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LRC Round Trip to Photoshop Beta

Lesson 33 from: Editing and Organizing your Photography in Lightroom Classic

Jared Platt

LRC Round Trip to Photoshop Beta

Lesson 33 from: Editing and Organizing your Photography in Lightroom Classic

Jared Platt

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Lesson Info

33. LRC Round Trip to Photoshop Beta

<b>In this lesson you will learn how to make an image &#8220;round trip&#8221; from Lightroom Classic to Photoshop or Photoshop (Beta) in Lightroom Classic.&#160;&#160;</b>

Lessons

Class Trailer
1

Introduction

05:51
2

A Tour of Lightroom Classic

28:03
3

Importing Images into Lightroom Classic

23:14
4

Selecting Images in Lightroom Classic

19:32
5

Importing Metadata and Catalogs into A Catalog

03:01
6

Organizing Images in Lightroom Classic

10:13
7

Adding Metadata to Your Images in Lightroom Classic

09:21
8

Bonus: Impossible Things AI Plugin

10:26

Lesson Info

LRC Round Trip to Photoshop Beta

1 So if I want to open an image inside Photoshop, 2 I'm gonna right click the image, 3 and I'm gonna go to edit in Photoshop Beta. 4 And I'm editing in Photoshop Beta 5 because that has the newest AI tools in it. 6 Also, if you install Photoshop Beta, 7 then this menu will give you the option for Photoshop Beta. 8 So I'm gonna click on edit in Photoshop Beta, 9 and it's going to create from this DNG, 10 it's gonna create a Photoshop file, 11 and then it's gonna open that inside of Photoshop Beta, 12 which we're already there. 13 So now that we have the image open, 14 I'm going to choose the selection tool, 15 and I'm actually using the polygonal lasso tool, 16 and I'm gonna select it and try and stay a bit away from it. 17 I'm not trying to stay too far away from it, 18 but I definitely want to, I don't wanna crowd the cable. 19 I'm just going across this photo 20 and showing Photoshop where the cable is. 21 And then I'm going to hit generative fill 22 on the contextual menu, and I s...

