 00:15:42,054
and I want to salvage it a little bit.
409
00:15:42,058 --> 00:15:44,458
Because what's happening is, as you increase
410
00:15:44,461 --> 00:15:47,331
that radius slider over to the right
411
00:15:47,329 --> 00:15:50,559
you are increasing the amount of sharpening
412
00:15:50,555 --> 00:15:52,175
that's going on and your image
413
00:15:52,170 --> 00:15:54,430
is gonna look, what I like to call "crunchy."
414
00:15:54,433 --> 00:15:56,573
It just doesn't look natural itself.
415
00:15:56,570 --> 00:15:59,330
So typically my radius slider's gonna
416
00:15:59,333 --> 00:16:03,863
hover somewhere around in the 1.1 to 1.3 setting
417
00:16:03,860 --> 00:16:06,040
and that's usually enough.
418
00:16:06,040 --> 00:16:08,560
Now, often times what happens
419
00:16:08,559 --> 00:16:10,329
when you apply sharpening.
420
00:16:10,324 --> 00:16:12,244
You lose a little bit of detail
421
00:16:12,239 --> 00:16:13,609
because what sharpening's doing
422
00:16:13,608 --> 00:16:15,528
is increasing the contrast between
423
00:16:15,525 --> 00:16:18,105
the edges of your image.
424
00:16:18,102 --> 00:16:20,442
And that's how it achieves sharpening.
425
00:16:20,446 --> 00:16:23,766
So, what the details slider tries to recover
426
00:16:23,767 --> 00:16:26,737
some of that detail that's being lost in there.
427
00:16:26,739 --> 00:16:29,669
But, if you apply too much detail
428
00:16:29,665 --> 00:16:31,545
you're gonna lose a little bit
429
00:16:31,546 --> 00:16:33,266
of the sharpening itself.
430
00:16:33,264 --> 00:16:34,984
So you want to be very careful
431
00:16:34,982 --> 00:16:37,222
about using the detail slider.
432
00:16:37,223 --> 00:16:39,383
I typically do not use the detail slider
433
00:16:39,382 --> 00:16:40,062
all that much.
434
00:16:40,066 --> 00:16:44,086
If I do, I don't go beyond like a 30 or a 40.
435
00:16:44,084 --> 00:16:44,824
Somewhere in there.
436
00:16:44,826 --> 00:16:46,196
But often times I don't even touch it.
437
00:16:46,197 --> 00:16:49,347
I work more with the amount, radius
438
00:16:49,343 --> 00:16:51,523
and the masking sliders.
439
00:16:51,525 --> 00:16:54,735
Let's take a look at another image here.
440
00:16:56,204 --> 00:16:57,984
Here's an image of a snow goose
441
00:16:57,980 --> 00:16:59,800
coming in for a landing.
442
00:16:59,803 --> 00:17:03,123
I took this image in New Mexico.
443
00:17:03,123 --> 00:17:04,323
And again, I do not wanna apply
444
00:17:04,319 --> 00:17:06,559
any sharpening to the sky.
445
00:17:06,560 --> 00:17:09,880
I only wanna apply sharpening to the goose itself.
446
00:17:09,880 --> 00:17:12,060
So I'm gonna hold down my option or alt key
447
00:17:12,062 --> 00:17:14,392
and move that masking slider over to the right
448
00:17:14,396 --> 00:17:19,396
until my entire sky goes dark.
449
00:17:19,678 --> 00:17:23,218
And I'm applying sharpening only to the goose itself.
450
00:17:23,219 --> 00:17:25,219
This looks pretty good for this image.
451
00:17:25,216 --> 00:17:27,506
And the masking slider is gonna be different
452
00:17:27,502 --> 00:17:28,622
depending on the image.
453
00:17:28,617 --> 00:17:31,297
Images that have more detail in the background
454
00:17:31,299 --> 00:17:33,009
like clouds or what not
455
00:17:33,005 --> 00:17:34,565
you may have to move that masking slider
456
00:17:34,561 --> 00:17:36,201
further to the right.
457
00:17:36,198 --> 00:17:37,108
But an image like this
458
00:17:37,103 --> 00:17:39,023
where the sky is nice and clear
459
00:17:39,020 --> 00:17:40,880
you may not need to do as much
460
00:17:40,877 --> 00:17:43,027
to the masking slider.
461
00:17:43,024 --> 00:17:47,554
Now I wanna zoom in into the goose itself
462
00:17:47,552 --> 00:17:52,102
and move my sharpening amount to the right
463
00:17:52,103 --> 00:17:54,953
until I get the amount of sharpening that I want.
