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Calibrations in Lightroom CC: Comparing RAW and JPEG

Lesson 21 from: The Ultimate Lightroom Classic CC Workflow

Jared Platt

Calibrations in Lightroom CC: Comparing RAW and JPEG

Lesson 21 from: The Ultimate Lightroom Classic CC Workflow

Jared Platt

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Lesson Info

21. Calibrations in Lightroom CC: Comparing RAW and JPEG


Class Trailer

File management and the Library Module


Intro and File Management


File Organization and Lightroom Workflow Overview


Workstation Diagram and File Flow


Converting From a Previous Lightroom Workflow


Lightroom CC Tour: Folders and Collections


Lightroom CC Tour: Publish, Histogram and Quick Develop


Importing Images into Lightroom CC


Rules for Selecting Images in Lightroom CC


Organizing Photos in Lightroom CC


Keywording in Lightroom CC


Using Facial Recognition in Lightroom CC


Working With Catalogs in Lightroom CC


Synchronizing Catalogs in Lightroom CC


Using Lightroom Mobile


Publish Services in Lightroom CC


Lightroom Workflow Q&A


Tour of The Develop Module in Lightroom CC


New Features in the Lightroom CC Develop Module


Camera Calibration


Calibrations and Custom Profiles in Lightroom CC


Calibrations in Lightroom CC: Comparing RAW and JPEG


Rules for Developing in Lightroom CC


Understanding Presets in Lightroom CC


Making Presets in Lightroom CC


Syncing Presets in Lightroom CC


Working with Photoshop and Lightroom CC


Using the Lightroom CC Print Module


Setting printer profile in Lightroom CC


Comparing Prints from Lightroom CC


Finalizing the Job in Lightroom CC


Archiving the Job in Lightroom CC


Importing Back from the Archive


Building a Proof Book in Lightroom CC


Building Albums with Smart Albums


How to Create a Portfolio in Lightroom CC


Advanced Search in a Portfolio in Lightroom CC


Scott Wyden Kivowitz Interview on SEO


Optimizing Image Metadata in Lightroom CC


Publishing a Blog Post From Lightroom CC


Making Slideshows in Lightroom CC


Lightroom CC Workflow Recap


Developing, Presets and Printing in Lightroom CC

Day 3

Lesson Info

Calibrations in Lightroom CC: Comparing RAW and JPEG

How do I match my j peg to my raw? Now we're with cameron, we've got the camera calibrate and we know what color the camera's giving us now we want to go in and compare our images, so I'm going to go to let's see where's my shot right here so there's our shot remember, we don't have the camera calibrated for we haven't set set the camera calibration, so I'm first going to highlight my raw image see this one and this one, those are the two, so I want to highlight both of those and I'm gonna make sure that my auto sync is on right now and I'm going to turn on that camera calibration. So now I know that this one and this one both have the same camera calibration, but this one and this one looked very different because one is what I would see on the camera. The contrast, the color tones and this one is what the rise giving me. So when I look at the two side by side and this is where it would be very helpful to have a second monitor because you could put the two side by side, highlight both...

