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[Getting Started with Adobe Photoshop Lightroom 4]
[Julieanne Kost Senior Digital Imaging Evangelist] Hi, and welcome.
My name is Julieanne Kost, and in the next few minutes we're going to take a look at
how to convert images to black and white, how to add a sepia tone
or a color overlay, edge effects as well as grain.
Let's go ahead and get started.
I've got this image here in the develop module, and the first thing
that I can do to convert it to black and white is to tap the V key
or I can click on the basic panel and click the treatment black and white.
That's going to convert the image to black and white,
but if we want more control we should scroll down
to this HSL color in black and white panel.
Be sure to click where it says black and white because
if you click on HSL or color it'll convert the file back to color.
So we'll click on black and white, and you can see the auto mix
that Lightroom has used to convert the image from color into grey scale.
Now just like the HSL had a targeted adjustment tool
so does the black and white.
If I click on it to select it and then position it on top of my image,
whatever color I click on when I drag the cursor up,
it will lighten that color and when I drag the cursor down it will darken it.
Here I have it positioned over the red color in the original image,
and I'll click and drag down in order to darken that color range
or I can click and drag up in order to lighten that color range.
In fact, I can even find kind of a medium point here
where it almost looks like that wall was all 1 solid color to begin with,
but, of course, if I tap the Y key you can see that
indeed it was painted a very different color.
That's an excellent way to convert an image to grey scale,
but another effect that a lot of photographers like is when
almost all of the image is grey scale, except for a little portion of it.
Let's go back to color by clicking the HSL,
and I'm going to change the saturation sliders to negative 100
in order to take out all of the saturation from this image,
but remember all of these global changes that I'm making are nondestructive,
so even though the image now looks as if it's in grey scale,
I can move over to my adjustment brush
and load my adjustment brush with a positive amount of saturation,
and then click and paint, and I can actually paint back in the color from the original image.
That's a great way, for example, if you've got a bride and she's holding the flowers,
and you want to convert everything to grey scale except for the bouquet.
That's a great technique for doing that.
Now at this point you might decide that you don't want the entire background in grey scale.
Let's go ahead and scroll back down to HSL,
and don't forget you can always bring back or reintroduce a little bit of color
by using these sliders, and maybe it's the blue that you want but not the red
so we could grab our targeted adjustment tool and click and drag
to reduce the red more just we get a little more contrast and this stands out.
Okay, let's move to another image.
We'll go back to the image of the horse here, and let's say that
we want to create a sepia-tone version.
Well, I might like the version that I have right now
so I may not want to make changes to this thumbnail,
but what I'd like to do is create what's called a virtual copy, and what that is
is it's a secondary thumbnail that Lightroom will create for the same original file on disk.
I'm not taking up anymore space on my hard drive by making this virtual copy.
I'm just telling Lightroom to display a secondary thumbnail
to which I can apply different settings.
How do we make this virtual copy?
The easiest way is to go under photo and then create virtual copy,
or use the keyboard shortcut command apostrophe or control apostrophe on Windows.
You can see down here in my filmstrip that there are now 2 thumbnails for this image.
Again, I'll tap the V key which is going to convert this image to grey scale.
If I wanted to go in and make modifications I could do so
right here with a black and white mix.
For now I'm going to move directly to split toning
because I want to create a sepia toned image.
Now if the goal is to replicate a traditional sepia tone,
then you want to make sure that you're adding the color
down in your shadow areas.
If the goal were to be to make something like an antique photo,
then you want to add the color into your highlights.
Let me show you the difference.
I'm going to move the saturation slider over,
but you can see that I've got the wrong hue selected.
Now I can just scoot that over to get a nice sepia color,
and then if I dialed in too much at first
we can just back off a little on that.
That's very different from adding color into the highlights.
This time what I'm going to do is use a little bit of a keyboard shortcut.
I'm going to hold down the option key or the alt key on Windows
and drag the hue so that I can pick the color that I want.
In this case I want a yellow color, then I'll let go of the keyboard shortcut,
and then dial in the saturation that I want.
You can see that the color is being displayed in the highlight area,
which would be the same as a faded piece of paper, right?
The paper itself is going to color so the yellow would be
shown in the areas where there is no black.
Another thing that you can do is you can add 2 different colors,
1 color in your shadows and 1 color in your highlights,
and get kind of a cross process effect.
For example, I could move my hue over for my shadows
to something like cyan and bring in some saturation,
and then I can leave my highlights set to yellow and increase the saturation there.
Now if I wanted to change kind of the mid tone of where these colors cross over
that's when I use the balance slider.
Moving it to the left will show me more of the blue from the shadow
and moving it to the right will show me more of the yellow from the highlights.
It's just a personal choice as far as what colors you like.
Next, I want to add an effect so I'm going to display the effects panel,
and I want to add a post-crop vignette.
I'll go ahead and set the style to color priority because it's a little bit more subtle,
and then increase the amount.