464
00:17:54,948 --> 00:17:57,188
Now, by creating that mask
465
00:17:57,188 --> 00:17:58,408
one of the things you've been able to do
466
00:17:58,407 --> 00:18:00,287
is give yourself a little more leeway
467
00:18:00,288 --> 00:18:02,288
and push that amount slider further
468
00:18:02,285 --> 00:18:05,325
than you would have if you had not created a mask.
469
00:18:05,326 --> 00:18:09,066
But, there is such a thing as too much sharpening.
470
00:18:09,065 --> 00:18:10,305
So you wanna be a little bit judicious
471
00:18:10,307 --> 00:18:13,287
and not push it all the way to the right every time
472
00:18:13,290 --> 00:18:14,650
because again, your images are not gonna look
473
00:18:14,648 --> 00:18:16,288
all that natural.
474
00:18:16,286 --> 00:18:17,526
So do it to the point where
475
00:18:17,528 --> 00:18:19,088
in this case, for example
476
00:18:19,084 --> 00:18:20,804
the goose eye is nice and sharp.
477
00:18:20,802 --> 00:18:21,872
I can see it.
478
00:18:21,869 --> 00:18:23,169
Especially when I zoom out.
479
00:18:23,170 --> 00:18:27,090
It really comes into focus.
480
00:18:28,267 --> 00:18:30,877
Another adjustment that's related to sharpening
481
00:18:30,874 --> 00:18:32,284
is noise reduction.
482
00:18:32,283 --> 00:18:34,453
And we want to apply noise reduction to an image
483
00:18:34,454 --> 00:18:36,304
that we've taken at very high iso's
484
00:18:36,300 --> 00:18:38,580
like 1600 or 3200
485
00:18:38,576 --> 00:18:41,536
or when we did a very long exposure.
486
00:18:41,536 --> 00:18:42,816
Typically, a lot of these images
487
00:18:42,813 --> 00:18:45,303
will end up having a lot of dark areas
488
00:18:45,298 --> 00:18:47,778
and that's where the noise, the digital noise
489
00:18:47,782 --> 00:18:50,382
really shows itself more.
490
00:18:50,382 --> 00:18:51,882
So let's take a look at this image here.
491
00:18:51,880 --> 00:18:54,350
This is a lighthouse that I photographed
492
00:18:54,353 --> 00:18:56,533
with the Milky Way in the background
493
00:18:56,536 --> 00:18:58,676
on the coast of Maine.
494
00:18:58,672 --> 00:19:02,272
And, as we zoom in over here
495
00:19:02,271 --> 00:19:03,371
you can see that this image has
496
00:19:03,374 --> 00:19:04,634
quite a bit of noise.
497
00:19:04,638 --> 00:19:07,108
This image, by looking here at the camera settings
498
00:19:07,112 --> 00:19:10,402
I know that I shot this image at 3200 iso
499
00:19:10,397 --> 00:19:12,797
and there is a great deal of noise here
500
00:19:12,800 --> 00:19:15,020
in the dark part of the sky.
501
00:19:15,018 --> 00:19:17,788
And I want to do my best to remove that.
502
00:19:17,792 --> 00:19:20,002
And that's where the noise reduction sliders
503
00:19:19,998 --> 00:19:21,518
come into play.
504
00:19:21,518 --> 00:19:23,018
There are two types of noise reduction
505
00:19:23,017 --> 00:19:24,257
that you can apply.
506
00:19:24,258 --> 00:19:27,778
Both luminance and color type noise reduction.
507
00:19:27,777 --> 00:19:31,097
In most cases, when you're shooting images
508
00:19:31,097 --> 00:19:32,537
of the night sky
509
00:19:32,536 --> 00:19:33,676
what you want to work with
510
00:19:33,674 --> 00:19:35,554
is the luminance noise reduction.
511
00:19:35,555 --> 00:19:36,955
But in some images
512
00:19:36,959 --> 00:19:39,599
the color noise reduction may be more effective.
513
00:19:39,595 --> 00:19:41,675
All you have to do is really experiment with these
514
00:19:41,673 --> 00:19:44,873
until you find the right one to use.
515
00:19:44,877 --> 00:19:47,177
So, let's play around with this image a little bit.
516
00:19:47,176 --> 00:19:51,416
Let's move around the luminance slider
517
00:19:51,413 --> 00:19:52,663
and let's take a look what happens
518
00:19:52,659 --> 00:19:55,399
to the noise in this image.
