Editing A Photograph: Regional Edits
Lesson 19 from: Adobe Lightroom Classic CC Workflow for PhotographersDaniel Gregory
Editing A Photograph: Regional Edits
Lesson 19 from: Adobe Lightroom Classic CC Workflow for PhotographersDaniel Gregory
Lesson Info
19. Editing A Photograph: Regional Edits
Lessons
Class Introduction and Basic Workflow Management
18:05 2Customize Develop Panel
03:48 3Enhance Detail
06:58 4Profiles and Presets
25:10 5Color Range and Luminosity Masking
11:41 6Import and Folder Organization
07:23 7Tethered Shooting, HDR, and Pano
05:50 8Catalogue Overview
18:51Folders, Collections and Smart Collections
14:56 10Workflow
07:02 11Importing
12:02 12Metadata
16:38 13Finding Photos in Lightroom
09:54 14Workflow Tools in Develop Module Conceptual Framework
10:59 15Editing Concepts
12:14 16Editing a Photograph: Basic Panel
13:50 17Editing A Photograph: Detail Panel
12:33 18Editing A Photograph: HSL/Color and Tone Curve Panels
04:26 19Editing A Photograph: Regional Edits
08:00 20Black White Options
04:11 21Regional Editing using Luminance Masks and Local Adjustments
04:59 22Virtual Copies, History, and Snapshots
13:02 23Basic Color Management
17:29 24Soft Proofing
20:42 25Making the Print
27:23 26Exporting Images
15:04Lesson Info
Editing A Photograph: Regional Edits
once I've got the global and it's done, I'm ready to move into my regional. Let it so in this case, if I don't like the color of this grass that was done in the H s L panel now I could grab, ingredient and come back up. Let's reset the greedy int. And I could try to adjust that color again and the white balance to get back close to where I waas. But this is what I was talking about. I'm now got a fixed offset, something that was broken with a different tool. The better solution. We go back and fix the HSE l panel because what happens is if I start to make other adjustments to this. I'm still dealing with the underpinning of what the HS L panel was doing, cause that's a more global adjustment. It's a more global tool in the regional tool, said my exposure to bring my brightness up. That's probably closer. When my originally imagined my edit of having that really bright foreground and you can see that started to make my tree pop a little bit. Okay, my clouds not too bad. That's gonna be ...
my one grading for there now if I wanted to do a little bit other effect I mentioned you could stack the Grady INTs. I'm gonna do a second radiant there. And I'm not gonna make it quite that bright with just a little bit brighter. And now you could see him starting to build like light, kind of falling back. So the sun's coming out from behind me, and it's starting to cascade across the foreground. So stacking those Grady INTs allows me to actually kind of build that affect this record, do the same thing with the sky up here. Well, that's a reset the temperature there. So let's ah, drop the exposure down a little bit And then I could bring another grading in and drop it down a little bit more And now I end up with kind of a sky heavier sky gradation. So I've stacked those multiple Grady. It's on top one another for the effect. So again, I got regional at its in place Now, Now I can go after my local adjustments. So I want to deal with this cloud a little bit. And I wanted to do with that tree a little bit. That was in my original plan before I even started editing. So I'm gonna grab a local adjustment brush when a reset the brush. So just all the option key and hit reset to get rid off any weirdness that was there. I always start with a completely empty brush or I'm selecting one of my brush presets. So these are the ones that light room gives you. If I have a brush that I use all the time, I'll go and create a brush preset for it. So, just like with the import modules, development modules, anywhere I can create a preset of something I'm using over and over again, I dio I have a preset that's a reset to zero presets. I notorious for trying to paint and get frustrated, and I have things going on, so I just reset one. You just hold down the altar option key and click on Reset. So this case I've got my cloud here, so I'm gonna make my brush bigger about the size of the cloud. I always paint outside the lines. I think it's healthy for creativity to paint outside the lines. I also think it's healthy because it's often times easier to remove something than to add something like Michelangelo, he said. Sculptures in there I just remove the unwanted, the unneeded marbles, the sculptures there. I've tried sculpting and removing, then water marble and I had crushed granite for the driveway. But in terms of this same thing, it's oftentimes if you paint outside the lines, you don't worry about it. So in this case, I want to paint over my peace. I'll turn the overlay on so you can kind of see where I'm painting that kind of paint outside the lines. Option