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The second, third, lightroomm fourth categories are the most useful for blending photos. A pin appears to mark the area you adjusted. In this image, Lightroom is filtering for all images taken with a specific camera and lens, regardless of keywords. As necessary, zoom in to the document as described earlier so you can see the corners of the screen.
Adobe photoshop lightroom cc pdf free download –
If necessary, press D to open the Develop module—you may already be in the Develop module—and then open the Effects panel. Follow these steps to makeup to a color do that: portrait too!
Adobe photoshop lightroom cc pdf free download. User manual Adobe Photoshop Lightroom 6 (Download) 65237402
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. Keep tapping the key until the removal looks good to you. Alternatively, you can drag the Size slider in the Spot Removal panel.
Of course, you can always start over by removing the fix. Press the 10 To sync these changes with the next exercise file, Shift-click it in the Filmstrip Page Down button on and then click the Sync button at lower right.
In the resulting dialog, click the keyboard to page through the photo Check None, turn on Spot Removal, and then click Synchronize. If you button at lower right to see the original version. Snapshots panel to return to the edited ver- 2 In the Spot Removal panel, increase Feather to 28 or so. This softens the transi- sion.
Snapshot 2 has the tion edges a little more so the removal looks realistic. As you drag, Lightroom marks the area E Tip: You can adjust with a white overlay. The to add more or less source area is also visible as an outline with an arrow pointing to the destina- smoothing in the transi- tion area.
You can reposition the destination or source area by dragging the pin inside each outline. In this example, try dragging the source area around to see E Tip: Remember that how the destination area shifts in tone and color.
This figure shows all the pins it took to remove all the surfers but one. If neces- sary, click one of the pins to select the removal, and reposition the source area to make it better match in tone and color. Reposition the photo onscreen so you can see his eyes. Repeat on the other eye. This figure shows you the before version top , the Spot Removal tool in action middle , and the result bottom. If necessary, click one of the pins to select the removal, and then reposition the source area or adjust Feather and Opacity to your liking.
Reposition the photo onscreen so you can see her left eyebrow. Set Size to around 13, Feather to 34, and Opacity to This mode prompts Lightroom to copy and paste pixels with no automatic blending. For now, keep the Feather slider at around 34 remember that you can always change it after you drag to remove something , and set Opacity to You may need to make three separate brush strokes so you can set different source points to match tone and color.
Increase Feather as necessary to make the changes blend into surrounding pixels a little better. Happily, Lightroom also lets you switch between Heal and Clone modes while a pin is selected.
You can try this on your own by removing the tour- ists from the lower-left corner of the Pompeii ruins exercise file.
The same thing happens with split-toning, wherein you add a color tint to the correct to your liking. Also useful for creating a unique look is hand-tinting, wherein you manually add color back to a black-and- white photo.
Because these effects become permanent in the photo that Photoshop returns to Lightroom. Read on for some serious creative color fun! You can use this panel to easily adjust the hue, satura- changing the colors in tion, and lightness think brightness of a particular range of colors wherever those a photo.
However, to precisely change the colors occur in the photo. In the Snapshots panel, Photoshop. Notice the subtle differences between how to do that. In the resulting dialog, enter Desaturate into the name field, and turn on Color, which turns on Saturation, Vibrance, and Color Adjustments.
That way, you photo itself. E Tip: If parts of the photo that you want to remain black and white return to color, use the Adjustment Brush tool set to — Saturation and then brush over those areas to desaturate them.
To create a split-tone, follow these steps: 1 Select the female hula photo in the Filmstrip. For a sneak peek at color tinting, select Snapshots 1 and 2. Notice the different emotional feel between these versions. P Note: This photo was made from a combination of multiple exposures for a high dynamic range HDR effect. In the Shadows section of the panel, drag the Satu- ration slider rightward to around 50 or so, and then drag the Hue slider slightly rightward to a brown color say, Leave Size at 25, and then experiment with Roughness to produce the look you want.
Feel free to take a spin through them. This gives the shadows a brown tint. If you drag the Amount slider all the way left to —, you get a black frame effect instead. That said, you can save images with transparent backgrounds in Photoshop.
So if a transparent background is your goal, create the rounded corner effect in Photoshop say, by using the Rounded Rectangle Shape tool and a layer mask instead of in Lightroom. This is an easy way to apply two vignettes to a single photo. To do it, set Saturation to around —47, set Sharpness to —, and turn off Invert Mask.