519
00:19:55,399 --> 00:19:56,769
You can see that I've actually reduced
520
00:19:56,768 --> 00:19:59,658
quite a bit of that noise in there.
521
00:19:59,660 --> 00:20:03,170
Let's do a before and after view.
522
00:20:03,165 --> 00:20:04,145
Look at the amount of noise
523
00:20:04,141 --> 00:20:06,081
that was there before hand.
524
00:20:06,080 --> 00:20:07,660
And after I did my noise reduction
525
00:20:07,659 --> 00:20:10,669
a lot of that noise has disappeared.
526
00:20:10,665 --> 00:20:14,685
Noise reduction is kind of the enemy of sharpness
527
00:20:14,682 --> 00:20:16,182
because what noise reduction is trying to do
528
00:20:16,180 --> 00:20:18,420
is kind of smooth out all those areas
529
00:20:18,420 --> 00:20:23,420
where that digital noise is showing through.
530
00:20:23,529 --> 00:20:26,619
So you have to balance out sharpness
531
00:20:26,616 --> 00:20:28,916
with noise reduction.
532
00:20:28,915 --> 00:20:32,055
Again, if you look here in the luminance sliders
533
00:20:32,050 --> 00:20:34,230
or the noise reduction sliders in the luminance
534
00:20:34,233 --> 00:20:36,053
you'll have a detail slider
535
00:20:36,055 --> 00:20:37,195
and that's similar to the one
536
00:20:37,193 --> 00:20:39,873
that we saw earlier in sharpening.
537
00:20:39,875 --> 00:20:42,585
It tries to bring back some of that detail
538
00:20:42,580 --> 00:20:47,110
that you may have lost by applying that luminance.
539
00:20:47,107 --> 00:20:48,307
So you can play with that a little bit
540
00:20:48,303 --> 00:20:49,953
and you can see how I'm bringing back
541
00:20:49,951 --> 00:20:51,251
some of that detail.
542
00:20:51,251 --> 00:20:53,311
But I don't wanna bring too much back of that detail
543
00:20:53,307 --> 00:20:55,347
because it's now introducing some artifacts
544
00:20:55,350 --> 00:20:57,010
into the image.
545
00:20:57,010 --> 00:20:59,090
So, very important for you to be zoomed in.
546
00:20:59,088 --> 00:21:02,208
I like to be zoomed in at 2:1 or 1:1
547
00:21:02,211 --> 00:21:03,691
to be able to see these changes
548
00:21:03,686 --> 00:21:05,646
nice and close up.
549
00:21:05,648 --> 00:21:07,088
On other images
550
00:21:07,087 --> 00:21:09,407
you may find that color noise reduction
551
00:21:09,409 --> 00:21:11,109
is a little bit more effective.
552
00:21:11,104 --> 00:21:12,024
Again, it really depends on the image.
553
00:21:12,021 --> 00:21:13,731
You've gotta experiment with both
554
00:21:13,728 --> 00:21:16,778
to see which one will be more effective.
555
00:21:16,781 --> 00:21:18,961
And the last slider here for the luminance
556
00:21:18,964 --> 00:21:20,494
is gonna be the contrast.
557
00:21:20,496 --> 00:21:22,656
You can actually adjust the contrast
558
00:21:22,655 --> 00:21:24,695
of that noise reduction that's taking place.
559
00:21:24,698 --> 00:21:27,418
I typically do not move the contrast slider
560
00:21:27,415 --> 00:21:28,535
all that much because, again
561
00:21:28,530 --> 00:21:31,320
it starts bringing back in some of that noise
562
00:21:31,316 --> 00:21:33,236
and some of those artifacts.
563
00:21:33,232 --> 00:21:35,312
So, again you've gotta be very judicious
564
00:21:35,310 --> 00:21:36,970
with the contrast slider
565
00:21:36,970 --> 00:21:39,930
when you're working with luminance noise reduction.
566
00:21:39,930 --> 00:21:42,140
When you're working with the color noise reduction
567
00:21:42,136 --> 00:21:44,346
the smoothness also comes into play
568
00:21:44,341 --> 00:21:48,791
and this is, again, how much of that noise
569
00:21:48,788 --> 00:21:50,028
is being sort of smeared
570
00:21:50,030 --> 00:21:53,550
or smoothed out of the image.
571
00:21:53,548 --> 00:21:55,808
So, with those you have to be very judicious.
