Photoshop and Lightroom all my tips Part I (Lightroom) | Frank Doorhof | Skillshare

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Photoshop and Lightroom all my tips Part I (Lightroom)

teacher avatar Frank Doorhof, Learning with Frank

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

18 Lessons (1h 4m)
    • 1. Watch this first

    • 2. Set this up first in Lr

    • 3. Using add with import

    • 4. Sync new photos and work with parent folders

    • 5. LrCC copy settings to a series of images

    • 6. Lrcc export for web

    • 7. Exporting in Lr for the web

    • 8. Syncing Lightroom CC into Classic

    • 9. Autostack for HDR or Panoramic shots

    • 10. Lightroom CC healing brush opacity

    • 11. Skin retouching in Lr

    • 12. Selective focus effect

    • 13. Maximum color control in BW with HSL and mixer

    • 14. Stunning 2 color efects with one gel

    • 15. Vintage looks in Lr

    • 16. Vintage looks with lightleaks

    • 17. Profiles from the Xrite colorchecker in Lr

    • 18. Using the Colorchecker passport in previous versions of Lr

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About This Class

In this first part of the class I take you through my favorite Lightroom tips and tricks.
Including working with skin retouching, syncing, exporting, vintage effects and a lot more.
For beginners and advanced users.

Meet Your Teacher

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Frank Doorhof

Learning with Frank


Frank was born on May 6th 1971 in Amsterdam.


His parents and grandparents were very active with photography and film, so Frank was already in contact with photography and film at a very young age. Especially his grandfather had a deep impact on him and inspired him from the start to pick up photography. At a young age the whole family moved to the NoordOostPolder, now part of Flevoland. A wonderful area of the Netherlands with great nature and lots of photo opportunities.


At the start nature and sports were the primary interests and especially animals in motion were a subject that was photographed with passion, this passion for movement became later a prime subject in the model photography. After many years of shooting analogue ... See full profile

