When working with the Point Curve (in the Tone Curve panel in Lightroom 4), it can be difficult to set a point on the curve and just nudge it up or down ever-so-slightly. Instead, use the Targeted Adjustment Tool to click on the tone that needs to be changed in the image area .This will set a point on the curve. Then, use the arrow keys to nudge the point into place. Add the shift key to move the point in greater increments.
Posts tagged "The Develop Module"
As many of you know, double-clicking on the name of a slider (on a panel in Lightroom’s Develop module) will reset the slider to its default value. Although this might have been obvious to you, it had to be pointed out to me that in order to reset the Point Curve (in the Tone Curve panel) you simply need to double-click on the words “Point Curve”. (I was trying to drag the individual points off of the curve, which was taking much longer!)
There are two sliders in the Basic panel (in the Develop module in Lightroom and in the Camera Raw dialog in Photoshop), which can be used to quickly adjust color – Vibrance and Saturation. Lately I have overheard a number of people “arguing” over which adjustment is better. So to put that argument to rest, I’m going to say that both adjustments have their strengths! Although I will agree that it’s a good rule of thumb to use the Vibrance slider to increase (or decrease) saturation in images (especially portraits because not only is Vibrance a relative slider, it is also biased to leave “skin-tones” alone), there are also times when I prefer to use Saturation to set the mood in my images. In fact, there are many times when I use a combination of BOTH sliders to reduce colors that are too overbearing – I will make a negative adjustment using Vibrance and then increase the resulting (more “even” color palette) with Saturation. Since the sliders are nondestructive don’t be afraid to experiment!
(Yes, sometimes I run with scissors too. )
The units of measurements displayed in the Basic panel (in Lightroom’s Develop module and in the Camera Raw dialog in Photoshop) for Temperature and Tint differ between RAW and JPEG files. When working with a raw file, the Temperature slider ranges from 2,000 to 50,000 Kelvin and the Tint sliders range from -150 to 150. When working with JPEG files (or other pixel based files such as PSD or TIFF) the Temperature and Tint sliders both range from -100 to 100.
You might also notice that when working with RAW files, Lightroom displays a list of “preset” White Balance settings (Auto, Daylight, Cloudy, Tungsten etc. – this list might differ slightly from camera to camera). When you work with a JPEG file, LIghtroom only displays As Shot, Auto and Custom in the pull-down menu
When moving back and forth between images in the Develop module in Lightroom and in the Camera Raw dialog in Photoshop, it can be a performance advantage to increase the Camera Raw Cache when working with raw files. To do so, in Lightroom, select Preferences > File Handling > Camera Raw Cache Setting and increase the Maximum Size. In Photoshop select Preferences > Camera Raw and increase the Maximum Size. The larger the cache, the greater the number of images Lightroom can hold onto for quick access – making it faster to load recently viewed images. If you are simply moving from one image to the next (without returning to the previously viewed images), then you may not see a benefit from increasing the Camera Raw Cache.
When using the Spot Removal tool (Q), tap the “H” key to hide and show pins.
Use the Page up and Page down keys navigate (up and down) through an image (screen by screen) reducing the possibility of missing spots. Use the Shift key to move left/right. To move to the upper left of the document, tap the Home key. Tap the End key to go to the lower right.
Note: on a laptop, press the function key (fn) plus the up/down arrows to move up or down through the image. Press the function key (fn) plus the left or right arrow to go Home or End.
Once the dust spots are removed from one image, select similar images (similar because they all have the same dust) and use the Sync button to apply the Spot Removal settings to others. Of course you should check each image to make sure that the clone/heal is seamless – as the photographic content will (most likely) vary from one image to another!
Positioning the cursor over the triangles in the upper left and right of the Histogram panel will display areas of the photograph that are clipping to pure black or pure white. Areas that are clipping to black are shown with a blue overlay, areas clipping to white are shown with a red overlay.
Moving the cursor away from the shadow/highlight clipping icon hides the overlay. For a more constant display of the overlay, click the warning icon to show, click again to hide – or tap the “J” key to toggle on/off both of the shadow/highlight clipping previews at once.
