Adobe Camera Raw & Lightroom for Lunch™ - Craft Great B & W Photos | Helen Bradley | Skillshare

Adobe Camera Raw & Lightroom for Lunch™ - Craft Great B & W Photos

Helen Bradley, Illustrator for Lunch™ & Photoshop for Lunch™

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
4 Lessons (32m)
    • 1. ACR and Lightroom for Lunch™ - Craft a Black and White image - Introduction

      1:20
    • 2. ACR and Lightroom for Lunch™ - Pt 1a - Lightroom Basic B & W Adjustment

      9:11
    • 3. ACR and Lightroom for Lunch™ - Pt 1b - Lightroom - FineTune the B and W

      7:32
    • 4. ACR and Lightroom for Lunch™ - Pt 2 - Adobe Camera Raw B and W conversion

      14:26

About This Class

Adobe Camera Raw and Lightroom for Lunch™ is a series of short video courses you can study in bite size pieces such as at lunchtime. In this course you'll learn to craft awesome black and white images using the tools in either Lightroom or Adobe Camera Raw. You will also learn how to protect skintones in your subjects when converting to black and white. Both raw images are available for download for personal use and I'll process one in Lightroom and one in ACR - although you can use either application as their develop tools are the same. This is a half in half before/after comparison for one of the images we will be working on:

e8db132b

 

More in this series:

Lightroom for Lunch™ - Pick Your Best Shots

Adobe Camera Raw and Lightroom for Lunch™ - Hand Tint Image Effect - Adjustment Brush, B&W 

Adobe Camera Raw and Lightroom for Lunch™ - Create Mood & Light in Early Evening Photos

Adobe Camera Raw and Lightroom for Lunch™ - Silhouette Image Processing - Master Image Adjustments

Adobe Camera Raw and Lightroom for Lunch™ - Enhance Color in an Image - HSL, Vibrance, Clarity

Adobe Camera Raw and Lightroom for Lunch™ - Process Underexposed Images - Shadows Highlights Filters

Adobe Camera Raw and Lightroom for Lunch™ - High Key Image Processing

Adobe Camera Raw and Lightroom for Lunch™ - Enhance Red when Processing Your Photos

Adobe Camera Raw and Lightroom for Lunch™ - Creatively Relight an Image

Adobe Camera Raw and Lightroom for Lunch™ - Get Creative with Clarity

ACR and Lightroom for Lunch™ - Remove Blemishes, Sensor Dust and More - Master the Spot Removal Tool

Adobe Camera Raw and Lightroom for Lunch™ - Day to Night Processing

Adobe Camera Raw and Lightroom for Lunch™ - Sharpen and Spot Sharpen Photos

Adobe Camera Raw and Lightroom for Lunch™ - Create and Use Presets - Save Presets, LR to ACR, Bridge

Adobe Camera Raw and Lightroom for Lunch™ - Find, Download and Install Presets

Adobe Camera Raw and Lightroom for Lunch™ - Roundtrip to Photoshop and Back

Adobe Camera Raw and Lightroom for Lunch™ - Create a 2017 Calendar in Lightroom & ACR/Photoshop

Adobe Camera Raw and Lightroom for Lunch™ - Batch Process a Shoot

Adobe Camera Raw and Lightroom for Lunch™ - Keywording Images in Bridge and Lightroom

Adobe Camera Raw and Lightroom for Lunch™ - Fix Perspective and Lens Distortion

Adobe Camera Raw and Lightroom for Lunch™ - Isolated Color Effect

Adobe Camera Raw and Lightroom for Lunch™ - Lightroom Overview - Is Lightroom for you?

