Photography Tips

 

களக வணககம கம, இனறய றய கடறரயல றரயல நம 32 ட எடங ஙறக றக   ரக கக   இககம கம.  32 bit பறகட PIT வசகரகளக தவக Auto Bracketing றயல எகக கம ம டஙகற கற டட டல ல !லலத லத  "லகல கல HDR #க மடம ம $ன எட சயய இய%ம நறல இந$த $த,இ&ம &ம !றனவம இந$ HDR டஙகற கற  வமபவர பவரக க கவக வகய ய?

 HDR டஙகற  HDR டஙக 'சலர HDR கற மக(ம ரசவர வரகக கக இர ரக க.#னல 'சலர HDR க எனல ல "Over process" என ற)*வரகளம களம இர ரக க, இ$ கரணம HDR  HDR "லக க +வககக கககக ககம ம "Hars  "Hars Detai!s" ம*ம *ம "Ha!os"  "Ha!os" #ம.

எனவ HDR டஙகற கற  வமப$ல ப$ல எனத த !வரவரத  $னட டட ரசறனறய 

*$$த $த. என&ம இத த $,ல-ட -ட$ $$ல $ல"Auto "Auto Bracketing" றயல எகக கம ம டஙகற கற நம  வ$ $$ $கவ* வ* HDR !லலத லத ச$ரண றய%ம process  process சயய இய%ம என$றன $றன PIT வசகரகளக களக வகவ$ வ$ இககட கடறரயன றரயன நககமம கமம.

சர கடறரக றரக சல%ம %மன னனர னர "Auto  "Auto Bracketing" எ$கக கக எனற$ ற$ .ககமக கமக சலலவகன லவகன. +$ரணமக ' மறல$றய $றய an#scape டமககக/ கக/ரரக க என றவ$தக தகக கவம !$ல இகம ம  சறசசலன றசசலன மரஙகளம களம,ம0ச ச ந றகளம ம*ம *ம ந/ல ந வனம #க இந$ 1ன* !மசங சஙகளக களகம ம  வசக க ந/ங ஙக க   எகம ம ட$$ல $ல !றமயவணமன மனல ல 'வவ வ !மச$ ச$$ $ம ம 'வவ வ எக2 2சர  சர  $றவ, எனவ கமரவல எனன $ன $va!uate  $va!uate ம/ட டடரங டரங சட சயத இந$%ம $%ம ரம இகம ம இ$$றன $றன !மசங சஙகற3ம கற3ம மக தலலயமக லயமக எக2 22  2 சயத 'ர டல ல எத த கனம, இதன $ணஙகல கல  நமக இந$"Auto Bracketing"ற +$(கத. !$வத ந/ங ஙக க   எகம ம டமனத, ம$$ம $ம 3  3 டமக 'ன* % $&posure ர%ம மறவ றவ Over ம*ம *ம 'n#er  'n#er e&posure ர%ம கமரவல $வகத. (ந/ங ஙக க   கமரவல $ர( சய$$ந $$ந$ e&posure ம$பகல பகல e&  e& )*+ +,*22,*33 etc....-.

சர இத த எகக கட டட "Auto Bracketing" டஙகற கற 32 bit எடங ங சய3ம 3ம ற   ரக ககலம க  லம. இககட கடறரயல றரயல நன யன$ $$ய $யத த igtroo /.2 ம*ம *ம Potosop  Potosop 01 #ம.

ப  : 32 bit எடங ங  சயய  ட CS6 ம*ம *ம  !$  ன வந வந$  $பகளம ப களம Lightroom *ம   CS6 ம  Lightroom 4.2 ம *ம !$  மல வந $  $பக பக $றவ  என எனற$ ற $  நறனவல க(ம (ம.

$லல igtroo  igtroo 4 இயகக(ம க(ம, !$ல $#itPre4erence  $#itPre4erence சலல(ம ல(ம னனர னர $&terne!  $&terne! $#iting டற $ர( சயத ன 5i!e ற$ ti44 ரமட மடடக டக ம  5க சயய(ம ய(ம.  5i!e 5orat எனற$

 

$றன $ர( சயத +ஙகத கத Auto Bracketing சய$ டஙகற கற  இன 5i!eIport Potos an# 6i#eos என$றன $கக(ம க(ம.

த ' ட$ற$ ற$ $ர(சய (சயத வறசலறகயல 0tr!*A  இத  0tr!*A Bracketing

டஙக க !றன$தம தம 1e!ect  1e!ect சயய யட டக கம ம.

றவ  (1e!ect A!!-!6$$(ம $(ம, இத த +ஙகன கன Auto  Auto

 

ய(ம.' ம& $ன*ம *ம !$ல $#it இன ம(2ல வலத கக சயய(ம  $#it in7erge to HDR Pro in Potosop எனற$ ற$ $ர(சய (சயய(ம ய(ம.

இத த +ஙகத கத டட ட $நத !$ல "7erge ட  $கம ம னனர னர +ஙகத கத "Auto  "7erge to HDR Pro" கமணட Bracketing" டஙகற கற erge சய$ னனர னர $ன*ம *ம வணடவல டவல "Reove  "Reove 8ost"

எனற$ ற$ $ர( சயத 

னனர னர 32 $றன $ர( சயய(ம ய(ம கறடசயக "0op!ete toning in A#obe 0aera Ra9" என$றன $றன க  32 bit என$றன !றடய$ற$ ற$ ந/க கக க   5க சயய(ம ய(ம. ப : ந/ங ஙக க  tripod  $$ $  "Auto Bracketing"டஙக க  எ$$ந $ ந$ல $ ல இந இந$  "Remove  tripod யன$ ho!t"# னன  னன tick  tick மரக கறக றக  ந/க ககவடலம க வடலமமக "handhe#d" எனன "Remove  "Remove ho!t"

என$றன என  $றன 

tick சயய(ம ய(ம.

இத த +ஙகத கத "Auto Bracketing" சயய யட ட டம 'ர டமக $கக கட டக கம ம. $ந$க $கம ம இந$  ட$ற$ ற$ 1ட(ம,இத த +ஙகத கத ட$$றன $றன சமகக க/ரரக க   என டட ட கடம ம :es  :es என$றன $றன  கக சயய(ம ய(ம.

 

த igtroo க சலல(ம ல(ம கறடசயக சம$$ ti44 றல !ங இற$ ற$ ரக ககலம க  லம. இந$ ti44 றறல  இத இரண ற கக சயத igtroo மல "Deve!op"  "Deve!op" க கண வர(ம.