Related Skills

Photography Creative

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1. Watch this first: Hey guys, thank you so very much for buying our tutorial Photoshop and Lightroom. Now I'm not going to spend a lot of time explaining what it is because it's actually pretty simple. You have different folders. And what you find in those folders is actually the name of the folder. Folder, Lightroom. You guess it contains videos about Lightroom. Now there's also a folder aimed at the basic tools. And you might think that it's for a beginner and it actually is. But make sure you also watch that one because photoshop has many, many options to do the same thing and get the same results. But sometimes one technique can be just a little bit faster. Or maybe you find something in there that you go like, hey, that's different than I do it and that can save me some time. Now, you can watch the tutorials in any order you want, but some tutorials are actually numbered 123. So make sure that if the tutorials are numbered, you watch them in that order. So the only thing I can say, if you've any questions, make sure you drop me an email because you can always ask whatever you want and rest. Well, enjoyed the tutorial. It's a long one, so sit down, grab some popcorn and start watching and learning. 2. Set this up first in Lr: I hope most of you guys will have a rod developer before Photoshop. So meaning you store your images somewhere where you can find them easily. For me, without any doubt, Lightroom has the best papers for smart albums, key wording and whatnot more, there's so much possible. The map module absolutely love it for when traveling. Now, when you wanna go from Lightroom to Photoshop, a lot of people think like, hey, you just press Control E and you are in Photoshop. Yes. But not so fast. First you have to set it up. So let's say I want this image to go into Photoshop, of course, control E. And you're in Photoshop right now, of course you want to set it up first because we don't want to be working on an eight bits file or sRGB. So go to Edit, go to Preferences. And I'll make absolutely sure that you choose PSD or tiff nowadays, you can also choose PSD, which is a little bit safer to show color space, Adobe RGB, and make sure you're on 16 bits. You can also program and other additional external editor. For example, you can use blow-up or exposure. Lumen are there so much in there? And then you can actually also use an external editor. So let's say I use a lot of exposure, Soviet privilege known as alien scheme. I can literally choose between editing in Photoshop with Control E or going to an additional external editor. And now I know when I go to the external editor, I'm also working in Adobe RGB day for PTSD and in 16 bits. So make sure you set it up before you just blindly press Control E and go to Photoshop and are probably working on a lesser color space and less bits. So let's go to the next video. 3. Using add with import: Okay, when you import stuff into light room, It's very important to make sure that you do the following. We have a few options over here. Copy as DNG, copy and move and ads. Now, if you are working in Lightroom, there's one thing that you have to realize. If you do a move or copy, it will actually copy the file to the Library module of Lightroom. That means that it stores somewhere. Let me put it very simple. It makes a big pile of images and because you use Lightroom, it knows where your images are, what the names are, what the keywords are. If you ever want to approach that image or find that image without light room. Good luck because it's a huge file. There's a huge file names in there that doesn't make any sense. You can't find it back. So one of the most important things is to keep your folder structure on your hard drive. So what I do is I will just create a folder structure, for example, 2020 photography in the studio, photography outside street and travel private and whatnot more. I will just copy those images there. And then when I import the images, I do the sync, see another video in this tutorial. Or I will do it for your input, but then I will always choose the option ads, because as it says, it adds the photo to the catalog without moving them. So if you if you folded structure intact and you want to import the file into Lightroom from that location. It will keep your original image on that location. And it will create the previewed smart preview and all the other stuff inside your Lightroom catalog. One of the main advantages of this is of course, that it doesn't fill up your hard drives. For example, take me, I have, I think at this moment, maybe 30 terabytes of hard drives. And they all are filled up with images. If a copy everything just into my Lightroom catalog, I need different catalogs because my hard-drive will fill up by using it. Now I can use one tower with, for example, everything from 2013 to 2017. Another tower for 20172021, tower for retouching, wearing, going right. It can be on different locations. So always use at because then if you decide to not use Lightroom anymore, at least your files are all nice and proper. In the folders and on the hydrosphere you want it and not in one big file where you can't approach them anymore. So make sure you always use at 4. Sync new photos and work with parent folders: Hey guys. So Lightroom is of course, one of the things where you store your images, at least for me, it's where my image is live. So I do all my retouching in Photoshop. Most of my retouching in Photoshop and Lightroom is where I actually store all my images for smart albums, key wording, and of course, simple retouching. And the cool thing about Lightroom is of course, as it sinks over all the devices. Now, what you see now is Lightroom sick and I want to give you a quick tip for Lightroom Classic. Now when you add new images to Lightroom, most people will do it like this. So they will copy the image somewhere and then it will go to file. And then for example, import photos and video, and then just browse to the area where they want to import from, right? So pick your source. Now you can pick some options over here, but it's a few extra steps and you have to browse to where it was. Now, this is a very simple collection and I have one folder here, and that's called color checker. Now in that folder I just copied some images on the hard drive, so they are not in Lightroom. I just copied them in that folder on your hard drive. So how do I get them very quickly into Lightroom without doing that import, it's very simple. You can just go to your top folder, press your right mouse button, and then just say synchronized folder. And it'll give you this Dialogue. Import new photos. He's already found a new photos and just press synchronize. That point. You can really quickly at your images and you can still opt, of course, for an import dialog in this case, I didn't do it. But synchronizing it's way easier than just going into files in portfolios. Okay, now another tip for Lightroom is when you hover over here, you can see pay S from Photoshop. But what if you want to see the folder on top? Well, pressure right mouse button and just show parent folder. And you can actually see that this folder is on my desktop. Then we see photoshop, and then we should call checkers. But what if I don't want to see my desktop folder? I don't want to see that parent folder go on desktop, right mouse click and now just say height parents. And now you're back. So with these simple things, you can speed up your workflow in Lightroom tremendously. So I hope this helped you out. Let's go to the next video. 