572
00:21:55,812 --> 00:21:56,972
Look at the image
573
00:21:56,972 --> 00:21:59,612
and there's not one right setting for every image.
574
00:21:59,608 --> 00:22:01,208
Every image is gonna require
575
00:22:01,210 --> 00:22:03,730
a different level of adjustment
576
00:22:03,730 --> 00:22:06,510
in here and noise reduction.
577
00:22:08,246 --> 00:22:10,786
You may have noticed that when you make an image
578
00:22:10,788 --> 00:22:13,748
some lenses may impart some sort of distortion
579
00:22:13,748 --> 00:22:15,518
or vignetting on your images.
580
00:22:15,513 --> 00:22:16,903
A vignetting means that
581
00:22:16,899 --> 00:22:18,749
you get some darkened corners.
582
00:22:18,745 --> 00:22:20,825
Even the most expensive lenses are not perfect.
583
00:22:20,823 --> 00:22:23,703
You may still encounter some of the distortions
584
00:22:23,702 --> 00:22:25,742
and flaws with, you know
585
00:22:25,746 --> 00:22:28,206
even the best lenses that you can find.
586
00:22:28,206 --> 00:22:32,526
Luckily, Adobe has profiled a lot of these lenses
587
00:22:32,527 --> 00:22:34,857
and Lightroom can actually correct
588
00:22:34,861 --> 00:22:36,861
for a lot of those deficiencies.
589
00:22:36,858 --> 00:22:38,798
Let's take a look how to do that.
590
00:22:38,797 --> 00:22:41,997
We're gonna go here into the lens correction panel.
591
00:22:42,001 --> 00:22:45,881
And I recommend that you go to the profile tab
592
00:22:45,879 --> 00:22:47,779
in the lens correction panel
593
00:22:47,782 --> 00:22:49,422
and you can simply click on
594
00:22:49,419 --> 00:22:51,709
"Enable Profile Corrections."
595
00:22:51,706 --> 00:22:53,936
And you can see how this image
596
00:22:53,935 --> 00:22:55,975
has actually changed a little bit.
597
00:22:55,979 --> 00:22:57,619
I'm gonna redo that
598
00:22:57,616 --> 00:22:59,436
so you can see the effect.
599
00:22:59,438 --> 00:23:00,378
If you look over here
600
00:23:00,379 --> 00:23:02,099
on the upper right hand corner of the image
601
00:23:02,097 --> 00:23:04,387
is where you'll see the effect more pronounced.
602
00:23:04,383 --> 00:23:06,343
I'm gonna uncheck it
603
00:23:06,345 --> 00:23:09,175
and you see how this part is darker?
604
00:23:09,179 --> 00:23:10,599
And I click on it.
605
00:23:10,595 --> 00:23:12,135
The perspective has changed a little bit
606
00:23:12,139 --> 00:23:15,429
on the image, and it has actually lightened this area
607
00:23:15,424 --> 00:23:19,174
where the lens imparted some vignetting.
608
00:23:19,174 --> 00:23:21,024
What you'll notice is down here
609
00:23:21,020 --> 00:23:24,200
is that Lightroom has actually detected
610
00:23:24,201 --> 00:23:28,101
not only the lens that's being used
611
00:23:28,101 --> 00:23:29,521
or the make of the lens that's being used
612
00:23:29,518 --> 00:23:32,618
but actually the model of the lens that's being used.
613
00:23:32,618 --> 00:23:34,258
And, like I said
614
00:23:34,255 --> 00:23:36,935
Adobe has gone ahead and profiled a lot of lenses
615
00:23:36,937 --> 00:23:38,537
and most of the common lenses
616
00:23:38,539 --> 00:23:40,439
from the most common manufacturers
617
00:23:40,442 --> 00:23:43,852
and built in corrections to compensate
618
00:23:43,856 --> 00:23:46,176
for those deficiencies in those lenses.
619
00:23:46,178 --> 00:23:48,058
If we pull down the menu here
620
00:23:48,059 --> 00:23:50,419
you can see all the different lenses.
621
00:23:50,415 --> 00:23:51,905
All the different Canon lenses
622
00:23:51,901 --> 00:23:53,681
that Adobe has profiled
623
00:23:53,678 --> 00:23:56,088
and actually applied corrections for.
624
00:23:56,092 --> 00:23:58,052
So, I encourage you to go ahead
625
00:23:58,054 --> 00:24:01,364
and always enable the profile corrections
626
00:24:01,362 --> 00:24:05,302
because it not only will fix any vignetting issues
627
00:24:05,299 --> 00:24:08,839
and distortion issues, but some lenses
628
00:24:08,839 --> 00:24:11,669
are more prone to chromatic aberrations
629
00:24:11,672 --> 00:24:12,832
and the profile corrections
630
00:24:12,833 --> 00:24:15,783
will try to compensate for those as well.
