Lessons
Differences Between Lightroom Desktop and Lightroom Classic
19:42 2Hard Drives
08:06 3File Organization
08:31 430,000 Foot View of Workflow
05:36 5Importing into Lightroom
04:10 6Building Previews
07:14 7Collections and Publish Services
05:11 8Keywords
06:27Hardware for Lightroom
06:08 10Searching for Images
07:51 11Selecting Images
14:15 12Organizing Images
04:02 13Collecting Images for Use
14:56 14Develop Module Overview
10:15 15Profiles
11:34 16Basic Adjustments
11:45 17Basics Panel: Texture, Clarity, and Dehaze
05:31 18Basics Panel: Saturation and Vibrance
02:40 19Tone Curve
09:26 20HSL
04:48 21Split Tone
08:19 22Lens Corrections
08:32 23Details
09:34 24Transform Tool
05:52 25Effects Panel
10:00 26Synchronizing for Faster Editing
07:40 27Spot Tool
17:51 28Skin Softening and Brush Work
07:00 29Range Masking
13:28 30Dodge and Burn
17:36 31Working with Specific Colors
08:30 32Edit Quickly with Gradient Filters
11:22 33Making Presets
13:24 34Preparing Image in Lightroom
09:51 35Content Aware Fill
11:14 36Skin Repair
02:44 37Skin Smoothing
14:39 38Expanding a Canvas
04:30 39Liquify
10:22 40Layers and Composite Images
12:54 41Sharing via Web
17:52 42Exporting Files
10:47 43Sharing with Slideshows
08:00 44Archiving Photos and Catalogs
19:54 45Designing
13:35 46Making Prints
11:27 47Color Management and Profiles
13:00 48Archiving Photos and Catalogs
11:31 49Using Cloud Storage
04:09 50Adding Images to your Portfolio
09:23 51Collecting for Your Portfolio
18:03 52Publishing Unique Websites Per Project
19:48 53Sharing to Instagram
07:06 54HDR
15:32 55Panorama
06:41 56HDR Panorama
09:54 57Making Presets
15:39 58Creating Profiles
18:09 59Maps
07:08 60Setup for Tethered Shooting
23:21 61Sharing with the Client
05:42 62Watched Folder Process
07:04 63Second Monitor and iPad
06:09 64Backup at the Camera
03:50 65Gnar Box Disk Backup
06:45 66iPhone and iPad Review
12:52 67Importing to Lightroom on iPad
02:59 68Cloud Backup
04:39 69Adjust, Edit, and Organize
07:46 70Using Lightroom Between Devices
11:27 71Lightroom Desktop
05:27 72Removing Images from the Cloud
10:49 73Profiles
09:34 74Light
04:34 75Color
05:36 76Effects
15:22 77Details
08:33 78Optics
03:49 79Geometry
04:12 80Crop
04:39 81Adding and Using Presets and Profiles
13:41 82Local Adjustments
15:40 83Healing Tool
03:29 84Synchronizing Edits
04:57 85Editing in Photoshop
08:54 86Finding Images
07:09 87Sharing and Exporting Albums on the Web
09:18 88Posting Images to Social Media
14:01 89Overview of Lightroom Desktop
07:35 90The Workflow Overview
10:08 91Organizing Images
05:10 92Albums and Shared Albums
18:21 93Lightroom Desktop Workspace Overview
04:36 94Importing and Selecting Images
09:23 95HDR and Panoramics
22:44 96Light
07:47 97Profiles
07:23 98Tone Curves
02:57 99Color
08:35 100Effects
17:01 101Details
12:43 102Optics
04:05 103Geometry and Crop Tool
06:01 104Sync Settings
02:40 105Making and Adding Presets
03:48 106Healing Brush
02:21 107Brush Tool
03:14 108Gradient Tool
04:16 109Edit in Photoshop
02:53 110Finding Images with Sensei
06:32 111Sharing Albums on the Web
04:57 112Print through Photoshop
02:09 113Exporting Images to Files or Web Services
04:36 114Connecting with Lightroom Classic and Mobile Devices
05:24 115Archiving Images for Storage
09:55 116Review of the Workflow
07:20Lesson Info
Lens Corrections
So once you are done with split toning if you did this and you're like, Oh, I really like that But I was too much vignette ing go down toe Lin's corrections and simply turn on the enable profile corrections and notice what it does. It actually starts to negate those natural vignette ing. So if you have natural vignette ing that you don't like, click on enable profile corrections and it will not only help to straighten out some of the curvature of the lens, but it will also remove some of the vignette ing. This isn't a great example, because who's going to do that anyway? So I'm gonna double click my de hes put it back to normal because once it it's at normal. If I go down to my lens correction and turn on room, uh, enable profile corrections, it does it perfectly like you can see edge to edge. There's no vignette ing whatsoever, so because that's because it's on Lee dealing with lenses specifics. Now some cameras have lenses that don't have a profile correction. Inside of Adobe, there ...