5. LrCC copy settings to a series of images: Now, one of the things that you might have experienced over time is actually that sometimes copying or selecting or exporting enlightened doesn't work the way that you think it would work. The solution is actually very simple. Let me show you the problem. So I have this picture of MD, and let's say that I really liked the look that I'm going to give him now. So let's just bumped exposure just a little bit. Okay. Way overexposed of course, but then you can see it in the thumbnails. I want to copy this to everything. So what I'm gonna do is photo and then I'm going to do copy, edit settings. Yeah. Okay, I'm going to select, let's say these images. Now, one might expect all these images are selected. So now when I go to photo and I'm going to go to pass the edit settings that all those images will get that setting right because it's literally what it says there. So let's try that. And there we go. And as you can see now, actually all the images didn't get that same setting. What's going on? This is weird, right? So I select it all those images. And only the first one got that setting. So what am I doing wrong? I'm actually not doing something wrong. It's the way that Lightroom is working. And this is actually also the way that Lightroom Classic is working. Let's try it again. So let's go back in time. Okay, so I have this image. Let's do Edit, sorry, photo, copy, edit settings. Now if I want to add this to a selection of images, what I have to do is go to Grid view and you can find that here, the square grid, or of course you can use this creates it just depends on what you like. I like the squire creates a little bit more. Okay, now and I select, let's say, these images. And when I now go to photo and paste, now you will see that all the images get that adjustment. I don't know why they choose this, but it's something that you have to get used to. It's the same in Lightroom Classic and it's also the same in Lightroom CC. If you do something on one image you can use to film strip. If you want to do it on all the images, you have to go to the grid view. So if this is one of your frustrations and I can totally understand this, this is the solution and it's supposed to work that way. 6. Lrcc export for web: Now one of the most asked questions, especially when somebody starts out with Lightroom or Photoshop, is how do I upload my images to the web? What is the best resolution? What is the best color space? In my opinion, for the web at the moment, this is 2020. The best way to store for the web is in sRGB. This is because most browsers are not colored managed. So if you export something as Adobe RGB, it will look fine on your monitor, but on somebody else's monitor, sRGB will look always fine and not always, but most of the time, sRGB is the most safe, is ready to go. And what is the resolution? Well, personally, I always go for 1250 on the longer side, but how did he do that in Lightroom? Let's select our images first things first we have to go to Grid View. There we go, Edit, Select All. And at this point all images are selected. And now the only thing I have to do is go to File Export. Now in the top bun, you see exports 2D images, and you'll see an option files in JPEG, tiff, DNG, or original plus settings for the webpage just go for jpeg, dimensions, go for custom. And then longer side, 1250, that's what I choose. Now, you can choose to include omega data or copyright only file naming original. I wouldn't do any output sharpening, but if you like Output Sharpening, you can do it here as a color space. Very important change this to sRGB. Not the only thing you have to do is export to PDF files and just use a location. That's all. 7. Exporting in Lr for the web: It's finally time we have all our images done and now we have to get them on the Internet to share with the world, right? But how do you get them on the Internet? Well, I already showed you how to do it in Photoshop if you saw that video. But let's see how we do it in Lightroom. Now in Photoshop, I have to be honest, I hardly ever prepare for the web in Photoshop with a very simple reason, I can only do one file at a time in light room at this is way easier. So let's see how we do it. First of all, let's select some images. There we go. Now go for file, go for export. And now you can create and export. Now I'm just going to show you what I did. So let's go for internet logo, high resolution. So that means that I use this preset for my high resolution images with a logo in there. Let's just see where we go. Specific folder. You can choose there for same folder as the original photo. I wouldn't advise that or choose folder later. You can always do this of course, but let's do a specific folder. Now. You can choose the folder and you can put it in a softball and I in this case, that's not really necessary, or do I want it in that Internet now with four images, I can put them on my desktop when I have a gazillion images down, I would rather have it in a separate Internet folder. You can do it to this catalog doesn't make any sense because as soon as they are online, I can delete them. Ask what to do, override or not. Well, whatever you wanna do there, I won't do any renaming and image size. I would always go for width and height and then go for long etch and long edge should be on 1250. Now you can also go for width and height. But if you go for long ads, that means that always the longer extra that can be horizontal or vertical, but it will never go above 1250 pixels. And you can include metadata or remove location information and personal information depends on what you want. Now, in the metadata, for example, you find your f-stop, your shutter speed, your camera, but you can also put copyrights in there, and of course, the location where you shot it. Now, this can be very important if for example, you take a picture or a few new stereo and you put it on Facebook. Yeah, that's awesome for the thieves because now they can find your GPS information. And I believe that some social media networks actually filter that out. But just be careful with GPS information in your files. If you want to keep that stereo and your car, of course. Now, watermarking, I think it's important to have a watermark in your image to make it recognizable. But I don't like watermarks that are really big. What I do is actually I place my watermark always on the left bottom side. And that has a reason. Now when we look at how we perceive images and also how we read, we always read from the top left to the bottom right. This is how we and our Western world to read. So that means that if your eyes follow an image, they will go like this. There we go. It's a leaf, the image. However, if you have a strong anchor points on the left side, bottom, that means that your eyes will go like this and back to that strong anchor point, meaning it will look at the image again. So that's why our logo is read. The logo was already read and it's on the left bottom part. That way, people will keep looking in a circle and keep looking at your image. Okay, so what kind of image? I advise something that's transparent. If you have a logo that's fit for that. So my logo can fit on both dark images and a light images. So that's why I use something that's transparent. If you have a logo that doesn't fit on, for example, a white backdrop, or it will fade away, ingest or choose to logos, or just find something that isn't transparent, but actually just is there as a stamp. But those logos often I find a little bit annoying in images. Okay, so my watermark is very simple. It's my logo on there here. And you can just place it wherever you want. But I always like it very small, just there. Okay. Now the moment I press export, the images will be export it to my desktop in the folder Internet. So let's see if that worked. So let's click this away. Let's find today's internet folder which wasn't there. So actually lightroom created it. There we go. And as you can see, there we go. There's my logo. This is how you export in Lightroom. And the main advantage for Lightroom is you can do a lot of images in one-click, including a logo. And a nice thing also about Lightroom is it doesn't really matter how big the images you place, the logo. And if you have a small image or a big image, lightroom will literally scale it for you. Great solution for batch export. 