An alternate way to preview clipping is to Opt (Mac) /Alt (Win) -drag the Exposure, Highlights, Shadows, Whites and/or Blacks sliders in the Basic panel. This differs from the clipping warnings above as you will see a per channel clipping preview displayed.
Note: In order to preview the clipping warning in ACR in Photoshop, tap the “O” / “U” key. Similar to Lightroom, clipped highlights will be displayed in red, shadows in blue. I remember these shortcuts by thinking of Over/Under exposure.
Often, I find that the default “before” history state (which is automatically created when the file is imported), is not the state that I want to compare to the “after” or current state. Fortunately, to compare a different history state, you can simply drag and drop the desired state from the History panel into the “before” preview area. Note: don’t click on the state in the History panel – that will select that state as your current or “after” state: click -drag the state to the Before image.
• Tap the “Y” key to quickly cycle between the Before and After (current state) view.
• Shift + Y toggles the Split screen preview.
And don’t forget, if you reach a point where you like what you’ve done, but want to try a different direction, Command + ‘ (apostrophe) (Mac) | Control + B (Win) + ‘ (apostrophe) creates a virtual copy of your photograph so that you can explore all of your creative variations.
Almost all of the editing panels in Lightroom’s Develop module display a small “light switch” icon on the left side of the panel’s header. Click the “light switch” to toggle the visibility of changes made in that panel.
The Graduated Filter and Adjustment Brush also have the “lights switch” icon to toggle the visibility of the changes made with the respective tool. Note however that the icon is displayed at the bottom left of the tool’s options (as there is no Panel header for these tools).
Tapping the “\” (Backslash) key toggles changes made in all of the panels.
In order to reset any slider in Lightroom, double click on the name of the slider.
Holding down the Option (Mac) | Alt (Win) key modifies the names of groups of sliders. For example, in the Basic Panel, holding the Option (Mac) | Alt (Win) toggles “Presence” to “Reset Presence”. In order to quickly reset the entire group of sliders, click the modified name (“Reset Presence”).
In addition, Option (Mac) | Alt (Win) -dragging many of the sliders in Lightroom evokes various different behaviors. For example, in the Split Toning panel, Option (Mac) | Alt (Win) -dragging the Hue slider will temporarily preview the Hue (color) at 100% Saturation (making it easier to select your desired hue). In the Detail panel, under Sharpening, Option (Mac) | Alt (Win) -dragging the Detail and Masking sliders displays a black and white preview of the mask used to suppress sharpening in lower contrast edge areas in the image). In the Basic panel, Option (Mac) | Alt (Win) -dragging the Exposure, Highlights, Shadows, Whites, and/or Blacks slider displays any areas of the image that are being clipped to pure black or white (on a per channel basis).
In this Quick Tip, (Creating 32-bit HDR images in Lightroom 4.1), Julieanne demonstrates how to create a 32-bit file from multiple exposures in Photoshop and then take that file back into Lightroom 4.1 in order to use the Develop module to refine color and tonality — all while still working in 32 bit!
In the tutorial, I don’t believe that I mentioned that when I choose Edit > In, my default setting is to hand off a TIFF file to Photoshop. That way, when I save the file, it saves a 32-bit TIFF – which is what Lightroom prefers (not a PSD file).
In the Develop module, Control -click (Mac) / Right Mouse -click (Win) the gray background behind the image to change the Background Color to Light Gray. This will help avoid underexposing images when making adjustments. If you know that you will be displaying the images against a particular background color, you could also use this feature to preview what that will look like.
Well, not exactly, however, when using the Adjustment Brush in the Develop module in Lightroom, tapping the “O” key (for Overlay) displays the mask while painting. Tap “O” again to hide the mask. To change the color of the mask, add the Shift key and tap “O”. While I know that this is not exactly Quick Mask, it does allow you to view the mask that you’re painting in Lightroom.
In this video tutorial (Moving Between Lightroom 4 and Photoshop), you will learn how to take a single image or multiple images for editing seamlessly between Lightroom and Photoshop. Also, see how to use Photoshop tools like Photomerge, HDR pro, and the export dialog in Lightroom for exporting multiple files.
In this video tutorial (Adding Special Effects), you’ll discover the best way to convert images to black and white, as well as add tonal overlays, edge effects, selective coloring and film grain textures.