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Workflow Tools in Develop Module Conceptual Framework

eso we're gonna jump into editing photographs, editing, workflow, continue are repeatable, reliable mantra. And there's ah, I think, a method editing photographs that will make it easier conceptually. And also it is an order to go in that will also make it so that you're not having untangle your own missteps as you edit, because it's really easy to get into a photographic, get excited about something, and but we want to get that that workflow built So, um, all edits and light room or non destructive. So if you're working in light room, you're not pixel bending like you are in photo shop. So no matter how crazy it gets and weird it looks in light room, we can always get out of it. We can always hit the reset key, go back to ground zero. So I always like to just reiterate that even the most photographers understand that light rooms nondestructive. It's important, I think, particularly, is these changes coming in, and we talk about building portfolios and custom profiles and all these dif...

ferent things. It's still at the core. It's a nondestructive workflow. In that notion of the order to kind of work in is I think critical to our approach to the photography in the editing peace. And we want to work on Global at its first regional. Let it second local that its third and they were called output at its last. Basically, it's a kind of a reverse fund were making a pyramid, and we're getting narrower towards the top of your building a funnel, and you get narrow down the bottom, whichever one you're comfortable with. But we want to start with the broadest biggest at its first, then regional regional. I kind of define his ingredient tool. It could be a big brush. I mean, we got make a paintbrush across half the photograph, and that's a region, so it's a kind of a wide swath of the image. Local edits air. Usually what we do with the adjustment brush for painting into small areas. We're working small little details. You know, if we're doing a portrait, it might be a well local that it would be like we're enhancing the I were punching up the iris a little bit or something like that. So that's the kind of differences, and we want to do those in that order. We wanted to global in its first regional at its second local, that its output as an output at its or for export it for printing. That's what actually output means is get leaving light room. We're out putting out a light room for something the I think the easiest way to remember this is if you make a regional editor a local at it first and then you change the global edit, you will most likely have to go back and redo the local at it again. And while we're always making little tweaks in our editing process, we're always making adjustments in there were like, Okay, I've adjusted this. I gotta go back in. And just that if we can make certain adjustments in certain orders and not have to undo the work, we become more efficient. The workflow becomes more predictable and more reliable. So thats the goal with doing those things in that order. A couple little things Just remember that in the development module in particular, pretty much if you hold down the all key on a PC or the option key on a Mac and start moving a slider, you will get an alternate view of that that is designed to help. You better understand what's happening underneath that slider. So if you hold it down and we move the black points, the black slider is going to show you where the black point first appears, where it disappears and how much of the images moving into pure black without the distraction of all the color information that is in the file. So it's designed there to really help you work with that, um, you can use snapshots to set different points in your editing history to see what happened before and what happened after. So we're gonna go over snapshots in the editing process. But it's a thing that not a lot of photographers necessarily use when they first jump into light room. You know, what are they? Four. But they marked different points in our history and give us different options to output a file as an opportunity. Other thing about snapshots that makes him uniquely interesting in some ways is you create a snapshot. If you go into camera raw into photo shop, the history of light room doesn't come with it, but the snapshot will, so you could create four snapshots in light room of four different looks you like. And then no, you're gonna go into photo shop to do some more editing, and you're not sure which snaps not snap which version of the editing you want. You could use a different snapshot to revert back and change the settings. So it's one of the key element to let you kind of experience the history of the file. As you move into Photoshopped, you can use more than one regional and local adjustment in the same spot. So one of things somebody will ask is like I put a Grady and on and I wanted the sky darker, but it was really over exposed, and I drag the slider to minus four, and it's just not enough put gravy on it. Let's just keep going. We can stack those. So adjustment brush is we can make an adjustment brush and we can duplicate the adjustment brush right in the spot and give it a different set of parameters to it, and we'll walk through that workflow. But a brush can be used more than once, and we can stack them on top of one another. And if you've been in light room for a long time, you might think, Well, that's pretty obvious. I do that all the time. But when you're getting started, sometimes that is. Something you don't realize is that we can literally just go right on top of one another. And we try to make all the edits in one brush on one Grady int, and sometimes it's better to separate those apart. This is the one I see the most often when I'm working in the classroom and I get to watch people work on