Adobe Photoshop Lightroom CC – PDF Drive

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

I\’ve learned a lot from this book. For example, one frequent problem in landscape photography is the brightness range from the sky to the land. I just lived with this issue, but Kelby suggests using the graduated filer which acts like a neutral density gradient filter. One problem of Photoshop is that there are many features that you just have to know about, that the menu system does not show them in obvious ways. This book doesn\’t show you them all see Adobe\’s reference manual , but it shows you how to do lots of useful things efficiently.

For a better understanding, take a look at the Table of Contents here on the Amazon web page. Nicole McKinney. Which is only good if this is your first Kelby book. Scott Kelby is the man. I have read maybe 5 books of his? Idk, lost count. He\’s never let me down I\’m sure for the ultra new user there\’s a surprise in here, I just couldn\’t find it. I\’m still giving him 3 stars out of loyalty- I haven\’t read the RAW section. I\’m really counting on his promise to deliver hidden CC secrets.

But I\’ve shot RAW exclusively for years now Oh, and dude. The cover models\’ skin looks plastic. Not the look you were going for, surely? Nice book for my library. I have another book by the same author for Lightroom CC. And, I have two books from the Adobe Class room series. I\’m a person who likes boots as opposed to video – just my nature. I haven\’t read all this book yet. It\’s written well, in a casual tone and is understandable. What I\’m finding out is that you need more than one reference book.

Different authors use the Adobe software differently, so their skill sets and usage is aimed at what they do – Landscape images vs. You pick up little pointers from all these authors to build your own tool box – stating the obvious. Also for me, I\’m a recent convert to the Adobe subscription service.

Previously I had an old version of Photoshop which I purchased and kept for many years. So, I needed help with finding some features in the new version. Same feature but they access them differently or give these features new capabilities – making the old reference books obsolete. See all reviews. Top reviews from other countries.

I am a fan of Scot Kelby\’s books, they are great to follow or to use when in trouble. I bought this soon after the release of Photoshop CC version, which seemed to have released lots of modified approaches to editing issues that I used a lot. I have found this book very useful indeed – for me it\’s much better that the myriad of videos available online. I\’ve used Scot Kelby\’s books before and find them great.

First off let me say I\’m not trying to sell more books for Mr Kelby. Having said that I would recommend anyone who is just getting started using Photoshop CC, to get hold of a least a couple of his earlier Photoshop books. To lighten teeth, set Exposure to roughly 0. Decreasing saturation removes any color cast the teeth may have.

You can also change brush section of the Adjust- size using keyboard shortcuts: Press the Left Bracket key [ to decrease size ment Brush panel let or the Right Bracket key ] to increase it. Set it to 10 for this exercise. Set it to 46 for tings correct for your this technique. If you settings as necessary.

To decrease flow, the brush acts like an airbrush, building up the opacity of the switch between the two adjustments over multiple strokes. If you then slider or by double- clicking the slider itself. Turn it on when you want to adjust a defined area say, an made. To do that, use object against a solid background. Leave it turned off for this technique. Reduce brush size to about 3, this exercise.

A pin appears to mark the area you adjusted. This is a great way to give your subject a little more sleep than they actually got the night before the shoot. Use the Spacebar-drag technique to reposi- tion the photo so you can see the eyes.

Try setting the Exposure to 0. To do that, press O on your keyboard or turn on Show Selected Mask Overlay in the toolbar beneath the photo. In this figure you can see the before version top , a ver- sion with the mask overlay turned on middle , and the after version bottom.

Snapshot 1 in the Snap- shots panel to return 4 To enhance irises, you can lighten shadows, increase edge contrast, and boost to the edited version color. To do that, set Shadows to , Clarity to 50, and Saturation to If one button.

Here you can see the before version of the eye enhance- ments top , a version with the mask overlay turned on middle , and the after version bottom. Softening skin and blurring stray hairs You can also use the Adjustment Brush tool to quickly soften skin and blur stray hairs. E Tip: For extra prac- 3 In the Navigator panel, click the Fill button so you can see more of the photo.