key lets me switch back all key, lest we switch back to the eraser and then I'll kind of come back in and and that's my edge. A little bit on a soft edge like this. You know, a nice broad brush with a big a big feather on it. Let's become hopes. And now I'm a recent again. Let's be kind of come in, and if I spill a little bit, I don't worry too much. I could turn on the auto mask and see if I can get some help, and in this case I am getting some help cause that edges in some spots is pretty good, but you can see it's struggles where those wispy clouds are. So auto mask is not always a great answer. But if I've got a good, hard edged down here, if I want to paint down here, you see auto mask, really just nails. That has got good contrast, color and luminosity to get that soft edges like this. You're just gonna finesse pain a little bit, Remove a little bit. Remember, it's kind of like before with the exposure slider. I just exposure slider. I move a little bit down here. I might go back to the exposure slider were dancing, you know, that's my dance. Actually, I can also do the chipmunk dance from Caddyshack. That's it Goes right to dances. Um, so I'm gonna go ahead and I'll just get back to the one cloud area I kind of wanted. So I've got that term. I overlay off now. In some cases, I've got an overlay on there. If you hold down, shift in zero, not shifting. Zero shift in. Oh, I can change the color of that. So sometimes it defaults to read, and sometimes you're working in a red room and you get stuck with rids. That's what you get. Shift will change that Turn it off And in this case, I'm gonna go ahead and brighten that cloud just a tiny bit and I'll go and increase the clarity a little bit In this case, the tree over here Now the key here, new brush, everything I do get the new brush. So in this case, we're gonna zoom in on the tree hoops. So I got the tree over here. New brush. I want to paint the tree. I got the tree painted in this case by bright in that tree up a little bit. Can't go much passed out or gets a little weird Increased clarity a bit Now when I introduced the clarity, the saturation gets a little weird. Do you saturate that? Just tiny. But then I got to come back up and I would clean out. Make sure I got a nice good and don't spill on peace out there now, trying to get contrast built into their in the exposure sliders obvious that I'm making the adjustment. So this is where I can come in and maybe I can boost the highlight and the white point in that tree changed my shadow a little bit and build some contrast. That way you could also try the contrast slider a little bit, race out, that one little weird sky part going back out. Hide my brush, turned the brushes off and on so I could see the effect. I could just talk about the whole all the brushes off I can see. I just get the tip of that tree starts to pop a little bit off the horizon line. So here's where we're four. So if I hit the back space key, not the backspace key, the backslash key there's we started on the import. There's where we end up in that order. Now Could I get to this order by doing radiance first and brushes first and you lot? Absolutely, But again, in our repeatability reliability, if I come in and work that same process over and over again, I pick up speed and efficiency. I can start to build presets that say, Oh, when I do landscape work, this is kind of how my landscapes generally fall into line in terms of black points and white points. I want a more moody one. I want to lighten everyone, and I can start to come in that way. And I worked through that same piece. Now the great part is it doesn't matter if you're a portrait, photographer, wedding photographer, landscape photographer, same exact order. So if you change genres same exact order, you don't have the way I edit a portrait. The tools you select. You may be a little bit different, but you don't have to worry about editing a portrait.
Ratings and Reviews
a Creativelive Student
I watched this course live. Really good!. Of course, I like all of Daniel Gregory's classes. It's a real treasure when one finds a really good teacher who thinks like oneself. I thought that I already knew Lr well so I was really surprised about how much I learned from this course. I learned so many ways to improve my workflow efficiency.
Anne Dougherty
I was impressed by the amount of information covered in depth, and by Mr Gregory’s teaching style. I’m somewhat new to Lightroom and found his explanations of its capabilities, and why you would use it rather than Photoshop for specific processes, enormously helpful. I especially appreciated his lessons covering printing. This is invaluable information. Great class.
Warren Gedye
This was a great course. Daniel certainly explains it well and in terms I can understand! Super worth it and learnt loads of new tricks! Great job!!