Lessons

Lesson Info

From Lightroom to Photoshop

all right, folks, and now it's time to go in the photo shop. And like I said, um, there's many times when you can do and complete all of your tasks in light room. But some, uh, for some of the more fine tuning, I think it's easier to do it in photo shop, and sometimes it's the only way to get it done. Um, so let's go through a couple of images and we'll start off in light Room will kind of go back through what we've done and then take them into photo shop. And I'll show you guys some techniques that are very, very common to me when I'm doing light painting. All right, So again, this was a imagery shot up a gasworks hill, and we've already adjustments a little bit in the less lesson where we're adjusting the white balance and we just the basic overall tone in here. We even adjusted the h S l a little bit. So now let's take this a step further now that we know our local adjustments. So really, I want this to feel neutral or bluish, and I want this to feel a little bit warm so I may take.

My overall white bounce was just going to shift everything towards blue somewhere just in there. And now that makes this bottom part feel a little bit blue. So this is this would be a great place to use that graduated filter, right? So I can grab my graduated filter, um, double click on effect to reset. And I'm gonna click right about here and just sort of drag upwards Now, in one fell swoop, I could just take that white balance and pushes all the way towards yellow. And you're gonna start to see how we're getting this, um, riel color contrast now here between a blue neutral or a orange yellow, and I'm even puts a magenta in there to make it slightly more orange, and you could push us as far as you want. This is just a real real taste, real subjective sort of thing. So let's do that. All right. Now, um, you may remember if you were watching the live section of this when we're out in the field that I painted from one side here which cast the shadows onto the other side over here, and then what I did was. I took another photograph, but I painted from this left hand side and I painted at a lot less intensity. And the reason is I just wanted to create that fill light again, going back to where we were talking about that portrait in the studio. You've got a key light that's your main light on, and then you can put in a little fill light. So that's kind of what we're doing out here in the field. The only problem is, is this image is adjusted with not only white balance and exposure and the whole list of things. This photograph here has not yet been adjusted. I need all of the I need all of the values that I did on here transferred over to this image. So the way that we do that when you're in the develop module, you are going to select the first image, and this is the one with the adjustments and then command or control shift on the second image and that will select it. But notice that this image is actually brighter white, and this is just a light gray. What that means. It means this is the active image and this is selected. But it's an inactive image. And that's important because when we go over here to hit the word to hit synchronize, it's going to say, well, which image they take the settings from and which it means should put the settings to. And this image is where they're coming from. This image is where they're going to. So I'm gonna go ahead and hit Synchronize here and I can check none. I could check all or I could just go in and Cherry pick little things that I want. In this case, I want the images to be identical from right to left. So I'm gonna hit, check all and then synchronize, and that keeps me from having to go in and do all of those individual adjustments that I did on this other image. All right, cool. Now, at this point, we've got both images selected. I'm gonna return to the library module, and, um, I want to send both of these in a photo shop, and what I want to do is I want to put them into the same file in a layer stack so that I can blend them together to allow a little bit of this frightening of the shadows on the left hand side to even this photograph out. All right, so how do we go about that? Well, opening an image in photo shots or for into Photoshopped from late room is super easy. So I'm gonna click on this image, and I'm gonna go to photo edit in Adobe Photo Shop. And what that will do is it will take that photograph, photograph and launch it into photo shop. And what it's actually launching is a copy of the image. So that was in D and G, which is actually a raw file. Um, but what we're gonna end up with here even though it says it's a DMG, it's really a tiff file. So, you know, I could make some important changes to this image. Isn't that beautiful? That's great. That's on its own layer. We're gonna come back to that. I'm gonna hit, save and close. Now what's happened is I've just taken this image out of late room and I've taken it into photo shop, and I've made some subjectively subjective improvements to the image. And there it is, right here is my original. Here's the edited just came back. So once again, open to photograph into photo shop made some changes. All I did was hit, save and close, and it comes back to light room. That's how easy it is to go back and forth between the two. But now, at this point, we're gonna run into a snag. Let's say I want to work on this. I felt that maybe might light their my black painting here was a little heavy handed, and maybe I want to reduce it or perhaps eliminated. So I want to open this back into photo shop. But when I do watch, what happens? Photo at it in and it in photo shop and the HOA light room wants information from me Now, now I've got to answer questions. Now I've