Brush and soften her skin too. Here you can see the before version of the skin softening left , a version with the mask overlay turned on middle , and the after version right.

Brush a little ways into the edges of the hair as well. This figure shows the before version of the hair strand blurring left , a version with the mask overlay turned on middle , and the after version right. You already learned how to darken areas using the Graduated Filter the Adjustment Brush tool is also a quick way and Radial Filter tools, but you can do it with the Adjustment Brush tool too. Here you can see the before version of the background darkening and blur- ring left , a version with the mask overlay turned on middle , and the after version right.

The next section teaches you how to remove distractions using the Spot Removal tool. The Spot Removal tool works in both Heal and Clone modes, which lets you deter- mine if you want automatic blending of surrounding pixels or a straight copy-and- paste respectively , so you can use the tool to clone an object in order to duplicate it.

You also learned that you can use Dehaze to fix a foggy or hazy photo. But what you may not realize is that you can use a negative setting on each slider to produce a watercolor and a foggy-dreamy look, respectively. To get your creative juices flowing, consider these examples, which you can try on the photo of the cherry blossom you can use the Snapshots panel to see different versions of the photo that were prepared for you.

In the Basic panel, Clarity was set to —71 to make it resemble a watercolor painting. And in the Effects panel, Dehaze was set to — The Spot state, click Snapshot 1 in Removal panel appears beneath the tool strip.

Set the Feather slider to around 10, and set Opacity Reset button. Any sensor spots in a toolbar beneath your image in the preview the photo appear as white circles or grayish dots. Drag the Visualize Spots slider area, press T on your rightward to increase sensitivity so you can see more spots. The Visualize Spots feature is mission critical for revealing spots caused by dust on a lens, sensor, or scanner. Although these tiny imperfections may not be noticeable onscreen, they often show up when you print the photo.

Press and hold the Spacebar on your keyboard, and drag to reposition the photo so you can see one of the spots. E Tip: When a local adjustment tool is active, you can also zoom in by pressing and holding the Spacebar on your keyboard as you click the photo. E Tip: You can resize your cursor by pressing the Left Bracket key [ on your keyboard to decrease size or the Right Bracket key ] to increase it. You see two circles: One marks the area you clicked the destination , the toolbar beneath and another marks the area Lightroom used to remove the spot the source , the photo is set to Auto, the circles disappear with an arrow that points to where the spot used to be shown here at left.

To change this behavior, click the Tool Overlay menu and choose Always, Never, or Selected to see only the selected fix. Keep tapping the key until the removal looks good to you. Alternatively, you can drag the Size slider in the Spot Removal panel. Of course, you can always start over by removing the fix. Press the 10 To sync these changes with the next exercise file, Shift-click it in the Filmstrip Page Down button on and then click the Sync button at lower right.

In the resulting dialog, click the keyboard to page through the photo Check None, turn on Spot Removal, and then click Synchronize. If you button at lower right to see the original version. Snapshots panel to return to the edited ver- 2 In the Spot Removal panel, increase Feather to 28 or so.

This softens the transi- sion. Snapshot 2 has the tion edges a little more so the removal looks realistic. As you drag, Lightroom marks the area E Tip: You can adjust with a white overlay. The to add more or less source area is also visible as an outline with an arrow pointing to the destina- smoothing in the transi- tion area. You can reposition the destination or source area by dragging the pin inside each outline. In this example, try dragging the source area around to see E Tip: Remember that how the destination area shifts in tone and color.

This figure shows all the pins it took to remove all the surfers but one. If neces- sary, click one of the pins to select the removal, and reposition the source area to make it better match in tone and color. Reposition the photo onscreen so you can see his eyes.

