1 So I'm gonna click on the range option 2 and there are several different range options. 3 There's depth range, which this doesn't actually 4 legitimately have any depth to it, 5 so it's not shot with two lenses. 6 The lens blur tool kind of does AI 7 to figure out the depth. 8 This is actually legitimate depth, 9 so this isn't gonna be available on any normal camera, 10 but there is luminance range and there is color range depth. 11 And I'm gonna choose luminance range. 12 So I'm clicking on luminance range 13 and I'm just gonna choose things that are kind of dark. 14 So this kind of dark area right here. 15 And if I go to the show overlay, 16 you can see how much darkness it's choosing. 17 And don't worry, I know it's spilling up here, no big deal. 18 I'm going to be able to solve that. 19 So what I'm gonna do is I'm just choosing 20 that depth range right now 21 and I'm actually gonna increase it just a little bit 22 so that it really covers the darkness here on these. 23 And the...

n, I'm going to come down to the preset area here. 24 I'm gonna turn off the overlay. 25 I'm gonna come down to this preset area again. 26 Remember, I'm gonna double click it 27 so that it resets the entire photograph 28 so that there are no adjustments being made. 29 And now I'm gonna come down to dehaze. 30 And if you take dehaze up, see how it gets rid of the fog? 31 So it kind of cuts through it? 32 But the opposite is true if you take it down. 33 I start to get like a... 34 See how it softens up those front trees? 35 So I'm just gonna bring it down 36 and get a little less shadow in there. 37 So it's basically dehazes, major contrast, 38 or remove contrast. 39 So I'm gonna remove the contrast in those front trees. 40 I'm also gonna remove a little bit of clarity 41 and I'm gonna come up to the basic adjustments 42 and I'm gonna take the shadows up a little bit 43 and the black up a little bit, 44 but the exposure down a little bit and add a little contrast 45 or remove some contrast. 46 So I'm really trying to just remove the heavy weightness, 47 or the heavy weightness? 48 The heavy weightedness of those trees. 49 So anything that I can do to remove that. 50 The other thing that I can do is add a little bit of blue, 51 so that it's not quite as warm, 52 and I'm even gonna pull out a little texture. 53 So I'm just trying to make those trees less 54 obvious to the person who's looking at the photograph. 55 So now, once I've done that, 56 you can see if I turn on and off the effect 57 that it's happened all across 58 and the more it goes up here, the more fog it creates. 59 But I don't want all of that. 60 I have just done it on a range and I can always come 61 into that range itself and keep working on the range. 62 So I can take that, oops, I double clicked it. 63 I can take that range and bring it down, up. 64 You can see that I'm playing with it. 65 By the way, when you're working on a range, 66 this, from zero to whatever this point is, 67 maybe 20%, 68 that is the full strength of whatever effect you're doing. 69 And then from here, at the 20% mark, 70 up to here, which maybe is the 55% mark, 71 this is the transition between full and no strength. 72 And so you can move this around all you like, 73 you can move this around 74 and then you can move these individual 75 pieces around as well. 76 So right now, it's going from full strength at zero, 77 so pure darkness, 78 and then it's going to about 20% at full strength, 79 and then it transitions from full strength 80 to no strength to about 50%. 81 And so you can make that gradation faster 82 or slower based on this. 83 So again, if you show the luminance map, so this is, 84 you can see the effect. 85 So now if I zoom back out, 86 you can see the effect right here. 87 And I can say, oh, I want this to have no strength, 88 you know, up here. 89 So see how the more I go up, the more all of it has it. 90 We don't want to blur all of those trees, 91 we really just want to affect the trees down here 92 in the bottom area of the photograph. 93 So, I pull these down 94 and then I can take the spill here down as well. 95 And if I go way down, see how I only get those trees? 96 But I wanna spill over the trees just a little bit, 97 like that. 98 There we go. 99 And I could probably increase this just a little bit. 100 Okay, now you're wondering, 101 he's still not doing the full effect that he wants. 