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Welcome back.
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In this lesson, we're going to use Lightroom
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to exercise our creative muscle.
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We will cover creating black and white masterpieces,
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adding grain to our images,
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and creating vignetting effects.
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In a previous lesson I talked about
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an easy way to convert images to black and white.
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By going into the Basic panel,
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and clicking on the black and white button.
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And that's just a straight conversion into black and white.
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But as you can see,
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you have very little control
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about the tonality and the density of this image.
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So we're gonna use a much more flexible
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and capable way of converting the image to black and white.
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I'm going to undo this change,
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and we're gonna go down to the black and white panel
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which is bunched together with the hues,
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saturation, luminous, and color.
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So we'll click on black and white.
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And as you can see, what this did was convert my image
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to black and white.
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Just like the other control under the Basic panel did.
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However, now we have all these different colors.
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All these different slider for different colors
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that allow us to manipulate
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each individual color independently
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For those of you that shot black and white film,
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one of the techniques that was used
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for creating different looks in your black and white images
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was to use different colored filters in front of your lens.
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And Lightroom is giving us that same opportunity,
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but doing it in a much more flexible way
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in the post-processing.
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So let's take a look.
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Let's say that for example,
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in this sky, the sky is kind of light colored,
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I wanna add a lot of density to that sky,
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make it look a little more ominous,
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so one of the easiest things to do is,
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because I know that the sky is blue,
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I can manipulate my blue slider
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to actually add a lot of density
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and make that sky much darker.
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And by just moving the slider a little bit to the left
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you can see how I'm making that sky a little bit more
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foreboding, and much more dramatic.
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And I can do the same thing for some of
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the other colors in the scene.
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For example I can move the greens,
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either to the left or to the right to change the look
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of the foliage in the foreground.
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However, there's certain elements in the image
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for which I don't exactly know what the color is.
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I can use a color picker like we saw earlier,
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in the HSL slider.
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I can click on the little circle right here
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on the left hand, upper left hand side
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of the black and white panel,
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and I can select for example one of these flowers over here.
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Click on it and move my mouse up or down
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to actually change the tonality of those flowers
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and make them stand out more,
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or less.
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I wanna move them up a little bit.
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Very simple to do,
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but just simply manipulating
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all the colored filter sliders
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under the black and white panel.
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Let's take a look at another image.
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This image also is from Mount Rainier National Park
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in Washington State,
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and I'd like to give this image a black and white treatment.
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So we're gonna go into black and white again.
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But as you can see,
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the image is really kinda dull,
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there's not a lot of contrast between the different
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elements in the image.
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So I'm gonna again use a lot of my sliders here
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to bring different contrast
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and different density
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to the different
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features within my image.
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So I wanna add a little more density
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to the rocks then here.
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I'm gonna use the color picker again,
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because I don't know exactly the color
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that the rocks are.
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I'm gonna click on it and bring that down
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to actually make those rocks darker.
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And I'm gonna again move the green up a little bit
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to add more contrast between the foliage that we're seeing,
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and the rocks in the foreground.
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Let's take a quick look at another image.
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Again we, our bear from before,
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we've looked at this bear in a couple other lessons,
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I'm gonna convert this to black and white
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and manipulate the colors a little bit.
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I'm gonna start with the greens again once more,
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make those a little darker,
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I'm gonna select the bear,
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or select the color picker and click on the fur
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of the bear and actually bring that a little bit
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lighter in to add some contrast
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between the foreground foliage and the bear.
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And then I'm gonna do the same thing with the background.
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I'm gonna bring that background in
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and make it a little darker.
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Now one of the things that we had when we shot film,
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is that different kinds of film
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imparted a different type of grain onto the image.
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A lot of people selected the film that they used
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based on the characteristics of that grain
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for the different kinds of film.
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In Lightroom, we can actually add grain
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to our images as well,
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to try to recreate what that looked like.
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So we're going to go down here into Effects,
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and down at the bottom of the Effects panel,
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we can see that we have a control
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to add grain into our scene.
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So I'm gonna add a little bit of grain
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onto the scene,
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and I'm gonna zoom in a little bit
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so you can actually see what that effect looks like.