of them, have them over here and watch and match them so I can make this a little bit bigger, but so I can start to match those all right. So that's going to get in the way of actually doing it but I'll show you what this would look like with two monitors going so now I want to turn the auto sync off because I on ly want toe work on one at a time but I want to see both of them so I've got my I'm looking at the raw image and then this one over here this is the j peg so I'm gonna look at the raw and I want to compare it to the j peg what do we need to do to our raw image to make it look like the j peg? Well the first obvious thing is that we need contrast so I can go in and I can accomplish that in the contrast or I can accomplish that in the tone curve either one let's just start with the contrast and see what we come up with so if I add a little bit of contrast to this and then I look at it let's compare the two so this one versus that one my contrast is much closer now see the shadows air about the same but there's something else occurring which is a lack of color and so I'm going to take my color my saturation down a bit so now if I look at the two now we're closer on all of them were not exact but we're closer and keep this in mind just because you're trying to match the raw on the j peg that doesn't mean I have to be match exactly what you want to do is to be able to see the concept in your your camera and and like the feel of it and then when you get to your raw you want that same field but a better file so better shadow detail better highlight detail all that kind of stuff but the same concept so what I'm gonna do is I'm going to take my highlights down just a bit and I know already that I'm constantly pulling my highlights down anyway because I always um trying to capture in the highlight detail so now let's look at the two oh, I went too far so I'm gonna take the highlight detail back out a bit see that now we're getting better or clothes there's a little bit more blue in my raw than there is in the j peg but I'm okay with that you can see that in his little logo on the right hand side of his sleeve it's bluer when I go to the raw than it is in the j peg and that's because my raw has forty thousand tones and my j peg goes two hundred fifty six so I'm like in that I think that's pretty good so now the question is I'm close in matching that j peg minus cem stuff that I don't really care about like that blue and minus that I think that my picture style was a little too lack in color I probably had dialed down the saturation too much I like that saturation a little bit better so I'm going to close down this comparison and now I'm going to start working on this raw image to see what else is there that I need to do to every image. Is there anything else? I'm constant daily doing two images that I want to fix right now and I'll tell you right now that I'm generally bringing these shadows up just a little bit and I'm generally bringing this the black down just a little bit pretty much always so why would I want to slide that slider every single time that I open an image? So I'm gonna take the shadow up just a little bit so that I see nice shadows and I'm going to take the black down just a little bit so I get some nice, you know, punchy black but not too far I like the saturation down at negative seventeen that's good. Um actually my preferred is negative fourteen so negative fourteen is where I like to keep it um and then if there's a certain tone curve I wanted to add to every image I could do that, but in general that's pretty much all I need to do now keep in mind I've already set the camera calibration too so it's studio lighting pro photo good all right so that's the profile and then in the basic here is the saturation black point shadows highlights and my contrast so those are the things I did you notice that I didn't touch temperature intent do not touch that because you're going to be tell if if I touch those it will tell light turned to include anything I touch so don't touch him you on ly want to include the things that you constantly will be doing toe every photograph because this is going to be a global thing for anything that comes in from this camera okay now before we go to the next step we want to go up to our preferences and in our preferences we want to choose what we're going tto add to the camera default so this says make default specific to the camera serial number and this one says make default specific to the camera iso settings if you have this s o setting one checked it actually makes every eye is on your camera every single one fifty, one hundred you know two hundred one sixty whatever eso settings you have on your camera it makes a unique camera for each one of those so each one so that's like twenty cameras for one camera so every single one of your eyes cells will be considered a do a new camera, which means that you would have to do this process for all twenty iso settings or however many there are so I don't want to get that detailed, but if you do that, you will spend about an hour doing it and you will never have to fuss with any year images as they get noisier from grain, you will automatically fix it because what you would do is you would say as I get to about four hundred, I'll start adding this and as I get to fire eight hundred, I'll add this and once I get to sixteen hundred, I'll take the noise up quite a bit when I get thirty, two hundred I'm going to take the noise reduction up and the color noise reduction and I'm going to add some grain to mask some of the problems that are occurring once I get to thirty two and four, sixty four hundred and bubble bubble block and so once you did that, then every photo that came in out of that camera would look, it would be all done except for whatever style you want to put on it based on a pre set and it would be fixed based on whatever you know you just have to maybe adjust a exposure or just a contrast or whatever and you'll be done because you would never have to go in and say oh, these air noisy now they wouldn't be because the noise would be fixed by the virtue of the fact that it was a thirty, two hundred eyes so comes in noise would be fixed you might tweak it if it got if it you know went crazy on it or something but so so it's a very useful thing to do but it's gonna take you an hour to do it but it will be worth it if you spend the time doing it but you just are goingto literally take a photo of the same thing over and over and over again exposed correctly for every single is so all the way up the chain once you're done with that, then you're going to bring them in and you're going to camera calibrations going to stay the same so you can highlight him all apply the camera calibration across the board because the color is going to be pretty much the same then you're going to start tweaking. You're gonna tweak all of them for the things you do on every image all at the same time and then image by image you'll go in and change noise reduction levels and grain levels and things like that that will help repair the higher isos and then once you've done that you're going to do the next step to all of them I only have to do it toe one image you'll have to do it to a lot of images, so I'm in a uncheck that for now, because we're doing the simple version, however, making camera default specific, the serial number is very useful because if I shoot one way and my assistant shoots another way, it's a good idea to have the two cameras scene is different. If I happen to shoot two cameras that are exactly the same, I just two can apply the same default to my other camera just take all the settings copy um, to the other one and then make the default for that one so that my cameras of the same but when his come in, they're treated differently because he shoots brighter, he should start her, he should, you know, whatever or everything he shoots is soft, so I need sharpen it, whatever you know, that kind of stuff so you can apply all those changes, so we need I'm gonna leave this camera serial number on so that on lee, this camera is going to be affected this way. Once I've done that, then