Color Range and Luminosity Masking
Lesson 5 from: Adobe Lightroom Classic CC Workflow for PhotographersDaniel Gregory
Color Range and Luminosity Masking
Lesson 5 from: Adobe Lightroom Classic CC Workflow for PhotographersDaniel Gregory
Lesson Info
5. Color Range and Luminosity Masking
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
Color Range and Luminosity Masking
we're gonna look at the color and luminosity before you jump in. Let me explain what those two things are. I'm gonna start with color because it's the easiest. I paint something. I draw ingredient, and I'm like, Oh, I only want to impact the blue or I only want to impact the green, but I don't want to impact something other color that's in there. If I draw the Grady and it's across everything with the color masking does is it allows me to draw the radiant, use my adjustment brush, paint wherever and then pick the color I want. The mask will then automatically removed from everything else. That's not the selected color and only make the edit there. Luminosity, Masking says. Make the selection with great Asian or the brush. And then go look at the brightness values of the pixels that air there and make a selection based on the brightness of the pixels. So if we look at this image, I've got this kind of dark foreground, and then I've got the clouds back here that are brighter in the skies...
brighter. So I'm going to use this image. It wasn't my intended image. We're gonna use this one is This will be an easy example to show you the luminosity part of the mask. So I'm gonna grab the radiant tool and I'm gonna drag it down. So I want that sky to be darker if someone a dark in the sky, Yes, let's say like, that's where I want this guy. But I've now got that spire that sticking up is in the effect of the radiant. So I could go in with the brush tool and try to erase that out. And I probably with enough work and enough profanity could actually erased most of that out. But down here at the bottom of the panel, you'll see where it says range mask. And right now it says that it's off by clicking their I can choose color luminous. And then, if the photograph has it enabled, I would be able to choose depth. I'm gonna choose Lew Minutes. I'm just gonna stay zoomed in here just for a second to explain what these tools do and that will zoom out and actually apply the effect. The wand allows me to pick the luminess range that I want to use, so I go out, actually, on the image and click because I don't necessarily know. Is it what I want? 18% is at 40% so I can just click on it. So it's kind of like the color they had targeted. Adjustment Tool is just clicking what you want. You know, you're gonna get the right selection. The white balance tool. You click on what you want, you get the right selection. The luminess mask is actually going to show me where the mask is. So I restrict and remove the tightness of the mask. It allows me to see that the range is 0 100 0 is perfectly black, 100% is 100% white and all of the values of gray that exist in between and smoothness is the analogy I like to use. That I think is the easiest for people Transit when they first got started, just feathering effect. So how fast should the fall off B in the heart in the heart of the selection? Okay, so I'm gonna zoom back out here. Now I'm gonna click on show the luminous mask, and there we can see the mask being applied is the radiant mask. Now, as I moved the range slider from the top down, I'm gonna say Grab the 100 slider, which is the one on the right, the bright one. So I dragged to the left. You can see what's happening now is the sky has been removed from the mask Onley. The spirt is selected, so I turn off the mask. You could see the spires darker. Here's the The mask is just removing. I didn't do anything. I live. Just drag the slider. Now, if I have gone the other way, turn the matter, turn the grading back on. I'm gonna grab the slider on the left and move it to the right. So what I'm saying is, don't apply the effect on anything below the value of what I'm on. So as I move this slider, watch what happens to aspire. It's aspire comes out and the clouds are getting affected because I moved way up here. I'm in 80. So if I come back down and I'm like, OK, well, actually, somewhere right around there kind of has the sky look I want and we turn it off and on. You can see there's almost no effect at all of that spire. As I move the smoothness slider, you can see kind of feathers. How much of that luminous mask is being included as the range has changed? So that's a luminant mask. This thing is really, really great. If you're coming in and making selections like this to remove where you have that level of kind of brighter or darker contrast, it works on Ah, let me grab. Come on. And we grab something like this. Same thing. I'm gonna come in. In this case, you can kind of see this contrast change over here. So I grabbed the adjustment brush and I just pain. Okay, there's the over There is where the brush has been applied. Okay, this image was shot before. It's aversion to image in the calibration. You have to be on version five to have