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I know a lot of us who shoot digital and color nowadays
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are trying to do everything we can
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to remove the grain.
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But for black and white images,
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sometimes that grain can add a lot of texture
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and interest to our scene.
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So here we can, as you can see by moving
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the grain slider to the left or to the right
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I can actually add or remove grain.
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I can change the characteristics of the grain as well
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by adjusting the size of that grain.
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Make it more coarse or finer.
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And as well the roughness of the grain
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to actually come up with different looks or textures,
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depending on the look that you're trying to achieve.
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Or the look of the film that you're trying to emulate.
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Another great feature that Lightroom provides
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for exercising that creative muscle,
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and creating really unique and different effects,
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is Split Toning.
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But not only that, you can use split toning as well,
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when you have an image that's a little dull
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as we'll see in a minute.
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Let's first start with this image of some
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lobster boats on the coast of Maine.
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There are a lot of colors here,
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and the image is,
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actually I like the image quite a bit as it is,
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but now I wanna add more drama to the image.
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And actually saturate these colors
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and maybe change the colors a little bit.
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So we're gonna go in to the Split Toning panel.
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And what the Split Toning panel allows me to do
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is impart a different hue, or color,
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on the highlights of the image,
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and then a different hue or color
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on the shadow of the image.
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And control that, and control the balance between those two.
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I can start by either moving the hue slider,
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or actually clicking on this little box
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next to the highlights.
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This allows me to pick the color using the color picker.
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And I just also, not just the color that I'm picking,
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but also the saturation level.
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The lower I go on this box, the lower the saturation.
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The higher I go, the higher saturation.
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And I can choose whichever color I want to apply
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to the highlights on the image.
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So let's go for an orange color
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on the highlights of the image.
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Then I can close this box.
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And let's put in a blue to the shadow.
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And you can see this right as you're moving the dropper
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on the color picker,
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as to what the effect is gonna look like.
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So let's choose that.
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Now I have another slider here
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that allows me to choose the balance between
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the highlights and the shadows,
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or how much of the orange is gonna bleed into the shadows,
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or vice versa.
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And the best way to demonstrate this is
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by experimenting with the slider.
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I can move the slider to the left
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and you can see that more of the blue is
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coming into the image,
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meaning that the blues are now bleeding a little bit
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into the highlights, not just on the shadows.
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And the reverse happens when I go to the right.
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Now I have more of the
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orange bleeding into my,
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the entire image than I had on the blues.
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So you wanna find the right balance in here
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to add a lot more drama to this image.
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This is a great way
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to salvage an image that may have been ho-hum before.
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So let's take a look at the before and after.
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I'm gonna use my before and after key.
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This is what it looked like before,
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and this is after the effects.
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A lot more dramatic, a lot more color,
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and a lot more interest.
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Let's take another example.
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This image of a polo rider on the beach
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I took in California a number of years ago.
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And we had pretty terrible light.
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The light was very flat,
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there was a big fog bank obscuring the sun,
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so we really didn't get any of the
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dramatic lighting that we were looking for.
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But I do like all the other elements in the scene.
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I like the horse, I like the position of the hooves,
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I like the fact that it's running in the water,
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I love the action in the waves.
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But unfortunately the light wasn't
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all that favorable for us.
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So let's play around a little bit,
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or experiment with our Split Toning.
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I'm gonna do something very similar as I did before,
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I'm gonna go for the highlights.
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And let's switch it up a little bit.
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Let's go for blue highlights
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and orange shadows.
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And see what that looks like.
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Again, this is really all about experimentation
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and trying different things.
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But to me, the two, the pair of colors that works the best,
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or to me appeal to me the most,
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are gonna be orange and blue,
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and using those in combination.
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Sometimes in the shadows,
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putting the blue sometimes in the shadows,
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or sometimes putting the oranges in the shadows.
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And now you can see that what this has done,
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is added kind of a more antique photo effect
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onto the scene.
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And again, because this is Lightroom
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and we're doing non-destructive editing,
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you can experiment with these as much as you wanted.
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Change the colors, experiment with different things,
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or even create snapshots.