I'll go ahead and increase out a little too strong for now,
just to make sure that we can see what the other sliders do.
The mid point is going to bring the vignette in towards the center
or out towards only the edges.
The roundness slider will make it more of a rectangular effect.
Let's bring the mid point back up so we can see that
or we can move it to the right to get a more circular effect.
The feather is going to give you either a hard edge vignette
or a soft edge vignette.
I'm going to go ahead and set the amount way down.
I'll put the mid point more towards the center,
bring the roundness to the left so its more of a rectangular effect,
and make sure that the feather amount is high so that we don't see
a harsh transition between where the vignette starts and ends.
I can also add grain to my image.
Let's go ahead and zoom in a little bit here,
and then we'll increase the amount of grain.
You can see the grain that Lightroom creates and introduces into the image
is really a very natural looking grain.
We can adjust the size of that grain if we want to,
making it larger or making it smaller,
and we can also adjust the roughness of the grain,
which gives more of a kind of a harsher, more contrasty look as we move it to the right.
The thing with adding grain in Lightroom is that--well, at least for me
it took a few tries as far as much to apply versus how much I would get when I print.
It might take a little bit of experimentation until you get the right combination,
but let's say that we absolutely love what we've done to this image,
and we want to apply it to multiple images.
Well, the easiest way to do that would simply be to select those other images
down here in the filmstrip like we've done before,
click the synchronize button, and then in this case
let's make sure that we know what we're synchronizing,
so I'll check none and then I'm going to turn on the black and white treatment
and the black and white mix, the split toning,
and then the effects which will include the post-crop vignetting and the grain,
and then I'll click synchronize to apply all of those effects to these other 2 images.
It's very easy to apply effects from 1 image to another image if they're in the same collection,
but what if I want to kind of save this effect because I think I might want to use it next week or next month.
Then what I need to do is create what's called a preset.
There are 2 theories behind how to build a preset.
Some photographers like to save as many settings as they can in a single preset,
and other photographers just want to save a single setting like a vignette
so that they can kind of mix and match
like maybe a sepia tone with a dark vignette
or a dark vignette with a cyan type, and with some of those
they might want to mix in grain and sometimes not
so they might not include all of these settings as a single preset but make individual ones instead.
Let me show you what I mean: for example, I have a set of presets that are just
post-crop vignetting, and you can see when I hover over each one of the presets
we get a preview above in the navigator.
Here are 2 of kind of the mimics of the Instagram look,
just that solid kind of retro vignette.
Then I've got some here that just darken the vignette a different amount.
By clicking on one of these presets, the only change I'm going to get to my image is the vignette.
It would never change the color; it would never add the grain
because I've saved my post-crop vignette preset as its own single change.
Likewise, my single color-split toning does the same thing.
If we scroll down a little bit you can see what my image would look like
if I click on the cyan or the green or the magenta option here.
When I click on this it's not going to change the vignette because I didn't save that with a preset.
How do we save this preset?
Well, at the top where it says presets we click on the plus icon,
and then we can create a new folder or we can save a preset into a folder that already exists.
In this case let's just save this into my user presets,
and let's name this CP for cross process,
and you'll notice that it is a kind of a cyan-yellow color.
It has a vignette on it so I'll type V
and it also has that grain applied so I'll type G.
I mean this might seem very cryptic to you, but you just need to name it whatever you'll remember.
If we wanted to go ahead and save all of those settings together as 1 preset,
we would just make sure that all of those settings are checked here,
and then we could click create.
If, on the other hand, we wanted to create a preset that only had 1 of those values saved,
for example maybe only the cross process to cyan yellow,
then we would go ahead and turn off the effects,
but I probably want to leave on the black and white treatment options here
because most of the time I would want to add this split tone effect to a grey scale image.
I don't want to add the split tone on top of the color that's already there.
Then we could go ahead and click create, and now let's take a look at the difference.
Let's move back to the barber image for a minute,
and you can see if I simply click this first preset
all it's going to do is convert the image to grey scale and add the cross process,
but if I click on the next image down, it also added the grain as well as the vignette.
I'll wrap it up with just 1 little shortcut.
You might have noticed here that at the very top of all of my folders that are filled with presets
I have like a reset preset so that I can always get back to where I was
in that folder full of presets.
For example if I click on this reset
you'll notice that it reset all of my single-color-split toning.
If you want to know how to make that it's actually very, very easy.
All I did was I went to my split toning panel
and just set all of the sliders here to 0.
Well, I didn't set the hue to 0, but it doesn't matter because if the saturation is set is 0,
then there's no color being added.
All you have to do is set the sliders at their defaults,
click up here on the preset icon on the plus,
and just save those settings and that becomes your reset preset.
Excellent, my name is Julieanne Kost. Thanks for watching.
[Adobe Photoshop Lightroom 4]
[Crew Kush Amerasinghe, Erik Espera, Karl Miller, Presenter Julieanne Kost]
[tv.adobe.com/evangelist/julieanne-kost]