gotta read. I'm gonna stop and read this on. That's important. You guys, we get so accustomed to glossing over these things and just hitting OK and moving on to the next thing. But it's important to read this So this says edit original. And what that means is it's actually referring to this photograph right here that I've clicked on with the black marks all over it. It's not meaning the original, all the way back to the beginning. Raw file. So if I do indeed want to remove these black paint marks that I put on here, I would choose edit original again. That means this file not the original Raw. All right, so we choose edit coming to photo shop And here's our photographed people just the way we left it, All right. And you can see over here what we have is something called layers and my layers are still intact, which is what I want, because if I want to remove this and say, You know, I didn't do a very good job painting or, you know, maybe I don't like that black paint it all, I could just delete it. And I'm right back to the beginning. No harm, no foul. Let's take this photograph, which is actually a JPEG. And what I've done here is I've shot a bunch of star trail images or start start trail images. We're going to stack them together in just a few minutes, but for now, let me just take this one photograph and use it as it an example separate from what we will be using it at all right now. If I went to layer New Layer, what's gonna pop up here, not just click OK to this. What's gonna pop up here is a blank layer with nothing on it. And what I did in the last example was I simply took a paintbrush and chose a color open up there and shows the color in this case black. But I could choose any color I wanted choose a nice color blue and that's Yeah, well, makes it pretty stuff. And I simply just painted on the image. But realize what I'm actually doing is painting on this layer, so I'm not permanently destroying this image. As a matter of fact, I could take this layer and I could simply throw it out. And as if the deed was never done, that's what a blank layer is. Well, certainly use them from time to time. But what the layers that were more interested in is something called an adjustment layer. And And when we're in light room, uh, get back the light runner. When we're in light room, it's super easy just to make a change to a file. You want a dark in it. You move your exposure slider. You wanna lighten it, You move your exposure slider. No biggie. But we have to realize that light room kind of stands on the shoulders of Giants. Photo Shop is around for 20 plus years. It's made all the mistakes gone through all the hardships, and it's still emerged as one of the most powerful editing programs out there. Light room has come along and has learned from all that photo shop has built up over the years and has created a very streamlined workflow. That's why light room is so awesome. So what we're actually dealing with back here in photo shop. It's in pretty old technology with, you know, in regards to digital anyway. So the way that we used to work before late room came around was that we would create something called adjustment layers. And that would mean if I went to layer new adjustment layer to say something like curves. Well, let's start with something simple. Just go up brightness, contrast. What I would do is I would get a brightness and contrast slider and I could right in the image or dark in the image. And that would all be on an adjustment layer so that if I save this image and I'll just go ahead and do this, I'm going to save this. Uh, can't do that. Um, if I save this and close this out and then went back to late room and brought it back in this adjustment layer would still be intact, and all I would have to do is click on this and I could readjust my brightness slider. So this is the way that photo shop used to address? Uh, not adjusting the image exactly. We could take this layer, we could throw it out, we could create a new layer on, and we can continue to work, and we'd end up with a whole bunch of different adjustment layers that all affected the bottom file. But they could all be readjusted at a later time. All right, so we have something called a layer and that is called a pixel bearing layer, because it can contain brightness and color and images and change the pixels. Then we have something called an adjustment layer. And an adjustment layer is just what it sounds like. It's a layer that has an adjustment on it, and that would be a Ziff. You lay to print down on a table and you say, Gosh, I want that print to be more contrast to your brighter or darker so you'd grab a piece of ass. Aetate estate would have a little knob on it, and as you turn, that knob would get more contrast, turn it gets brighter. So as you're looking down through the stack, this layer is actually adjusting the image itself. The way we would do that in photo shop is we would create what's called a selection and that selection, and I'll come back to this in a little bit. We're gonna cover more of that. That selection automatically selects an area. And now, when I create an adjustment layer layer new adjustment layer, let's say brightness contrast again. Um, it's gonna turn that selection into a mask, and you could see that was the selected area, or this is the selected area. Now, when I make that adjustment, it's only going to effect within that area. But you can see how much quicker and made that selection versus having to paint it in back in late room So we're gonna go over that in a second. I just wanted to show you guys what an adjustment layer is, what a mask is and the idea of a layer itself. And through this process, teach you how to open an image from late room into photo shop and back again.