Lightroom for Lunch™ - Frame Photos on Export - Presets, Identity Plate, Print Module 

Adobe Camera Raw and Lightroom for Lunch™ - Create a Triptych - 3 photo layout 

Transcripts

1. ACR and Lightroom for Lunch™ - Craft a Black and White image - Introduction: Hello, I'm Helen Bradley. Welcome to this episode of adult Become a role and light room for lunch. Kraft, all some black and whites. I don't become a roaring light room for lunch is a series of classes, each of which teachers one or two techniques that you can apply to photos using either adobe camera, raw in photo shop or the develop module in light room. You'll get plenty of opportunity to practice your new skills in the projects you'll create . Today, we're looking at editing color photos and converting them to black and white. And I'm going to give you the two photos that I'm working on their both raw images so that you can open them up in light room or adobe camera raw and follow along as I work. Now, as you're working through these videos, you may say a prompt, which that you recommend this class toe. Others please. If you're enjoying the class, do two things for me. First of all, give it a thumbs up, and secondly, just write a couple of words about why you're enjoying the class. Recommendations like this help other students to find my classes and to determine if They're the kind of causes that they, too, might enjoy. If you'd like to leave a comment, please do so. I read and respond to all of your comments I look at and I respond toe all of your class projects. So if you already now let's get started on crafting awesome black on whites in both adobe camera, raw and light room and first top light room. 2. ACR and Lightroom for Lunch™ - Pt 1a - Lightroom Basic B & W Adjustment: the first image we're going to convert to black and white in light room. I've chosen for a few reasons. One is that I really want to get some of the fish that are in this fish case to be apparent and really visible in the black and white. So that's a bit of a challenge there. There's also this gentleman here who's serving, and I want to make sure that I protect his skin times when I convert to black and white. There's a risk that the black and white conversion is going to destroy those skin time. So we need to watch that. And also there's this really big area over here that is really highlight is probably almost blown out. I'm seeing the hissed a gram over here. There's a really good chance that that is blown out pixels over here. But there's also some really interesting detail over here, so we may want to get that back. So with that in mind, let's go ahead and work it. Converting this to black and white. Now all the tools that you've got in light room are also in adobe camera raw, so you could be using adobe camera raw for this of as well off course. So I'm going to start in the basic panel because I want to fix this image as a color image before I even converted to black and white goods there. Something's going on here. I want to start looking at particularly this area across here, so I'm going to check the exposure, and this is a really well exposed image. If it weren't for these blown out highlights over here, If I click on this highlight clipping warning, you can say where I have clipped highlights over here. But basically this is a good history, Graeme. There's a good range off pixels all away from the darkest pixels over here, which is the blacks all the way to the whites over here to recover this clip area. I could work on the exposure, but that's going to change the exposure in all of the image and the rest of the images just fine. It's really this area here that is particularly bad, so I'm going to start by bringing down the highlights a little bit. If I turn back on my highlight clipping warning, you'll say that that alone has just bought back those whites or there's really, like pixels back into the area off being white and perhaps even with a little bit of color in them. So that's recovered the image without affecting the overall exposure. So that's a really good way off trying to recover blown out highlights when you have them. And I thought those highlights well back into the image in particular because it is a very light area of the image. And there's some interesting things happening. Shadows. I don't want to get detail out of the shadows. It looks pretty good to me. I'm not really interested in what's happening behind the server here, but I am interested in this bit here. Let's check out black and white points. I'm gonna hold the okay, and that would be the option K on a Mac. And I'm just going to click on this middle point in the slider and just start moving it up until I start saying some pixels appear and then I'm going to back it off because with White, I don't want to see any pixels at all. But I want to be just below the point at which the pixels appear So that's settled. My white point. Let's go and see my black point to see if we can peg to make sure that there are some black pixels in this image again reinforcing that entire tonal range for this image. Hold ult or option on a Mac. Here, I've got a few blacks you're starting to say, Cem Pixels come in. I'm gonna sort of pick a point about their I'm not worried about saying black pixels or color pixels at this point. In fact, I do want to say some because I want some blacks in