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Work on the Adobe® Photoshop ® Lightroom program began toward the end of when a small group of Adobe people, headed by Mark Hamburg, met up at photographer Jeff Schewe’s studio in Chicago to discuss a new approach to raw image editing and image management. What would it take to meet the. the-adobe-photoshop-for-digital-photographers-covers-photoshop-cs6-and-photoshop-cc-voices-that-matter 1/1 Downloaded from on August 9, by guest The Adobe Photoshop For Digital Photographers Covers Photoshop Cs6 And Photoshop Cc Voices That Matter. Download Free Plugin. This is a unique Photoshop plugin suitable for creating realistic isometric objects that you can use when creating websites and developing games. It offers 4 directions of isometric conversion, a flexible cuboid generator and a 50px isometric grid. Issue Fixers Photoshop Plugin. Download.

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Click the links to download to your computer either the entire Lessons folder or the work folders for individual lessons. The downloadable sample images are practice files, provided for your personal use in these lessons. You can buy them together through the Adobe Creative Cloud Photography plan or with a Creative Cloud complete membership, which also includes InDesign and more.

Why use both Lightroom and Photoshop The list of reasons for using both Lightroom CC and Photoshop CC in your workflow is lengthy, though most of it boils down to saving time in the manage- ment, editing, and preparation of your images for specific uses. Using the pro- grams together means you can easily include your Photoshop masterpieces into Lightroom book, slideshow, print, and web projects.

However, a closer look reveals that Lightroom and Photoshop differ in two As a result, Lightroom important ways: what they do and how they do it. Plus, Adobe broader and Photoshop is deeper. Photoshop, on the other hand, was designed for a single task: editing. The term you captured in-camera. Although there are ways to edit a photo without harming is short for picture element.

If you zoom it say, by using layers , Photoshop is a destructive editor—you can undo a cer- far enough in to an tain number of sequential edits while the document is open, but when you close image in Lightroom or the document, that ability vanishes. You can think of layers as the ingredients on this pizza really!

Although the pizza is made up of many layers the different toppings, sauces, and dough , you see a single image. The Layers panel, on the right, shows you an exploded view. The contacts program is a database that points to a file containing an individual entry for each person you tell it about. Each record includes a Rolodex database and all the little cards a smorgasbord of image or video information, including where the file lives on records it contains. This essentially gives you unlimited sequential undos forever.

The database editing previews of the images referenced aspect lets you work on multiple images at a time, too, as well as copy-specific by the Lightroom or all edits from one photo to many.

You can also use Lightroom to create print catalog on your desktop templates, photo books, slideshows, and web galleries, and you can include your computer. Photoshop documents in those projects. As you can see in this illustration, your Lightroom experience comprises many pieces and parts: your images wherever they live , the Lightroom application, the catalog, and a folder of presets.

Lightroom automatically maintains the wonderfully large range of colors called color space and high bit depth that a raw file includes. P Note: Color space refers to the range of colors available to work with.

Bit depth refers to how many colors the image itself can contain. For example, JPEGs are 8-bit images that can contain different colors and tones in each of the three color channels: red, green, and blue.

Raw images, on the other hand, can be , , or bit, and the latter would contain a whopping 65, different colors and tones in each channel. Most of the controls are slider-based, highly discoverable, and logically arranged.

Another reason is that raw files contain a wider range of colors and tones than JPEGs tones refers to luminosity information that you can think of as brightness values. For the mathematically curi- ous, 4 trillion colors and tones can theoretically be saved into a bit-per-channel raw file, whereas a maximum of 16 million colors can be saved into a standard 8-bit-per-channel JPEG.

Raw files can be , , or bit, depending on the camera. So using raw data in applications that can interpret it—say, Camera Raw, Photoshop, Lightroom, and so on—gives you far more editing flexibility because you have more data to work with and you can process that data however you want. Raw files also let you change the color of light, called white balance, captured in the scene. That said, you can access the same sliders and local adjustment tools in Camera Raw or the Camera Raw filter, though that often requires an extra step.

These local tools make it easy to fix overexposed skies, add digital makeup, smooth skin, lighten teeth and wrinkles, enhance eyes, darken shiny areas, add extra sharpening to specific areas, and more. You can even add negative sharpening to a certain area to blur it! You even get opacity control so that you can dial back the strength of the change. You can do all of that in Photoshop, but it can take longer because of the addi- tional steps required to do it nondestructively.

You can also add sophisticated color tinting to the whole photo, or you can hand-paint certain areas with whatever color you want.

Once the images are combined or stitched, you can adjust tone and color using the global or local adjustment tools described earlier.

You can also save a preset for almost anything you do in Lightroom, which can dramatically speed up your workflow. Presets can be applied during the import process, manually whenever you want, or when you export images. Preset opportunities include, but are not limited to, adding copyright information; file-naming schemes; any settings in the Develop module; settings for all the local adjustment tools; template customizations for books, slideshows, print, and web projects; identity plates the branding that appears at the top left of the interface ; watermarks; exporting at certain sizes and in a specific file format; and uploading online.

Processing multiple photographs in Photoshop requires scripts, complex actions, or the use of Adobe Bridge. Further, Photoshop presets are mostly limited to tool setup. Now, is Lightroom better at everything than Photoshop?

Where Photoshop excels Photoshop is unmatched when it comes to creative editing and precise corrections. Same goes for swapping heads and eyes—say, to create a group photo where everyone is smiling or to fix eyeglass glare. And if you want to manually merge images into an HDR, which can often greatly improve results, there are a couple of ways to do that in Photoshop. In Photoshop, this is called creating a selection, and the program includes several advanced methods for selecting an object in your photo, including tough stuff such as hair and fur.