!வவ($ன வ($ன இன +ஙக க ட$ற$ ற$ ந/ங ஙக க   வமபம பம வறகயல HDR லத process சயத கலம லம.  HDR !லலத

க/,3 ,3 டம "Auto கட டட டம ச$ரண டமக  கப வறயக றயக எட   "Auto Bracketing" இல +,%,*+  +,%,*+ இல எகக சயய யட ட த த.

ப : Lightroom இல இலல$வர ல $வரக க  டட  டலய  லய  "$erge to %&R 'ro" கமணறட றட  யன$  $$ $   merge சயத  னனர  "Camera Ra(" வல எட சயதக னர  "Camera த கலம  லம. தவக ti)) றல !$க  இடம  கம ம  எனவ  +ங கத கத  டம proce!!  proce!! $$(டன $ (டன ti))  ti)) றறல  டலட சயத  வட(ம.

 

பக ந/ல வனம சல பக

 ? இரண டஙகளம இந$ இரண டஙகல கல வன$$ன $ன வணணம ணம வ* ட இ$ $$ன $ன கரணம ? களம , கறல  வறயல எகட டடறவ டறவ .

 

பமக றவ$த எகக கம ம இயறகக றகக கடச ச டஙகல கல , , வனம ந/ல நமக இலலமல லமல வ  வனம னபமக வற ற !லலத லத 6ப வணண$ ண$$ல $ல வவற$ ர$ $$ $  த இ/ரர/ க க.

ந/ல வணணம ணம வர சல வ,க

+. வன$$ $ 7 e&posure சயத ' டம, னனல னல இவ வ 7 e&posure டம எ$த இரணறட3ம றட3ம இறணககலம கலம.

2. ;D 4i!ter, 0ircu!ar Po!ariser +யகத த,

3. மக எய வ,. 8ரயன இகம ம $றசயல இநத <% #egree

வன$ற$ ற$ எத த.

சயத இனன ன 

 

க, என இனய $ம, மகக எலலம லம எ  இகக/ கங ங / க  ?? மன$ரககய ககய நம கடச சரயர ரயரக க. +ன $(க $த  வந$ய $யங ஙக  ,#*  தட ட யட டடய ட  யங ஙக  ,ந%   இந$ மகறகய றகய )ட மனககட கட சசய சயங ஙக  ,ரண  மம ம !சசய சயங ஙக, !ங ஙக க ச$$  மடடர டர )ட .மம ம சலலம லம டம ட கடன ன ###& வறய நத $தகட தகட இம ம. !$னல

$ன கற$ க(ற9 இத எலல$ ல$ற$3ம ற$3ம வட டஙக கன ன மகக க வம  ககங கஙக===:     எலலர லர கடட3ம ட3ம இகக க கமர$ன நமம கடறட3ம றட3ம இக,எலலறர3ம லறர3ம ல $ன நமளம கக ககட கட  இககம கம,#ன சல  மடம ம எய யய ய $$ $ $தக தககட கடட ட இகக க ம$ர டம எகய யங ஙக    !ன ன& நன ல சமயம யசசசக சககன கன. !ட== !வ&ஙக எலலம லம லடச கணகல ல ண$ற$ ற$ கட கமர  வஙக க இககங கஙறகய றகய== நம எலலம லம !த ம$ரய !ன ன& சல/ /ங ஙக க  ???!$னனம னம ந&ம !த  ம$ர $ஙக நறனசசட சட இந$ன $ன,#ன க0சம சம க0சம சம எகக எகக இதல நம எலலம லம )ட .லம  $ர0.க .கக க ம$ர சல -;ககங கஙக க இகன ன& $ர0.த .த=== !$ன +ஙக கடட !  இற$ $$ $  க0சம சம கற$ !ககலம கலம& ( ணணட ணடடன டன. இ$லலம லம நம $ர0.க .ககட கட +யக$ $$ய $ய  #க&ம& !ர$ $$ம $ம இலல/ லங ங / கன க  னன ன. ' கடச ச நலல ல இகம ம& +ஙக மனககண கண;ல ;ல $னச.ன .னன ன டப& ப &  !ற$ ' டம பச.&ம .&ம==== !ஙக யட ட   நமம -;ககம கம எலலம லம யசசசட சட இகக யத $ன.#ன  இந$ மடட ட எலலம லம கதல ட வசச ச நமமல மல !யறமய !$லலம லம நமம யசறனயல < டம  எகம மத த $ன $ன$??.மம ம கட $ன வச.க .ககலம கலம==== எனன நன சல%த %த??? 1ன *க *க      கடச ச  இக  ரறமயய ய நமம $றலவ எனனடன னடனன ன எடக க   வ,க கறகய ற  கய இகன ன& சலலட லட யகக க. #ன இந$  பறகடக டககறலயல கறலயல இகக க $றலஙக எலலம லம எனன சலங ஙகன கனன ன ,' கடசறய சறய 1ன ரச. *கறக3ம றக3ம  நகறக3ம றக3ம க டடம டம& வச.க .ககங கஙக ,!ந$ கக ' $களம , ,!றவ 'ன*க *ககன கன  *ககட கடக கக களம ளம $களம $ன மன$னன ரறவ றவ இயறகயக றகயக வ6ம $க !ன ன&  சலய யங ஙக  . !$வத எந$ ட$ற$ ற$ ந/ங ஙக எ$தக தககட கடட%ம ட%ம +ஙக ரறவ றவ இயறகயக றகயக நம க  டட  $கற $ன ககயம கயம கவனகமம மம. எந$ ' டம $$%ம $%ம !தல 7$வத =க $*ம  !ன ன&$ன &$ன என கண; தன& என* எலலம லம யச$தக தககண கண இஙக ட ,க கக$/ க$/ங ஙக  == !த +ஙக க சலல ல $$ம $ம இலறல றல=== +ஙக வய. ! === !தகம ம பறகட ட கறலகம ம 'ன&ம &ம சமந ந$ம $ம  கறடயத. !$வத ந/ங ஙக   எந$ ' டம எ$$%ம $%ம ட$$ட $ட ககயமன கயமன  இந$ ககல !லலத லத கக  $டக கக களம ளம பகல கல இககர கரல ல ர$ $தக தககண கணடல டல ரறவயர றவயரகளக களக டம !,கக  $ர3ம என* சலகர கரக க.இ$ #ஙகல$ கல$$ல $ல "Ru!e  "Ru!e o4 te tir#s" என* யர. $ம,ல இ$  +ஙகளக களக ச>கரயமன யறர ந/ங ஙக க   8டக கக களங ளஙக க====$ $ கட  என* வ;மன ன   )க ககலம கலம?? சர சர=== ச$ரணமவ நன எ6$ன 'ன&ம &ம பரயத !தறல3ம ரய கட  எலலம லம

 