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If you like this, you can create a snapshot again,
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and experiment with another set of colors
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until you find the right colors
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and the right balance that pleases you the most.
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The last creative effect we're gonna look at is vignetting.
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And what vignetting allows us to do is
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create a dark frame around the edge of our image.
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And with vignetting,
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we can control and guide our viewer
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to the specific part of the image
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we want them to pay most attention to.
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So let's take a look at how to do that.
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So we're gonna look at vignetting
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under the Effects panel
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on the right hand side.
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And we have a number of different settings,
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our sliders here,
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on how to apply vignetting.
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Often times we want to apply
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a highlight priority-type vignetting,
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'cause that's what allows us to create
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that dark frame around the edges.
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But you can also do it by color priority
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and add a color
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to the edge of the frame as well.
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So what we're gonna do first is apply
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an amount of vignetting.
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And what you'll see is,
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that depending on which way I move this slider,
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I will be adding a dark, or a light vignette.
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If I go to the left,
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I'm adding a dark vignette to the scene.
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If I move to the right,
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I'm adding a light vignette to the scene.
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So it really depends on the look that you wanna
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apply to your image.
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I typically like to add a dark vignette to the image,
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and I can also control the midpoint
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of where the circle is going to be.
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And in a way, that also helps us apply the feathering.
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If I change the feathering all the way to the left,
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you can see that I have a very sharp circle.
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If I move it to the right, it's a very soft circle.
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Now that we've adjusted our feather,
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we can also change the midpoint.
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And the midpoint allows us to control
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how far into the midpoint of the image
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the vignetting encroaches upon.
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I can also change the roundness,
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I can make it really round or more oval,
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or squarish,
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or I can also change the highlights as well,
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to what point the feathering is imparted
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on the highlights of the image.
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Now in this image, the highlights really don't
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make that big of a change,
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because there's very few highlights included
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in the vignette.
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Let's take a look at another example.
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Here we have a red fox image
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that I made a number of years ago in Montana.
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And this is absolutely one of my
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favorite images of all time.
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There's something about the look of this fox
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that really, truly captivates me.
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But I wanna add a little bit of vignetting to this image
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so that I can really draw the attention of the viewer
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straight into the fox's eyes and the fox's expression.
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So I'm gonna move my vignette slider amount
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a little bit to the left,
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and just impart that tiny bit
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of darkness around the edges,
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which really brings out the fox in the middle of the frame
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and makes that viewer really focus on the fox,
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and allows the background to sort of melt away.
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Now, the vignette tool is a very easy and quick way
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to apply a vignetting to an image.
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But often times, it's not an effective tool,
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especially if our subject is off-center.
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So let's take a look at another example here.
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In this particular example, we have this white squirrel
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that is off-center.
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Basically on the right side of the frame.
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If I were to apply a vignetting here,
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you can see that my vignette is not really focused around
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the squirrel itself.
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It's really spanning the center of the image.
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And if I add the vignette,
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or change the midpoint some more,
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I am still not really focusing that vignette
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on the squirrel itself.
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So what are we to do?
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We can go back to another tool that we looked at
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earlier in this class,
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and that is the Radial tool.
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What the Radial tool allows us to do,
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is also create a vignette,
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in a slightly different way.
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So I am going to create a circle around my subject
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using the radial tool,
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by clicking on the center of the subject
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and dragging away from it,
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it allows me to create this circle or oval.
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And then I can create that vignette by
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changing the exposure of the image
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and changing the exposure of
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everything else that's around.
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When I create a radial selection,
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the effect is being imparted
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on the outside of that selection.
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So any adjustments that I make,
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such as exposure here,
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is being applied to the outside of that selection.
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So remember, if you have a subject that's off-center,
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using the radial tool is a much more effective way
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to impart a vignette,
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than using the vignette tool itself.
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So, let's look at your homework.
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Select a few of your personal images
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that you think would look great in black and white,
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and experiment with the black and white filters
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to create different looks
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and density in the image.
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In our next lesson,
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we'll take a look at applying adjustments
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to multiple images,
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and using external editors and plug-ins.
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