When you use these technologically advanced tools, Photoshop intelligently analyzes surrounding pixels, or another area that you designate, in order to make the removal or repositioning as realis- tic as possible. Most of these incredible tools are also covered in Lesson 7. However, both of these fixes can result in empty corners due to the rotation, which may cause you to crop the image more aggressively than you want to.

Photoshop also includes sev- eral tools for creating custom illustrations, 3D text, and objects, and it sports a fairly impressive arsenal of video-editing tools.

So if you want to incorporate one or more award-winning photos into a busi- ness card, postcard, or social media cover image that includes text, you need to send that imagery over to Photoshop. For example, you can map one photo to the contours and curves of another lizard skin, anyone?

Some of these tricks are covered in Lesson 8. The next few sections explain how to access the exercise files included with this book, as well as how to create a Lightroom catalog. Some photographers use a single catalog for all their Lightroom photo- graphs, and some use several. It walks you through the process of importing files from a hard drive into Lightroom, using the Lesson 1 files as an example.

However, The complete user documentation for Adobe Lightroom and Adobe Photoshop is with an active Internet available from the Help menu in each program. This content will display in your connection you can default web browser. This documentation provides quick access to summarized access the most up-to- date information. You can dismiss the tips if you wish by clicking the Close button x in the upper-right corner of the floating tips window.

Select the Turn Off Tips checkbox at the lower left to disable the tips for all of the Lightroom modules. In the Lightroom Help menu you can also access a list of keyboard shortcuts applicable to the current module.

Help on the web You can also access the most comprehensive and up-to-date documentation on Lightroom and Photoshop via your default web browser. Point your browser to helpx. Additional resources Adobe Lightroom CC and Photoshop CC for Photographers Classroom in a Book is not meant to replace the documentation that comes with either program or to be a comprehensive reference for every feature.

Only the commands and options used in the lessons are explained in this book. Adobe Forums: forums. Adobe Creative Cloud Learn: helpx.

Adobe TV: tv. Resources for educators: www. Find solutions for education at all levels, including free curricula that use an inte- grated approach to teaching Adobe software and that can be used to prepare for the Adobe Certified Associate exams.

A directory of AATCs is available at partners. If the Lesson 1 files are not already on your computer, download the Lesson 1 folder from your Account page at www.

This is a great way different parts. To create a complete Lightroom to accommodate an expanding photo collection. And because your programs need some free internal hard the Lightroom Presets drive space to function—Photoshop, especially—filling your hard drive with photos folder. Although a single Lightroom catalog can access more than one hard drive, the simplest approach is to keep all your photos on one big, dedicated external drive tucked inside a meaningful folder structure.

In that scenario, you could create a top-level folder on that drive, give it a name such as Photos, and then create subfolders inside of it that have a date or topic naming scheme. This approach has great benefits. For example, when you run out of space on that drive and you will , you can transfer your entire photo collection to a newer, bigger drive by moving only the top-level folder.

Although you can perform rudimentary video edits in Lightroom, you can do far more to video in Photoshop. Once you use the import process to tell Lightroom about your photos, you can see your folder structure in the Folders panel in the Library mod- ule. However, once you tell Lightroom about your folder structure, leave it alone. If you already have an effective folder structure for your photos, you can continue to use it. If not, take the time to build one now. This is far simpler than doing it in Lightroom using the Folders panel, especially if it involves moving thousands of files.

In other words, your system needs to be scalable. Within the year-based folders, you can create subfolders for each shoot, named for the subject matter or the date the photos were taken or both. Importing photos into a Lightroom catalog P Note: Some Light- Before you can work with photos in Lightroom, you have to tell Lightroom they room users prefer to exist; you do this through the import process.

If you peek at the terminology used at the top of images. Your choices are jockey, that may work well for you. This option tells Lightroom to add a record and a preview for each image to the catalog while leaving the photos wherever they currently exist on your hard drive. Similar to Add, this option prompts Lightroom to add a record and pre- view of the image to the catalog; however, it also moves photos from one place on your drive to another. That way, you know exactly where your photos live.

For this reason, the insert the memory card next section focuses on adding photos to your Lightroom catalog, in lieu of copying. Since this catalog is empty, it automatically opens the Library module in Grid view wherein Lightroom displays your images as a grid of thumbnails.

Click the name of any folder to expand it so you can see its contents. Thumbnail previews of the photos in the Lesson 1 folder appear in the middle of the Import window. As you learned in the previous section, this tells Lightroom to add information about these photos to the catalog, but to leave the photos in the folders and on the drives where they currently reside. Samsung uses it as the factory setting for its cameras too.

Another benefit of DNG is that Lightroom uses it for Smart Previews, which let you sync your desktop catalog onto your mobile device for editing in Lightroom Mobile. For the purposes of this lesson, leave photos, it may be all the checkboxes turned on so that Lightroom adds all the files.

If the File Handling panel is collapsed, click its header to all and then assess and expand it. These relatively small previews are used to quickly display initial thumbnails in the Library module.

The Minimal option uses the small, non-color-managed JPEG preview embedded in a file by your camera during capture. It builds standard-sized previews during import that are useful for viewing photos in Loupe view in the Library module. There you can choose a size up to pixels on the long edge. Ideally, choose a stan- dard preview size that is equal to or slightly larger than the screen resolution of your monitor.