 சனனல னல பர3ம?? இஙக ' +$ரண$$ $ 

இந$ -;கக$ க$ற$ ற$ $வ ககலம கலம. இ  ந/ங ஙக   வலத கக$ க$தல தல இகக க ட$ற$ய ற$ய எ$தக தககங கஙகன கன,எவ  ச/ர ர !,க இக. ட$$ட $ட  ககயமன கயமன $ன& $$/ $/ங ஙகன க  னன ன !த வனம $ணண/ ணம  / ம சக $வன$ $. !த எ  சரய  மலநத டட டட இரணடவத டவத கடன இறணநத இக ஙக. !த(ம இலலம லம ட$$ன $ன ' ககய கய  ன மரம )ட இரணடவத டவத கக சம பயல யல இ$ல $ல ட$தக தக !த ந$மக $மக இக. ட$$ன $ன இனன ன ககயமன கயமன வயமக இகம ம வனல $ன*ம *ம '$$ட $ட $ சரய பக க மல  இலலட லடட%ம ட%ம க0சம சம கக$ க$தல தல இககதனல கதனல ரவயலறல றல. (   இந $ பட$ற$ ற$  இந இந $  .டயல யல சன *  பர பர $  $ $ல !றச?டட$ ட$ தடன $ளவக   இக இகம ம.) .)

!  இனம டம எகக ன 2கல கல,டப எலலம லம எ$தட தட ய ப  வச. க ட $ன டம  எகக&ம க&ம??? !ன ன& கககங கஙக க??? நன னனம னம சனன ன ம$ர இத  எகம ம டஙக க $ன !,கக இகம ம என* 'ன&ம &ம சடடம டம !லல. எ$$ டஙக க எ$னல நனக க வரவலறல றல என* ,ம ம இந$ல $ல ம*ம *ம நம டம எகம ம $றன டறட றட  $/ட டக   கக க வணம ம எனல ல இந$ -;ககங கஙகற கற எலலம லம க$$ல $ல கலம லம. 7$வத ' கடச ச   !,கக +ஙகளக களக $னனல னல +டன எற$ 3ம 3ம யசககமல கமல டம எ$த வஙக க==== இந$ -;ககங கஙக க  எலலம லம வ*ம வ,கட$%க $%ககக கக மடம ம$ன $ன $வர சயல$ $$ய $ய #க வணம ம என* கடடயம டயம இலறல றல. !த(மலலமல லமல  ந/ங ஙக க   இந$ கடட டறட றட டட எகம மத த $ன +யக$ $$ வணம ம என*  . 7கனவ  எ$$ ட$$ல இல றலடக கனவ $ல கன $ கடற$ ட ,    ர 7ர க ல==== க0 சம வட (crop- சயத )ட  சம டறல கற கற  மக லம. !$ லம க)ட ன இந  +$ரண$ றட $ க/ , கர க கலம  லம )-

 

   பறகடக     டக$கறல க பர0 றல சர ந  !$  $ $யல +ஙகற கற சந$க $ககன கன. !த வறர இந$ வ* $' $ தவ$ற$ ற சகந சக க$ க $றல கற  மக$தவ$  ம$ர சல டஙகற  வட  சலகன கன. ர$ $த வட ஙக== இற$ யன$ $$ $ $தட தட ன@ட @டட$ ட$தல தல +ஙக !&வஙக க சலலட லட ஙக==

வரடட ட??? )-

 

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> ) இத என வறலAவல Aவல னனம னம டட டட ' இறகயன ம/ $(  $(.

 

க, என இனய $ம, மகக ன  $யல  சலலக லகக$ க$$ மடடர டர வச. 7$வத டம எ$த $$/ $/ங ஙக க?? இலலன லன எ$$  ட$தறலய தறலய இந$ $ $ கடட ட  7ல ல ல வட (0rop- வட 7$வத யச ச ணண/ ணங ங / க க  ?? +ஙக யச ச !&வஙக க எலலம லம ன@ட @டட$ ட$தல தல சல%ங %ஙக==

இனறனக றனக நம கக  $றலப "வ,நட$தம தம கக". ". #ஙகல$ கல$தல தல இற$ "ea#ing !ines" !ன ன&  சலவங வஙக==

!ன னன ன??

!$வத ' ட$தல தல 7$வத க இநதச தச.ன .ன,நமம கண; !ந$ கடறட றட ன ய ய $ன சல%மம %மம==== !$வத நம ட$$ல $ல இகம ம க  நம ட$$ன $ன க  (1ubect-  (1ubect-4 சன* சகர ல  ர$ $தக தககண கணடல டல நம டம ர$  $ !,கக $ர3மம. !$ ல நம ட$$ல $ல இகம ம கக நம  ட$$ன $ன கற ற ந/ங ஙக க   சலவத வத லவ !லலத லத ட$ற$ ற$ வட வய சலவத வத லவ இந$ல $ல  டம ர$ $ ' ம$ர இகமம மம.

நலல ல இக== இதககக கக நன எஙக க இநத ககற $ வத??? நன டஙகளக களக 2கல கல  வச.கட .கட க வறரய;ம?? !ன ன& எலலம லம டனன ன #க$/ங ஙக  ===

கக எனல ல எ$ல வணமன%ம மன%ம இககலம கலம. கடடங டஙக க,ரக,வலக, வனம,கடல,நலர ரப என  எதவக இந$%ம $%ம ககக$$ன $ன $ரகத. !ந$ ககற எலலம லம நமக ச$கமக  +யக$ $$க $கக க வணயத யத $ன==== )--

Bம மம ம  === = பரயல ல இக #ன பரயறல== இக #ன இலறல றல !ன ன& சல/ ங ங / க க  ???

சர இஙக== ' சல டஙக க க/, , இக== !ற$ ஙக== +ஙகளக களகக க $வ$$ர3ம $ர3ம==== )-

 

க, *மபம பம !வ$ வ$$னம $னம நறந$ !,கய கம. ,நற$க ற$க எனல ல !,$ன==== எனன த த கணக #னல இந$ !,கய க$ற$ ற$ நகக க ம ககற கவன$$/ $/ரரக க  ?? 9னனல னல கமக க எ  இந$  !,கய க$ற$ ற$ நகக க சலகன கனன ன ர$ $$/ $/ரரக க  ?? இந$ ககற ன   ய $ன நம ரறவ றவ இந$  ,நற$யன ற$யன !, க$$ல $ல ய கத.

ந/ங ஙக   இஙக ர$ $தக தககண கண த த  நCயர Cயரக ககன க  ன Dக Dககன கன லம. இந$ ட$$ல $ல ல$$ன $ன ககற எவவ( வ( !,கக யன$ $$ $ நம  ரறவறய றவறய நCயர Cயரக க நகர& எ$த சலகர கர ஙக க பறகடககரர கரர. இற$ல ல நம எந$ பறகடம டம  எ$$%ம $%ம கடசயல சயல இகம ம ககற நமக ச$கமக யன$ $$க $ககண கண கடச ச றய  !றம$தக தகக கலம லம.

