Class Introduction: Develop Module Overview
Lesson 1 from: Developing and Global Adjustments in Adobe Lightroom ClassicJared Platt
Class Introduction: Develop Module Overview
Lesson 1 from: Developing and Global Adjustments in Adobe Lightroom ClassicJared Platt
Lessons
Class Introduction: Develop Module Overview
10:15 2Profiles
11:34 3Basic Adjustments
11:45 4Basics Panel: Texture, Clarity, and Dehaze
05:31 5Basics Panel: Saturation and Vibrance
02:40 6Tone Curve
09:26 7HSL
04:48 8Split Tone
08:19Lesson Info
Class Introduction: Develop Module Overview
so looking at the photos when you're in the selection process is a lot of fun, and that's that's it's really cool to see those images for the first time. But the rial fund in editing photos, is in the developed side in working on your images and really making them come alive because, you know, when you photograph, you're photographing what is already there, and sometimes you're adding light. Sometimes you're shaping things a bit, but in the end, the final process of really showing your vision is inside of the develop module. So that's our goal. Here is to talk about the develop module and what you can actually accomplish inside a light room to adjust your photos and make them really sing. And not only are we going to talk about the process of adjusting and what each slider inside of the develop module does, we're also going to talk about the process of making that go faster so that especially for those of you who are wedding and portrait photographers or you have a lot of work that you...
're going through, or even if you just are on a vacation and you're taking a lot of photos. It's good to know how to get it done quickly so you can get through the bulk of the work quick. And then you can really focus your time on those you know, one or two or shots there that really need your assistance or that really just deserve to be tweaked and worked until their perfect. So let's dive right in. Now I have chosen a collection of portrait image is to be the subject of our adjustments, but I'll go back and forth, but I'm using collections to do this. I'm editing images that I've already collected through the collection process. They've already been selected inside of the library module. We've already gone through and found the images that I want to work on, and I've put them into collections over here on the left hand side. Um, and that's the way I prefer to work. Any time I'm about to do something, whether it's a teaching project or a book project or anything like that, I'm going to collect those images and start working on them. But just because I'm using collections here in a portrait session in order to work on them for you does not mean that you couldn't necessarily just do this from your hard drive. So, like when you're in the folder area rather than the collections area, um, you could just click on your selects folder, um, and then highlight all of these images. Start working on these images inside of the develop module. You could certainly do that without without any problem. In fact, if I'm doing a job from start to finish, that's what I do. I'll I'll select them. I'll put him in there, selects folder, and then I'll click on this Lex folder and then start working on those images inside of that selects folder. One thing that you should be aware of, though, is that if you are working on multiple cameras of images, it's important toe work on one camera at a time. If you're trying to go fast because each cameras subtly different, and if you're adjusting one image and trying to apply those adjustments to another image that was shot with a different camera, you'll have mixed results. Eso it's always better to go up here into the metadata panel and choose the camera that you're working on now in this particular uh, folder. There's only one camera being used. However, when I go into my other images down here, uh, and we're going to go to this one. There may actually be more than one camera being employed. Yeah, see, So there's there's quite a few cameras being employed. There's, ah, five d mark four. There's a cannon, E U S. R. And there's even an IPhone. And then there's a Nikon D 8 10 being employed. So three different cameras. It's important to just work on one camera at the time. Um, and you can and always compare those cameras and see how you're doing to try and make them work together. But it's if you're trying to apply settings from one camera to another, it's not gonna work very well. Okay, so with that being said, we're going to jump into the process of adjusting our images. So first I'm going to go into the metadata, and I'm gonna just choose toe work with one camera. So I'm going to go with the five d mark four. Um, and that's what we're going to be working on. So you see, hive sorted by that. So I'm Onley looking at those images that come from that camera groups. But you've got to leave it selected. So the mark for and then I'm just gonna hide it with the backslash key. And now I'm ready to start editing those images. So I'm gonna go into the develop module, and now let me give you a quick overview of the develop module, and then we'll start working with each and individual each and every slider and, uh, and panel inside the develop module. So on the left hand side, you're going to see an area for presets. There's a navigator up at the top, and then there's also snapshots and history and collections. Collections are always available everywhere so that you can quickly go to a different collection of images without having go back to the library module. We probably won't be doing that while we're in the develop module here, but it is available to you, and you can, of course, clothes anything that you don't want to use. And by the way, inside of light room, you can also right click, and you can uncheck anything that you don't use on a regular basis. So if you never use snapshots and history. You can uncheck him and they will just not even show up here on the left hand side. Eso any panel you don't want to see? You can get rid of just right. Click it and uncheck it and it will just disappear. And then, if you want it back, you can always right click any of these panels and then recheck that and it'll come back. Okay, so presets air over on the left hand side and basically a preset is just you click on a button and it changes a bunch of slider positions that are over here on the right hand side. Here, that's all a preset does is just move those sliders into different positions. Eso They're very basic in the way that they are made and operate, but they're very powerful in getting your work done, and we'll talk about those in a minute. Um, over on the right hand side, you're going to see that you have a history, Graham, and that hissed a gram is just showing you where all the pixels are. Eso There's a lot of yellow pixels in the mid range to basically light grey to white. There's a lot of yellow and red and green and then in the shadows over here on the left hand side. There's a lot of blues and awkward is and stuff like that in those shadows. So that just gives you an idea of where all of the brightness is in various colors in this photograph. Now one of the things that is really quite interesting about the history, Graham, and I'm just going to show you a couple of these things right off the bat. They're kind of in no particular order, Um, when you are looking at a photograph and if you this is especially useful if you are working tethered. But when you want to see what the actual exposure is, say of someone's face or of, say, area of black inside of the photograph, if you will use the crop tool and just simply crop an area, the hissed a gram changes based on the crop. And so now I can see that this is the hissed a gram associate ID with this part of her purse, and then I can move that around, simply grab the crop and move it over to the yellow of her shirt, and this is what that shirt looks like on a hist a gram. So that little area of the shirt shows you some blue shadows, which is probably in the folds of the sweater. And then most of the sweater in the highlights is up here, which is a combination of red and green, which makes yellow. So if I move up to her face, then you can see that I've got quite a wide variety because it's it's much more, um, target or its wider. It's getting her green glasses. It's getting lips and all that kind of stuff. But if I shrink that down to just her skin, which is a little difficult to do when it's that small. But now I'm just looking at her skin and a little bit of her hair, and you can see where all that resides. The shadow is probably underneath your chin, but this is a really well exposed image. Based on this, hissed a gram. So, uh, just hit reset, take you back to the normal crop and then you'll see the entire image. But that's a really useful thing when you want to understand what you're hissed. A gram looks like and what your exposure is on any given particular image. Um, so that's the hissed a gram and below the hissed a gram. You'll notice that there's a lot of information about the photo. What I s o settings, shutter speeds, apertures, all that kind of stuff is there plus, and this is really important what you're working on. So if you have the original image, it will say Original image. If you have a smart preview built with, it'll say, Smart preview. If you only have the smart preview in the original image is not there. It'll say, Smart preview. And if nothing's there, if there's no smart preview and if there's no image, it will say that the image is missing or missing image, so you'll know what you are are not working on. And that's fairly useful when it comes to um, working on images so that you know exactly what you're dealing with.
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