I can go up to the developed menu go to set the default settings right here in the development you set the default settings, click on that when I do that, it gives me this dialog box I can either restore the original adobe ones or I can update and notice that it's going to put it on the camera mark mark three five d and here's the serial number and I'm gonna update that current into the current settings and now from here on out anytime I bring in an image from this camera it will have this profile attached to it so the profile that we set up with the ex right will be here it'll be set anything I tweaked down here will be set all the basic stuff that I did will be set so now let's go to an image so here's a raw image that's not been fixed and if I hit reset to see what happened it took it to the default so when you make the default it's not going to change all your past photos all your past photo stay exactly the way they are the only photos that it effects is all the new photos coming in or anything that you highlight and you go in and click on the auto sync and if you hit reset its going to reset every single photo to that default and if you go to the j pegs it's also going to add that to the j pegs which is not going to do the j pegs any oh no it's not that's good smart doesn't do is the j pegs just to the wrong okay so that's how you calibrate your camera and you calibrate what light room wants to do with that. So from here on out, you don't have to do all that fussing now what you need to do and we're going to go just two are we'll just go to the image that that we selected from this job now, so we're just going to go to our selects these are the ones that we want to adjust highlight all of the ones that we want to just go into the develop module. Now we have completely, you know, if I hit reset, all of that is set up exactly the way I want it to be. Now all I need to do is just take the temperature down just a little bit. I'm going to add a little bit of clarity to it, bring that shadow down a little bit wanted to be really dramatic, and then I'm going to take my I'm going to make my vignette that we wanted to make yesterday, um, that we we showed you yesterday and I'm going to go in and do a one stop burn and I'm going toe do you live in yet? Like this? There we go, so now I have the vignette all the way across, all of them, and now I'm pretty much set. Now I can upload those so that my client khun see them my client is my wife um she can look at him she can choose him she could print him she can do whatever she wants to him but I am done unless she says hey could you turn this one to black and white or whatever so I'm going to do I'm going to go into our pre sets that we've made for our course and I'm going to do a scion a type on my favorite one because I think it'd be cool so I'm gonna do that one with a scientist type boom love it okay so now he's all done all right? Any questions about that process it's not a hard process you just have to follow the steps if you follow those steps and guarantee that's going to save you a lot of time all right, so any questions or no we have one okay when creating a profile for camera calibration using x right? Do you need to create it for each photo shoot example outside landscape daylight's on etcetera I would do it for shots that are done with studio lights that you control and then I would do one for daylight type situations you know and if you do the two so you do one in shadow and one in like son full sun then you'll have correct for you guys you might dio one under a cloud and one outside of a cloud that's because clouds are constantly in and out, you know you've got a cloud, you don't have a cloud, you got a little sun, so you don't have to change profiles every time the sun changes on you. So if you do two shots, one under cloud and one on full sun than you'll have a good calibration that's generally good for that camera for outdoor and then you have an indoor one for I would do like a tungsten and a, you know, fluorescent lighting or whatever so that you have kind of both. So then you have three profiles that you can use on a regular basis. Outdoor, indoor and studio. Okay, question. So you've I calibrated the camera calibrated light room, but about the monitor calibration like with a spider pro. Where does that fit into this? This happens before you ever open anything. Okay, so before you do any of this, if you if you're trying to calibrate what you're seeing on your screen, you better have calibrated first. And so. And I used everything I used. Calibration wise is all ex, right? So this is the eye one, uh, display, I want display unit and the calibration is easy you just turn it on, put this on the screen and it figures out the calibration and it talks to the screen tells it to you know, not be so bright and all that kind of stuff so it's great unfortunately there's nothing that can truly um make your glossy crappy screen looks like a print so you have to judge that um and unfortunately apple has gone from being a really good monitor to being really bad monitors s o if you want really accurate monitors, you need to go to something like, uh, the walk um sent ik er you know, actual they're they're a monitor and a tablet at the same time those air calibrate herbal and they're not glossy there they're neutral so they represent well, you could go to, uh, lucy's, but they're kind of I think they've stopped making I don't know, I don't know how much lead we'll see used to be the like the name brand for that kind of stuff. Um and then there's there's some new ones out there and I don't even know I can't tell you the name of because it's a weird name um but research and find, uh good color if accurate monitors um so I use the san teak uh and then I have an apple monitor as well but I judge off the sinti because I can see it as a print I can't judge off of this I have to so when we're printing today I'm going to be printing and the overhead camera ll probably be able to show you the difference between this glossy monitor and the flat print and you have to kind of manufacturing your head what is that going to really look like? Because the glossy screens are horrible for judging contrast yeah, they're calibrating a laptop absolutely because I want to color to be accurate color and the brightness should be accurate but the just the only difference is that this will be super great for what's it going to look like on my client's ipad what's it gonna look like on my client's tv screen or what's it gonna look like on my client's computer it's perfect you get a different color when you tilt the screen a little bit apple's pretty good about that like aiken aiken tilt this and I don't get any difference so that's the one thing that apple's got right on their on their laptops it's really good for like moving around but it's just so glossy I literally I'm looking at myself I mean, I know I'm bald and I kind of shine a little bit but I'm looking at me I could see me and I don't know why apple I don't know why apple thinks people want to see themselves in their monitor. I don't know. But anyway, they went cold. Totally away from that drives me nuts. So I want steve jobs back. I really do anyway. Okay. Uh, yes. You had a question? Just two quick comment, actually, x, right? Yes. Recently released the calibration tool to work with that with for your androids and iphones and stuff. Yes, yes, absolutely. So I can actually, I can actually use this to calibrate this. The only downside is that there are very few applications that are currently using that calibration. So if I look at something within my ex right calibrated it's it's its own app, then I can see things accurate to what this teo, the actual calibration, but outside of that, if it's not using the calibration than it's, not of no value, so hopefully adobe and those kind of programs will start to use that calibration. But right now, if you want to use the calibration it's only several tools that will use it. But yeah, you, khun calibrate this and your phone. In fact, I have this calibrated although light room mobil's not using the calibration, so don't lie so hopefully soon.