my image, some true blacks. It's whites that, ah problem because of you have blown out white pixels. That's not income paper. You weren't getting ink on the paper. When you have those, that's to be avoided. Now let's look at the clarity situation. I'm gonna boast clarity a little bit. That's amid time contrast enhancement, so that's going to bring up a bit of detail in these mid tone areas that's in particular the fish and probably these fish around here are going to get a boost from clarity. They could also look at a little bit of additional contrast, so it's gonna boast a contrast with a little bit because I like my black and whites to bay particularly contrast e If you don't like that contrast he look, then don't add any additional contrast and perhaps not any additional clarity. So just use these tools with your own aesthetic in mind. You want an image that you're going to like to look at, so we've now adjusted the image. I'm not worried about the color and the image because we're going to black and white. So now let's go and convert it to black and whites. I'm going to click here on Bay and W Now you might notice that my panels are closing up if I open the basic panel, the other panels or close down. If I click on black and white, all the other panels close that stunned using solo mode. So I'm just going to right click here on just an empty area opposite one of the panel names . Since clicking here, you can say I have solo mode enabled. That means that only one panel of time can be open and light room will automatically close all the other panels. As soon as you select one. That's really handy if you're working on a laptop in particular with only a little bit of screen real estate, So there's a tip for you on the way. So here is that black and white now light rooms already made some choices for us in the black and white that I have created because I have this auto black and white option enabled in light room. Now yours might be different. I'm just gonna hold down the altar or option K and click reset black and white mix. This may be your starting point. So there are two ways that light room can give you a black and white, either just a standard black and white adjustment. With all this lighters, said it the exact same place. Or this auto adjustment, which takes into account something to do with the image right? You're going to use this one as my starting point be, cause what it's done is it's actually damage this person skin tones, skin times are in the orange area, and what's happened with this adjustment is that the skin times have got very dark, so I'm gonna bring this server's skin times back by just adjusting the orange setting because I want something more like this. The upshot is that I've destroyed my fish. These fish here are orange as well, so enlightening his skin times to be more realistic. What I've done is I've killed my fish over here, so I'm gonna need to look at that in a minute. You could not look also at the other sliders, and I'll generally move them a little bit to one side or another and just see what they're doing to the image and in this case, the sliders. Either side of orange that's red and yellow. You'll want to watch their effect on skin times because their costs enoughto orange toe also be picked up in that adjustment. So and that's true for this person. Skin is the red adjuster is really darkening his skin. So I'm gonna want to bring my reds over here just to make sure that hey is well adjusted. Let's look at the yellows. Well, the yellow is not affecting his skin tone. It is affecting his hair so I can look at where I really want the yellows to bay for the rest off the image, kind of like the effect on these bottles here, So that's in the yellow area. So I'm just gonna make sure that they're a little bit on the dark side. Let's have a look at grains. Well, there's not much in the greens here, pretty much just in that bottle detail. Aqua. A little bit of the background is in the Akwa area, so if I want to remove the impact of the background area here through the window a little bit, bringing my Akwa all the way up to the dark area would be really good. Let's check the blues. Let's take them towards the dark end and towards the light end. Well, they're having a really big effect on this image, in part because the image itself was pretty blue to start off with. It wasn't a warm image. It's gonna take them a little bit on the darker side, but still want to say the contrast in his shirt. Here, let's try purples, get it's affecting the background a little bit kind of interestingly up here, So I think I'm going to go all the way with the purples and let's have a look at magenta again. That little thing that's happening up here is being affected by the magenta. Very little else is one thing to be aware of when you're using these black and white sliders is if you've got two sides like these that are right over in the dark area and you take the middle one, the one that's between the two of them, all the way to the lights. You run the risk of fracturing the image because you're going to have pixels that are fairly close to Akwa close to the blue, and you've made some dark in some light, so you likely get this sort of almost noisy effect in the image. So it's better not toe have slide, is going totally the opposite direction to each other, and a slightly smoother