Repeat on the other eye. This figure shows you the before version top , the Spot Removal tool in action middle , and the result bottom. If necessary, click one of the pins to select the removal, and then reposition the source area or adjust Feather and Opacity to your liking.

Reposition the photo onscreen so you can see her left eyebrow. Set Size to around 13, Feather to 34, and Opacity to This mode prompts Lightroom to copy and paste pixels with no automatic blending. For now, keep the Feather slider at around 34 remember that you can always change it after you drag to remove something , and set Opacity to You may need to make three separate brush strokes so you can set different source points to match tone and color. Increase Feather as necessary to make the changes blend into surrounding pixels a little better.

Happily, Lightroom also lets you switch between Heal and Clone modes while a pin is selected. You can try this on your own by removing the tour- ists from the lower-left corner of the Pompeii ruins exercise file.

The same thing happens with split-toning, wherein you add a color tint to the correct to your liking. Also useful for creating a unique look is hand-tinting, wherein you manually add color back to a black-and- white photo. Because these effects become permanent in the photo that Photoshop returns to Lightroom. Read on for some serious creative color fun!

You can use this panel to easily adjust the hue, satura- changing the colors in tion, and lightness think brightness of a particular range of colors wherever those a photo. However, to precisely change the colors occur in the photo. In the Snapshots panel, Photoshop. Notice the subtle differences between how to do that. In the resulting dialog, enter Desaturate into the name field, and turn on Color, which turns on Saturation, Vibrance, and Color Adjustments.

That way, you photo itself. E Tip: If parts of the photo that you want to remain black and white return to color, use the Adjustment Brush tool set to — Saturation and then brush over those areas to desaturate them. To create a split-tone, follow these steps: 1 Select the female hula photo in the Filmstrip.

For a sneak peek at color tinting, select Snapshots 1 and 2. Notice the different emotional feel between these versions. P Note: This photo was made from a combination of multiple exposures for a high dynamic range HDR effect. In the Shadows section of the panel, drag the Satu- ration slider rightward to around 50 or so, and then drag the Hue slider slightly rightward to a brown color say, Leave Size at 25, and then experiment with Roughness to produce the look you want.

Feel free to take a spin through them. This gives the shadows a brown tint. If you drag the Amount slider all the way left to —, you get a black frame effect instead.

That said, you can save images with transparent backgrounds in Photoshop. So if a transparent background is your goal, create the rounded corner effect in Photoshop say, by using the Rounded Rectangle Shape tool and a layer mask instead of in Lightroom. This is an easy way to apply two vignettes to a single photo.

To do it, set Saturation to around —47, set Sharpness to —, and turn off Invert Mask. Drag atop the car to add the filter, and then rotate it slightly. The resulting photo not only has a believable retro feel, but it also has a tilt-shift or toy-camera look due to the blurring of the background. Tinting a photo with color by hand E Tip: This technique Last but not least, there may be times when you want to recolorize a black-and- works for adding digital white photo.

Follow these steps to makeup to a color do that: portrait too! At the top of the panel, double-click the the steps in the Lesson Effect label to reset all the sliders.

In the resulting color picker, choose a color for the sky, such as light blue. If you go that route, use 4 Mouse over to the photo, and paint across the sky area. To do that, click the existing pins, and click the Color field near the bottom of the Adjustment Brush panel. Click the Color rectangle, and then pick a color for the edges of the trees.

Keep repeating these steps to colorize the entire photo. Hand-tinting by Jack Davis, wowcreativearts. Saving metadata to files Once you finish editing some photos, you may want to save those edits in the files themselves.

Saving metadata to a file also acts as an insurance policy—it protects you from losing your changes if a photo and its metadata are inadvertently removed from the Lightroom catalog or if the catalog itself becomes corrupted or lost. Because Lightroom saves the metadata to your file every single time you touch a slider. If so, with what tools? Review answers 1 The Graduated Filter tool. To do that, select the appropriate adjustment pin and then drag it to another position in your photo.