8. Syncing Lightroom CC into Classic: I think one of the coolest things that happened The last few years is actually the whole cloud system. Creative Cloud, of course, is from Adobe. And they really have something that makes it tick. Now, when it started out, I was a little bit hesitant because Lightroom Mobile, there were so many things that didn't work the way that I wanted it to work. And always that Internet connection you couldn't sync between libraries. It wasn't perfect. It's still far from perfect. But with the release of Lightroom CC, we actually have something that really works well. There's still a lot of things that I don't like. For example, I can rename my images. I still have to need a fast internet. But nowadays most people, most people have fast Internet, or at least you can now also use it without fast Internet by using the desktop version or on your phone or tablet, you just can't sync between those devices. But what if you still love Lightroom Classic, like me. And you want to also use Lightroom CC. Can you combine the two? Yes, you can. Actually in Lightroom CC classic. Sorry. I still call it Lightroom CC. In Lightroom classic, you can still use Lightroom CC is database. So let's take a look at how we can combine it. Now, this is not a perfect solution because at this moment in time, I still can't take over the folders or albums that I create. So all the images come in in one big pile. But at least now when I do something on the road, all those images come in with all the retouching, all the file names and everything else that I changed some those images. So that is a big step forward. So don't have to copy anything anymore. I just use my online catalog and then combine that with my Lightroom Classic Catalog. So let's take a look at how I set this up. Okay, So here we have Lightroom. And as you can see, there's a folder there called Lightroom Mobile. Go to Edit and then go to Preferences. And now you can actually go to Lightroom sync. And there you see all your settings so you can prevent system sleep during sink, you can specify the location. In this case, it's that D Lightroom Mobile foliar. And of course you can use sub folders if you want for the dates. This is handy when you do a lot of stuff. Press, Okay. And now when you press this, you can actually see that it's waiting for a connection. So let's start our sink. Okay, so now you can see that it's sinking 192 images and it goes pretty fast. We have fiber in RStudio finally, but depending on your Internet speed, of course this will go slow or faster. Now, in all essence, you can just leave this open, for example, for the whole night or for a few hours. And then as soon as your home, all your images are there. The cool thing about this solution is that everything that you change on location will also be changed in your sink. So as you can see here, five-stars, all the retouch adjustments, everything key wording, what not more. Everything is synced and this saves you so much work. And let's be honest, working on the road is awesome, but when you come home, you have to do everything again, that's very cumbersome. And this way, you can sync your Lightroom cloud stuff into Lightroom Classic and just copy everything over to your heart's content. And as you can see here, all our settings in the develop module are of course, copied. Now of course you can also copy your whole catalog when you're home from a trip, but this way, it's just way easier and way faster. I hope this helped you out in sinking your Lightroom Cloud. Cc with Lightroom Classic. 9. Autostack for HDR or Panoramic shots: Hey guys. So as you look now on my display, you actually see do we shot some panoramic shots? And in all honesty, it's a mess. I don't know where to start, I don't know where to end. And this will happen a lot when you shoot, for example, HDL panoramic modes, normal images, you empty your cart and you go like, Okay, so what to do? Now of course, you can start your panoramic shot with two fingers in the frame and ended with two fingers in the frame. But in the end there's a way easier solution. Now when you shoot with, for example, the mythic Pro to, you actually see that you have several folders. So in this case it's, well already a little bit easier, but let's say you shoot it with a normal camera. Normally you will end up with something like this, so big mess. Okay, how to solve this very easily? Of course, you can figure out which images, what, and then for example, you sticking, but you can do something that's way easier. Go to Select All. And now use your right mouse button and go to stacking. And I'll don't go to normal stake, but actually go to out-of-state by capture time. And you can put it on two minutes or 25 or whatever. I normally have it on, let's say two minutes because if you shoot a drone, we go and now you just do stack. There you go. That's all. Now the cool thing is the only thing you have to do is you want to see all the images like a normal stake is just press on the number and there you have all your images. So this is a really easy way if you empty your card and you have a lot of different shots to actually find out which shots are two minutes next to each other. And most of the cases that will be HDR shots or panoramic shots. And you can always change the time to slower, of course. But for drone shots, this works like a charm. 10. Lightroom CC healing brush opacity: Okay, let's take a look at one of the most interesting parts of Lightroom CC. Well, there are many interesting parts in Lightroom CC, but this is one that I actually use a lot when I'm on the road. And I don't want to go into Photoshop for some retouching and I don't need to do a lot. This is my buddy AND and he's living in New Jersey. And during the lockdown, we actually took a photo of him via Zoom. I was controlling his camera capture one and he was setting up the lighting and I post him over D assumed it was a really weird shoot. And this is one of the shot that actually turned out of that shoe. Then it's surprising what you can do over such a distance. But I don't like the part here. It's a little bit too dark. Now of course, in Photoshop you can easily fix that with, for example, the clone tool or the healing brush and just change the opacity in a layer. But how do you do that in Lightroom? Well, it's actually just a symbol. You go here to your healing brush and you can choose your clone. In this case, let's choose heel. Let's make it a little bit bigger and a little bit softer. I always liked those brushes to be really soft. And just go over it like this. Okay, now, change this to somewhere where I think, okay, this looks nice. And as you can see, it already solved the problem. Now, let's say that you're not totally happy with it and you want to change it a little bit. But you've also done something else. So let's say we go over here, you do the rest of your retouching and then you think, hey, I wanna go back to that healing brush. And this is one of the things that I love about Lightroom because it's raw comfort to you. So you can always go back to the original. So click here and you will actually see that little dot over here. That means that that's the active selection at that moment or retouched part. Now the cool thing is that afterwards you can still change the opacity. So for example, you can go back to the original with 0, or you can build it up to hero 100s. In this case, that's a little bit too much or blended in with the original skin. And there we go. There's a little bit of a delay because we're also recording it. I really like this. Now, let's say that you did more of those cloning and healing things. You just press on the healing brush. You can always add more, for example here or for example, this part, Let's do that. Let's change the size. Let's do this. Okay? The cool thing is that when you go back to your settings, you don't see the dots. But as soon as you click on the settings for the Healing Brush or clone, you can see those dots again and when you click on it, you actually make it active. And later on you can change the position where you sample. A new can change the opacity. And this is one of the things, especially for if you don't need to flatten the skin completely. This is an awesome way to retouch skin in Lightroom CC and you could do it on your phone, on your tablet. It's just amazing and it's very, very simple. So that's the tip free healing brush in Lightroom CC 11. Skin retouching in Lr: Okay guys and welcome. In Lightroom CC, now, we're doing this in Lightroom CC for the very simple reason. This will sink over all your devices. And of course it will look the same on your phone and of course on your tablet. So first things first, let's take out this part of the stroke. So I'm going to do it with the Healing Brush for the very simple reason. There's also a little bit of light transfer there, and I want to make sure that it looks nice. And when I use the clone tool, it doesn't take into account illuminance of course, of the scene. So that's why we use the healing brush. Okay, there we go. It looks pretty good. Now, if you look very closely by the way, you see here in a little option called visualized spots. Now, it's without any doubt one of the frustrations when you shoot outside on F6 or maybe F22 for a landscape and you have those dusk blobs in the sky. Now of course you are very