result will avoid the likelihood of getting that sort of fracturing or that sort of noise in your image. So then we are there. I've got a pretty good black and white adjustment. I just want to go back now because I'm saying the black and white image and say, Okay, well, what do I want to see in the black and white image? So there's a little bit of work still to do it. We're going to do that in the next video 3. ACR and Lightroom for Lunch™ - Pt 1b - Lightroom - FineTune the B and W: the basic black and white adjustment that we've got is really good, and I would be quite happy with that. But there are some other things that we can do with this image. And I'm going to look at the effect that we can have on this image using, for example, the adjustment brush. I'm going to click on the adjustment brush. What I'm interested in here is to add some shine to this image. I like shiny black and whites. So I'm gonna boast the contrast with this. I'm gonna increase the contrast. And I'm going to increase clarity now with light room. You don't actually have to make any settings for the adjustment brush before you use it with adobe camera raw. You do so it is going to do that here now, and what I'm going to do is start brushing over the areas that I lost detail in when I adjusted for the service face. The problem with that adjustment was that it was to the oranges, and these fish down here in the front of this cabinet are orange. And so when I lightened the skin times of the server, I ended up lightning. These fish, and that was not the result that I wanted to have. So just going to go over here and just increase the clarity. Now, if you want to see the Moscow overlay, this is what it looks like. So what I'm doing is painting on with a just a large sort of soft adjustment brush here over the fish. And if I want to raise it, I can either click to bring up my arrays of brush, which is just a brush, that it raises that area. Or I could stay on one of my brushes and bear just to brush choices that you have. There's no real difference between the two except how you set them up. If I was to press the all turkey or the option key on the Mac, you can say that you just Target theorize about without having to go and click on the arrays and then click back on the other brush. So I find it easier to learn the bolt or option K trick for that so that you can switch between the two brushes. Let's turn off our mask overlay, and here you can say that we've got much Mawr attention grabbing fish here than we had before. Probably a little bit on the overdone sides. I'm just gonna bring the contrast back just a little bit. Try and rein my enthusiasm in a bit. Here, somebody click done. You could do the same on those fish over here, so I would suggest that you in just different areas off the image with separate brushes just so that you could come back and edit them if you wanted to. So there's another fish adjusted here. And then I might hit some of the fish through here again, just picking up the adjustment brush, staying with the same settings and this I want to change them and just bringing some data into the Cabinet. Each of these adjustments now has a Peens, or when I click the adjustment brush, you'll be have to say the pins. And if I wanted to adjust one of those that I've already worked on, then I would just click on its pin to pick it up and then I could readjust it. I have show edit pins here, turned on toe. Always. I find that's the best setting to yours Now The other thing. I'm going to adjust. Is this wording here? I want it to jump off the cabinet. So I'm going to use that same adjustment, that contrast enhancement over the text here just to lighten it and brighten it and and really make it punch so that your eyes sort of taken to the center off the image. The only other thing I'm looking at is these, like flattening in the contrast in the image. I think we've lost a little bit of lightness here, So I'm going back. The basic panel actually going to consider at this point adding a little bit of exposure. Okay, Didn't like that. So I'm gonna take exposure back. The exposure increase blasted this fish cabinet and didn't really affect the area I was most interested in. So that being the case, let's go back and put in a graduated filter instead. So clicked on the graduated filter. I'm going to bring it in from the top, but I wanted to finish just across the cabinet and fairly stay place. I'm just going to click and drag because the cabinet is providing a natural line across this image where I can lighten above the line just a little bit with an exposure adjustments that I don't want. These contrast, adjustments and clarity. So I'm gonna wind those back to nothing. But I am going to bring up the exposure. Now I've got my highlight clipping warning turned on. So if I increase the expose, you can see that I'm also affecting what's happening outside the window. Well, in later versions, off light room and in a day, I become a role. I have a brush here that I can use, So I'm going to click on the brush and I'm going to erase from this adjustment. So what I'm doing is brushing over these areas to say lighten all of this, but don't go enlighten this area. So I'm actually going to bring it all the way through this area, not just the areas or the places where I've got that highlight clip warning going to bring it all the way