Drag atop the car to add the filter, and then rotate it slightly. The resulting photo not only has a believable retro feel, but it also has a tilt-shift or toy-camera look due to the blurring of the background. Tinting a photo with color by hand E Tip: This technique Last but not least, there may be times when you want to recolorize a black-and- works for adding digital white photo. Follow these steps to makeup to a color do that: portrait too! At the top of the panel, double-click the the steps in the Lesson Effect label to reset all the sliders.
In the resulting color picker, choose a color for the sky, such as light blue. If you go that route, use 4 Mouse over to the photo, and paint across the sky area. To do that, click the existing pins, and click the Color field near the bottom of the Adjustment Brush panel.
Click the Color rectangle, and then pick a color for the edges of the trees. Keep repeating these steps to colorize the entire photo. Hand-tinting by Jack Davis, wowcreativearts. Saving metadata to files Once you finish editing some photos, you may want to save those edits in the files themselves.
Saving metadata to a file also acts as an insurance policy—it protects you from losing your changes if a photo and its metadata are inadvertently removed from the Lightroom catalog or if the catalog itself becomes corrupted or lost. Because Lightroom saves the metadata to your file every single time you touch a slider. If so, with what tools? Review answers 1 The Graduated Filter tool.
To do that, select the appropriate adjustment pin and then drag it to another position in your photo. To do it, set the Sharpness slider to — You can use the Post-Crop Vignetting sliders in the Effects panel to pro- duce rounded edges by dragging the Roundness slider all the way left, and then you can add a white background by dragging the Amount slider all the way right. If you drag the Amount slider all the way left instead, you get a black background. In fact, this may be one of the most important lessons in this book because it covers the mechanics of a typical roundtrip workflow between Lightroom and Photoshop.
Happily, you have to adjust these settings only once. You can control file format, bit depth, color space— all of which are explained in this section—as well as file naming conventions and how the Photoshop files are displayed back in Lightroom.
Setting your primary external editor preferences Lightroom automatically scours your hard drive for the latest version of Photoshop P Note: Adobe and picks it as the primary external editor. Bit depth refers to how many colors the image itself contains. The goal is to keep as much color detail as you can for as long as you can. In the infographic shown here, the ProPhoto RGB workspace is shown in white with the other workspaces superimposed atop it.
This is the RGB workspace that Photoshop uses unless you pick another one. The CMYK workspace, on the other hand, represents the smaller number of colors that are reproduc- ible with ink on a commercial printing press. The bottom image shows the ProPhoto RGB workspace compared to the color gamut of the truly incredible human eye.
ProPhoto RGB vs. Raw images, on the other hand, can be bit and contain over trillion colors. P Note: PPI stands for pixels per inch. DPI, on Resolution determines pixel density and thus pixel size when the image is the other hand, stands printed. Leave it at ppi, which is a reasonable starting point for a typical for dots per inch.
The inkjet printer, and then adjust the resolution as necessary when you export the latter term is used when referencing printers, edited file from Lightroom. Lightroom uses these settings. You can even you can still designate other applications in create additional configurations for Photoshop—each with settings geared toward the Additional External particular kinds of photos or uses.
Editor section and then choose them from the For example, you may set up Photoshop as an additional external editor with second section of the options suitable for photos destined for the web. In the be sure to click the resulting dialog, click Use Anyway.
Clicking Use Anyway dismisses the warning and allows you to use the same version of Photoshop—with different settings—as both an additional external editor and the primary external editor both of which are available via a keyboard shortcut. As mentioned earlier, this keeps the quality you have in Lightroom and supports any layers you create in Photoshop. Editor section to con- 6 Leave Resolution set to its default value. Simply use the resolution, that determine image size. You can specify pixel dimensions in Preset menu to save each one as a preset.
Edit In menu. In the dialog that opens, enter a meaningful name for the expand and collapse a options you configured, such as PS web, and then click Create. Setting the stacking preference When you send a file from Lightroom to Photoshop, the PSD that comes back to Lightroom appears next to the original file in the Library module. In some cases, you may also generate copies of the PSD—if, say, you want to create different versions of it.
To reduce the clutter in your library, you may want to turn on Stack With Original to have Lightroom stack your PSD s into a pile with the original photo.
Doing so creates a collapsible group, known as a stack, of thumbnails. When you expand a stack, your PSDs are displayed side by side in the Library module in Grid view and in the Filmstrip.