careful. You take them all out and then finally you find it there's still one there. How could you prevent that? Well, very simple. Just press this visualized spots. Now you can see all the spots in the scene, of course also the bird marks. So make sure you only take out in the sky. But it's a very easy way to take out dust blocks in the sky. But let's do skin retouching. Now in the past of course you need it to go to Photoshop for skin retouching, it gets you one. There was an option to do. It's really nice in capture one. But in Lightroom, in all honesty, I wasn't really satisfied with the results. The plug-ins are just way, way better debts until Adobe released a version where you can find Texture slider as you can see here. So let's see what he does. Now the first thing is of course, make your brush a little bit smaller like this. So don't do it with a big brush. And what I'm gonna do now is I'm going to put the Texture slider, as you can see here, all the way down and also the clarity all the way down sharpens. I'm going to put on 0 for now, close to 0. And let's just start painting. And don't worry if you're a little bit sloppy, you can always use your eraser tool and get some detail back if you've done it too much. I'm not gonna do the whole area, of course, I just want to show you in this area what it can do. And it's an incredibly powerful tool, as you can see in a moment. Of course normally you do it a little bit nicer, but for the video, you just want to make sure that you guys see the result. Okay, Done. Now it looks a little bit fake, right? It's not really nice. And this is the cool thing because the combination of that clarity and texture slider, that makes it really interesting. Because if I put the clarity back on 0, you can see that now we have a little bit more shadow and highlight plane, the phase. Let's put it on 100th and you can see it even better. This is way too much. Of course. The cool thing is with a plugin, you run the plug-in and actually in the plug-in you have to set everything correctly up. And then later you can change the opacity a little bit. But that's about it. Thanks to non-destructive retouching of your raw file. And because we are in Lightroom, we can do something really cool. I can now use this Clarity slider and actually just keep moving it until I see skin detail that I like. Like for example here now it's nicely smoothened out. It's not a Barbie face. It looks really nice. Now let's say you want a little bit more detail back here. And that's where you put the sharpness slider into work and just pull it up. And there you go. And now you can see all the nice pore detail back again. Now, the really nice thing about this version, of course, because you're working in a raw converter, is it you can just press play or authority, press Plus. Let's reset this slider again to 0. And let's say we want a little bit more of that effect under the ice. Here we go. So just sticking the result. Let's overdo it a little bit so you guys can really see what's going on. So now actually I think two layers of skin retouching. And this of course again is way, way too much. But you can see that you can edit up. And if you have a model that has really bad skin, this really helps you out. So the cool thing about this is now, and because I've added a lot more skin smoothing, instead, you can now also work a little bit more with shaping the face by using clarity, without also enhancing the Porsche and all the other maybe things that you don't like interface. You can still use dehaze. But in all honesty, most of the time it won't give you the results that you want unless you do it really nice. And only on certain parts, I normally use the haze a little bit. For example, shaping muscle structures or whatever. It's a little bit like dodge and burn but differently, but try out D Hayes also, when you have something with muscles or shadows you want to enhance, it really, really works nicely. Now of course, you can also use shadows and highlights on the face. But in all honesty, it's just fine tuning something. But as you can see, it's an incredibly powerful tool for skin retouching much more than before. And it's only because of that a little texture slider. Now you might wonder, frank, can you still do a little bit about this? Yes, of course. Just use your Healing Brush. In this case, we want to put the federal little bit higher and you can just click on it. And there you go the same way that you normally did. Or if you want to take out a line, just draw a line. Okay, it's a little bit slower now because I'm also recording on the back. But as you can see, it's incredibly powerful. Okay, now, of course you want to see how it was before, right? Okay. Edit, sorry, photo, reset to original. And make sure you sit because otherwise you fall down. Look at the difference. Okay. Looks really, really much, much better. And again, if you think it's too much, and this is the incredibly cool parts you go to your brush and you can literally just press on, for example, this point. You can see the mask and you can still change everything that you don't like. There we go. Just press the brush. Go here, and take another point, for example, that one. So overall, thanks to the Texture slider, we now have a fully working solution for even retouching fashion on location. 12. Selective focus effect: Now we all know those cool lenses, right? Or Lensbaby still to shift lenses, they create these funky out-of-focus area effects. Even find them on smartphones like Huawei P20 Pro or the Samsung, you have this really cool effect. The only problem is when you do it in, for example, your phone, it will sample down to ten megapixels instead of the normal 40 bank of pixels. So how do you solve this? Well, you can use plugins in Photoshop or well, you can actually do it in Lightroom. Now what's this? This is cool shots we took in Amsterdam. And let's say I only want this character to be sharp. Go into your graduated filters in Lightroom. And I'll make sure that it's on sharpness. Now the only thing you have to do is just click on this character and just drag it up. Now you can see that there's one area that's sharp, that's actually over here. And you can skew it and just place it on him a little bit wider. And just make sure that you like how it looks. So let's, let's do it like this. Okay, Do another one and drag that one down. Make sure again that it's on your character. I'm doing it pretty fast now, but you get the idea, right? Okay? Okay. Now I hear you going like, okay, frame this looks really cool, but when assuming all my you can clearly see it's fake. Look at this. This is all sharp and this characteristic, well, also sharp. This looks fake. Yeah, No, but the cool thing about Lightroom is that you can actually do more. Let's go again until you graduated filters. And now instead of dragging down, you're actually start to drag to the right. Place this over your character and do the same thing. Now, drag to the left and place it on your character. There we go. Press Close. And now when you zoom in, you can actually see that he's sharp and everything else is well, a little bit blurry. Do you see that he's also a little bit too blurred, right? No problem. Just go here. You can see your dots again and just change the effect. That's one. Play a little bit with this one. Maybe show a little bit more of his feet. You guys, you can see you can fine tune everything. As long as he stays in that area that's sharp as you can see here. You see, you're actually just, it's almost like playing with shutters. And that's cool thing about something like Lightroom. You can literally just change it to your heart's desire, whatever you want. Just play with it like this. So it's feeds are a little bit unfocused and everything else is sharp. So really liked this effect. Now, do remember guys, this is not, again, a tilt shift lens or a lens maybe lands. But if you overdo the effect, it actually looks pretty cool and of course it's artificial, but that's why you overdo it. Really, really announced that feeling that this is really narrow. Normally, of course I would make it a little bit wider. 