Video Tutorials

Free Bonus Video: Using the Arrow Keys in Lightroom

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The response to my ebook and video package, Landscapes in Lightroom 5: The Essential Step-by-Step Guide, has been wonderful, well beyond my expectations. Thank you all so much for your support! I put a lot of effort into creating something that I hoped would be helpful to a lot of photographers, and it’s gratifying to see that this effort has been well received.

As an expression of my appreciation, I’m extending the discount codes for two extra days. Use the code lr520 and get 20% off the ebook package until midnight on Tuesday, August 6th Pacific time.

Also, I’ve created the free, bonus video tutorial above to go along with the ebook. It’s a tip about using the arrow keys in Lightroom to help speed your workflow and fine-tune your adjustments. I use the arrow keys all the time, and I hope you’ll find this technique helpful too.

Again, thank you all very much! I really appreciate all the positive comments you’ve sent me about the ebook.

— Michael Frye

P.S. If you know someone who might like this video, or who would enjoy the ebook, please share this post!

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Lightroom 4: Working With the New Process

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Here it is, my second video about the new process in Lightroom 4. In Part One I explained how the new tone controls work; here in Part Two I talk about how to use these new tools to process both low- and high-contrast images. Here are some of the main points:

– Where to begin? If you’ve read my eBook Light and Land, or watched one of my previous videos about curves, you know that in the old process I preferred starting with all the Basic tone controls set at zero, and the point curve linear. Does this still apply in the new process? (1:10)

– Curves or sliders? The new Basic Tone sliders are much better than the old ones; are they good enough to replace the Point Curve? (10:30)

– Does the order matter? Adobe suggests using the Basic tools in order from top to bottom, starting with Exposure, then Contrast, and working down to Highlights, Shadows, Whites, and Blacks—essentially working from the midtones out to the black point and white point. But this contradicts a long-standing tradition in digital imaging of setting the black point and white point first. Should you stand with tradition, or embrace the new order? (13:02)

– Processing a high-contrast image. (21:04)

This video is about 27 minutes long, so, as I said with Part 1, grab your favorite beverage, sit back, relax, and enjoy the show. Spending a little time with this video now will save time later when you’re processing photos. More importantly, I hope that this video will help you get the most out of your images so that they convey what you saw and felt when you pressed the shutter.

As I mention in the video, the best way to learn more about processing images in Lightroom is to take a workshop. There’s are still a couple of spots available in my October workshop, The Digital Landscape: Autumn in Yosemite. This is a comprehensive course covering the entire process from capture to print, with field sessions covering exposure, composition, and everything you do before pressing the shutter, and lab sessions where we process and print the images with Lightroom.

I hope you enjoy Part 2!

—Michael Frye

Related Posts: Lightroom 4: The New Tone Controls; Using Curves in Lightroom and Camera Raw

Michael Frye is a professional photographer specializing in landscapes and nature. He is the author and photographer of The Photographer’s Guide to YosemiteYosemite Meditations, and Digital Landscape Photography: In the Footsteps of Ansel Adams and the Great Masters, plus the eBooks Light & Land: Landscapes in the Digital Darkroom, and Exposure for Outdoor Photography. He has written numerous magazine articles on the art and technique of photography, and his images have been published in over thirty countries around the world. Michael has lived either in or near Yosemite National Park since 1983, currently residing just outside the park in Mariposa, California.

 

Lightroom 4: The New Tone Controls

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As I wrote last week, Lightroom 4 represents a big change—the biggest change to Adobe’s Raw processing engine since Adobe Camera Raw was introduced in 2003. They’ve completely revamped the underlying algorithms for all of the tonal controls, and changed the behavior, and in some cases the names, of all the Basic Tone sliders.

Overall, I’m really happy with the new process, especially for high-contrast images. But if you’re accustomed to Lightroom 3 the new tools may seem strange at first. So I’ve been working on two videos to explain the changes and how to work with the new tools.

The first video, embedded here, explains some of the differences between the old and new processes, how the new tools work, and the ways they affect an image’s appearance. Here are some of the main points:

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Photo Critique Series: Re-Processing a Misty Forest Scene

Photo Critique Series: “Mist” by David Eaton, Part 1 (direct link to YouTube)

Photo Critique Series: “Mist” by David Eaton, Part 2: Processing (direct link to YouTube)

Yes, the critiques are back—finally! This critique features a beautiful forest image called “Mist,” by David Eaton. The photograph was made in an area called The Chase near Birmingham, England.

This is my second video critique, and I’ve broken it into two parts. The first video discusses the processing (briefly), light, composition, exposure, and sharpness. In the second video I demonstrate how I re-processed the image in Lightroom.

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Lightroom HDR

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Can you create HDR images in Lightroom? Yes! Well, sort of. Lightroom only works with one photograph at a time, so you can’t blend different exposures of a scene together. But you can handle some high-contrast scenes in Lightroom, without HDR software or Photoshop, by using Lightroom’s tools to exploit your camera’s full dynamic range. I explain how in this latest video.

Like many inventions, this technique was born out of laziness. I wanted to avoid the sometimes tedious process of blending exposures manually in Photoshop, with HDR software, or my favorite plugin, LR/Enfuse. I also try to keep my adjustments flexible by using Lightroom’s non-destructive workflow whenever possible.

This technique only works with Raw images, and scenes where the contrast isn’t extreme, but I keep finding more and more situations where it does work. If you try it, let me know how you make out!

As always, be sure to view this in high definition (720p) to see the tools and sliders clearly.

—Michael Frye

Related Posts: Using Curves in Lightroom and Camera Raw; New Video: White Balance for Landscape Photographs

Michael Frye is a professional photographer specializing in landscapes and nature. He is the author and photographer of The Photographer’s Guide to Yosemite, Yosemite Meditations, and Digital Landscape Photography: In the Footsteps of Ansel Adams and the Great Masters, plus the eBook Light & Land: Landscapes in the Digital Darkroom. He has written numerous magazine articles on the art and technique of photography, and his images have been published in over thirty countries around the world. Michael has lived either in or near Yosemite National Park since 1983, currently residing just outside the park in Mariposa, California.

White Balance for Landscape Photographs – Part 3: A Special Problem

White Balance for Landscape Photographs – Part 3: A Special Problem from Michael Frye on Vimeo.

Here’s the third part of my video series on white balance, where I present solutions to a common problem in landscape photographs—finding the right white balance when mixing low-angle sunlight with blue sky.

If you haven’t seen them already, here are links to Part 1 and Part 2.

To see this video clearly, be sure that “HD” is on (the letters “HD” should be white instead of gray; if not, click on them), and click the “expand” icon just to the right of “HD.”

Hope you find this helpful; I look forward to hearing your comments! And if you like the video, please share the link.