To do it, set the Sharpness slider to — You can use the Post-Crop Vignetting sliders in the Effects panel to pro- duce rounded edges by dragging the Roundness slider all the way left, and then you can add a white background by dragging the Amount slider all the way right.

If you drag the Amount slider all the way left instead, you get a black background. In fact, this may be one of the most important lessons in this book because it covers the mechanics of a typical roundtrip workflow between Lightroom and Photoshop.

Happily, you have to adjust these settings only once. You can control file format, bit depth, color space— all of which are explained in this section—as well as file naming conventions and how the Photoshop files are displayed back in Lightroom. Setting your primary external editor preferences Lightroom automatically scours your hard drive for the latest version of Photoshop P Note: Adobe and picks it as the primary external editor.

Bit depth refers to how many colors the image itself contains. The goal is to keep as much color detail as you can for as long as you can. In the infographic shown here, the ProPhoto RGB workspace is shown in white with the other workspaces superimposed atop it.

This is the RGB workspace that Photoshop uses unless you pick another one. The CMYK workspace, on the other hand, represents the smaller number of colors that are reproduc- ible with ink on a commercial printing press.

The bottom image shows the ProPhoto RGB workspace compared to the color gamut of the truly incredible human eye. ProPhoto RGB vs. Raw images, on the other hand, can be bit and contain over trillion colors. P Note: PPI stands for pixels per inch.

DPI, on Resolution determines pixel density and thus pixel size when the image is the other hand, stands printed. Leave it at ppi, which is a reasonable starting point for a typical for dots per inch. The inkjet printer, and then adjust the resolution as necessary when you export the latter term is used when referencing printers, edited file from Lightroom. Lightroom uses these settings. You can even you can still designate other applications in create additional configurations for Photoshop—each with settings geared toward the Additional External particular kinds of photos or uses.

Editor section and then choose them from the For example, you may set up Photoshop as an additional external editor with second section of the options suitable for photos destined for the web. In the be sure to click the resulting dialog, click Use Anyway. Clicking Use Anyway dismisses the warning and allows you to use the same version of Photoshop—with different settings—as both an additional external editor and the primary external editor both of which are available via a keyboard shortcut.

As mentioned earlier, this keeps the quality you have in Lightroom and supports any layers you create in Photoshop. Editor section to con- 6 Leave Resolution set to its default value. Simply use the resolution, that determine image size. You can specify pixel dimensions in Preset menu to save each one as a preset. Edit In menu. In the dialog that opens, enter a meaningful name for the expand and collapse a options you configured, such as PS web, and then click Create.

Setting the stacking preference When you send a file from Lightroom to Photoshop, the PSD that comes back to Lightroom appears next to the original file in the Library module. In some cases, you may also generate copies of the PSD—if, say, you want to create different versions of it. To reduce the clutter in your library, you may want to turn on Stack With Original to have Lightroom stack your PSD s into a pile with the original photo.

Doing so creates a collapsible group, known as a stack, of thumbnails. When you expand a stack, your PSDs are displayed side by side in the Library module in Grid view and in the Filmstrip. This makes related files easy to spot. Configuring Adobe Photoshop Elements as an external editor You can configure Lightroom to use Adobe Photoshop Elements as your primary or additional external editor too.

The process is roughly the same, but there are a few things to keep in mind. First, if you have Elements but not Photoshop on your computer, Lightroom auto- matically picks Elements as the primary external editor. Second, if you have both Elements and Photoshop on your computer, you can designate Elements as an additional external editor.

To do that, be sure to navigate to the Elements Editor application file, not the alias shortcut in the root level of the Elements Editor folder. Library module, press T on your keyboard. For the purposes of this lesson, stick with the default file naming scheme.

Photoshop Elements as an external editor, With these settings, the files you send from Lightroom to Photoshop should you need to adjust its open in the correct color space.