 

$  கடட ட ம ம ' !ப$மன ப$மன +$ரணமக வஙவற$ வற$ கணலம இந$ டம $

ட$$ல $ல !றம3ம கக நரககக ககக இகக வணம ம என* )ட கடடயம டயம இலறல றல எனற$ ற$  கடவ$ வ$கக$ கக$$ன $ன இந$ +$ரணம. !தமலலமல லமல ட$$ல $ல க  'ன*ம *ம இலலவட லவடடல டல "  "எஙக க  சல%ம %ம இந$ ற$" எனற$ ற$ ல கக எஙகயவத கயவத +நக நகக க சன*கண *கணந ந$ல $ல !த(ம  ட$$ $ !,கக இகம ம. எ  இந$%ம $%ம கக ட$ற$ ற$ வட வநகக க சலலக லக)டத )டத, !த$ன  ககயம கயம.

மன$ரககய ககய நம வ,ககம கம இடத கக$ க$தல தல இநத ரக கக   #ரமச ச. வலத ககம கம ம ம. !$ ம$ர  க/,ந ,நத #ரம$ $த ரறவ றவ மல  ய 3ம==== !$னல +ஙக வ,நட$தம தம ககன $டககம கம (ம  இற$ !றடய றடய வச. $ன இகம ம==== )நன ன  சனனத னத ல இந$ -;ககங கஙக க எலலம லம ' வ,கட$%க $%க மடம ம $ன $வர இறவ  எலலம லம யன $$ய $ய #க வணம ம கடடயம டயம இலறல றல. இந$ -;ககங கஙகற கற சர$ டஙக க )ட நமக !,கக $ரயலம,!த !வரவர ரசறனறய $$த $த.இந$ "வ,நட$தம தம கக" கடட டறட றட சர$ டஙகற கற  இறணய$$ல $ல $ ர$ $$ல $  ல 'ன*ம *ம கறடககவல கவலறல றல. எலலம லம $ன எ$$ நலல டஙகற கற $ன வயட 

 

வரக க $வர,நனக க இலல$ ல$ டஙகற கற வயட மடடர டரக க. இ$னல நன எ$$ டஙகல கல 'னற ற  வமவர எ$த வ,நட$தம தம கக சர$ ' ட$$ $கன கன +$ரணமக க/, , க$த தன ன.

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UPDATE : This tutorial was written a few years ago and I was using Lightroom 2, which is  How I Edit my images with completely outdated. You You can check out some newer tutorials on on How images with  Lightroom  and ! too. The "elow "elow information still works with newer #ersions of Lightroom Lightroom though. Happy reading$

I have been asked as ked many times about my post-processing workflow, how I fix and improve my  photos and what software I use. Well, I finally decided to share my technique and write a tutorial on how to process photos with Lightroom. I use many softwares. owever, the one I spend most time on is definitely !dobe Lightroom Lightroom   "L#$ which I consider to be the perfect tool for photographers. I use Lightroom % because of my laptop&s age "it&s old$ but you can do all the following with Lightroom ' "and probably more$. Lightroom is the modern era darkroom. It is less complicated than (hotoshop and )ust got improved tremendously with the addition of layers, layers , which was the only thing lacking. Lightroom works on photos in a non-destructive way, which means it doesn&t destroy pixels and doesn&t alter the quality of the photo. !lright, let&s get to the serious stuff. I would first like to point out that in order to get the best results, it is crucial to shoot in RAW format. *here is much more information contained in a #!W files than a )peg and all that information will be used to correct and improve your shots. +o let&s start with the guinea-pig-photo

 

I took this shot in hiang ai, ai, during a field trip in a market. It was a bright overcast day. I wanted to get this photo of a *hai lady selling street food. !s you can see, I was shooting in difficult lighting conditions. +he was lost in the shadow while the background and foreground were too bright because of the sky. *his resulted in aa failed  failed photo.  photo. /ut thankfully, I knew I could fix this the way I wanted later in L#. 0f course, It&s important to clarify that I don&t advocate the idea of )ust randomly getting shots and thinking 1 I can fi% this later 1. 1. I try to get the best shot possible on the spot but I always think post-processing is absolutely necessary to bring out the best in a photo "read my article about why I don&t believe in 2(hoto (urists&$. (urists&$. +o, after a long day of shooting, I go back home, upload my photos, import them in L#, go through all the keywording and cataloging "this workflow will be for another time$ and I&m ready to fix this photo. 3irst I analy4e it for a while. What&s the main problem5 Is the composition good5 Is the lighting good5 6oes it tell a story5 !re there any distracting elements5 0nce you figure out what needs to be fixed it&s much easier.

 

Looking at my photo, I reali4e that the main problem is the lighting. alf of the photo is dark and the main sub)ect is lost in the shadow. *he background is also distracting and attracts the eye away from the lady. *he composition is fine, I like it the way it is. It )ust needs a slight cropping to remove some unwanted elements.

I use the 2Crop Tool 2 to improve my composition "key shortcut is 2#&$. It&s important to set the ratio before cropping in case you intend to print your photos one day "if you don&t want to end with parts of your print chopped off$. 7sually %8' is good for most photos. I then ad)ust the crop frame on the photo to remove some s ome of the unessential elements on the left le ft side. 9ou 9ou can see that the main sub)ect "lady$ is correctly positioned according to the rule of thirds "intersection of the thin lines$. If you don&t know about the rule of thirds, :oogle it; It&s a very important rule to understand if you want eye-pleasing compositions.  <ow that I have my composition composition set, I need to fix the biggest problem the shadow. shadow. *o fix this, I use a very handy tool on Lightroom the Graduated Filter  "you  "you can click 2& to access it$. *his is basically a virtual :<6 filter that can also be used to brighten up sections of photos.

 

When I click on the filter, a menu opens up with some settings. !s I need to brighten the upper part of the photo, I increase the e%posure and add some "rightness "rightness.. *hen I click on the image in the area where the shadow meets the bright part "see position$. !s you can see, it increases the exposure on the shadowy part while leaving the bottom part untouched. *he space between the % lines is the 2feather 4one&, I play around with it a bit to make the lighting appear uniform. 9ou can see here the 2before& and 2after& the :raduated 3ilter. *he shadowy part is all gone. 9ou *he main problem is fixed;

 

 <ow, all I need is to play around and ad)ust the pho photo to to my liking. I usually follow the settings from top to bottom, makes it easier.