ay replace cable, 23 and then it's gonna generate three options 24 of what it thinks I'm asking for 25 when I tell it to replace the cable. 26 Sometimes it does a great job, 27 sometimes it does some silly things, 28 and we're gonna find out, 29 but in all cases, it's easier than me trying to do it. 30 So look at that, it acted a great job. 31 Top of the building looks good there. 32 Top of the building looks good here. 33 And if I want to, I can, it makes a layer 34 so you can see that there's a replacement cable here 35 or replacing the cable and it's just a layer. 36 And so I can go in and turn that on and off, 37 and you can see it kind of had to change the top 38 of the building a bit in order to make that happen. 39 It had to move some of the chimneys up here a little bit. 40 It changed the top of the red building, 41 that windows a little bit different. 42 Didn't change the top of the darker yellow building 43 all that much, but the green one, 44 it changed that quite a bit. 45 So now what I'm gonna do is I'm actually going to accept 46 this change by doing the following, 47 and I can kinda cycle through these 48 and see what else it did. 49 So it really changed the tops 50 of the buildings quite a bit on the other ones. 51 So I'm gonna choose number one, and then I'm gonna go in 52 and click on the, so see how it made a mask, 53 I'm gonna click on that mask and I'm gonna use a brush 54 to brush out the things that I don't want. 55 So I have a brush, that brush is painting black, 56 so anywhere I want to change this back 57 to the original version, I can do that, see that? 58 So I just painted back in the original top of that building 59 and I can zoom in and I can say, all right, 60 well, if I paint out, so just hit the X key 61 and it will switch these two, so now I'm painting white, 62 and I can paint back on white all the way to here, there. 63 So now that cable's not looking too bad, 64 and I can even get rid of more of it here 65 and I can get rid of that if I want, 66 but it's really small, so. 67 And then I could go back over here 68 and see how did this change? 69 Let's hit X, if I really want to keep the, 70 well, see that didn't change all that much, 71 so I can paint out that cable, there. 72 So that's the original building, looks great. 73 This building changed quite a bit right here at the edges. 74 So I'm gonna go back to black, 75 and I'm just gonna paint out this area right here, 76 and then X again and paint this in. 77 Oh, I don't wanna see, I'm trying to, 78 I wouldn't do this if it was a building 79 that I didn't feel like people would know 80 that I'd kind of messed with the building itself, 81 and so I want everything to be accurate. 82 And so I'm just making sure that the window looks the same 83 as it did and I'm just painting in and out the areas 84 that I think people would see. 85 So I just want to get rid of this stone work 86 that it replaced, so I'll put that stone work in there, 87 and I don't want it to there, so that looks good. 88 And I can always come in and fix those really easily. 89 This looks great. 90 So now what I need to do is flatten this, 91 so I'm gonna click on both of these layers, 92 so shift, click both of these layers, 93 and then I can just hit command E, 94 which will merge those two layers together. 95 Then I can go to the spot tool here 96 and I'm gonna use the remove tool, 97 just like the remove tool in Lightroom, 98 and I'm gonna go in and just go like this, 99 and it's gonna remove that, and then I'm gonna remove that, 100 and then I'm gonna come over here 101 and I'm gonna remove that little yellow thing there, 102 and I'm going to remove that white thing there, 103 that did a good job, remove that, remove this, 104 and remove that, and remove this, and remove that. 105 Okay, now let's zoom out to 100%, can you see the cable? 106 'Cause I sure can't, and that did not take 107 as much time as it would've if I tried to do it in Lightroom 108 or if I tried to do it by hand inside of Photoshop. 109 So that is the new way to remove something complicated. 110 And the great thing about AI is it does 98% of the work, 111 and then all you have to do is the remaining part. 112 So you just have to think through it 113 and make sure that you're willing to go in and finesse. 114 So it makes a new layer 115 so that you can go in and finesse it. 116 Now that I'm done with it, I'm gonna send it back out 117 to Lightroom and I'll finish everything. 118 But before I do that, I did want to say one thing. 119 You'll notice that when I zoom in at 100%, 120 and I scroll around here, there are areas as I went through 121 that got a little bit blurry, and a little bit soft, 122 and they don't have the same type of grain. 123 So if I was trying to print this thing, 124 I might end up seeing those, and I would probably go in 125 and finesse areas around here 126 and get rid of some of this stuff. 127 I won't do it right now, but I'll do it later, 128 like I might finish out making that thing look good again. 129 I might go in here and make sure 130 that these poles match up, stuff like that. 131 But the only thing that I see is it gets softer right here, 132 a little bit blurry and there's a lot of, 133 you know, there's grain in this photograph. 134 And so what I'm gonna do is I'm going, 135 I could do it two things. 136 I could add the grain here inside of Photoshop, 137 or I can add the grain back inside of Lightroom. 138 The easiest way to do it would be right here 139 inside of Photoshop. 140 And the way I'm gonna do that is I'm gonna copy this layer 141 and then I'm going to right click this layer, 142 and I'm gonna turn this layer into a, 143 convert to a smart object. 144 So you see this, it's convert to smart object. 145 And the reason I'm converting it to a smart object 146 is so that I can go up to the filter 147 and I can create on camera raw filter. 148 So I'm making a camera raw filter, 149 so I'm back in Lightroom essentially. 150 Then I'm gonna go down to my effects, 151 which are a little higher than actually 152 they usually are in Lightroom, and I'm gonna find my grain, 153 and I'm just gonna add grain to the image. 154 And if I zoom in and up over here, 155 I'm just gonna look at this area, 156 and look, I've already solved my issue 157 by just adding 20 on the grain, size is 25, 158 roughness is 50 and everything looks great. 159 So I have just unified all of those little soft areas 160 that it created, and then I'm going to hit OK. 161 Now, the reason I made this into a smart object 162 is so that it would be a smart filter 163 so that I could always change it. 164 So all I have to do now is double click 165 this camera raw filter and it reopens up the same area, 166 and I can rework the grain and either remove it down 167 or increase it if I need to, and then hit OK, 168 and then it's saved again 169 and it's part of the Photoshop file. 170 Then I can simply close the Photoshop file and save, 171 and then we head back to Lightroom, 172 and when I look at the grid, I've got five different images. 173 I've got the original three, 174 I've got the DNG that I created, 175 which is still got the cord in it, 176 and then I've got the PSD that does not have the cord in it, 177 but it has a unifying grain across the whole thing, 178 so you can't tell that I removed that cord 179 except for those little tiny areas 180 that I will wanna go back and fix later, which I can do. 181 Because it's a Photoshop file, 182 I can go back to it anytime and finish it, 183 but I've got the shot all finished here. 184 So I know that we went further than HDR, 185 but I think that's a really good lesson 186 on working on an image. 187 Why we choose HDR? 188 Because we can finesse the image to the nth degree. 189 And then once we're done working the HDR 190 and we've got the image adjusted the way we like it, 191 at that point, then we can do a lot more tricky things 192 with it later going to Photoshop 193 or changing the transformation 194 of the parallaxing effects that are going on. 195 All of that kind of stuff can be done after the fact. 196 So hopefully you enjoyed that 197 as a total lesson on one photograph. 198 But really, HDR is fantastic, 199 and yields some really great results 200 even if you don't get a perfect HDR, 201 just keep that camera still 202 and make sure that you get the best possible photos 203 that you can at the camera, 204 and then you'll have amazing shots in Lightroom.

Class Materials

Bonus Materials

Adaptive_JP_LR_Presets.zip
Artist_Profile_Collection_by_Jared_Platt.zip
Editing_and_Organizing_in_Lightroom_Classic_Photos.zip

Ratings and Reviews

Jim
 

This is a good class, which includes the most recent Lightroom updates. I've watched plenty of videos on YouTube, but this class is much more thorough and is useful to learn more quickly than other options. I recommend it.

Scott Hicks
 

Just finished watching the entire course. This is filled with a lot of information and Jared takes his time, and goes into detail for you to understand the process of turning great pictures into fantastic pictures. I look forward to watching the other courses in this series.

Student Work

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