Basic Editing In Adobe Lightroom CC Mobile
Lesson 3 from: How to Use Adobe Lightroom CC MobileBryan ONeil Hughes
Basic Editing In Adobe Lightroom CC Mobile
Lesson 3 from: How to Use Adobe Lightroom CC MobileBryan ONeil Hughes
Lesson Info
3. Basic Editing In Adobe Lightroom CC Mobile
Lessons
Class Introduction
01:48 2Best Practices For Mobile Capture
06:20 3Basic Editing In Adobe Lightroom CC Mobile
08:27 4Access And Ingest Raw Files On Your Mobile Device
10:04 5Advanced Editing In Adobe Lightroom CC Mobile
24:38 6Editing In Adobe Photoshop Fix
06:56 7Share Your Images With Lightroom On The Web
08:26 8Lightroom Desktop Workflow
12:49Lesson Info
Basic Editing In Adobe Lightroom CC Mobile
Let's talk about editing these files because that's really where all the funniest. So I have a collection here that I've already put together, and we're gonna walk through these and I'm going to show you sort of the workflow that I use, which is the phone is great for capture. The phone is great for presenting work quickly. It's fantastic for social. Even professional photographers used the camera on this device for social media, behind the scenes chronicling things. But just to show you what's possible, this is a DMG capture that's been edited on the IPhone seven. I tap in the upper left. We're gonna see that's a DMG file here. And if we zoom in, here is this is shot at Adobe that I took the other day. You can see that this is what's possible with a raw capture off of a phone. Tremendous detail, high speed moving object, really tricky mixed lighting. I've got warm sunlight on the plane. I've got cold shadows in the foreground. I could never do that with a J peg. It just wouldn't be po...
ssible. What I'd have is, ah, white band up top in a black band down below If I shot a HDR, I would have a light blue band and a lighter grey band. And then I'd have a bunch of ghosts where the airplane was a moment before, right? So raw is a game changer. Here's another example. I'll show you guys this this has taken if you if you look at the date stamp has taken last night at sunset, this is very real world. For better or worse, what you get with me is my own shots testing the stuff, making sure it works. I stand behind everything I'm talking about. I'm not going to use canned demo assets. Uhm, I was up visiting my folks last night. Beautiful sky, Um, this is a J peg edited and it as much as I could possibly edit the J. Peg. This is the raw file. That's what I saw. And the JPEG often does not reflect what you see. Where the raw file allows you to get everything that you actually saw in the image. So if I tap three fingers that's at capture, and if I let go, that's the editor of ST. I'll do the same thing with the JPEG. You'll notice the JPEG at capture looks a little bit better, right? It's a decent J peg as opposed to the raw, which is pretty contrast, e But what you can do with that information is where it really differs. So just to show you really quickly So you know that I didn't put, you know, 50 hours into this image, uh, I'm going to reset this because just, like light room on the desktop, I can always go backwards forwards. I can choose any state. I've got this wonderful nondestructive workflow. So here's how the image came off of camera. Uh, and it was a DMG. One of the things about shooting with the lighter map is your shooting into a light room library. So rather than the other workflow, which is you shoot with your, um, traditional IOS camera or android camera and then import those files when you shoot with the late room camera, there automatically just in a labrum collection. So the next time you go to the desktop, they're sitting waiting there for you. Lots of controls. Here. I've got about 90% of the functionality that I have in the develop module back on the desktop in light from C. C. And I'm just gonna hit auto tone and other tone immediately opens it up. It compresses the highlights. It opens up the shadows. You can see that the exposure contrast highlights and shadows have all changed. And I'm probably gonna want to recover the highlights a little bit more. Maybe open the shadows a bit more. At this point, I have enough information that I could use the white balance tool. I've got all of these presets. Um, shade would be pretty accurate, but I'm just gonna take the white balance selector and find an area that I know to be white or neutral, such as that on the little raft right there. And now I've set my white balance. I'd be faking it if I did that with a J peg. And while some colors would adjust, other colors were just as well. With a raw file. I can truly isolate a true neutral, and the rest of the image will reset accordingly. So at this point, if I want toe, warm it up a little more or throw in some vibrance, I can do that. I could even do stuff like D. Hayes. We'll talk more about DJs in a minute. If you guys know D. Hayes on the desktop, it's essentially a digital polarizer. It allows you toe cut through all the craft. There really isn't any