631
00:24:18,161 --> 00:24:19,891
Another neat feature that Lightroom has
632
00:24:19,892 --> 00:24:21,902
is perspective correction.
633
00:24:21,900 --> 00:24:25,580
And what that is, is the ability to correct
634
00:24:25,580 --> 00:24:27,290
for converging lines
635
00:24:27,286 --> 00:24:31,146
especially when you're shooting buildings, for example
636
00:24:31,141 --> 00:24:32,571
using a wide angle lens.
637
00:24:32,569 --> 00:24:34,319
Let's take a look at an example here.
638
00:24:34,322 --> 00:24:37,632
This image is of the electronics district
639
00:24:37,630 --> 00:24:39,650
in Tokyo, Japan.
640
00:24:39,650 --> 00:24:41,650
And as you can see by looking at these buildings
641
00:24:41,647 --> 00:24:43,127
they look like they're falling over.
642
00:24:43,122 --> 00:24:44,642
That they're falling backwards.
643
00:24:44,643 --> 00:24:47,983
And that has to do with the way that the lines
644
00:24:47,986 --> 00:24:50,426
are converging into each other.
645
00:24:50,424 --> 00:24:52,424
They're not really straight up and down.
646
00:24:52,421 --> 00:24:54,191
And we know that buildings
647
00:24:54,186 --> 00:24:57,226
the edges of buildings are typically nice and straight.
648
00:24:57,227 --> 00:24:58,727
Often times this is something
649
00:24:58,725 --> 00:25:00,505
that you would have to go into Photoshop
650
00:25:00,501 --> 00:25:02,741
or another program to correct manually.
651
00:25:02,742 --> 00:25:04,602
But Lightroom now can do this
652
00:25:04,599 --> 00:25:06,779
under the lens correction tab.
653
00:25:06,782 --> 00:25:07,922
What you want to do is
654
00:25:07,920 --> 00:25:09,570
under the lens correction section
655
00:25:09,568 --> 00:25:11,928
go into the basic tab
656
00:25:11,925 --> 00:25:13,985
and before you even try to do
657
00:25:13,980 --> 00:25:17,720
what's called the upright correction in Lightroom
658
00:25:17,718 --> 00:25:19,728
you want to enable profile correction
659
00:25:19,726 --> 00:25:24,726
so that Lightroom can actually determine
660
00:25:24,985 --> 00:25:28,445
the camera and lenses that were being used.
661
00:25:28,445 --> 00:25:30,265
Now, the next thing that you can do
662
00:25:30,267 --> 00:25:33,707
very easily is just to hit the auto button
663
00:25:33,704 --> 00:25:36,604
under the upright section
664
00:25:36,606 --> 00:25:39,126
and Lightroom will go ahead
665
00:25:39,125 --> 00:25:42,525
and straighten out those lines automatically.
666
00:25:42,527 --> 00:25:45,697
It actually kind of works, almost like magic.
667
00:25:45,697 --> 00:25:47,647
Now, one thing that you notice is that
668
00:25:47,647 --> 00:25:50,337
you have these white sections here at the bottom
669
00:25:50,341 --> 00:25:52,581
because of the way that Lightroom had to go
670
00:25:52,581 --> 00:25:55,181
and transform your image.
671
00:25:55,182 --> 00:25:58,042
You're gonna end up with some empty spaces.
672
00:25:58,038 --> 00:25:59,118
So this is where the
673
00:25:59,117 --> 00:26:01,927
constraint crop check-box comes in.
674
00:26:01,926 --> 00:26:04,806
You can click on the constraint crop check-box
675
00:26:04,805 --> 00:26:06,865
and it will go ahead and crop the image down
676
00:26:06,861 --> 00:26:11,861
so that none of those white areas show up.
677
00:26:12,305 --> 00:26:17,305
Now, if, for some reason the auto settings in upright
678
00:26:17,564 --> 00:26:21,164
doesn't do exactly what you need it to do
679
00:26:21,163 --> 00:26:25,263
you may be able to use three different other options
680
00:26:25,262 --> 00:26:26,702
that you have.
681
00:26:26,701 --> 00:26:28,581
The first option here is level
682
00:26:28,582 --> 00:26:32,822
which Lightroom will try to actually level your camera.