13. Maximum color control in BW with HSL and mixer: Hey guys, We all love to tinker with our images, right? We love to change the colors we love to use. Well, I sometimes call it, we love to Instagram the heck out of shot. Take for example, this shot from Sharon done in rolling. We can of course do different looks and the image doesn't really get better. But you know what I mean, right? You want to change the color sometimes, sometimes out of the camera is great. But for me, I always want to give it my unique look. One of the most important things to realize is how color works. Now, we'll have color spaces. And I don't want to go into Adobe RGB, sRGB profile to RGB, I just want to explain color space. Every color in the color space has three coordinates, x, y, and a big Y. And those are actually called saturation, you and luminance. Now, those three coordinates can be manipulated and that way you can change your color. Now, let's just take an example, for example, the red over here. And you can actually go into almost any plugin. And you can find in most plugins, you can find them HSL comfort or use saturation and luminance. Now, let's just focus on this red. We can change the hue of the red and that actually means that you go to magenta or towards the yellow. And you can change the saturation of the reds. Or D saturate. And of course, you can also change the luminance of threat. Now the cool thing is, when you lower your luminance, color will get more saturated. If you raise the saturation, it can happen that a color actually starts to bleed. So you have to play around with that a little bit, but those two actually are little bit interacting with each other. So that's what HSL does. Now, HSL is incredibly powerful because you can literally just change anything in a color if you want. So let's first reset the settings. Okay? Now this is of course in color, but let me just show you something else that you can do with HSL. And it's not really HSL, but it's, it's connected to that color. Now, when you are in a color modes, you of course have this huge saturation and luminance, which I just explained. But how does it work in black and white? Now that's actually where this video is about mastering your black and white look. So let's switch over to black and white. Now you will actually see that my HSL has disappeared, but I still have something else. And this is actually more like a color mixer. You have black-and-white, the mix. Now, you have to realize that black and white is slightly different than just without color. They're still color in there, but you don't see the color because the saturation is all the way down. But what you can still do is manipulate those colors. So let's say, for example, I want to change the reds. As you can see, I can still absolutely control my image. Now, if you like black and white, this is absolutely one of the coolest things to play with because of course you can go up here and try to change your black and white. Look, let's add a little bit of contrast. For example, let's lower my exposure a little bit. Let's kill some of the highlights. Let's give it a little bit of shadow. With less, Let's change the black values. But overall you're still playing with that same look. It looks better because I like this image in black and white. But you don't have total control. So let's go to that total control area. And it's actually here, the black and white mix. Now let's say we liked the image, but I like more popping image, especially in the lips. So let's just change this red and of course we don't want it black. Let's say we liked a little bit like here, AC to remember how this image looks. Now let's only change the reds to this. You see that we now have a completely different look in our image. Now, if you master this and you know what to look for, you can actually tell you makeup artist, for example, to not do read lips, but for example, change the color of the lips just a little bit. So in the final results, Let's say she has a red sweater. Read lips, you lower the reds, the sweater gets more towards black, but the lips get also more towards black. So just tell you makeup artist, Hey, I want the lips more natural and good makeup artists will know if you shoot black-and-white, what's issued with the lips? And overall, just play with these settings now, green, of course, in this scene there wasn't a lot. Yellow is also connected, of course, to her hair in a little bit to skin tones. And same with orange. Let's say I want a little bit more of a pale skin and just pull this in a little bit more down. There we go. It's a really start to like this. So Magenta, of course also one of those colors that can actually be in, for example, the umbrella or skin, or in this case even her nails. Have to be careful, of course, for areas like this. But you all know how layer masks work, right? So you can always do adjustment brushes or Layer Mask. I'm not gonna go into that in this video. Just add a little bit of vignetting maybe to the image. And there we go. So if a totally different image, and we now have total control thanks to HSL in color and actually the color mixture in black and white. 14. Stunning 2 color efects with one gel: Okay, so we all love those looks way if a model that was lit from one site with a gel and also from the other side with a gel. And you have this beautiful combination of colors. But then you try it yourself and you go like, it just doesn't look right because the colors are wonky or funky, but in wrong way, you don't want it that way. So how do they do that? Well, today I'm going to show you the trick. The trick is actually incredibly simple. When we look at a color triangle, you see our primary colors are red, green, and blue. Now, in the middle of the triangle, there's a black body curve. When you draw lines between the primary colors, you end up at a secondary color. So cyan, magenta, and yellow, as you can see in the diagram. Now, you have to realize that when you change something in your color temperature or your color balance or whatever you do with the color. It's a global adjustment. That means that everything is connected together and turns or skews, or expands or contracts the way that you set it up, but it's global. Of course you can do local adjustments in Photoshop, but let's forget that for now. So that means that if I change the color, for example, your white point, everything will change. This is one of the tricks that we do a lot outside. For example, when we want magenta skies, we use a green gel on our stroke. We balanced on that green gel and everything shifts towards magenta. And this is where also the trick comes in that we are going to use today. We're going to light our model with a, with a red gel from one side. And then I'm going to do a little trick that may blow your mind. So let's switch over to Lightroom. Okay guys, so we are in Lightroom CC on the iPad Pro, and it doesn't really matter what software you use, you can use it as briefly mentioned in almost any raw converter, as long as you have color, temperature. There we go. So now you can see that one side of our model is actually lit with the red gel and the other side is lit with natural light, so no gels whatsoever. The only thing you have to do is change this color temperature towards blue. And as you can already see, the red still stays a little bit red. It's a little bit magenta, but that's no problem. And a blues are really appearing interface and this is something with gels. You can do it, but you never can make that mix later. And by doing it this way, you can literally just mix the colors together the way that you like. Now often I add a little bit of contrast. And of course you can play with your color a little bit more like fibrin. Don't overdo it. But you can change the color by just changing your color temperature. So in the case of red, I'm going towards blue and you will see that the site will still look red, but the other side will turn blue. So it's a really easy way to create some stunning effects in your images. And you only have to use one gel. So let's go back to the studio. Now as you saw, it's really easy. You just change the color temperature and the tint, a little bit of extra slider work, and you're done and now you get a beautiful, beautiful look. Now it's very important then when you do this, you don't use CTO gel. Now CTL gels or color correction gels, you really need a thick gel. So if you go for a red gel, go for a real red gel because the thicker the red color is, the more you can move that color around without losing its red tint. So hope you liked this little tip in Lightroom, incorporate it into your own work and be creative. 