This makes related files easy to spot. Configuring Adobe Photoshop Elements as an external editor You can configure Lightroom to use Adobe Photoshop Elements as your primary or additional external editor too. The process is roughly the same, but there are a few things to keep in mind. First, if you have Elements but not Photoshop on your computer, Lightroom auto- matically picks Elements as the primary external editor. Second, if you have both Elements and Photoshop on your computer, you can designate Elements as an additional external editor.
To do that, be sure to navigate to the Elements Editor application file, not the alias shortcut in the root level of the Elements Editor folder. Library module, press T on your keyboard. For the purposes of this lesson, stick with the default file naming scheme. Photoshop Elements as an external editor, With these settings, the files you send from Lightroom to Photoshop should you need to adjust its open in the correct color space.
This flattened layer is what you see in Lightroom. Elements as your external editor, you 3 Click OK to close the dialog. Keeping Lightroom and Camera Raw in sync Lightroom, at its heart, is a raw converter whose job is to convert the data in a raw file into an image that can be viewed and edited onscreen. Photoshop has a raw converter too: a plug-in named Camera Raw. Camera Raw and Lightroom use the same raw conversion engine, and when Adobe updates one, it usually updates the other with a matching version.
This is important because when you send a raw photo from Lightroom to Photo- shop, Photoshop uses Camera Raw to render the raw data into pixels you can see and work with onscreen. A screen opens that shows your version of Lightroom. Click the screen to close it. Your version of Photoshop appears on the screen that opens. Close the screen by clicking it.
Your version of the Camera Raw plug-in is reported on the screen that opens. Encountering a Lightroom— Camera Raw mismatch If you have mismatched versions of Lightroom and Camera Raw installed on your computer, you may get a mismatch warning in Lightroom when you try to send a raw file to Photoshop.
You can then upgrade your software before trying again. A potential downside is that as soon as you click the Render Using Lightroom button in the warning dialog, an RGB copy of the image is added in your Light- room catalog, and it stays there even if you change your mind and close the image in Photoshop without saving. In that case, you now have the extra step of deleting the RGB copy from your Lightroom catalog.
When you update Photoshop, you get the latest version of Camera Raw too. Sending a raw file from Lightroom to Photoshop P Note: You can Once you adjust a raw photo in Lightroom, you may determine that you need to easily send other file send it to Photoshop for some of the pixel-level editing voodoo that it excels at.
CR2 from topic is covered later in this lesson. Canon or an. This section teaches you how to do that. Turn Grid view styles. This gives Lightroom more information about your camera and lens. However, you may need to experiment with the other buttons on your own photos to see which one works best. This E Tip: In some cases, option often produces the most realistic result.
Although this option may pro- adjustment too. You can also use the Transform panel sliders to fine-tune the per- spective correction. Happily, you can easily fill in those areas in Photoshop, as the next section explains, which keeps you from having to crop them out. Any adjustments you made in Lightroom are made more thumbnails and choosing Edit In from permanent in the image that opens in Photoshop. Of course, your adjustments the resulting menu.
You should now see marching ants around the photo itself. The marching ants now appear around the empty corners. In the resulting dialog, enter 3, and click OK. Ensure that Preserve Transparency is turned off. Click OK, and Photoshop fills the empty corners. In the resulting dialog, enter clone right corner into the name field, and then click OK.
Doing so decreases your edit- ing flexibility greatly because the resulting PSD never shows up in Lightroom. You also end up with an extra copy of the image the exported one on your hard drive. Photoshop document lean in file size. As you brush across the window, a crosshair shows the area that Photoshop is copying pixels from—the window on the left.
As long as Lightroom is open and running when you do this, the PSD appears in your Lightroom catalog next to the original photo. The raw file displays the adjustments you made to it in Lightroom before you sent it to Photoshop.
The Photoshop file reflects your Lightroom adjustments as well as the filling and cloning you did in Photoshop. As mentioned earlier, your Lightroom edits are permanent in the PSD file. For example, you may decide to do a bit more cloning in the lower-right corner. Choosing any other option in this scenario will not open the layered PSD.
The updated PSD returns to Lightroom with your changes intact. And if you open a copy of the PSD that includes the Lightroom adjustments, you lose the layers you originally made in Photoshop. If necessary, press D to open the Develop module—you may already be in the Develop module—and then open the Effects panel. Photo credit: Allison Mae, allisonmae. Choosing any other option in the Edit Photo dialog would prevent your Lightroom adjustments from being visible once the file opens in Photoshop.