However, previews take the longest time to import and are the largest in file size in the Previews. Lightroom will rebuild the previews when you ask for them by zooming in.

Smart Previews are also used to sync photos onto your mobile device for use in Lightroom Mobile. You can add keywords and apply Develop module presets that are spe- cific to individual photos later in the Library module. In the New Preset dialog that appears, give the preset sure to include copy- right information, as a name, and then click Create. Lightroom adds the photos to your catalog with the settings you specified and closes the Import window. Once finished, Lightroom activates the Preview Import collection in the Catalog panel at the upper left, and you see image previews in the middle of the work- space, as well as in the Filmstrip panel at the bottom.

The next time you import your own photos, choose New from the Metadata menu in the Import window. In the Copyright Status menu, choose Copyrighted. Scroll to the IPTC Creator section, enter any identifying information you wish to include, and then click Create to save it as a preset.

To apply this copyright preset to photos as you import them, simply choose it from the Metadata menu. From the resulting ment workflow: The big menu, choose Synchronize Folder. Click Synchronize, and Lightroom adds them.

Its various panels and tools help you make short work of managing, assessing, and organizing your photos. In lapse or expand any panel by clicking its the Library module, you get source panels on the left and information panels name. To expand or on the right.

Source panels Preview area Info panels By default, the Library module opens in Grid view, which is indicated by the icon circled in the toolbar below the preview area. This panel lets you control zoom level and which area of the photo is displayed in the preview area.

With the levels and lets you cycle Navigator set to Fit, you see a white border around the image in the Naviga- between them using tor panel. Once you zoom in say, using Fill or , the rectangle reduces in the Spacebar on your keyboard.

To see another area of the photo, click within the rectangle your cur- between Fit and , sor turns into a crosshair , and then drag it to another. Now tap the Spacebar to switch between those two choices. This panel gives you quick access to certain images in your catalog. This panel displays your hard drive s and folder system. The Folders panel creating collections. If you do, Lightroom will report the photos as Folders panel because missing. If you need to rename, change your folder structure, or move pictures the changes you make around, use this panel to do it.

That way, Lightroom can update the catalog to physically affect the reflect your changes. Rename from the menu that appears. In the resulting dialog, enter a new name, and click Save. As mentioned earlier, think of Lightroom collections as albums. You can use it to export collections albums to photos to a hard drive or to upload them online to sites such as Facebook, organize them instead. Flickr, and so on. A histogram is a collection of bar graphs representing the dark and been separated into same-color stacks.

The light tones contained in each color channel of each pixel in your photo. Dark taller the stack, the values are shown on the left side of the histogram, and bright tones are shown more tiles you have of on the right side. The width of the histogram represents the full tonal range of that particular color.

The taller the bar graph, the more pixels you have at that particular brightness level in that color channel. The shorter the graph, the fewer pixels you have at that particular brightness level in that color channel.

This is a quick alternative to rent exposure value of that photo. This means each photo could end up with a going into the Develop different exposure value. These two panels are related to keywords, which are descriptive tags you can apply to images in order to find them easier later on. Click the triangle again to reveal the panels.

Once you click to hide a column of panels, they reopen whenever you move your cursor near them, and then they close when you mouse away from them. That way, the panels stay closed until you click within the outside border again.

To reveal them, press Tab again. Press L a second time and everything in your previews turns black, as shown here. Press L again to return to normal view. To exit it, press F again. This is the most often used keyboard shortcut in all of Lightroom! In this mode, only one panel is expanded at a time; the rest of them remain collapsed. When you click another panel, the one that was open collapses and the new one expands.

This keeps you from having to scroll through a slew of open panels to find the one you want to use. Once you activate Solo mode, the solid gray panel triangles are filled with dots, as shown here on the right. E Tip: To change the You can customize how your image previews are displayed too. Straight from size of the thumbnail the factory, the Library module uses Grid view, wherein resizable thumbnails are previews, use the displayed in a grid. If you peek at the Library module toolbar beneath the preview Thumbnail slider beneath the previews.

This option enlarges the selected thumbnail so that it fits within the keyboard to decrease preview area, however large the preview area currently is.

For a side-by-side comparison of one image with another— say, to determine which one is the most sharp—use this option. Press the Spacebar to enter Loupe mode, click within the image on the left called the select photo , and then drag to pan around and examine details your cursor turns into a hand. As you reposition one photo, the other one the candidate matches its position.

To exit Compare candidate to select by view, click its icon again or press G to return to Grid view. The candidate is marked by a black diamond.

Lightroom grabs the next image in the Filmstrip panel and displays it on the right as the candidate so that you can repeat the process. This is a great way to find the best photo of a bunch, especially if you shoot in burst mode. This option lets you compare multiple images side by side. To use it, select three or more thumbnails, and then either click the Survey icon it has three tiny rectangles inside it with three dots or press N on your keyboard.

You can also drag to rearrange photos in the preview area while sur- veying them. When you find the photo you like the best, point your cursor at it, and mark it as a pick by clicking the tiny flag icon that appears at its lower left.

To exit Survey view, click its icon again or press G to return to Grid view. The next section teaches you a simple strategy for assessing and culling photos. In the resulting dialog, pick a naming scheme; Custom Name — Sequence is a good one because it gives you the opportunity to enter something descriptive into the Custom Text field say, Smith wedding In this case, enter Maui trip The only way to under- stand this admittedly confusing concept is to try it yourself using these steps: 1 In Grid view of the Library module, click anywhere on the first thumbnail preview to select it.