of that here, and one of the things that's gonna do is it's going dark in the foreground, so I'm not going to do that here. But you get the idea of how quickly I was able to do that. Before we switch to a bigger screen. Let me just show you what's possible. Leveraging a desktop file This is a DMG file off of the like Q, which have been shooting with like crazy lately. It's another camera that shoots DMG, but fear not. If your camera doesn't shoot jianjie, it's still supported. In a moment we'll talk about how to get files from your traditional cameras into these mobile devices, But in this case, what I did is I put the file on the desktop and I sink that with mobile, and that was the workflow. Up until about two months ago, he needed to go to the desktop, import your raw files and then sink a proxy file with your mobile device. That's no longer the case, you can edit true raw files and you can import them directly. So this is a true DMG file. And again, just to show you what's possible, this is completely flat. Um, I'm gonna use auto and I There's gonna be a lot of sort of myths that we dispel today. One of them is that auto isn't for everybody. You should all start with auto because auto is a smart algorithm. It's looking at the history Graham, looking at your history, Ram, and it's comparing it to a bunch of other hissed a grams, thousands of history rams from professional photographers. So have a whole library of hissed a grams and we look at yours. We compare it to others so that we give you an adaptive result, which is why, if I turn auto off, so much changes. All right, I know a lot of the time when we think about auto, we think about something you just don't want anything to do with. It's been my experience that magic auto smart. A lot of us who are seasoned users sort of back away from that stuff were a little skeptical. But I start with auto on every image that opened the image up. And then what I would do from here is maybe pulling the highlights a little more. Everybody likes a little bit of clarity for drama, and this is a great example. I'm going to show you this again on the larger screen on the IPad. But as much as I might want to use D. Hayes and I know it's gonna open up the sky, one of the problems with that is when we add De Hayes. Yeah, does an amazing job with this guy. It really did look like that, but you'll notice that it's darkening the foreground. So just like light room on the desktop, I'm just gonna double click a slider to restore it to its default value. And I'm gonna come into a local adjust. Says another thing. We recently added that people have wanted forever the ability to apply a graduated filter on a mobile device. So I'm gonna come to local. I'm just gonna touch the sky, and it's gonna drop a little pin there. I'm gonna pull that down midway, and then I'm gonna pull the lower bar down and think of that as feathering write. The mid bar is full strength to that point between the mid point and the bottom line gets feathering. So I've laid that on there. And now what I'm gonna dio is just apply De Hayes selectively. You can have multiple graduated applications. You could have radial linear. One thing you do have on the desktop is a brush based control that you don't have here. Part of it, we'll talk about today is all the things that you could do on mobile but also touch on a couple of the things that you can't currently do on mobile. So I'll make sure that I give you a very candid ah representation of what's possible here. Okay, so that's that's what I wanted to show you on the phone, sort of Just to recap, make sure your lenses clean. Make sure you're capturing for the highlights. Make sure you're getting a nice clean exposure, but you really do have the same freedom in the same power. Here we find that most light room mobile users are on the phone. It's the device that we all have with us. It's very portable, easy to use
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Anna Newman
This class was my favorite of all the 2016 Photo Week post classes. Bryan is a great teacher approaching his topics from a working photographer perspective, as well as an Adobe insider viewpoint. I starting using all the material Bryan covered immediately after the class, and have already sold a stock photo. I am completely sold on his reasoning about taking the time to organize your catalog. I highly recommend any class past or future Bryan is teaching.
JIll C.
Bryan's passion for the Lightroom Mobile workflow makes it easy to understand and adopt. He demonstrates with easy-to-follow examples how to capture and edit in the field on the IPad or IPhone. (Though not mentioned during the class the Android app is equally facile.) I am now ready to fully adopt LR Mobile and apply is to my workflow. Bryan is an articulate and natural trainer, and makes this topic completely transparent and approachable.
Sasha Alexandra Ordanian
Easy to follow and implement! Great class!
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