683
00:26:32,819 --> 00:26:35,119
Remember how earlier, in an earlier lesson
684
00:26:35,118 --> 00:26:38,518
we used a leveling tool to manually level an image.
685
00:26:38,520 --> 00:26:40,800
Well, if we click on the level button
686
00:26:40,795 --> 00:26:43,315
Lightroom will try to level the image
687
00:26:43,314 --> 00:26:46,344
by the scene that it sees in the image.
688
00:26:46,344 --> 00:26:47,624
If you're trying to just do a
689
00:26:47,621 --> 00:26:50,261
vertical perspective correction
690
00:26:50,257 --> 00:26:51,777
you can just hit the vertical button
691
00:26:51,778 --> 00:26:53,518
and it won't do a level.
692
00:26:53,519 --> 00:26:56,739
Auto and full basically will do the entire thing
693
00:26:56,735 --> 00:27:00,165
both a horizontal and a vertical correction.
694
00:27:00,160 --> 00:27:02,300
Typically I have found that the auto setting
695
00:27:02,296 --> 00:27:04,836
works almost all of the time.
696
00:27:04,838 --> 00:27:05,858
There are some images that may be
697
00:27:05,860 --> 00:27:07,500
more challenging than others
698
00:27:07,497 --> 00:27:10,377
but auto works very effectively.
699
00:27:10,376 --> 00:27:11,916
Now this perspective correction tool
700
00:27:11,920 --> 00:27:14,500
works equally well for interiors of buildings
701
00:27:14,497 --> 00:27:16,487
as well as exteriors to buildings
702
00:27:16,482 --> 00:27:18,702
and it doesn't have to be done with a fancy camera.
703
00:27:18,700 --> 00:27:22,960
For example, this image here I took with my iPhone
704
00:27:22,960 --> 00:27:24,460
and this is the interior of
705
00:27:24,458 --> 00:27:27,038
a cathedral in Barcelona, Spain.
706
00:27:27,035 --> 00:27:29,255
And let's take a look at what the upright
707
00:27:29,253 --> 00:27:30,993
or perspective correction in Lightroom
708
00:27:30,994 --> 00:27:32,154
will do for it.
709
00:27:32,155 --> 00:27:35,805
First thing we'll do is enable profile corrections.
710
00:27:35,800 --> 00:27:38,580
We'll turn on constraint crop as well
711
00:27:38,575 --> 00:27:41,875
and hit the auto button.
712
00:27:41,872 --> 00:27:44,102
And you can see now how those columns
713
00:27:44,101 --> 00:27:46,181
on the left and right
714
00:27:46,179 --> 00:27:48,559
as well as this horizontal line at the bottom
715
00:27:48,559 --> 00:27:51,159
have all been leveled off.
716
00:27:51,159 --> 00:27:52,419
Very quickly, automatically
717
00:27:52,414 --> 00:27:55,674
without a lot of work on my end.
718
00:27:55,676 --> 00:27:59,296
Let's take a look at one last example.
719
00:28:00,738 --> 00:28:02,268
We saw this image earlier
720
00:28:02,270 --> 00:28:04,730
of the lighthouse with the Milky Way
721
00:28:04,731 --> 00:28:05,731
in the background.
722
00:28:05,730 --> 00:28:06,910
This image is a little bit challenging.
723
00:28:06,914 --> 00:28:11,914
I shot this with a wide angle lens at 24 millimeters.
724
00:28:12,010 --> 00:28:15,850
And my horizon here is level.
725
00:28:15,853 --> 00:28:17,123
I made sure that when I took the image
726
00:28:17,118 --> 00:28:18,918
my horizon was level.
727
00:28:18,917 --> 00:28:20,117
But, because I'm shooting this
728
00:28:20,114 --> 00:28:21,974
with a wide angle lens
729
00:28:21,971 --> 00:28:25,121
my lighthouse is not straight.
730
00:28:25,117 --> 00:28:26,727
It is leaning over a little bit
731
00:28:26,731 --> 00:28:31,411
just like we saw earlier with the buildings in Tokyo.
732
00:28:31,410 --> 00:28:34,670
Now, if I went ahead and did a level
733
00:28:34,672 --> 00:28:38,452
as we did earlier, and I tried to level the lighthouse
734
00:28:38,456 --> 00:28:41,276
you can imagine what's going to happen.
735
00:28:41,277 --> 00:28:44,237
Now my horizon is going to be crooked.
736
00:28:44,238 --> 00:28:47,618
So we definitely do not want to do that.