Alter- natively, you can Shift-click the third thumbnail to also select the one in between. In this case, clicking directly atop the image in the second preview switched the most selected status from the first to the second thumbnail shown here in the middle. The result is different than it was in step 2. Clicking the frame, rather than the image, in the second preview left only the second preview selected and deselected the other two previews shown here in the bottom strip.

The takeaway here is that routinely clicking the frame rather than the image in a thumbnail will allow you to avoid being surprised by the less common behavior you saw in step 2. At the bottom of the dialog, Lightroom shows you what your naming scheme looks like. If you peek at the top left of the interface, you see a status bar. The next section teaches you about another great habit to create after importing images: assessing and culling them.

Organizing your photos Lightroom gives you many ways to mark your photos, which makes them easier to organize. For example, you can rate them with one to five stars, give them color labels, or give them two kinds of flags Pick and Reject.

Lightroom also lets you filter your photos for each marker or a combination of them , making certain photos easy to round up. Applying markers You can apply markers in several ways. To apply the marker, click a thumbnail. Press P to flag an image as a pick one that you want to keep , press X to flag it as a reject, and press U to unflag an image. Press 1—5 on your keyboard to rate an image as 1—5 stars.

Press 0 to remove the star rating. Press 6—9 on your keyboard to label an image as red, yellow, green, or blue respectively. You then likely left the mediocre ones in the envelope you got from the photo lab, and you probably forgot about them. Only the best shots made their way out of the envelope and into a physical album.

The 1 In the Catalog panel at the upper left, make sure Previous Import is selected. Double-click the first image to enter Loupe view, and then click Fit in the Navigator panel.

Use the Right Arrow key on your key- board to go forward through your images the Left Arrow key goes backward. When you get to the last sunset photo the one with the blurry palm mistake while flagging photos, press U on your trees , press X on your keyboard to mark it as a reject. Press your Right Arrow key, and mark the next yellow flower shot as a pick. Keep going through the exercise files, marking your favor- ites as picks and any that you think are bad as rejects mark only three to five of the exercise files as rejects.

When you reach the end of the files, your Right Arrow key stops working. When assessing your own images, reject only the ones that are really bad: out of focus, poorly exposed, or awful composition. Lightroom displays one of your rejects in the preview area, and a dialog appears. Clicking Delete from Disk takes them out of your catalog and off your hard drive. The choice is up to you. For the purposes of this lesson, click Remove.

When you do, Lightroom shows only those photos you flagged as picks. In the dialog that appears, enter a designate it as a target meaningful name into the Name field say, Maui keepers or whatever , turn on collection. Now you can add photos to it by pressing B on your keyboard or by pointing your cursor at a thumb- nail and clicking the tiny circle that appears at its upper right.

This also makes it easy to trigger a slideshow from them, as described in Lesson 9. In Loupe be , press U on your keyboard to unflag them all. Use the Right Arrow key to move through the the photos are selected.

You may need to click the white flag twice for it to actually filter the photo. Call it a feature or a bug—the choice is up to you! In the resulting dialog, enter the name Maui selects or something similar. Click Create. This gives you two collections: one for keepers and another for the best ones of the bunch. P Note: Collection 13 To further organize the two collections from your Maui shoot, you can put them sets are a great way both inside a folder.

Lightroom calls this a collection set, into which you can to keep your Collec- store collections as well as saved projects say, a book project, saved slideshow, tions panel organized.

In the pher, you may create a dialog that opens, enter the name Maui and click Create. To remove photos from a collection, select them and then press Delete on your P Note: The same keyboard. Doing so removes the photo from the collection, but it still resides in photo can live in mul- tiple collections.

When your Lightroom catalog and on your hard drive. To move a photo from one collec- you add a photo to a tion to another, drag the thumbnail into the collection you want it to appear in. Adding keywords Adding keywords is an extremely powerful way to keep track of photos by subject matter in your Lightroom catalog. Think of them as search terms, like the ones you use to find something on the web.

In the dialog that appears, enter flora in the Keyword Name field, and then enter flowers and plants in the Synonym field. Click Create, and Lightroom adds the keyword to the panel and applies it to the selected photos. To see nested keywords, click the triangle to the left of a keyword in the Keyword List panel to expand your keyword hierarchies.

You can also type a keyword into the search field at the top of the Keyword List panel to reveal it in the Keyword List panel. When you click the arrow to the right of a keyword circled , Light- room automatically switches your source to All Photographs in the catalog also circled. Once you apply a key- word to a photo, a tiny tag icon appears on its lower-right corner. Other ways to apply and delete keywords As you may imagine, there are additional ways to apply keywords.

To remove a keyword from a photo, do the same thing but turn off the checkbox that appears to its left. If you go this route, you can create and apply keywords in the same step.

If you want to create and apply more than one keyword to the selected photos, use a comma. To delete a keyword from your list, use the Keyword List panel not the Keyword- ing panel.

To do it, click the keyword and then click the minus sign – at the upper left of the panel. In the warning dialog that appears, click Delete. In the warning dialog, click Delete. In fact, the afore- mentioned menu offers several useful options for managing your keywords.

For example, you can edit them, remove a keyword from the selected photo, or delete the keyword altogether. Either way, the keyword is removed from your keyword list and from any photos you applied it to.