across this background data. And now I've just knocked out a little bit off the wall up here so well, the ceiling. So I'm just going to put that back in. So there's my adjustment here. I've brought down a graduated filter, just clicked and dragged from the middle down so that this filter is working at full force . If you like up to the first line and then it's being reduced to no force at all, just below the last line. So the very state transition on this one and I've used it to add just a bit over half a stop off exposure to this image. We've got a few places where I'm saying some highlight clipping warning could just go through those with the eraser brush and just remove them from the fix so that we're not blowing out highlights in the process. But looks like my highlight clipping is good now, so I'll click. Done. Let's go back and say this image now from before and after Ifo press the backslash key, I'll say the before image and then the after image. You know what's of most interest to may might bay what's happened since I did the initial black and white conversion, the things that I did with the adjustment brush and the graduated filter. So let's go over here to the history panel and I'm gonna wind back here to my black and white. So this was the point at which my black and white had been created. So this is a black and white I'm going to right click here and choose copy history settings to before. And then I'm gonna wind all the way back up to the very top of the history panel and click add brushstroke. So now I can hide my panel. Now, this time when I do my before and after comparison, I'm going to see as my before, which is this This was a black and white conversion that we had and with the backslash press to say the after This is the change that we've been able to make with the graduated filter in the adjustment brush. So that helps you fine tune your black and white. You're not needing to commit to a black and white adjustment that is enforce over the entire image. You can actually be more discriminating and look down here at this fish here. This is the before, and this is the After we bought some detail back into the fish which we have lost because we were making adjustments for the service face. So there you have it, a black and white adjustment done in light room, and you've got this image so that you can work on it yourself. 4. ACR and Lightroom for Lunch™ - Pt 2 - Adobe Camera Raw B and W conversion: This is the image that we're going to be working on in adobe camera raw. It's a Siri's off buildings that I shot in Norway now to start off with. This image opened inside Adobe Camera raw much larger than my work area. So I just clicked on this down pointing arrow and chose fit in view so it would fit and I could see the entire image. The image is not straight, so I'm going to start with the measure tool of straighten tool here and just click and drag along this line in the image. Now it's got a bow in it. But if I drag along the edge of the image, Adobe Camera Raw will go ahead and work out what it needs to do to straighten that this is a couple of degrees off a least. So, having made my selection, I cannot click another tool, and the image is straightened before we go to black and white. We need to fix this image because it's not very well exposed at all. There are no like pixels here, and there are no dark pixels either, so I'm going to adjust the exposure a little bit. Just adjusting it upwards to try and get some lighter pixels in the image. Most are going to look pretty quickly at my black and white points. I'm going to the white. I'm gonna hold old option on the Mac and just drag on the white slider until I start saying some white pixels appear and then I'm going to back off. I want to be just under that point. So there's my white point. And now let's set a black point again. Bolt or option drag on the black slider while there are no black siete, So we're going in a negative direction. We're going to the left until we start saying some black pixels appear unlike the whites. I actually do want to see some black pixels here, just not a lot off them. So this would be way too much, but this is a good amount. So now I have a better exposed image. It is a little bit below. These buildings are a little bit blue, but they're probably reflecting color from the sky. And also from what I can recall, there were also on a waterfront to, so there's probably some reflection from the water. I'm going to ignore the overall blue tone here because we're going to black and white. So we're not actually going to say the Blues. But I am concerned about contrast here, so I'm just gonna wind up the contrast a little bit and most are going to look at shadows here. I have some data lost in the shadow areas in the image that I'm actually interested in saying there some reflections in these buildings. I can recover some of that reflection by increasing my shadows value here to bring detail out of the shadows in the image. Now, any time you bring detail out of the shadows in the image you're going to flatten. Contrast. It's just a necessary result off using this adjustment. So be aware that when you increase shadows toe a positive amount, you're probably going to need to do one of two things. Either increase contrast or increased clarity. The problem with clarity is it does tend to dark and the areas