 

1. *his is a personal taste but I usually like my photos to be on the warm side. +o I slightly increase the temperature to my liking. 2. I increase the e%posure a little bit to make it brighter. I also max out the reco#ery slider. *he recovery slider helps recover details in the blown out white parts of the photo. In this case, it brings out some more colors and details in the background. I add some fill some  fill light  which  which

 brightens only the dark parts of the photo without touching the light parts and finally I increase the contrast. 3. I add some clarity which helps sharpen the photo and bring more details on the food in the foreground.

!fter all the little ad)ustments, I use the tone cur#e to cur#e to add more contrast and punch.

 

0n the tone curves menu, I use the sliders to decrease the highlights "all those bright parts in the background are not necessary$. I increase the light light parts  parts to brighten up the photo a little while I decrease the dark and and shadow  shadow parts  parts to add contrast. *his also brings up the the colors a tad more. *he next step "not pictured, you can figure it out easily$, I go to the H&L the  H&L 'Hue, &aturation, &aturation,  Luminance( menu and on increase the red=orange=yellow luminance make the warm colors the background pop up against the dark slightly 4ones. "between >?-%?$ to  <ext, it is important to make sure the main sub)ect of a photo is clearly visible and no distraction will attract the viewer&s eye to other parts. *o achieve this, it is required to know how to 1 paint @ your photos with light and shadows "hey, this website is called )an#as of Light  after  after all, right5$. 3irst, the easiest and fastest way to do so is to add some #ignetting . *his will darken the  borders of the image to help viewers focus on the center of the photo. photo. *here is nothing important on the edges so they can all fall into darkness.

 

/y comparing with the above photo, you might not immediately notice the difference, but the eye is naturally focusing on the center part of the photo where the lady and food are. I )ust ad)usted the post*crop the post*crop #ignetting  to  to darken the edges.  <ow to the painting part. *o *o 2 paint   paint 2 over parts of the photo that are distracting, I use the  Adjustment Too Tooll Brush.

 

0nce it&s clicked, a menu appears similar to the menu on the +raduated ilter . I can ad)ust many settings with the sliders and paint over my photo. ere, I decrease the exposure, brightness and saturation and use a small to medium si4ed  brush with a high flow and feather and paint paint over the unwanted areas. I focus on the bright  background, the green cover on the the right side, the colorful sheets in the middle and the edge on the left side. !ll these areas are distracting and attract the eyes away from the sub)ect. *hey do not contribute anything to the photo so I )ust paint them into darkness=oblivion. "*ip When you hover your mouse on the little pin, it shows you the painted areas in red$. 3inally, the last step, after painting distracting elements out, I focus on the lady with the same tool brush.

 

I click on 2 -ew  -ew22 "don&t forget or you&ll end up painting in black again$. I ad)ust the exposure, add some brightness and contrast and paint over the skin of the lady. *he face is actually the most important part as the human eye is naturally attracted to eyes and faces in a photo. *his makes her pop out against the dark background. !nd that&s it; I usually spend a little more time fine-tuning details, painting over shadows and brightening up small parts. I would also slightly desaturate and darken the blue bucket next to her "the lady and the food are the main sub)ects, not the bucket$. /ut for the sake of this tutorial, I&ll  )ust keep it simple. !fter all is done, click on 3ileABxport and you&ll have a beautiful and shiny new photo to show to your friends. ere&s a /efore=!fter photo to see the difference, you will easily notice the improvement "play with the slider, it might not show the 2!fter& image sometimes, )ust reload the page$.

 

Show only o nly before be fore Show only o nly after aft er

~~oOo~~ 

I hope this tutorial helped you understand a few techniques in Lightroom and how to fix  photos shot in difficult lighting conditions. conditions. If you are looking for m more ore tutorials, )ust visit my *utorial page page for  for more. (lease do not hesitate to ask any questions or for clarifications and I&ll gladly answer. appy +hooting;

 

!shley +paulding, one of our  !dmins, is one of the sweetest people you could ever hope to meet. +he&s also super helpful, helpful, talented and resourceful. +he saw that many of our members were wanting a tutorial on how to use the ad)ustment brush in !dobe&s Lightroom !dobe&s Lightroom and )umped right on it with this fabulous fabulous tutorial. !shley is also one of our teaching assistants in the Lightroom >?> >?> workshop  workshop at 7 C 7 C check it out;; *hanks for the fantastic tutorial, !shley;

Tutorial | Lightroom Adjustment Brush ! lot of members have mentioned that you&d like to know how to use the !d)ustment /rush tool in Lightroom, so I thought I&d put together a tutorial using skin smoothing and an eye  pop as examples. I&ve used Lightroom ' for this this tutorial, but the same process can be used with the !d)ustment !d)ustment /rush in Lightroom %. !nd keep in mind mind that there are many applications for this toolD I&m only using skin smoothing and an eye pop as examples of how to actually use the !d)ustment /rush. 0kay,, so let&s get started; 0kay I&m going to be working with the following photo during this tutorialD this is the +00 version

*he !d)ustment /rush is an awesome tool that you can use to make local edits to photo qualities including exposure, brightness, saturation, contrast, and others. (rior to using the !d)ustment /rush to make such local changes, I generally make the global changes I&m going to make to my photo. +o, in this photo, I&ve already made the following ad)ustments •

xed exposure

•

corrected white balance

 

•

used Spot Removal tool to get rid of stray hair and to get rid of large black area in bokeh

•

increased brightness, contrast, clarity, vibrance, and saturation

•

cropped

 <ow I&m ready to do some editing with the the !d)ustment !d)ustment /rush; *he two things I want to do with the !d)ustment /rush here are >$ even out my daughter&s skin a little bit, and %$ brighten her eyes )ust a touch. *o open the !d)ustment /rush tool, you can either press the letter k or select it from the tool  panel below your histogram. 9ou can actually press k from anywhere in Lightroom, and it will pull up the !d)ustment /rush in the 6evelop module, even if you&re in a different module at the time. 9ou 9ou can also press k again to close the !d)ustment /rush.

 

0ne of the first things I do whenever I open the !d)ustment /rush is make sure that the !uto ask option is checked. !uto masking attempts to sense the edges of whatever it is in your  photo that you&re painting in order order to help you paint only inside y your our intended area.