Finding photos You learned how to search by keyword in the previous section, but there are several ways to find certain photos in Lightroom. With All Photographs selected in the catalog panel, Lightroom searches your entire catalog to meet criteria that you set. You can choose to search text, attribute markers , metadata, and more. To see only those photos, click one of the keywords.

The next column shows the camera s you use; to see only the photos taken with a certain camera body, click it in the list. Same thing with lenses. You can also control which columns appear in the Library Filter.

From the resulting menu, choose Column. When you do, a column labeled None appears. Click the word None, and then from the menu that appears, choose the information you want displayed in that column. In this image, Lightroom is filtering for all images taken with a specific camera and lens, regardless of keywords. And of course there are other ways to find photos. First, clear your current filter so E Tip: You can also you can see all your photos again.

In the second menu, choose your criterion say, Contains All. In the field on the right, enter the text you want to find. Click Attribute in the Library Filter, and then click the marker you want to find: flags, ratings, color labels, or kind photo or video. You can turn on more than one filter in the Library Filter by clicking more than one of the buttons say, Text and Attribute. Doing so reveals a second row of criteria. For example, you could use this trick to search for all the images with a certain keyword that are also flagged as a pick as shown here or that have a certain star rating.

Using smart collections E Tip: You can use Smart collections are collections that automatically populate themselves with smart collections to photos that meet certain criteria that you set.

For example, if you use a star rating system to rate your best work, you can easily create a smart collection that perpetually gathers those images. Click the second menu, and choose Is. Click the fifth star so that five stars are bold.

This is handy when you 8 In the Collections panel, select the smart collection you made Best Photos , want to restrict a smart and notice that the photo you added a 5-star rating to is now included in the collection in some way by date, camera, collection.

E Tip: Open a few of the prebuilt smart collections that come with Lightroom to see how they are built and to get ideas for your own smart collections. Click Cancel to close the Edit Smart Collection dialog. What are those shortcuts? Lightroom scours the folder and adds any new photos it finds to your catalog.

Press E on the keyboard to switch to Loupe view the larger view of a photograph. The guitarist pictured here is George Kahumoku, Jr. You can find his music at Kahumoku. George Kahumoku, Jr. A toolbar and helpful in the Develop module, because hav- the Filmstrip appear at the bottom; click any photo in the Filmstrip to see it in the ing one panel open at preview area in the middle. Solo mode by right- clicking the Histogram The toolbar near the bottom lets you see before and after views and zoom.

The panel. Filmstrip at the bottom lets you select the image s you want to work on. To see a before and after version of the image while T on your keyboard. The menu at the right of the toolbar lets you control toolbar content. If you turn on the Slideshow option, a Play button appears that you can use to trigger a full- screen slideshow of the images in your Filmstrip. Photo credit: Lesa Snider, photolesa.

Due to its database nature, Lightroom keeps a run- ning list of your edits in the History panel, where you can click to undo and redo consecutive edits anytime you want. Lightroom named this feature Snapshots. They each lesson file. The Presets panel lets you save frequently used settings, which you can think of as adjustment recipes that can be applied with a single click. The built-in presets are handy for creating black-and-whites and color tints, adding sharpening, and so on, though you can also create them yourself.

Once you click a preset, you see it applied in the preview area and it appears at the top of your History panel. The History panel keeps track of all the adjustments you make to a photo— E Tip: Point your including individual settings—as a chronological list.

Click any state to go cursor at states in the History panel to see backward or forward in the editing history of your photo. If you use the Redo command, the state reappears in the History panel. A brown tint is applied to the photo. The Grain—Heavy and Sepia Tone presets are cumulative, so you see both effects on the photo. This captures a snapshot of the current state of the photo. E Tip: If you no longer The new snapshot appears in the Snapshots panel. Now you can easily switch need a snapshot, select between the grainy sepia and the black-and-white versions by clicking them in it in the Snapshots the Snapshots panel, even after you close and reopen Lightroom.

To retain all the editing history thus far, click the a running list of every- topmost history state before continuing to adjust the photo. This returns close and relaunch the the photo to its original, unedited state. P Note: Lightroom sports another feature you can use to process a photo in multiple ways: virtual copies. The following steps walk you through adjusting a raw file, though you can use these steps on JPEGs or TIFFs too: 1 With the first lesson file selected, return the photo to its original, color-cast- P Note: You can use riddled state by clicking Reset at lower right or by clicking 0 in the Snapshots this workflow on each of the exercise files in panel.

Click the menu to the right of the word Profile, and take a spin through the profile presets to see which one looks the best Camera Neutral was used here. Behind the scenes, it renders the raw data into pixels you can view and work with onscreen a process known as demosaicing.

These camera-specific profiles produce a subtle shift in color and contrast—Camera Landscape has a satura- tion boost, while Camera Portrait is cautious with skin tones. These profiles are worth marching through on a few of your own photos to see which one works best for your particular camera and the type of photos you take.

Chromatic Aberration is a lens-related anomaly that can cause unwanted color to appear along super high-contrast edges where the black numerals on a clock meet its white background, for example.

Enable Profile Corrections applies a lens profile for the lens with which the photo was taken and automatically corrects any geometric distortion pin- cushioning or barrel distortion and vignetting dark corners that may have occurred. Both maneuvers can save you a lot of time. This is especially true if you tend to take the same kind of pictures with the same camera say, you always shoot portraits with your Canon 5D Mark III.

To save settings as defaults: 1 Ensure all other panels on the right are at their default settings. From this point on, those settings will be applied to any photo you take with that camera the second you open it in the Develop module. Another option is to save certain settings as a preset that you apply whenever you want or on import. For example, if you find a camera calibration profile that you like for landscapes but prefer a different one for portraits, you could set up two presets: One for landscape shots and another for portraits.