Class Materials

Bonus Materials with Purchase

Advanced Workstation Setup
Lightroom Presets
Personal Only Working State
Plugin Workflow
The Workflow Archive State
The Workflow Pipeline
The Workflow Working State
Simple Workstation Setup
Shuttle Pro Settings
Bonus and Live Created Presets

Ratings and Reviews

April S.

I've been using Lightroom for about a year now. I'm pretty comfortable with the basics and a little more. Sometimes knowing what I want to learn next depends on knowing what's out there to be learned. I listened in to this course from work to get an idea of whether there was enough new content to warrant buying the course. Though Jared covers lots that I know, he filled many small things I didn't know and covered some bigger topics that were new to me. I decided that I wanted to own this course because I respond best to structured learning, and Jared starts at point A and carries through to point Z, so to speak. I have watched his live and rebroadcast courses before and I really like and learn from his teaching style too, so I'm sure this course will be the boost I need as I prepare to subscribe to Lightroom CC instead of just using my local copy. Though another reviewer's tone wasn't very nice, I have to agree that it would helpful to have a written synopsis or outline of courses to help when deciding whether to purchase. Looking at the titles of the included videos is helpful, but not enough. This would be especially useful when a person hasn't seen the live broadcast first, and is simply evaluating a course in the course library.

Jim Pater

I learned a lot from this class when I took it a long time ago. I'm not as fond of his ego but that's fine as I don't have to be around him all day long. What I found extremely useful was the video on synching Lightroom Presets. I set this Dropbox synching system on my laptop and desktop Mac computers and it works perfectly. I also use it for other programs as well like Photoshop and another program called Keyboard Maestro. Thanks for your help Jared. Much appreciated trick.


I am new to Lightroom and from the start of the course it became very clear to me that Jared is one quality person with a real passion to explain everything with great skill and a motivation for success. I did not hesitate to download his course as this is the basis for my personal development and the journey to experience great photography.

Student Work