Archive for the ‘Video Tutorials’ Category

Free Bonus Video: Using the Arrow Keys in Lightroom

Sunday, August 4th, 2013

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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

Friday, April 20th, 2012

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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

Friday, April 13th, 2012

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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

Tuesday, December 20th, 2011

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

Thursday, August 25th, 2011

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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

Thursday, January 6th, 2011

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.

White Balance for Landscape Photographs – Part 2: Shade

Wednesday, December 22nd, 2010

White Balance for Landscape Photographs – Part 2: Shade from Michael Frye on Vimeo.

Here’s the second part of my video series on white balance. Today it’s all about shade—finding the perfect color temperature that brings out all the hues when there’s no sunlight in your photograph.

If you haven’t seen it already, here’s a link to Part 1. Still to come is Part 3, where I’ll present solutions to a common problem in landscape photographs—finding the right white balance when mixing low-angle sunlight with blue sky.

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.”

These videos are a great way to explain concepts like white balance, but if you want to put all the bits and pieces together and really master the digital darkroom, there’s still space available in my upcoming Photoshop and Digital Printing workshop, January 16-20.

Hope you find this video helpful, and I look forward to hearing your comments!

 

New Video: White Balance for Landscape Photographs

Friday, December 10th, 2010

White Balance for Landscape Photographs – Part 1: Sunlight from Michael Frye on Vimeo.

My recent critique of Mark Wilburn’s dogwood photograph prompted a lively discussion about white balance, so this seemed like a good topic for a more in-depth treatment. I’ve created three videos on white balance for landscape photographs, and here’s part one, which looks at images with sunlight, including sunrises and sunsets. Part two will discuss photographs captured in the shade, and part three will present solutions to a common problem in landscape photographs—finding the right white balance when mixing low-angle sunlight with blue sky.

In all of these videos I discuss what I think is the key to setting color temperature—finding a good balance between warm and cool colors, and preserving the vibrance of all the individual hues.

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.” Once you’ve expanded you might want to turn Scaling off if you have a big monitor.

As I mentioned yesterday, my new eBook will discuss my entire workflow in depth. I’ll post more details soon.

 

Camera Calibration for Raw Files

Tuesday, July 27th, 2010

Camera Calibration and Profiles Video

Vision is the most important part of photography. Your eye is what makes the difference between a great photograph and a mediocre one.

But when realizing your vision and making it come to life in the final image, getting the right color is vital.

Recently I posted two videos about using curves in Photoshop, Lightroom, and Camera Raw. But there’s a more fundamental step that I haven’t talked about, something you might want to do with Raw files before adding curves, correcting white balance, or doing anything else: choosing a profile.

What is a Camera Profile?

A camera profile is a translator: it’s translates the colors that a camera captures into the colors they should be. In other words, if a certain camera tends to turn reds into orange, the profile will correct for that and convert those reds back to their proper hue. Of course there’s no such thing as “correct” color—it’s all subjective. So profiles can come in different flavors: more saturated, less saturated, more contrasty, etc. Choosing the right flavor for your image is the first step toward making your visualization come to life.

I’ve posted a new video on YouTube that delves into this seemingly esoteric yet actually quite simple subject. In it I show you how to choose different profiles in Lightroom, and explore whether creating a custom profile might be worthwhile. I evaluate some profiles I made with the X-Rite ColorChecker Passport, a $99 package for making custom camera profiles in any lighting situation. Yes, full disclosure, they actually gave this to me for free—I must be hitting the big time!

Also, there’s one more reason for exploring different profile options: reducing noise, banding, and posterization. I show an example where the profile choice made a dramatic difference in noise and banding.

Camera Calibration Tab in Adobe Camera RawI didn’t have time to demonstrate it in the video, but the same profile choices are also available in Adobe Camera Raw—just look under the Camera Calibration tab, third from the right, as shown here.

So here’s a link to the video:

Camera Calibration and Profiles

As always, it helps to view this at the highest resolution, 480p, and click on the double-sided arrow to make the video larger.

I hope you enjoy it! Comments are always appreciated, and if you like video, please share it with a friend: Email this article, or click on one of the buttons below to post it on Facebook or Twitter.

 

Using Curves in Lightroom and Camera Raw

Tuesday, July 6th, 2010

Curves in Lightroom and Camera Raw

As promised, I’ve posted another tutorial on YouTube about Curves in Lightroom and Adobe Camera Raw. In this video I examine the default settings in these applications, and why you should avoid using them—at least sometimes. These defaults actually apply three curves to your image before you even start processing it. Watch the video to see what’s really going on “under the hood” with the settings in Lightroom and Camera Raw.

Again I had to break this into two parts; here are the links:

Curves in Lightroom and Camera Raw – Part 1

Curves in Lightroom and Camera Raw – Part 2

I hope you enjoy these—comments are always welcome! To see everything clearly you need to view in high resolution—click on where it says 240p or 360p in the lower-right corner and choose 480p. Also, if  you click on the little double-sided arrow you’ll see the video larger.