From the panel that appears, click the gear icon, and in the resulting menu, choose Photographic Toning. Your changes are updated in the PSD that appears in Lightroom. Sending a photo from Lightroom to Photoshop as a Smart Object Another way to send files of any format to Photoshop is to send them as Smart P Note: Adobe Objects, which you can think of as a protective wrapper. When you create snapshots on a raw file, you can access them via the Camera Raw plug-in by sending the raw file to Photoshop as a Smart Object.
In the resulting dialog, enter the name full color and click Create. The photo opens in Photoshop. Click OK to close the Camera Raw plug-in. That said, it bears repeating that this maneuver works only on raw files. Running filters on a Smart Object in Photoshop Another incredibly handy trick you can do when you send a photo from Lightroom P Note: You can to Photoshop as a Smart Object is to run filters nondestructively. When you use Smart Filters, as this is called, the filter appears in your Layers panel beneath the Smart Object layer.
Click OK. Keep Threshold as low as possible but high enough to preserve the skin texture. When you do, white corner brackets appear around the mask. In the realm of masks, black conceals and white reveals. By filling the mask with black, the filter is hidden from the entire photo. In the Options panel at the top of the Photoshop workspace, click the brush preview, and choose a soft-edge brush one that has fuzzy, soft edges.
Click the brush preview icon again to close the panel. Press the Left Bracket [ to decrease brush size or the Right Bracket ] to increase it. As you can see in this before Scratches filter trick is also a great way to left and after right version, this filter made a big difference in the portrait. Back in Lightroom, the PSD appears next to the original raw file.
If you determine that you need to reopen the PSD for more editing, follow the instructions in the previous section. Lightroom asks what options you want to open the image with: file format, color space, and so on. The end result is an additional file in your catalog. In addition to configuring the primary external editor, you can set up additional configurations for the same editor, or a different one, in the Additional External Editor section.
If you create snapshots for a raw file and then send it to Photoshop as a Smart Object, you can double-click the Smart Object in Photoshop to open the Camera Raw plug-in. Other common reasons to combine photos are to merge multiple exposures into a high dynamic range HDR image or to stitch several photos together into a panorama, which you can easily do in Light- room.
Photoshop also has a few tricks you can use to produce an HDR look from a single photo. Having each photo on a separate layer gives you a lot of editing flexibility because you can control the opacity of, resize, and reposition each layer individually to produce the effect you want. You can also control the way color behaves between layers to produce interesting blending effects. The next section teaches you how to use one photo to add texture to another photo.
Adding texture to a photo using another photo An easy way to add texture to a photo is to blend it with another photo. You can use nearly any photo for the texture, including shots of nature, a rusty piece of metal, concrete flooring, marble, wood, and so on. How handy is that! Open as Layers in 3 Since the texture photo is bigger than the boathouse, you need to shrink it. Photoshop surrounds the texture with draggable resizing handles.
To make ton and the modifier keys when the texture is the same height as the boathouse. Release your mouse button when a light gray line appears above the other layer. To produce a vintage look from these two particular photos, Linear on your keyboard, and then tap the plus icon Light works well.
Click the tiny triangles at the upper right of the Properties panel to close it. You see what appear to be marching ants surrounding the boathouse photo. Here you can see before top and after to tweak the texture opacity or the drop in bottom versions. This is the color you get after mixing the base and blend colors using a layer blend mode.
To illustrate this concept, you can draw yellow and blue circles on separate layers and then change the blend mode of the blue circle layer to Darken. Another way to understand this concept is to put on a pair of sunglasses and then look around.
The second, third, and fourth categories are the most useful for blending photos. The second category begins with Darken, as those modes darken or burn images. When you use one of these modes, Photoshop compares the base and blend colors and keeps the darkest colors, so you end up with a darker image than you started with.
White, and other light colors, may disappear. The third category begins with Lighten, as those modes lighten, or dodge, your image. Photoshop compares the base and blend color and keeps the lightest colors, so you end up with a lighter image than you started with.
Black, and other dark colors, may disappear. The fourth category begins with Overlay. You can think of these as contrast modes because they do a little darkening and a little lightening, and thus increase the contrast of your image.
A layer mask is like digital masking tape in your own images along with stock photos. You can use masks to hide layer content, which is a far more flexible Consider the possibili- approach than erasing deleting content. Photoshop adds the mask circled in the image on the next page to the right of the layer thumbnail. Since the mask you added is white, all the content of that particular layer is visible.
However, by adding black to the mask, you can hide part of the cat close-up photo, which effectively punches a hole through it so you can see the content on the layer underneath it. Notice the white brackets around the mask thumbnail. They indicate that the mask, not the layer content, is active, so whatever you do next happens to the mask.
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