And you could apply either of those presets on import. To save a preset: 1 Adjust the settings in the panels on the right however you like. To apply the preset: 1 Select an image or several. To apply a preset on import, choose it from the Import Preset menu at the bottom of the Import window.

Click the Crop tool in the toolbar directly beneath the histogram. Alternatively, press R on your keyboard to activate the tool. P Note: You can adjust When you activate the Crop tool, a box surrounds your image; drag any edge or your crop at any time corner to adjust its size.

You can straighten an image with the Crop tool, too, by using the Angle slider or by pointing your cursor outside any corner of the box and then dragging P Note: The workflow when it turns into a curved, double-sided arrow.

In the Basic panel, click the White Balance Selector it looks like a turkey baster , or press W on your keyboard. Open the Histogram panel at options. When you do, both buttons sport a white border. Detail on your keyboard. By turning on the clipping warnings before you adjust tone, Lightroom shows you clipped areas in the image preview: Clipped shadows appear bright blue, and clipped highlights are red.

When you do, Lightroom sets the next six sliders for you, which you can then adjust to your liking. Drag it to the right to increase brightness, or drag it leftward to decrease it. E Tip: To have If you point your cursor at the middle of the histogram in the Develop module, Lightroom perform an Lightroom highlights the tones affected by the Exposure slider in light gray, auto adjustment for a which are circled in this figure.

That skin details. If you adjust Highlights duce noise grainy-looking speckles , be cautious with it. To darken and recover detail in the background of the example image, drag the Highlights slider all the way left. The ening effect. E Tip: To see which tones the Shadows 11 Adjust the Whites and Blacks sliders to control how dark your blacks are and and Highlights sliders how light your whites are, to fix clipping warnings, or both.

In the example affect, point your cursor toward the left image, some clipping is occurring in the highlights on the guitar tuning pegs. Of course, you can also use these sliders to eliminate clipping warnings and to When you do this using the Whites slider, the ensure your tones are within the realm of what can be printed.

If your whites image turns black and are overexposed for example, blown out and you turned on the clipping warn- clipped highlights ings described in step 6, those areas appear in red. To darken them, drag the appear in white or Whites slider to the left. With the Blacks slider, the E Tip: To see which tones the Whites and Blacks sliders affect, point your cursor at the far left image turns white and right sides of the histogram.

To lighten them, drag the Blacks slider rightward. By contrast, the Saturation slider saturates tones. Saturation sliders. Drag the Amount add an edge vignette slider leftward to about —30, and then drag the Midpoint slider rightward to before doing local approximately Also, once you send a photo with an edge vignette to Photoshop, that vignette is perma- nent in the Photoshop file that comes back to Lightroom.

E Tip: You can use post-crop vignett- ing to give a photo crisp, rounded edges atop a black or white background. The Roundness slider con- trols the shape of the vignette, and the Feather slider controls the softness of the vignette. The Highlights slider keeps the vignette from darkening highlights around the edges of your image.

For example, you could save the style switch to Color panel. To apply these settings yourself on the exercise file, click the Reset button at lower right or select Snapshot 0 in the Snapshots panel. And if your subject is off center and you want to move the vignette to another area, you can use the Radial Filter to create the vignette instead.

Scroll up to the Detail panel, open it, and locate the Noise Reduc- refers to graininess tion section. Click within your photo in the main preview area to zoom in to a in your images—the view. Drag atop the photo to reposition it and bring a noisy area into view. Typically, any ISO above puts you in the noise danger zone.

If necessary, you can use the two sliders beneath the E Tip: You can apply Luminance and Color sliders to compensate for some of the blurring and loss of these portrait sharpen- edge detail that occurs. In the Presets portion of your image, which is handy for keeping an eye on two areas at once. For important area into view, such as the face of a portrait. Locate the Sharpening landscape shots, use the section of the Detail panel. For a portrait, drag the Amount slider rightward to Sharpen — Scenic preset roughly 35, and set Radius to 1.

These settings are great starting points Much like sharpening a knife in your kitchen accentuates its edge, sharpening that you can then an image in Lightroom accentuates the edges it contains that is, places where fine-tune. This adjustment works by lightening light pixels and darkening dark pixels wherever they appear next to each other.

Use a higher value for portraits say, 1. The Detail slider lets you control which of the more detailed edges Lightroom sharpens. The Masking slider lets you restrict sharpening to only the higher-contrast edges.

As you drag the slider rightward, Lightroom sharpens fewer areas. The only real way to produce sharp images is to stabilize your camera using a tripod and then trigger the shutter using a remote control. You may also be able to produce fairly sharp images by shooting in burst mode wherein your camera keeps firing off shots for as long as you depress the shutter button.

And if you do end up with a slightly blurry photo, you can send it to Photoshop and fix it using the Shake Reduction filter. As you can see, the adjusted image looks far better than the original. Plus, you can save time by saving frequently used settings as defaults or presets. If you have two or more photos to apply the same changes to, use these steps to sync changes manually: 1 Select the portrait you adjusted in the previous section, and in the Filmstrip, Shift-click the third thumbnail.

Lightroom automatically selects the second thumbnail too. Input sharpening vs. If the button happens to read Auto Sync instead, click the panel switch visible in this figure to the left of the button to change it to Sync.