737
00:28:47,616 --> 00:28:51,526
This is where the upright feature
738
00:28:51,529 --> 00:28:53,039
really comes in handy.
739
00:28:53,037 --> 00:28:56,697
I'll click on enable profile correction.
740
00:28:56,718 --> 00:28:59,358
Constraint crop and do an auto.
741
00:28:59,354 --> 00:29:02,534
Now I may need to adjust my exposure afterwards
742
00:29:02,535 --> 00:29:06,555
because it's trying to correct for the exposure here
743
00:29:06,551 --> 00:29:08,261
so my lighthouse is a little bright.
744
00:29:08,257 --> 00:29:09,117
But what you can see now
745
00:29:09,116 --> 00:29:11,836
is that my horizon is still straight
746
00:29:11,834 --> 00:29:13,234
and my lighthouse
747
00:29:13,238 --> 00:29:14,798
although is not perfectly straight
748
00:29:14,794 --> 00:29:17,384
is a lot straighter than it was before.
749
00:29:17,382 --> 00:29:18,662
And you can use this to correct
750
00:29:18,660 --> 00:29:22,140
for even these extreme perspective problems.
751
00:29:22,142 --> 00:29:24,302
The lens correction panel has two more tabs
752
00:29:24,302 --> 00:29:26,222
that I'm gonna touch on briefly.
753
00:29:26,218 --> 00:29:27,738
One is color.
754
00:29:27,739 --> 00:29:29,639
Again, I talked about earlier
755
00:29:29,642 --> 00:29:33,772
how the profile correction can actually remove
756
00:29:33,775 --> 00:29:35,045
chromatic aberrations that
757
00:29:35,040 --> 00:29:36,850
may be inherent on your lens.
758
00:29:36,852 --> 00:29:38,032
So you want to go in here
759
00:29:38,036 --> 00:29:40,686
and click on remove chromatic aberration.
760
00:29:40,683 --> 00:29:43,213
If you have a lens that's particularly prone
761
00:29:43,214 --> 00:29:44,654
to a chromatic aberrations
762
00:29:44,654 --> 00:29:45,864
after you've turned that on
763
00:29:45,860 --> 00:29:48,140
you can actually adjust that
764
00:29:48,136 --> 00:29:50,026
chromatic aberration, the defringing
765
00:29:50,021 --> 00:29:52,931
of those chromatic aberrations manually as well.
766
00:29:52,933 --> 00:29:55,723
And then, let's say that you have
767
00:29:55,719 --> 00:29:59,269
a lens that hasn't been profiled by Adobe.
768
00:29:59,272 --> 00:30:00,422
You can actually go in
769
00:30:00,421 --> 00:30:03,311
and make a lot of these same adjustments manually
770
00:30:03,312 --> 00:30:04,852
by going into the manual tab.
771
00:30:04,856 --> 00:30:06,516
You can adjust the distortion
772
00:30:06,516 --> 00:30:09,586
vertical distortion, the horizontal distortion.
773
00:30:09,581 --> 00:30:11,551
All sorts of settings.
774
00:30:11,555 --> 00:30:13,315
And you can do this manually
775
00:30:13,319 --> 00:30:15,379
for those lenses that may not be
776
00:30:15,374 --> 00:30:19,464
in the Lightroom database.
777
00:30:19,460 --> 00:30:20,520
The last topic we're gonna talk about
778
00:30:20,517 --> 00:30:22,977
in this lesson is processed versions.
779
00:30:22,978 --> 00:30:25,718
Lightroom's been around since about 2003
780
00:30:25,718 --> 00:30:26,968
and in that period of time
781
00:30:26,972 --> 00:30:29,182
there have been a number of different upgrades
782
00:30:29,177 --> 00:30:31,597
and versions of the process engine
783
00:30:31,593 --> 00:30:33,493
inside Lightroom itself.
784
00:30:33,497 --> 00:30:37,657
If I had brought images into Lightroom in 2003
785
00:30:37,660 --> 00:30:39,460
and I'm working on those images today
786
00:30:39,464 --> 00:30:42,084
you'll notice that the controls that I have
787
00:30:42,087 --> 00:30:43,467
for that specific image will be
788
00:30:43,469 --> 00:30:47,209
the same controls I had back in 2003.
789
00:30:47,207 --> 00:30:49,147
I may not have the most up to date
790
00:30:49,146 --> 00:30:51,886
sliders and controls
791
00:30:51,886 --> 00:30:54,236
but that's because Lightroom is trying to
792
00:30:54,231 --> 00:30:56,731
remain faithful to the changes that you made
793
00:30:56,727 --> 00:31:00,337
to that image back when you first imported it.
