Lessons
Class Introduction: What is Light Painting?
03:45 2Camera Considerations
16:18 3Camera Settings and Initial Exposures
09:26 4Light Painting Accessories
04:05 5The Color of Light
05:21 6Focusing in the Dark
03:13 7Light Painting Techniques
08:30 8Lightroom: Basic Panel
14:14Lightroom: Presence Panel Adjustments
06:05 10Lightroom: Hue, Saturation, Luminance
05:17 11Lightroom: Local Adjustments
16:46 12From Lightroom to Photoshop
11:55 13Photoshop: Lighten Blending Mode
04:31 14Photoshop: Star Stacking
03:17 15Photoshop: Layer Opacity
03:25 16Photoshop: Selection and Masks
05:55 17Photoshop: Mask Adjustments
05:46Lesson Info
Lightroom: Hue, Saturation, Luminance
all right. Now that we're done with our basic panel and our presence panel, we come to one of my favorite tools inside of late room. It's called H s L stands for hue, saturation and lightness. So we said before that the several things that I look for when evaluating the image or brightness that's our exposure slider contrast. We've got overall mid tone and then micro. And then we've got color. And I broke down color into hue, saturation and luminous, much like the H S L panel does. So as we slide down here, we're going to see the word H s l will expand that panel. Let me close up my instagram for a second. So we get a better view. And in here we have hue, saturation and luminous and that hue saturation, luminous does just what you think it does. It's going to control each aspect of that. And I love Adobe. Look at how clever they are, right? Even tell you behind the slider what's gonna happen if I move this slider? It's gonna take my red values and make them more magenta. If I move in t...
hat direction or it's gonna take my red values and make them more orange if I move them in that direction. So it couldn't be any better. Saturation is the intensity of the color. So if I move the slider this way, it becomes more of a gray. If I move it this way, the red gets more intense. And then luminous says, if I move my slider this way, it gets darker, not necessarily more intense, just darker. Um, And if I move my slider this way, it's gonna get brighter again. Not less intense, just brighter. So th s l panel is really, really super powerful. Let's start in the beginning. And actually, I'm just gonna resettle these images real fast. Make sure they are all actually reset. There we go. Now we return to our develop module. All right, um, in this image, I wanted to take this photograph of the Mandalay Bay, but, uh, at at civil Twilight, but has a little bit early, So the sky is a little bright. Fixing that in theeighties sl panel is really a snap. Um, and the beautiful thing about the h s l panels you don't even have you don't even have to have passed Cray Ola in kindergarten, right? You don't even have to know your colors. As a matter of fact matter fact, you don't even have to be illiterate. You don't even need to know what these words mean to fix this. What we can do is simply click on this, uh, called targeted adjustment tool. And if I'm under luminess, I'm just gonna click on this and dragged down. And that makes my sky darker. If I drag up it, it makes it brighter. It works the same way. If you're in saturation, target adjusted tool is active. I click, I go down, it gets less saturated, I go up, it gets more saturated. And Hugh, if I go to Hugh, I can click on and say I want that blue to be more of Ah, an aqua blue or more of a magenta purple blue. So we've got a lot of power in here, But what you need to realize is that if you click here to make your adjustment, you're adjusting that color anywhere exists in the entire image. So it's not a regional thing that we're selecting here, but it's that color wherever that color exists. Throughout the photo. So let me reset each one of these boxes. I'll double click the hue, Double click the saturation that resets everything. Double click the loo minutes. All right, so my goal here is to darken down the blue sky. So I'm just gonna click in there and darken it down. And ultimately, I could get it to a nice dark value. But when it's darker like this, it seems to be more intense. And the sky is not usually that intense at this time of day. So like then go to saturation my target of this still active and click and pull that down a little bit. And now we've got a darker blue sky that is less saturated and will change the hue a little bit. I'm not us much of fan of that aqua blue. So I'm gonna push it up and just make it more of a slightly purple blue And that looks better to my eye. So when we look at the before and after you can see we've made some great changes. Here's an example where I've done the late painting I got my base exposure up in the sky here as shot was 40. 900 means I shot. It is on day light on my camera. So I'm gonna go here and put it to you. Let's say tungsten, see what that looks like. It's a little bit too blue for May. So we'll pull that back to Amber a little bit. And actually, it looks a little dark. Let's look at our history, Ram. You can see it's got a whole lot of room for that white to move. So we'll take our white slider and move that up. They're now we're starting to feel pretty good. All right, so I like the color of the sky here. But this yellow is a bit, uh, off putting, shall we say so? What I'm gonna dio is go to my hue and click on my direct selector button clicking their drag it down, make it just a slightly a little bit more red or orange. And to me, that's just more of a pleasing color. All right, so, in this way, when we're out light painting, Yes. We definitely want to, uh, uh, filter our flashlight correctly, but know that if the color is fairly separate from the sky or other surrounding colors that we do have the ability to fudge on Lee that color in the scene just a little bit.
Class Materials
Bonus Materials with Purchase