The instructions in this book, particularly those that concern the Basic panel, are for the current Lightroom process version, PV , which was introduced in If you used Lightroom to adjust photos prior to , PV was used instead. If you open one of those photos in the Develop module, some of the Basic panel slid- ers look and behave differently.

For example, the sliders have different names, their starting points are different, and the Clarity slider in particular uses a completely different algorithm in PV than it did in PV If you like the way a photo looks with its older processing, you can leave it alone. You can change the process version in a couple of ways. You can open the photo in the Develop module and then click the lightning icon at the bottom right of the Histogram panel.

In the resulting dialog, click Update. Alterna- tively, you can change the process version using the Process menu at the top of the Camera Calibration panel. Either way, Lightroom replaces the older Basic panel controls with the PV sliders, which you can then use to readjust the photo.

Notice how the two selected thumbnails in the Filmstrip change shown here at bottom. E Tip: You can sync If the result needs fine-tuning on any of the affected photos, including the crop, local adjustments too. Select the photo you adjusted, and then click Copy at lower left. Immediately after adjusting an image, click to select a photo in the Filmstrip, and then click the Previous button at lower right. If you select multiple photos in the Filmstrip and then click the gray switch on the Sync button, it changes to Auto Sync.

Click it, and Lightroom applies all the changes you make to the most selected photo, from this point forward—until you remember to turn off Auto Sync—to all the other selected photos. You can sync changes in the Library module too. To do that, select the photos in the Filmstrip and then click the Sync Settings button at the lower right of the workspace.

Adjustments are recorded as instructions in the Lightroom catalog. The History panel keeps track of all the adjustments you make to a photo forever, unless you manually delete history states. You can use snapshots or virtual copies. Snapshots let you save different versions of the photo that are accessible in the original file via the Snapshots panel. Virtual copies, on the other hand, create a separate shortcut alias of the file, which you can adjust any way you want.

White balancing is subjective. Edge vignettes made with the Effects panel are always centered. To create an edge vignette you can move, you have to use the Radial Filter, which is covered in Lesson 3. To accentuate a certain area, you can perform local adjustments. However, when applied with a local adjustment tool, the sliders affect only certain areas. Try setting wherever you want it.

Press D P Note: If you prefer to enter the Develop module, and click the Reset button at lower right to see the not to trot through the original version, or click Snapshot 0 in the Snapshots panel. The Graduated ton, click Snapshot 1 Filter panel appears beneath the tool strip. To reset an individual slider to its default value, double-click the slider label or the slider itself.

E Tip: Press O on your 5 To apply the filter, click the top middle of the photo, hold down your mouse keyboard to turn on the button, and Shift-drag slightly past the top of the trees so the adjustment covers gradient mask overlay the sky and mountains.

Press the same key to turn it Lightroom adds a mask in a linear gradient pattern over the area you dragged. You also see a pin Mask Overlay at the in the middle of the gradient that you can drag to reposition the filter.

E Tip: Lightroom auto- matically hides the pins when you mouse away from the preview area. You can contract photo. To rotate the filter, point your cursor at the cen- your photo, press T on your keyboard to turn ter line, and when the cursor turns into a curved arrow, drag it clockwise or it on. This deselects the first pin, which changes to light gray.

Clicking the panel switch gives you before and after views of all the graduated filters you added. Here are a few more things that are helpful to know about using this tool these tips work with the Radial Filter and Adjustment Brush tools too! Next, put the brush in Erase mode by clicking Erase in the Brush section near the bottom of the panel.

Mouse over to your image, and then brush across any areas that you want to remove the filter from notice the minus sign — inside your brush cursor. If you determine that the strength of the adjustments you made to a single filter is too strong, select its pin, and click the black triangle at the upper right of the tool panel to reveal an Amount slider.

Drag it leftward to reduce the opacity of all the settings you applied with that filter. Since you made only one adjustment to exposure in this exercise, you can just as easily alter the Exposure slider; however, if you made several adjustments with a single filter, the Amount slider comes in handy. To do that, click the menu to the right of the word Effect at the top of the tool panel and choose Save Current Settings As New Preset.

In the resulting dialog, enter a meaningful name, and click Create. From this point on, your preset will be available in the Effect menu. The next section teaches you how to use the Radial Filter tool, which works in a similar manner. The Radial delete the filter that Filter panel appears beneath the tool strip. That said, edge of a radial filter.

Photo credit: Jack Davis, wowcreativearts. Press Tab on your keyboard, and enter 32 for Contrast; press Tab again, and enter for Highlights; press Tab again, and enter for Shadows.

Tab down to Clarity and enter 88, and Tab down to Saturation and enter When your cursor changes to a double-sided arrow, drag toward or away from the center of the filter to resize it.

When your cursor changes to a curved arrow, drag to rotate the filter. Erase near the lower Adjust the sliders for the next filter, and then drag over your photo to apply it. At the bottom of the panel, set Feather to 75, and turn off not to correct the tone and color of this photo, Invert Mask. That way, the adjustment happens outside the filter, not inside. In the color picker that opens, click to pick a color, and use the S slider at lower right to adjust color saturation.

The color you picked now appears in the rectangle. To close the color picker, click the rectangle again. Using the Adjustment Brush tool The Adjustment Brush tool lets you manually paint an adjustment onto specific areas of your photo. Adjustment pin tips and tricks The following tips work on any adjustment that creates a pin, so you can use them on adjustments made with the Graduated Filter, Radial Filter, and Adjustment Brush tools.