this enabled. So if you don't see that range mask, go to your process. Version five. I'm gonna turn on the luminous again. Turn the overlay off. Let's make a Gerrish adjustments. You can see how this works. Now I want to start to pull out highlights, or I want to exclude shadow detail and then the feathering here is to the strength. So it's in a garish adjustment. But if I made the adjustment more accurate to what I was kind of do, I was trying to build some contrast in there. But I only want to adjust the light elements and not the dark elements. I can't do that with a brush. I can't do that with ingredient. I can't get in there and paint those individual lines of contrast on image like this. Back to my grid succeed. If I want to adjust the overall brightness of the highlights in there, I can literally just come in. Grab an adjustment brush won't make sure I'm on the right process version before we get down there. Grab that brush. I was gonna make it Huge moment. This paint real fast. Here's what I painted Everything. Come in. Turn on my luminous mask. Okay, But now, as I come in, highlights warm up or exclude just the highlights. So even I painted the whole image is looking at the luminosity across the whole image to come in and do those targeting pieces. So a really kind of a great way to come in and select. Look selectively. Use those now. From a color standpoint, the color range actually works in a very similar way. Yes, just before you moved on to color. Can you do that with people's faces? Example. If you have two different kinds of skin tones and a picture like someone who has dark skin, who was light skin and the shadows and the highlights? Are you convinced that with a luminosity Yeah, um, color would work as well. Yeah. So the color one. I've got this flower image, and it works the color. Is this the same way? The color is? I just scrolled by 5000 miles an hour. Click on the development module again. I'm gonna come in in this case and describe a brush. Now, I want to adjust just the reds in these this front group of flowers right here. So if I was gonna do that normally with a brush, I got to go in. And can you imagine trying to deal with the feathering on that selection? Guy would go in a photo shop. That's the dance. If you want to know why when I go in a photo shop in the old days, I would have gone into Photoshopped, but I was gonna paint over that. Kim, there's what I painted over. You could say I'm way up into the greens. I don't have to get really Titan narrow in on that. With that, I'm gonna change the color with a color range. I can click on the selection wand again. I'm gonna cover here. I'm making a real egregious adjustment here. Oh, actually, change the cetera. Yes, I'm gonna blow out some color so you can see the effect. I've got the one selected. Now I'm gonna come in here and right click on the yellows. So I've selected the effect on Lee be on whatever color I pick on. So I choose the Reds, the Reds, of writing up this amounts slider here again, adjust the tightness of that selection. So I clicked on the yellow so the yellow is being excluded in the color mess. That's the selective color. Now, I can also come in and actually drags the reds And here little difference, like in drag and say include that range of rids. If I hold down the all clear option key, I can remove a selection if I hold the shift key down. I can add in additional color. So I've got an option slick upto five colors within that. So I can told the shift key and continue to add selections. So that's the little piece for how that works. If I come over to this image in this case, I can just paint up here into the sky and I don't wanna work. That barbed wire is gonna be a nightmare to work around. So again, I'm gonna darker that exposure. You say I got the barbed wire. I changed a color selection. One. I'm just gonna drag that section for the sky. And now you can see it. Remove the building. There's before I hope so. I went back too far. Sorry for before. With the removal. You see, the pilot in the barbwire came back The building that had been painted the fire hydrant sign of unpainted. There's the mask with the selection on the sky Done everything else it wasn't in that sky's color range fell out. And I can come in and, uh, select my brush again. Um, make that a I could make the adjustment for the tightness on that. So color selection pix by color luminosity picks by brightness value. When we do editing two photographs later, you'll see actually, how I will apply that in and what points I will do that So uncertain landscape photographs, pieces. We'll do it. Maybe grab a portrait. One we'll look at kind of have that effect is, but that's how the tool works. So that was added in a year and 1/2 ago. But a lot of people don't click on that. I mean, is my joke. I repeat every day of my life that because adults you won't click on anything, you don't know what it does, So clicking on that, I think, is a really good piece.
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.
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!!
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.