15. Vintage looks in Lr: Now a lot of people asked me like Frank, How do you get defendants look in your images? Is it All the lens? Well, I love shooting with vintage lenses, but now of course it's not all the lens. And I just wanted to show you in this very quick tutorial of how I create those looks. And it's very simple to do. And I have to stress that every single image demand something else. So it's not like you create this preset the same way and it will work. You really have to change it per image as you should always do. Now if you're lazy, just shows it on all your images that this was shot with a one-to-five like a lens. And the lens. And what I like is that you can really isolate one person. This was shot on a flea market incumbent and it's just a snapshot, guys. This is not something like a serious street photography shot. It's just a snapshot, but I just wanted to show you and this is on my computer At the moment. The first thing I always will do is just back down the highlights a little bit and raise the shadows. And this depends per shot. Now it opens it up a little bit more so at a little bit of contrast. And now it seems like I'm actually destroying the highlights and shadows again, we said just opened, but by adding a little bit of contrast, you also see that the colors pop a little bit more. You get a little bit more sense of real illness and three-dimensionality. What I like to do is push shot. Just add a little bit of clarity. So just zoom in and just add a little bit of clarity. Now I always watch for faces. I don't want those phases to be actually over sharpened or over clarified. And also the background to bouquet. It has to be nice. So let me just put it on 0 and you can see what I mean. I'll just look at these round areas here. Now as soon as I start erasing it, you will see that at 1, Let's overdo it. It becomes really obvious that the face has get really dirty and I don't like that part. So often my clarity will be around to 10 or something, something very similar to it. Okay. Now, zoom out again. Now of course we want to make that color a little bit like it's not really cross processing, but you can see it's a little bit funky. Now nowadays, you can of course, go here into profiles and just select one of the profiles, but let's not do that. Let's just create something from scratch. Now, the thing that I love to do is actually play with that tone curve. Just go here. And of course you can just play with the tone curve like this and just add a little bit of bytes to the image. But what, what's way more interesting is actually go into here, you saturation and luminance. Now I can actually say, okay, I want to pop two reds just a little bit. So just to reiterate the reds, maybe back down on the oranges. So maybe just give it a little bit more. There we go. And you can also change the luminance for it. And I'll read just pops a little bit more in the shot like you can see here. Okay, but now let's go back to the tone curve. Now, of course you can use a tone curve for contrast, but you can also go here, a linear medium contrast and strong contrast. So that's one of the oxygens, right? But it becomes way more fun when you press this, wanting to actually go to channel RGB, now go to the red channel. And what I like to do is just add a little bit of red to the shadows. And just Beckett down on the highlights. It gives you a little bit of a cooler look. Now, go to the blue channel. I often find that I don't use the green channel that much and add a little bit of blue in the shadows. There we go. Sorry. It's a little bit on the highlights or take it out of the highlights, maybe in this case, take it out. Here's just a little bit of a yellowish look what you know from vintage looks, right? Okay. Now of course, because we use finde ich looks, we want to get a little bit of a thing yet. So let's go to fingering and let's just add a little bit of that corner smoothness. There we go. Now what you can see is that the image really pops. It's a totally different image from the original. And if you like this, which I do, just store this as a preset. So Create Preset. And I'll just call it. What should we do it if they slight vintage go and just create. Now let's show you before and after. So let's do this settings reset. So this is before, it's okay. But this just pops way more. 16. Vintage looks with lightleaks: Okay, So it's no secret that I love analog photography and I love using those old lenses on new cameras and using the takeout module. And very soon I'm going to test the photo deoxy pronto for this. So that actually makes all to manual focusable lenses out or focus on certain Sony bodies. This was actually shot with him, Helios 442. It's a very well-known lens because it just renders an incredibly nice picture. Now, let's just create something that looks a little bit vintage before we gonna do the light leaks, because in Lightroom, you can very easily add light links to your image. But first, let's make it a little bit more vintage from the start. Now of course, you can do everything yourself, or you can just get my new Lightroom preset pack, which you see over here with all these really cool looks. And just to give you an example, if I want to do something that's a little bit vintage, I normally go for defendants with an awesome slight vignette, as you can see here, it's really transformed the image. And later on, of course, I can fine tune it in Lightroom. But let's just start by creating it ourselves because let's say you don't have to preset back. The first thing you can do with fin that's look is actually a ratio blacks just a little bit to get a little bit more of that washed out effect. And normally I will add a little bit of contrast back. There we go, and just add a little bit of contrast on the top. Okay, this looks already a little bit more faded. Now let's turn down the highlights just a little bit to give it a little bit more detail. We go at a little bit of contrast. Okay? Now, certain colors, I want to make it stand out a little bit more, making more pop. So what you can do, and this is something that I love to do. Now, red is my favorite color in the shot, so often I will enhance the reds just a little bit. Now of course you can bump up the saturation like this, but after you will end up with images that don't look really nice. So what I normally do is I will raise the saturation just a little bit and just play with the Lumosity of that color. As you can see here, you can really find fine-tune that color. Let's do the same for a little bit with the blues in this image. And I normally would go up and down. So you can literally see which areas in the image are affected like this. And then just give it a little bit more. There we go. A little bit of split toning. So for example, in the highlights, I like a little bit blue. Or should we make, will make it warm for this image. They'll be going into shadows and just do a little bit more reddish. Okay? Of course we want to add a little bit of a vignette. There we go. Okay. So now for the light leakage, so when you have old cameras, sometimes it can happen to give a little bit of light leakage. And this was actually made very, very famous by filters like for example, well Instagram. Now, of course, you can follow the natural proceedings of how a light leak would actually exist on a camera. But do remember that although in 35 meal maybe delight leakage comes from one side. You can also shoot on four by fives or whatever. So in essence, you're pretty much saved to just put a light leak. It's wherever you find it interesting. And this is something that a lot of people don't even know where the light leak it's come from. They just look at the image and ago like great. So we're not going to follow any rules, we're just going to place it where we like it. So we're gonna go here to your adjustment brush and you just going to pick this gradients and let's do it from, let's do it from the top. Just pull it down and just make it a little bit under an angle. There we go. Now the only thing you have to do is change your color temperature. I don't make it green, of course. Just to add a little bit like this. And maybe a little bit of reddish. And of course you can also do it on one of the corners. Just do a new one. Did it correctly. And again, change the color temperature. Of course, you can change the exposure to, to make it a little bit darker. But in this case, I liked it a little bit later, actually not much. Maybe lower the contrast such as edit a little bit. It's just like what you'd like, just play with this and as you can see, it really ****** up the shop now, don't do it in every shot or don't do it a lot. But just very subtle. It can give you a really cool vintage look. And let's be honest, it's always cool to have a little bit x-ray in a shelter right? There we go. Now of course you can play along with the, for example, the brush, for example, just to this. And also change the color temperature. There we go. So this is your base. And now you can actually use a larger brush to just fade it out just a little bit. There we go. Okay, so now this is very rough and maybe it isn't your tastes, but just play around with these. Just change that color temperature just a little bit in the corners and create some funky stuff on your images. 