When you first open the !d)ustment /rush, you&ll see a drop-down menu to the right of the word 2Bffect& with a variety of qualities you can alter on your image. 9ou 9ou can select one of those options or you can start ad)usting the various sliders on your ownD if you ad)ust more than one slider, the Bffect option will change to 2ustom.&

 

Let&s start with smoothing out the skin in this photo. *o even out skin, I can simply ad)ust the larity slider or I can select either larity or +often +kin from the drop-down Bffects menu. With a little bit of tweaking, they all get me the result I&m after. <ote, though, that if I select the +often +kin option, the larity slider defaults to ->??. I generally smooth skin in Lightroom by selecting the +often +kin optionD so, I select that option, and I&m ready to start  painting. When you&re using the !d)ustment /rush, you can move the sliders any way you want prior to painting, and then you can ad)ust them to your liking once you&ve finished painting your intended area, as long as your brush for that particular area is active. When I move my cursor onto my image, my brush appears. I can ad)ust the si4e of my brush with the E and F keysD E makes your brush smaller, and F makes your brush bigger. 9 9ou ou can also go down to the /rush panel and change the si4e of your brush with the slider. I don&t want to use a huge brush when I&m painting over skin because I feel like it increases my chances of painting outside my intended area. !nd even though I have !uto ask checked, it&s not foolproofD Lightroom doesn&t intuitively know what you&re attempting to  paint if you&re using a brush so big that it&s it&s making yo you u paint all over your sub)ect&s hair, hair, clothes, and such. +o, I opt for a relatively small brush. *he G sign inside my brush indicates that I&m painting on an effectD a C sign is used when you&re erasing one. I start painting by holding my left-click down and moving my brush around in a small, circular motion until the area I want to paint is covered. 6epending on the quality you&re changing in your photo, you&ll start to see your image change as you paint. 0nce I feel like I&m done painting, I press the letter o to make sure I&ve covered everything I need to cover. *his brings up a color overlay that shows where I&ve painted.

 

*he overlay is a huge help in seeing where you need to paint more and where you may need to erase. y  y painting looks pretty good to me for the most part. *he !u !uto to ask option has helped keep most of my brush strokes on her skin and not on her eyes, hair, and clothes. *he one area that did get painted over that shouldn&t have is her lips, so I&m going to erase that. I&m going to keep my overlay on while I&m erasing so that I can see exactly where I&ve erased. *o erase brush strokes, go down to the /rush panel, and click Bras Brase. e. 9o 9ou ad)ust the si4e of your eraser the same ways you ad)ust the si4e of your brush. I see the C sign in my  brush, so I know I&m ready to start erasing around her lips. lips. I choose a much smaller brush since it&s a very small area I need to erase, and I start moving my eraser around the same way I moved my brush around. With the overlay still on, I can see that my painting and erasing are  )ust the way I want them now. now.

 <ow I press the o key again to remove the overlay so that I can see the effect as I ad)ust the slider. I prefer skin to look fairly natural and not too smooth in my photos, so I never leave my clarity at ->?? when I smooth skin. I play around with the slider each time I smooth skin,  but I generally end up around -HH. 3or this particular photo, however, I played around with the slider and decided I was happy with the clarity around -?.

 

0ne thing that really helps me decide whether I&m happy with the brush ad)ustments I&ve made is this small, rectangular button I&ve circled below

*hat little button allows you to turn your ad)ustments on and off so that you can see the effect"s$ they have on your photo. I rely on it a lot to help me see whether I&ve taken an ad)ustment too far or whether I can push it a little further.  <ow, let&s say you you want to continue to use the !d)ustment !d)ustment /rush but yo you&re u&re done with one type of ad)ustment. <o problem; With the !d)ustment /rush still open, you simply click on  <ew right underneath the brush icon, and go go through the same process with yo your ur new effect. In my example, I want to brighten her eyes )ust a little bit, so I select <ew and then choose /rightness for my effect. I almost always 4oom into >??J whenever I&m making an ad)ustment on eyes in a photo so that I can paint easier since they&re a smaller area. /efore I start painting, I press the o key again to get my overlay so that I can see exactly where I&ve painted. 0nce I&m happy with my painting, I remove the overlay so that I can see how the effect changes the eyes in my image. !t this point, I 4oom back out to normal si4e so that I can see how the changes to the eyes affect the look of my image as a whole. Bven though I chose /rightness as my initial effect, I tend to move several sliders when I&m working with eyes. 3or this example, I&ve bumped exposure and brightness a bit, and I&ve increased the saturation, clarity, and sharpness as well. 0nce again, I rely quite a bit on the  button that turns my ad)ustments on and off off to see how they affect my pho photo to and to make sure I maintain the type of editing I want to achieve. !fter making those changes, here&s where I&m at

 

*he changes I made with the !d)ustment /rush were not ma)or, which is good because my intention was to effect minor changes and enhance my image in subtle ways. +ome additional !d)ustment /rush tips •

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Anytime you want to return to the default setting for something, you can double-click on the slider label, l abel, and it will reset. or example, if ! increase the si"e of my brush too much and want to return to the def default, ault, ! simply double-click on the word #Si"e$ in the %rush panel, and it resets to its default value. !f you press Shift while holding the o key, you can go through various overlay colors.  &  &ou ou can see where your brushes brushes are by pressing pressing the h key key.. Small circles ' #pins$ ' will appear where you have initiated brushes. & &our our active pin is denoted by a black center. !f you want to make ad(ustments to a particular brush, you rst need to make the active oneso bythat selecting it. &our &a our pins will automatically go away as it you$re painting you have clearer picture of where you$re making brush strokes. &ou &ou can hide your pins by pressing the h key again.

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)ressing the Reset Reset button at the bottom of the Ad(ustment %rush panel will clear out all of your brushes. !f you only want to clear a certain brush, make all of your brushes visible by pressing the h key, and select the brush you want to clear. clear. *nce the brush is selected+active, simply press delete, and only that selected+active brush is cleared.

ere&s a final comparison of my +00 and my edited version

 

10 Quick and Easy Lightroom Tricks Every User Should Know ohnson, , /ay 01 %y oshua ohnson %y oshua • •

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(hototutsG author Ivaylo :erchev recently :erchev recently published a series of in-depth tutorials aimed at taking you from beginner to pro in Lightroom in Lightroom in only one week. *oday weKre following that up with a few quick and easy Lightroom tricks that you can quickly add to your workflow whether youKre )ust picking up the app or have been using it for years.

Learn more about Adobe reative loud loud and  and Lightroom! Lightroom! *he tips and tricks below will help you accomplish everything from navigating around the app better to smoothing out skin wrinkles.

More than One Way If youKve been using (hotoshop for (hotoshop for a few years, then you know very well that there are two or  more ways to go about nearly every task. *he app is so incredibly huge and powerful that your workflow has a wide range of flexibility. *he result is that no two (hotoshoppers work quite the same way. Lightroom is  is exactly the same and features many seemingly redundant tools and processes Lightroom for improving your photos. !s we go through the tips below, youKll occasionally see a couple alternative options, and you probably even have more suggestions for each process. nowing your way around Lightroom gives you the flexibility to try multiple ideas to see which works the best in a given situation.