To move a pin, drag it to the desired location in the photo. The Adjust- ment Brush panel appears beneath the tool strip. The Effect section of the panel includes the same adjustments as the filters you learned about earlier. To lighten teeth, set Exposure to roughly 0. Decreasing saturation removes any color cast the teeth may have. You can also change brush section of the Adjust- size using keyboard shortcuts: Press the Left Bracket key [ to decrease size ment Brush panel let or the Right Bracket key ] to increase it.

Set it to 10 for this exercise. Set it to 46 for tings correct for your this technique. If you settings as necessary. To decrease flow, the brush acts like an airbrush, building up the opacity of the switch between the two adjustments over multiple strokes. If you then slider or by double- clicking the slider itself.

Turn it on when you want to adjust a defined area say, an made. To do that, use object against a solid background. Leave it turned off for this technique. Reduce brush size to about 3, this exercise. A pin appears to mark the area you adjusted. This is a great way to give your subject a little more sleep than they actually got the night before the shoot.

Use the Spacebar-drag technique to reposi- tion the photo so you can see the eyes. Try setting the Exposure to 0. To do that, press O on your keyboard or turn on Show Selected Mask Overlay in the toolbar beneath the photo. In this figure you can see the before version top , a ver- sion with the mask overlay turned on middle , and the after version bottom. Snapshot 1 in the Snap- shots panel to return 4 To enhance irises, you can lighten shadows, increase edge contrast, and boost to the edited version color.

To do that, set Shadows to , Clarity to 50, and Saturation to If one button. Here you can see the before version of the eye enhance- ments top , a version with the mask overlay turned on middle , and the after version bottom. Softening skin and blurring stray hairs You can also use the Adjustment Brush tool to quickly soften skin and blur stray hairs.

E Tip: For extra prac- 3 In the Navigator panel, click the Fill button so you can see more of the photo. Brush and soften her skin too.

Here you can see the before version of the skin softening left , a version with the mask overlay turned on middle , and the after version right. Brush a little ways into the edges of the hair as well.

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

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

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

In the Basic panel, Clarity was set to —71 to make it resemble a watercolor painting. And in the Effects panel, Dehaze was set to — The Spot state, click Snapshot 1 in Removal panel appears beneath the tool strip. Set the Feather slider to around 10, and set Opacity Reset button. Any sensor spots in a toolbar beneath your image in the preview the photo appear as white circles or grayish dots. Drag the Visualize Spots slider area, press T on your rightward to increase sensitivity so you can see more spots.

The Visualize Spots feature is mission critical for revealing spots caused by dust on a lens, sensor, or scanner. Although these tiny imperfections may not be noticeable onscreen, they often show up when you print the photo. Press and hold the Spacebar on your keyboard, and drag to reposition the photo so you can see one of the spots. E Tip: When a local adjustment tool is active, you can also zoom in by pressing and holding the Spacebar on your keyboard as you click the photo.

E Tip: You can resize your cursor by pressing the Left Bracket key [ on your keyboard to decrease size or the Right Bracket key ] to increase it. You see two circles: One marks the area you clicked the destination , the toolbar beneath and another marks the area Lightroom used to remove the spot the source , the photo is set to Auto, the circles disappear with an arrow that points to where the spot used to be shown here at left.

To change this behavior, click the Tool Overlay menu and choose Always, Never, or Selected to see only the selected fix. This latest edition provides detailed information on all the new features in Photoshop that will be of interest to photographers.

Adobe Photoshop for Photographers begins with an overview of the Photoshop interface and the fundamentals of how to use Photoshop, followed by the essentials of Camera Raw image editing.

The Sharpening chapter shows how to use the Camera Raw controls to obtain optimum capture sharpening and noise reduction, and the Essentials chapter outlines how to work with all the basic image adjustment tools that are in the program. Practical workshops show you how to master the essential techniques, such as color correction, retouching techniques, toning a black and white image, creating composite images and so on.

Each technique is described in step-by-step detail, showing exactly which command to use, whether you are working with a Mac or PC computer.

The accompanying Website contains a Photoshop for Photographers Help Guide, which features a complete guide to all the tools and panels in Photoshop as well as other items in the program. It is like having an extra on-line manual with which to learn more about what each Photoshop tool and panel does. The guide also provides over three hours of movie tutorials on Photoshop techniques.

If you are just beginning to work with digital images or are looking for new ideas, the best techniques and ways to improve the quality of your work, this is the book for you. While the main Photoshop for Photographers book covers all the essentials of image editing in Photoshop, this title is intended as a companion book.

It goes into greater detail and supplements your knowledge of Photoshop, offering expert guid ance that’s aimed at intermediate to advanced users of Photoshop. In this second edition, Martin Evening and Jeff Schewe each describe in detail how to carry out some of their favorite Photoshop image editing and retouching techniques. Another appealing feature of this book, is that many of the photographs are taken from real-life professional shoots.

The techniques described here don’t just show you clever things you can do in Photoshop, they show how you can use Photoshop in a professional context, meeting the demands of art directors and how to meet tricky briefs. But don’t be put off by the thought that this is a book for advanced professional Photoshop users only.

A lot of the tips and techniques shown in this book are easy to learn and clearly explained throughout. Click the book preview link on the right to take a sneak preview. This title is not due to be updated to Photoshop CC. This is because most of what is described in this book are ‘classic’ techniques and therefore the content is not so version-specific as the main Adobe Photoshop for Photographers book.

Help is at hand. This link also allows ebook readers to access all the images that are supplied on the DVD.


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