17. Profiles from the Xrite colorchecker in Lr: Okay, in this video, I'm not going to explain to you guys what the need is for a color checker passport for the very simple reason, you probably already know it, but if you don't know it very quickly, you can put your white balance in the correct order and you can create a profile for your camera. But how do you create a profile into light room? A lot of people will actually be afraid of this. Oh, maybe it's difficult, maybe I can't do it. It's very simple. Now, this is the way that I do it. I do take some precautions that you may or may not have to do. The first thing I will do is I will go to the develop module and I will find my my color balance picker. And I will just go through one of these. I will use this one or that 11 of those two. And the reason is very simple. If I go for white, there is a chance that one of the channels is clipped when I go for dark or they can be a little bit of noise there. So we're gonna go for one of these to, those aren't neutral gray, so they are grateful white balance. So that's part one. The second part is actually creating the profile. Now you have to realize that you have to install the X-ray chauffeur for the color checker passport, but it's easy. When it's installed. Go to File, go to Export, and now go for color checker camera calibration. It's under the x right presets. Now just give it a name. In this case, let's call it NAD test. And the only thing you have to do is now press Export. Now, Lightroom will find the color checker passport and create the profile. Now of course, you also have to activate that profile. So I'm going to show you all, of course also how to use it and how to activate it. Don't worry. This you can see up here, it's now processing that profile. Color checker camera calibration profiles within generated successfully, lightroom must be restarted. So let's restart Lightroom. Okay, we restarted Lightroom. And now of course we have to make sure that we find that profile. So where is that profile? And this is why you actually find two videos in this tutorial. One is the old-fashioned way. That's the way that you use when you use Lightroom that was released before they changed everything around with the color profiling. So you also find that video in this tutorial. This is the modern one. So where did they put it? Well, actually where it's supposed to be. Any old version like you saw in the previous video. It was all the way down in the develop module on their camera calibration. Now it's actually where it's supposed to be, but it's a little bit harder to find. So up here, you will actually see treatments, color, profile, Adobe Color. Now, one might expect that profile means profile, right? So there's our new profile. Not that fast. When I pull this down, I will actually see Adobe landscape, portrait, standard, vivid, monochrome and browse my new profile, right? So where is it? Well, what I always do is I will press these four little buttons here. And now you will see your favorites, Adobe row and profiles. And now we do have an 18 tests. So when I click on this, now I actually have that profile. Now let's see the difference. Let's zoom in on that color checker. Awesome. Do a white balance. There we go. Now again, this is my methods. You don't have to do a new white balance, but I always do it one before one-off. So just to be sure, Comey paranoid. Anyway. So let's see the difference. This is the original profile. Let's change this back to Adobe Color. You immediately see that it doesn't look right. Adobe Portrait doesn't look right. There's always something missing, maybe vivid, but still, when you see the original one or the one that we created, you can literally see this changes a lot. So this is the Adobe way, and this is what the color checker does. Now let's say I wanted profile on all my other images. Very, very simple. Make sure you are in library mode. Go for the grid view, select the images where you need it. Let's just do it like this. And very simply go to sync settings. And now the only thing you have to do treatments and profile and white balance. You could always go for color adjustments or process first-gen and calibration. It, it all depends on what you want to sync. In essence, the treatment and profile, that's where you take over your color checker passport if you use the same camera, of course, because otherwise it doesn't make any sense. And the same lighting, same conditions. What we normally do is when we change something, we should want color checker. We sync to all the other files in that same set. And then when we switched sets, we should a new color checker and do the same thing. So you can see here it's really easy and it goes really fast. No excuses for inaccurate colors. 18. Using the Colorchecker passport in previous versions of Lr: Hey guys, We get a lot of questions from you guys what to do with the x right? Color checker, as you can see here, Rosa holds the color checker in front of her face. Now it's incredibly important that this area of the color checker, so the one way you can see x right? Color checker is totally open, so no fingers in front of these squares. But it's also important that you use a flatlining as flat as possible. Big soapbox doesn't matter, but use it flat. So in other words, if you're setting up a shot with, for example, for now or with a grid, a beauty dish, make sure that the color checker is as flat as possible towards the light source. So you can use any light source you want. You actually have to use the light source that you're shooting with. And now the only thing you have to do, of course, first you have to install the software, but let's say you have done that, of course, is go to File, go to Export, and then go to your x-ray presets and choose color checker passport. Now just give it a name. In this case, for example, Rosa. And then very simply say export. And in all honesty, that's about it. You can now see on top that it's processing the profile. It's now literally finding the color checker and creating that profile that's so important for, well, the accurate colors, of course. So let's run this through. The higher the resolution, of course it can take awhile for the process to be done. Okay, there we go. The profile has been generated successfully. Lightroom must be restarted. That sounds easy. So let's close this. And let's open Lightroom again. Okay. Now we're on the same picture. And now what you do is you go to your Develop module. And in the develop module, all the way at the bottom, you find something that's called camera calibration. Now, let's zoom in a little bit on this so you can actually see what's happening. Okay, So we have camera calibration are normally that's an Adobe Standard. Now what I always do is I will go to my white balance, and I will just select my white balance. There we go. That's already a big difference right? Now. You go to Adobe Standard and what you actually do is you select Rosa. There we go. So that's a huge difference, as you can see, between adobe Standard and then Rosa. And this is especially, it depends a little bit poorer camera, but it can be a huge deal n, Now the only thing you have to do is just select the image issue shut under this light conditions. So in this case or these images and just say sync. And at that point you have to make sure of course, that your calibration is also seemed. And then just synchronize. And are all these images will have to correct color and will of course have the color profiling set. And that's actually about it. There's no magic, there's nothing more. So accurate colors. And of course, proper white balance. You can do it all with color checker passport from x, right?