1! "se Luminan#e to $reate an %ntense &'y 0n bright, sunny days, youKd think it would be easy to shoot beautiful blue skies. 7nfortunately, if youKre exposing for sub)ects that are in the shade or with their backs to the sun, you often get blown out or lackluster sky detail due to the fact that your camera is attempting to grab information from the shadows. In Lightroom, you may first reach for the saturation slider for enhancing your sky, but this isnKt always the best option. 3or starters, saturation is going to intensify the colors globally, which may not be desirable if all youKre really concerned about is the sky. 3urther, saturation is a touchy setting and can easily begin to mess with skin tones and other important areas that you donKt want to mess up.

 

/y dropping down to the ue, +aturation and Luminance panel, you can easily target specific colors, which gives you much more control than a global shift. owever, here again, saturation might not be the best way to go as the results can become almost cartoony with even a small ad)ustment.

! good alternative is to use the blue luminance slider. *his does exactly what it sounds like it would and pulls some of the luminosity out of the blues in the image. *he result is a darker,  bolder sky that you can really tweak on an incremental level without messing messing up non-blue  portions of the image.

 

2! &ta#' Adjustment Brush ())e#ts *he ad)ustment brush in Lightroom is an awesome tool that allows you to make changes to very selective parts of an image. 0ne of the most powerful aspects of this feature that you wonKt find in (hotoshop brushes is that the changes you make are nondestructive and always editable, even if there are several brushes applied. *his makes stacking effects an incredibly useful trick. <ot only can you combine multiple different ad)ustment brushes, you can repeat the same one to intensify the effect. 3or instance, in lieu of a proper blur feature in Lightroom, itKs often the case that users will create an ad)ustment brush with the +harpness set to ->??. owever, this achieves and extremely subtle  blur and must be applied several times before the effect becomes strongly apparent. *he basic process is that you grab the ad)ustment brush, tweak your settings, paint in the effect, then hit M<ewM to create a new instance of the effect. #epeat this step as necessary until the effect is as strong as you want it. 7se this same method to apply different effects to different areas of the photo.

 

!s mentioned above, after applying several instances of the brush, you can go back and edit each of them individually. Bach instance of the effect is represented by a dot, simply click on one to see and ad)ust its settings or hover over one to see a quick preview of where you  painted that effect in.

3! *ui#' &'in +i,es

 

*here are so many things that can go wrong with skin for a photo shoot. I live in the sunny desert of (hoenix so outside photos tend to really make people look overly red and patchy. 3urther, the dry climate tends to wreak havoc on our actual skin so there are always plenty of rough patches to clean up. *he image above uses a combination of my favorite techniques for improving skin quality in Lightroom. LetKs briefly go over each so you can combine them how you see fit. #emember to use them conservatively, several small changes amount to one big change. *he first thing to try is simply ad)usting the brightness. If the symptom is dark, red skin, you want to brighten it up a little, which should bring the color back towards something natural. !lso, as a side effect, some of the detail begins to drop off, which is actually a good thing when youKre dealing with wrinkles and pores that are overly apparent.

 

 <ext, we once again turn to our friend the Luminance Luminance slider. ere yo youKll uKll want to increase the luminance for both red and orange. *his has the effect of brightening the skin up immensely in a natural way thatKs not too harsh. +pecifically, it targets those dark red patches and helps reduce their visibility. 0ne great method of doing this is to click the little circle in the top left of the luminance  palette. *his will allow you to then click and drag drag directly on the problematic portions of the skin while Lightroom automatically targets the luminance values for those areas.

Lightroom has a built-in tool that works quite well for this purpose the M+often +kinM ad)ustment brush "the +pot #emoval tool is an obvious but vital tool as well$. 6ragging the +often +kin brush over something will reduce the clarity, which means itKs a great way to reduce the appearance of wrinkles and other skin imperfections.

 

!s you can see in the image below, the default setting for this brush actually increases sharpness. *his is fine for some uses but I often find that I get better results by cranking both the clarity and sharpness down. #emember that you can always ad)ust the preset brushes and arenKt stuck with the settings Lightroom gives you;

y final trick for smoothing out skin is really quirky and should be cautiously approached. +croll down to the M<oise #eductionM section to see various sliders aimed at reducing the color noise that is a common side effect of shooting at a high I+0. *o reduce reduce the appearance of noise, Lightroom attempts to blur pixels together slightly. IKve noticed that, as a side effect, this can be a quick way to slightly smooth out all the skin in an image. *here are two reasons why you should think twice before doing this. *he first is that itKs a global change, so youKre reducing the overall detail in your image. +econdly, the effect can create super ugly photos if applied in anything but very small amounts owever, there are cases where a slight loss of detail is acceptable, especially if it means smoother skin and less noise. !gain, )ust be sure to take a close look at your before and after snapshot to make sure that you did in fact improve the image rather than destroy it;

 

-! &it#hing $ro/ O0erlays ropping images inside of Lightroom seems pretty straightforward, but there is some hidden functionality here thatKs shouldnKt be missed. 0ne of the most important of these is that you can switch between multiple crop overlays. *he default overlay is shown below. *his overlay is definitely one of the most useful as it makes it easy to apply the rule of thirds to an image.

 

!s it turns out though, this is merely one of six different crop overlay options that you have inside of Lightroom. *o switch to the next option, simply tap the MoM key. 9ou 9ou can also flip the orientation of any overlay by hitting shift-o.

*o see all of the options, click on the M*oolsM item in the menu bar. *hen come down to the Mrop :uide 0verlayM flyout menu to see the options shown below.

 

! &yn#ing $a/ture Time Timess +rom Multi/le &hooters 0ne of the easiest things to forget to do when you have multiple shooters is to sync the clocks on your respective cameras. *his wreaks havoc when it comes time to import. It can be extremely frustrating to attempt to sort through photos if theyKre bouncing back and forth  between two different points in the day. day. 3ortunately, Lightroom offers a solution. ItKs a little tedious, but once you get the workflow 3ortunately, down youKll be able to do it in a minute or two. *he trick is two find two photos, one from each shooter, taken as closely together as you can find. *he easy way to look for these is to scroll until you see the same event, anything from a laugh to a toast, from two different angles. 0nce you find the two photos, select only one of them and scroll down to the etadata panel under the Library module. 9ou 9ou should see the capture time and date for the selected photo. Write this down exactly as you see it.

 

 <ext, filter your library results so that youKre only seeing images from the other shooter. shooter. 3ilters can easily be applied via the menu right above the library. 7sing a etadata filter, you can easily select a specific lens or camera, which should be a good way to grab images from a specific shooter.