is a tool that will allow you to make your own profile Corrections. Eso just search on adobe dot com and look for the profile camera. Are the lens profile makers. I think that's what you call it, and you just set up a target and shoot a lot of pictures, and then it makes a profile for your lens specifically. Now, the other thing that goes with this lens correction is number one. You can choose whether you just want the distortion fixed or whether you want the vignette ing fixed a swell. So if I liked the vignette ing of my lens, I could take this and turn it off. So I still have the natural vignette ing, but it fixes the natural distortion of that lens. Or you could go the opposite direction and you could say, Well, I don't want it to fix the distortion, but I do want it to fix the vignette ing or any combination of the two so you have the ability to manipulate that. Okay, so in this tool is well, we also have the, um, chromatic aberrations, and I'm going to show you two images that have chromatic aberration because sometimes people don't understand what that actually is. Um, so let's go back to the develop module, and I'm gonna I'm gonna zoom in to this image and then I'm going to zoom in a lot more to this image. And even more than that, So by the way, over here at the very top of the Navigator is your zoom options. And And when you hit Z, presume it goes from this. Either fill or fit, which is either fitting inside the box or filling the box in the middle. Um, and then when you you click one for one, that's normal. Zoom. So from here on out, it's going to go back and forth between fit and normal. Zoom. But if I click here now, I'm at a different rate of zoom, so I'm actually 3 to 1, so I'm closer in. But if you don't like the way yours assuming and you want to zoom less or more, you can do that. So see how I can go toe 123 So it's a very small amount of zoom. And so so now see, how doesn't even fill the box. So I want to be at 4 to 1. They're not really getting in there. Nice and close. See that there's like a purple nous there, right at the edge. This kind of chromatic aberration. You see it in images where there is extreme edges. So there's a dark suit with the bright lights of white sky or a light sky. Uh, you're shooting on white in the studio, and you've got someone with dark suits and ties or things like that. You'll see these little edges that crop up, and it's Onley in those areas of super high contrast, and it also depends on the settings of your lens and the lens itself. So a lot of that is based on the hardware itself and how it reacts to light. But it shows up in these little edges. So when you come in and you click on this tool inside of the lens corrections, you click on remove chromatic aberration. This is what's gonna happen. Just click on it and these I don't know if that was good enough here. Ready? Okay, you gotta see this. They're purple. See this big purple line and then we click on it, Purple line removed. It doesn't change the fact that there's still light wrapping around that, and so there's a bit of Ah, kind of an edge, but it gets rid of the purple, which is the thing that calls attention to it, because then once we zoom out, you'll never see that. But you will see the purple edge. Um, so if you run into a circumstance where it doesn't quite fix it, so it's it's not quite fixing the right amount of it. You can always go into. Let me see if I can. You can always go into the same tool, but in the manual area and in there you just use the color dropper, and then you're gonna tell exactly what color is offensive. So I'm pointing at the color and clicking on it. And then it's removing instead of hunting around for a color and trying to remove the color that it thought was the right color to remove. Because sometimes you'll see like a chromatic aberration. That's purple over here, and then one that's green over here. And so in the manual area, you can actually choose to points, so you can choose a point that's purple and appoint. That's green. So there's those air to basic colors that come out, so it's like purple and magenta and then like a greenish bluish one. And so you can actually choose two of them, so that instead of just the automatic, sometimes cures one and doesn't cure the other. But in this case, you can actually highlight or click on both of those, and then you can actually adjust here. How much of that hue you want to capture so you can expand your search for that color? Or you can limit the search for that color if it's spilling too much over into one of the objects. So just recognize that this the manual operation here is really helpful when you get chromatic aberration that autos just not solving. But that being said, removing chromatic aberration as an auto feature actually works almost 100% of time, so I would just leave it on and have that is normal. And then on Lee, go in and play with it. If you absolutely need Teoh, I've never really seen it do anything horrible back in the old days. Early light room. You turn it on on Lee when you need it because it wasn't that great. And so sometimes people's eyes would look like Kamat chromatic aberration and they would become gray. But nowadays there's almost no downside to doing it all the time, so you might as well do it all the time. Um, here's another instance where chromatic aberration is coming into play. Um, so I'm gonna zoom in here and you can see the chromatic aberration right at the top of this umbrella. See that purple blue hue that that line is there? And if I turn on remove chromatic aberration, it does a decent job at it, but it doesn't There still purple in there. That's when you really need to go into that manual. Click on here, go in and find that purple. And once you click on it, it does a good job. But removing that and then you just kind of scroll through to make sure that there's no other areas that are created that are giving you that chromatic aberration. I don't see any other areas here, so I think we're we're good
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Ira Richterman
I am truly a recreational novice in the photography world and this video is fantastic. Photography has become a very technical world both on the camera side as well as post production. Jared has great teaching skills and sure makes it look very simple. I would recommend this video for those starting out in Lightroom as this program can be overwhelming and has a daunting amount of information. I would like to know if there is a resource of location of contact to ask a question or two for clarifications as a viewer goes through the course. For example, when making a new collection and if you choose the option of making this new collection a target collection, what happens if you then make another new collection and select that new collection to be a target collection? If you click on B to add a photo to a target collection and you made two target collections then where does this virtual selection go, ie into which target collection? Thanks Ira irichterma@aol.com
catherine Haggerty
Loved this class. As a beginner it really gives me working knowledge to use LR confidently. This class is older, so a few times I really had to stop and figure out how it worked in the newest version of LR... but all in all this class was amazing!
Dan Clarke
This class was great. I've never used Lightroom before and now I feel comfortable in it. Massive amount of good info.