This flattened layer is what you see in Lightroom. Elements as your external editor, you 3 Click OK to close the dialog. Keeping Lightroom and Camera Raw in sync Lightroom, at its heart, is a raw converter whose job is to convert the data in a raw file into an image that can be viewed and edited onscreen. Photoshop has a raw converter too: a plug-in named Camera Raw. Camera Raw and Lightroom use the same raw conversion engine, and when Adobe updates one, it usually updates the other with a matching version.

This is important because when you send a raw photo from Lightroom to Photo- shop, Photoshop uses Camera Raw to render the raw data into pixels you can see and work with onscreen. A screen opens that shows your version of Lightroom.

Click the screen to close it. Your version of Photoshop appears on the screen that opens. Close the screen by clicking it. Your version of the Camera Raw plug-in is reported on the screen that opens. Encountering a Lightroom— Camera Raw mismatch If you have mismatched versions of Lightroom and Camera Raw installed on your computer, you may get a mismatch warning in Lightroom when you try to send a raw file to Photoshop.

You can then upgrade your software before trying again. A potential downside is that as soon as you click the Render Using Lightroom button in the warning dialog, an RGB copy of the image is added in your Light- room catalog, and it stays there even if you change your mind and close the image in Photoshop without saving.

In that case, you now have the extra step of deleting the RGB copy from your Lightroom catalog. When you update Photoshop, you get the latest version of Camera Raw too.

Sending a raw file from Lightroom to Photoshop P Note: You can Once you adjust a raw photo in Lightroom, you may determine that you need to easily send other file send it to Photoshop for some of the pixel-level editing voodoo that it excels at. CR2 from topic is covered later in this lesson. Canon or an.

This section teaches you how to do that. Turn Grid view styles. This gives Lightroom more information about your camera and lens.

However, you may need to experiment with the other buttons on your own photos to see which one works best. This E Tip: In some cases, option often produces the most realistic result. Although this option may pro- adjustment too. You can also use the Transform panel sliders to fine-tune the per- spective correction. Happily, you can easily fill in those areas in Photoshop, as the next section explains, which keeps you from having to crop them out.

Any adjustments you made in Lightroom are made more thumbnails and choosing Edit In from permanent in the image that opens in Photoshop. Of course, your adjustments the resulting menu. You should now see marching ants around the photo itself. The marching ants now appear around the empty corners. In the resulting dialog, enter 3, and click OK.

Ensure that Preserve Transparency is turned off. Click OK, and Photoshop fills the empty corners. In the resulting dialog, enter clone right corner into the name field, and then click OK. Doing so decreases your edit- ing flexibility greatly because the resulting PSD never shows up in Lightroom. You also end up with an extra copy of the image the exported one on your hard drive. Photoshop document lean in file size. As you brush across the window, a crosshair shows the area that Photoshop is copying pixels from—the window on the left.

As long as Lightroom is open and running when you do this, the PSD appears in your Lightroom catalog next to the original photo. The raw file displays the adjustments you made to it in Lightroom before you sent it to Photoshop. The Photoshop file reflects your Lightroom adjustments as well as the filling and cloning you did in Photoshop.

As mentioned earlier, your Lightroom edits are permanent in the PSD file. For example, you may decide to do a bit more cloning in the lower-right corner. Choosing any other option in this scenario will not open the layered PSD. The updated PSD returns to Lightroom with your changes intact.

And if you open a copy of the PSD that includes the Lightroom adjustments, you lose the layers you originally made in Photoshop. If necessary, press D to open the Develop module—you may already be in the Develop module—and then open the Effects panel. Photo credit: Allison Mae, allisonmae. Choosing any other option in the Edit Photo dialog would prevent your Lightroom adjustments from being visible once the file opens in Photoshop.

From the panel that appears, click the gear icon, and in the resulting menu, choose Photographic Toning. Your changes are updated in the PSD that appears in Lightroom. Sending a photo from Lightroom to Photoshop as a Smart Object Another way to send files of any format to Photoshop is to send them as Smart P Note: Adobe Objects, which you can think of as a protective wrapper.