that you've just lighten. But I think that we'll find that we've actually got more detail in here and I'm also going toe hit it with a bit more contrast to so since We're looking at contrast in this image, and because it's buildings, we can enhance the contrast. Let's go to the tone curve. So I click on the tone curve and from the drop down list here, I'm going to try medium and strong contrast. There's medium, and they're strong contrast thinking that strong contrast is actually helping us here a little bit with this image and just improving. It's Christmas and it's shiny nous. So we're going to settle for that in this curves adjustment here. What's happened when we've applied Strong contrast is the lighter areas of the image have been lightened, and the darker areas in the image have been dark. And any time the curved dips below the straight line through this chart, any time it dips, your darkening these pixels. And since there's of the dark up pixels in the image there bang Doc and these pixels over here, the lighter pixels in the image and this time the curve has been pulled above the line. And that means they're being lightened. And you can always just test it by just dragging up and down on it, and you'll say very quickly what's happening when you adjust the curve and what we've got here is what's called us s curve. It's sort of like a very shallow s. And that's a typical curve for applying contrast to an image. I think it's time now to go to black and white. So let's click here on the HSE l grayscale tab And then when I click convert to grayscale the images converted to grayscale. And this is our starting point because I want to be able to compare this later on. I'm going to snap shots at this stage and I'm going to add a snapshot. I'm gonna call this initial black and white. It will just click OK, light room makes it very easy for you to compare different states of the image Adobe camera raw does not. So if you want to be able to look at how far you've come, then I suggest that you create snapshots as you go. I selected and created one for the starting image and here is our black and white, so you can see that we've progressed a long way so far. But we still have further to go. So let's go back to our it your cell gray scale. What we have here is one of the two adjustments. Either you can have an auto adjustment where Adobe camera Raw applies a considered adjustment to the image. So some of the colors are made darker and some of the colors and made lighter. There's also a default adjustment, which is just straight down the middle. All of the colors are preset at a zero position. I'm gonna set auto as my starting point, but I'm really aware off the blues in this image. I know that we had a heap of blue in this image. So I'm gonna get a lot of mileage in adjusting this black and white or crafting a black and white by adjusting the blues. So you can see here that I can lighten the blues or I can darken them. That's having a very interesting effect on the sky as well as the building. So this ability, with just a single blues adjustment to create a really moody, moody image, probably not what I've come here to make, but just be aware that with skies and buildings like this is a lot that you can do with this image, I'm going to settle for darkening the blues a little bit, but just not quite so. The intensity that we did before alongside the blues are the colors aqua and purple. There is probably some mileage in these color, since they are adjacent to the blues. In fact, most the purples appear to be in the sky so we can darken the sky a little bit by adjusting the purples, which might give us the ability toe. Lighten the blues a little bit without totally killing that sky. In fact, at this point we probably have a choice. We can adjust for the buildings, all the sky and leaves the 2nd 1 of these to be adjusted individually later on. I think the sky's going to be easier to fix later on. So right now I'm gonna adjust for the buildings, which means I'm going to beef up the blues, lighten the blues a little bit. Let's have a look at magenta as well. Basically, there are few. If any. Magenta is in the image. Let's look at the Reds. There's a little bit of red in the image, but not very much at all. I'm going to make it lighter rather than DACA for the oranges. Interestingly enough, this crane here is basically in the orange area, so we can remove it pretty much from the image. Or we can enhance it. And sensitive strong horizontal line amongst all these vertical lines act kind of like it. So I'm going to leave it light. There's a good chance that some of the crane is yellow as well, which it is. So I'm going to take it again to a high plus value so that we're lightening this crane, the greens pretty much the only green in the images, this flag here. I'm just going to adjust it for this particular area of the image and ackwards because it's alongside blue, we may expect to say some mileage in the ackwards. There is a little bit in the front of this building in particular and a little bit over here. Some actually going to take the AC was a little bit lighter, so this is our custom conversion off the image. But at this stage, what we've done is just adjust for these buildings and we've lost a bit of detail in the sky. Well, we can get that back with a graduated filters. I'm going here to the