794
00:31:00,337 --> 00:31:02,237
Luckily, we can go ahead and upgrade
795
00:31:02,238 --> 00:31:04,478
the processes version for a specific image.
796
00:31:04,479 --> 00:31:07,249
Let's take a look at this image, right here.
797
00:31:07,253 --> 00:31:10,263
Here we have the image again of our luna moth.
798
00:31:10,260 --> 00:31:11,760
And, as you can see, when I go down
799
00:31:11,758 --> 00:31:14,908
into the camera calibration panel
800
00:31:14,903 --> 00:31:17,243
is that the process that's selected for that image
801
00:31:17,238 --> 00:31:19,578
is a 2003.
802
00:31:19,582 --> 00:31:22,992
Cause that's when Lightroom was first released.
803
00:31:22,996 --> 00:31:27,256
Now, if I wanted to work on this image again
804
00:31:27,256 --> 00:31:29,496
and I go back into my basic panel
805
00:31:29,497 --> 00:31:32,117
you will see that the sliders are slightly different
806
00:31:32,120 --> 00:31:35,310
than they were when I was working with images
807
00:31:35,313 --> 00:31:36,243
that were more current
808
00:31:36,242 --> 00:31:39,072
or images that I imported more recently.
809
00:31:39,075 --> 00:31:42,095
For example, here i have my main four sliders
810
00:31:42,093 --> 00:31:44,263
are gonna be exposure, recovery
811
00:31:44,264 --> 00:31:46,064
fill light, and blacks.
812
00:31:46,063 --> 00:31:48,063
What happened to my highlights
813
00:31:48,061 --> 00:31:49,921
and shadow sliders?
814
00:31:49,918 --> 00:31:52,078
Well that's because Lightroom is showing me
815
00:31:52,077 --> 00:31:54,677
the controls as they existed
816
00:31:54,678 --> 00:31:58,118
when the first process engine version was used.
817
00:31:58,114 --> 00:32:00,294
If I wanted to upgrade this image
818
00:32:00,297 --> 00:32:02,637
to the latest process version
819
00:32:02,641 --> 00:32:05,161
I simply go down here to the process menu
820
00:32:05,161 --> 00:32:09,841
select it, and select the current process version
821
00:32:09,840 --> 00:32:12,370
which is the 2012 process version
822
00:32:12,370 --> 00:32:13,680
that still lives on
823
00:32:13,683 --> 00:32:15,123
even in this version of Lightroom
824
00:32:15,122 --> 00:32:16,942
which is version five.
825
00:32:16,945 --> 00:32:17,925
Once I select that
826
00:32:17,920 --> 00:32:21,930
you will notice that now my sliders have changed
827
00:32:21,925 --> 00:32:22,965
to be the current sliders.
828
00:32:22,969 --> 00:32:24,999
I have highlights, shadows, whites and blacks.
829
00:32:25,002 --> 00:32:27,762
All my controls are the full controls
830
00:32:27,765 --> 00:32:30,025
I have today for this particular image.
831
00:32:30,028 --> 00:32:32,268
What Lightroom has done has try to translate
832
00:32:32,269 --> 00:32:35,069
the adjustments that I did
833
00:32:35,067 --> 00:32:36,727
with a previous process version
834
00:32:36,727 --> 00:32:38,747
to the current process version.
835
00:32:38,747 --> 00:32:40,887
But it is possible that you may see
836
00:32:40,883 --> 00:32:42,403
some flight changes in your image.
837
00:32:42,404 --> 00:32:44,724
So any time you change process versions
838
00:32:44,726 --> 00:32:48,576
you want to take a close look at your image.
839
00:32:48,580 --> 00:32:51,030
Now, let's talk about homework for this lesson.
840
00:32:51,029 --> 00:32:53,229
As I mentioned previously
841
00:32:53,224 --> 00:32:56,294
I considered the tone curve my secret weapon
842
00:32:56,289 --> 00:32:59,729
to make my images look the best that they can be.
843
00:32:59,725 --> 00:33:01,785
So my homework for you will be
844
00:33:01,780 --> 00:33:04,490
to practice using the tone curve
845
00:33:04,485 --> 00:33:07,265
to improve a few of your favorite images.
846
00:33:07,260 --> 00:33:11,260
In our next lesson, let's talk about creative effects.
60120
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