When your results are filtered, find the photo that you previously identified as taken at the same time as the image whose time you wrote down. +elect only this image to target it specifically, then hit ommand-! to select all of the images. Lightroom has a really nice double selection feature that comes in handy for tasks such as this. 3inally, click the button next to the capture time info that we saw before to bring up the dialog box below. 3rom here, set the time to what you wrote down for the other image. Lightroom will apply the change to the targeted image and is also smart enough to shift every other selected photo by the same amount of time. *his should match up the capture times for all of your photos between the multiple shooters throughout the day.

 

! &/lit Toning! Retro &eet &/ot +plit toning is a fun way to achieve dramatically different effects for your photographs, but the controls can be a bit confusing if youKre not familiar with them. :iven current trends in photography and design, I find a lot of people wanting to bust out a retro effect similar to what youKd see on Instagram or some other popular and trendy photo editor. In recent years IKve created and downloaded a ton of retro presets for Lightroom, and almost all of them are very similar in their split toning structure. <ote the position of the both the highlight and shadow ue sliders in the image below. *he ighlights ue is set to the first hash mark and the +hadows ue is set to the first hash mark  past the halfway point . !nything within one deviation of these locations is a sort of sweet spot that almost always yields interesting results.

 

 <ote that you also must manipulate the saturation and balance sliders, but their position will depend on what your image is like. I encourage you to have fun experimenting with these. *ry different positions with these sliders to get a feel for the results, which will vary dramatically even within the ue parameters that weKve established.

 

#emember that this is only a quick trick to keep in mind and not in any way a hard and fast rule. +plit toning, even with a retro goal in mind, can be achieved through any number of different techniques. *he slider values above simply seem to be reliable in producing a sort of  >NO?s aged look.

! +ading a Lightroom 4re 4reset set WeKre We Kre all huge fans of Lightroom presets. With a single click you can ta take ke your image from  boring to ama4ing, who could resist5 owever, owever, the inevitable problem that y you ou run into with  built-in presets and those that found online is that theyKre theyKre simply too strong. 3or the most part, you like the effect, but )ust wish there was a way to dampen it. 7sing only the default Lightroom functions, there are a number of ways to do this, all of which are a pain. *he first and most obvious is to go through and attempt to spot all the changes and lessen them one slider at a time. !nother popular option is to import an edited and a non-edited version into (hotoshop, stack them together and reduce the opacity of the edited version until you like the result. /oth of these methods take too long and would be completely unnecessary if !dobe would  )ust include a M3adeM command like the one found in (hotoshop. 3ortunately for u us, s, there are some third party developers out there )ust as frustrated with this problem as we are; Parno eikkinen, recently released an ama4ing free plugin on his site nobroom.com nobroom.com.. *his  plugin, simply titled M*he 3aderM, gives Lightroom Lightroom the ability to fade presets; !fter you download and install the plugin, grab a photo and navigate to the 3ileA(lug-In Bxtras menu and click on *he 3ader. *his will bring up the dialog below where you can select a preset and then reduce its opacity.

 

5! Lights Out *his is one that IKve known of for a while but frequently forget exists. !ny time you want to draw focus to a specific area, you can use the Lights 0ut command to dim everything but the selected photos. *o try this out, go into :rid Qiew, Qiew, select a few images, then hit the MLM key. *he *he lights will fade and the result will be something like the image below.

 

 <otice the screenshot above that thegoes interface is merely dimmed and not completely black. it MLMin again and this time everything completely dark.

*his trick even works in the develop module. Interestingly enough, the dimmed interface doesnKt interfere with functionality so you can still continue to make changes while maintaining a strong focus on the image.

 

6! &olo Mode We touched on this briefly in our recent Lightroom in-depth series but itKs such a great feature that itKs worth taking a closer look at. !s you know, even though the Lightroom interface is incredibly efficient, there are tons of settings, especially under the develop module. With all of the panels expanded, it can be difficult to find what youKre looking for. Bven if youKre experienced enough to know where everything is, you still lose lots of valuable time scrolling back and forth. !lso, opening and closing a panel manually every time you want to use it quickly becomes tedious and annoying. 3ortunately, +olo ode saves the day and makes Lightroom much more usable by auto3ortunately, collapsing any panel that you have open as soon as you begin interacting with another panel. *his makes navigating around the interface a bree4e. If youKre skeptical, )ust try it out once and youKll likely never go back. *o activate +olo ode, right-click on either set of panels "it works on both the left and right side$ and select the option shown below. With With that one change your productivity ca can n skyrocket;

 

*o turn turn +olo ode on and off even quicker, option click on any panel.

17! 8el/)ul 9ey:oard &hort#uts *o finish out this set of tips, IKll list some helpful keyboard shortcuts that help perform all kinds of actions. Like (hotoshop, Lightroom has all kinds of keyboard shortcuts, some of which are listed in the menu, many of which arenKt. LetKs take a look at some of the rarer shortcuts that can really save you a lot of time and extra clicks. •

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a"s Lock Auto Advance# r  rom om 3oupe view, enable 4aps 3ock and rate a photo 5you can use the numeral keys to help assign ratings 6uickly.7. 6uickly.7. As soon as you do, 3ightroom will advance to the next image. 8his trick also works with 9ags and color labels. Library $iews# :it ; to go to ;rid <iew, = to go to 3oupe <iew, 4 to 4ompare, > to survey and ? to develop de velop or edit the photo. Toggle %anels# @se -B to 6uickly turn on and oC the four diCerent di Cerent tool panels orbiting the central area. Alternate &"tions# Dhile in library view, hold down *ption 5Alt on a )47 and youEll see a few changes. !mport and =xport become !mport 4atalog and =xport 4atalog and Fuick ?evelop ?e velop toggles the 4larity and <ibrance settings to Sharpening and Saturation. Also, holding *ption on startup will allow you to choose a catalog.

'eset Sliders# :olding down *ption 5Alt7 in the develop module turns control titles into reset buttons. &ou &ou can also double click a slider to return it to its original position. Straight en Tool# Straighten Tool# Dhen using the 4rop 8ool, hold down 4ommand 54ontrol on a )47 to bring up the straighten tool. rom rom here, (ust drag a line across anything in the photo that should be a straight line. Quick Slideshow# r  rom om grid view, select the photo that you want to start from and hit 4ommandG=nter 54ontrolG=nter7 to start a slideshow. slideshow.

 

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(oving Sliders# @se the arrow keys to move sliders forward and backward. :old down *ption 5Alt7 for smaller increments and Shift for larger increments. Show Shortcuts# )ress 4ommandG+ 54ontrolG+7 in any module to bring up a 6uick preview of the shortcuts for that module.