monitors and I stand behind them and judge them in Mass. Is there making edit and then they'll start working until notice that there's a problem like a halo is shown up for. The saturation is weird, and then they'll make an adjustment on top of that to fix that, and then they'll make an adjustment on top of their fix to fix their fix. What they needed to do is go back to the original and fixed with a problem first appeared, and so you don't want it if at all possible. You don't want to make additional edits upstream to try to fix the problem. Earlier in the editing process returned to that earlier step, fixed that and then move forward. It's just gonna make it cleaner and issues compound themselves. And so if you start adding things on top of things and then before you know it, you've got 13 brushes that you've applied to try to get rid of this halo that you can't get rid of. And then you're starting to get frustrated when, really, if you had just come back and adjusted the sharpening panel, the halo would have gone away. So getting back to kind of that basic if you're moving into photo shop and we'll walk this workflow I recommend you go in is a smart object if you're working with raw file so that you have access to all of your development settings in photo shop under the smart object. So the smart object remembers its parent program that it came from. So even if you were working with an illustrator file, say, and you brought that in, the photo shop is a smart object and you double click on the smart object icon. It would launch illustrator in light rooms. World Camera Raw is the underpinning parent program, so we go is a smart object in the photo shop. Que Murad will start and bring all of those settings there in the development module into photo shops. If I'm going into Photoshopped to remove something or to use the tools and photo shop, and I realized, Oh, my base exposure is wrong, I go back into Kameron. I can adjust the exposure slider right there and preserve those settings so you do that the first time. The second time you take that in the photo shop. I recommend you edit the original so that you can get access to all those core pieces, and we'll walk through that workflow because there's a dialog box that comes up can kind of get confusing in a pit on your workflow. It's a problem, but in general, for what I've seen with most people smart object the first time and then edit original the second time, and we'll talk about those specific pieces as a rule of thumb. You noise reduce first, any sharp in second. Now there are some people who are you used to do the opposite. My rationale. My rationale for this is to get rid of noise. We blur, and we're gonna walk through a little noise reduction panel on how it actually works. But noise reduction is blurring. Sharpening is finding edges. So if I sharpen first, I'm actually sharpening the noise. And I may in the over correcting one or the other of the two. But if I blur first, then I can introduce the little of sharpness back in tow. What I think is the appropriate level. So my recommendation in most cases is noise reduced for a sharp in second, there might be a case with a specific file where I would reverse that. But as a general rule of thumb, I would do that. Then the big one, we had global regional local output adjustments within each one of those big buckets we want to edit. In the following order, we want to adjust luminosity or brightness first color, second in saturation. Third, and the reason for that is you can't judge the actual color of something. If the brightness is off, take the brightness slider all the way to the right. Image blows out toe white. What colors in there. So if you're adjusting color first and then you adjust exposure, you're going to see what potentially is are extremely dramatic color shift that could be require you to completely go back in and redo all your color work. So we had just for the luminosity first. Once we get the luminosity right, we can get the color. Correct color is the hue of the color. It's the actual thing that when we say that thing is red, that's what we mean by Hughes. We just that color and then saturation is the purity of the car. How come how much poppy or dull is that that color? So we want to adjust that after we get the color. Correct. If you just the saturation first and you don't know what colors there, you'll be drawn into the saturation. We are seduced by a couple of things and photography and the visual literacy of looking at and experiencing the photograph. We're drawn to sharpness, so we look at sharp things before dull things. We attempt to read words and complete words. If I put Bank of America there, everybody fills in the B before they actually look at the rest of the photograph. Their brain solves that little puzzle. We look at faces, So we'll debris drawn to a face element and people, and we looked a high saturation first. So most people, when they look at an image, their love saturation. That's the initial draw for us. And so when we deal with saturation, if we saturate an image first, we will be drawn into the seduction of the saturation and not get the luminosity and color right. So that's part of the reason for that. That structure in that order for working on those So Hugh is what we think of color. So when I say we're going tojust color, that is, the pure color makes with some level of gray or white. So that's that's colored saturation is color purity the intensity of the color we can have highly saturated, less saturated, a monochromatic image that has clear we would call a chromatic but is no saturation. There's no saturation that provide that. That's what makes it monochromatic. Luminosity is the degree of lightness or darkness. 0%. It's completely dark. 100% right is paperwhite, or the brightest weight that the monitor monitor produces. The base Hugh of a color is a 50% luminosity, just in our measurements base