When you create snapshots on a raw file, you can access them via the Camera Raw plug-in by sending the raw file to Photoshop as a Smart Object. In the resulting dialog, enter the name full color and click Create. The photo opens in Photoshop. Click OK to close the Camera Raw plug-in. That said, it bears repeating that this maneuver works only on raw files. Running filters on a Smart Object in Photoshop Another incredibly handy trick you can do when you send a photo from Lightroom P Note: You can to Photoshop as a Smart Object is to run filters nondestructively.

When you use Smart Filters, as this is called, the filter appears in your Layers panel beneath the Smart Object layer. Click OK. Keep Threshold as low as possible but high enough to preserve the skin texture. When you do, white corner brackets appear around the mask. In the realm of masks, black conceals and white reveals. By filling the mask with black, the filter is hidden from the entire photo.

In the Options panel at the top of the Photoshop workspace, click the brush preview, and choose a soft-edge brush one that has fuzzy, soft edges.

Click the brush preview icon again to close the panel. Press the Left Bracket [ to decrease brush size or the Right Bracket ] to increase it. As you can see in this before Scratches filter trick is also a great way to left and after right version, this filter made a big difference in the portrait.

Back in Lightroom, the PSD appears next to the original raw file. If you determine that you need to reopen the PSD for more editing, follow the instructions in the previous section. Lightroom asks what options you want to open the image with: file format, color space, and so on.

The end result is an additional file in your catalog. In addition to configuring the primary external editor, you can set up additional configurations for the same editor, or a different one, in the Additional External Editor section. If you create snapshots for a raw file and then send it to Photoshop as a Smart Object, you can double-click the Smart Object in Photoshop to open the Camera Raw plug-in.

Other common reasons to combine photos are to merge multiple exposures into a high dynamic range HDR image or to stitch several photos together into a panorama, which you can easily do in Light- room. Photoshop also has a few tricks you can use to produce an HDR look from a single photo. Having each photo on a separate layer gives you a lot of editing flexibility because you can control the opacity of, resize, and reposition each layer individually to produce the effect you want.

You can also control the way color behaves between layers to produce interesting blending effects. The next section teaches you how to use one photo to add texture to another photo. Adding texture to a photo using another photo An easy way to add texture to a photo is to blend it with another photo. You can use nearly any photo for the texture, including shots of nature, a rusty piece of metal, concrete flooring, marble, wood, and so on.

How handy is that! Open as Layers in 3 Since the texture photo is bigger than the boathouse, you need to shrink it. Photoshop surrounds the texture with draggable resizing handles. To make ton and the modifier keys when the texture is the same height as the boathouse.

Release your mouse button when a light gray line appears above the other layer. To produce a vintage look from these two particular photos, Linear on your keyboard, and then tap the plus icon Light works well. Click the tiny triangles at the upper right of the Properties panel to close it.

You see what appear to be marching ants surrounding the boathouse photo. I hope you enjoy following along with these images. Thanks so much for buying the book, and giving me the opportunity to show you some of the really cool things about Photoshop CC.

Just a quick reminder: These downloadable photos, from myself, my friends, and iStockphoto, made available to you here, are licensed for your personal use only in practicing the techniques shown in the book. They are not licensed for use in any other manner, including commercial projects, websites, or any other use.

Are you ready for an amazing new version of The Photoshop Book that breaks all the rules? Scott Kelby, Editor and Publi. The Adobe Photoshop Lightroom 2 book: the complete guide for photographers , Designed with digital photographers in mind, Photoshop Lightroom offers powerful editing features in a streamlined inter 54 69MB Read more.

Adobe Photoshop Lightroom: Photographers\’ Guide , , , The number of photographs that a photographer shoots with a digital camera increases tremendously over what might be sho 94 19MB Read more.

 
 

 

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