graduated filter going to click on it, and I'm going to click and drag downwards. Now, if you're using the most recent version off adobe camera, raw and or light room, then you have a tool which allows you to add or remove areas from this graduated filter. Now, whenever you grab a graduated filter in adobe camera raw, you're going to need to have something set for it. Otherwise, you can't actually put down the graduated filter, but it doesn't have to stay there. So I had something set, but I'm just gonna zero them out for now. So I've got my graduated filter with nothing set for it. So I'm going to work at getting my sky back. And for this I'm going to drop down my highlights a little bit. Gonna drop down my whites a little bit. Maybe I'm going to increase my contrast. We're also going to look at day Hes Day Hires is a new tool in light room and Indra B camera. And it does tend to de Hayes hazy areas of the image. And that was an actual fact. One of the reasons why I chose to adjust for the buildings earlier and then leave the sky to be fixed later. Because this D highs filter can be applied using the graduated filter, which means that we can drop the day hes filter in over the sky and use it to recover sky detail. Just going to reset that 20 and you can see the difference that this day hes filter is going to make for our sky. Now, there are some areas that we want to add to this. So I'm gonna click here on the brush and I'm going to click the plus symbol and I want to say my mosque as I work. So this is the area that's now being fixed by the filter that we just applied, including the D. Hayes option. So what I'm going to do is add some areas to it. I want to add the remainder of the sky. Now I've got auto mask turned on, which will make it a little bit easier for May to probably select the sky. Then it would bay if I didn't have it on. I'm just clicking on these areas just to sample the areas under that plus symbol in the middle of the brush, and I'm going to do it over here toe, making sure that I keep away from the buildings as I'm painting here. Now I can get a minus brush, which will allow me to do the opposite and remove some of the buildings from the effect of this graduated filter. Graduated filters are linear filter, so they work in a line, and not always is they area that you want to fix in a straight line. And so these brushes, which were added very recently into a Diaby camera or and in tow light room, allow us to sort of craft a graduated filter than has bumps in it, according to whether we want to include an area or not, including area in the filter effect. So let's turn the mosque off, and now we've bought in these areas off sky that now have this day highs filter applied to them. I think it's probably a bit Muchas Muchas I really, really like it, perhaps just her on the side of caution and bring my D haze down just a little bit. Now that we've finished with this adjustment, I'm just going to click another tool to turn it off and let's go and create a snapshot for this and see how far we've come. So it's called this final black and white. This is our starting color image. This is the initial black and white that we created, just using the adobe camera raw options. And here is out more crafted version off the black and white. So this flick between these two, this is the original, and this is our crafted version. A whole lot more data out, a whole lot more exciting things happening in this image. And it's all because we took that little bit of extra time to craft a really good black and white. We didn't just take the default, but we said, This is what we want our black and white to look like. So there you have adjusting for black and white in both light room and adobe camera raw. Of course, the tools in both these applications are pretty much identical, so you can get the same results with this image in light room, as you can in adobe camera raw. Your project for this class is to take a color image and to convert it to black and white and to create an aesthetically pleasing black and white according to what it is that you want to say in your black and white image. There are no rights and wrongs in black and white. There's just a black and white that you like and one that you don't like. And I hope that you are able to create black and whites that you actually like. As a result of watching this video post an image off your completed black and white conversion in the class project area. I hope that you've enjoyed this class on that. You've learned something about converting images for black and white in both adobe camera, raw and light room. If you did enjoy this class, and when you see a prompt to recommend it to others, place do two things for me. Give it a thumbs up and right, just a few words about what you enjoyed about this class. These recommendations help other students to find my classes and also to determine that these might be classes that they, too, would like to take. If you'd like to leave a comment, please do so. I read and respond to all of your comments I look at and respond toe all of your class projects. My name's Helen Bradley. Thank you so much for joining me for this episode. Off Adobe camera, raw and light room for lunch. Crafting a black and white image. I look forward to seeing you in an upcoming episode of Adobe Camera, Raw and Light Room for lunch soon.