102 He's still spilling over into places he doesn't want to go. 103 But I have an ace up my sleeve 104 and that is that I know 105 that these masks don't just operate on their own. 106 I can go into this mask 107 and I can click on the triple dot button 108 and I can say, intersect this mask with a brush. 109 By doing that, I've created two rules for the mask. 110 First rule is the luminance range. 111 The second rule is the brush. 112 And both of them have to be true 113 in order for the mask to be in play. 114 So now I'm looking at just painting in. 115 So right now, I haven't brushed anything, 116 so the mask is not in play. 117 And now I'm going to start painting 118 and you can see how I can create my own area 119 and it's only gonna be working on the darker areas. 120 It's only fogging up the darker areas. 121 And I've got it at 100% right now, 100% flow. 122 And now I can take the flow down to say, 28%. 123 I've got my feathering way up, 124 I'm gonna increase the size of the brush. 125 And I'm just, see, I'm just gonna go up and down with this. 126 I'm just gonna be very kind of haphazard about this 127 because the thing about fog is it just kind of flows around 128 inside the trees. 129 And so I'm just kind of moving around in the trees, 130 moving around in the trees 131 and I'm letting it spill. 132 See, it's okay if it spills up 133 and it looks like more fog is over there 134 on that side of the ridge. 135 And I kind of, and then I can come in 136 and I can take the eraser tool or well, 137 because this is an erase tool right now, 138 I can go in and change the brush. 139 So just simply by hitting the option key, 140 see how it's a plus right now? 141 Now it's a negative. 142 And while I'm holding down the option key, 143 I can change the size of the brush with the bracket tools 144 and I can hit the shift bracket tools to change the size 145 of the feather. 146 So now I'm subtracting 147 and I can kind of just subtract from the area as well 148 so that I have a little bit of a negative brush too. 149 And so now you can see, this is the mask now. 150 See how I was able to manipulate that? 151 So it's not doing anything, it's not doing anything up here 152 to the actual castle, 153 it's not doing anything to these trees, 154 simply because I was choosing where to brush it in. 155 Now, the other thing that I can do to help that, 156 because it's still a little bit bright here, 157 I can start playing with the actual effect. 158 So now, I can go in and say, 159 okay, how much of this shadow do I really want? 160 How much, if I go down to my dehaze, 161 how much of the dehaze do I really want? 162 And I can start playing with this to see where is my line. 163 I'm pulling up the dehaze 164 so that there's quite a bit of de hazing. 165 And then I'm gonna take the exposure down a little bit 166 so that it's not quite so obvious that it's getting. 167 I kind of like that. 168 I'm also gonna take my temperature down a little bit 169 'cause it's still a little too warm. 170 So I'm taking the temperature down a little bit. 171 That's starting to match. 172 Starting to not see all of that. 173 'Cause my goal here is to just have this 174 kind of fade out of my view. 175 I don't want to pay attention to this. 176 And then the last thing that I can do 177 is I can add a new brush. 178 And this brush is just gonna be a burn dodge. 179 Just a typical, double click the preset, 180 get it back to zero. 181 And by the way, 182 you can always click on this reset sliders automatically 183 and then it will just reset the sliders 184 every time you make a new brush. 185 So now I'm gonna take my exposure down just a little bit 186 'cause I'm gonna do a little slight burn 187 all the way down at the bottom. 188 Just kind of do a little bit of burning 189 like I would traditionally on a photograph 190 so that it just kind of has a darkness in the bottom 191 and it heads up to the light. 192 So now, let's take a look at these masks 193 and see what we've done with the masks. 194 So we started and this is what we had at the beginning 195 and now this is what we have later. 196 So that's quite a difference. 197 That really, you can see those trees 198 and now they're kind of feel like they're part of 199 that group of trees back here. 200 They're not quite so obvious. 201 And if I really look at the photograph from start to finish, 202 if I go before, you can really see these trees, 203 they are quite a nuisance to the photograph. 204 And this is after, 205 and it looks like they are part of the photograph.

Class Materials

Bonus Materials

Adaptive_JP_LR_Presets.zip

Artist_Profile_Collection_by_Jared_Platt.zip

Editing_and_Organizing_in_Lightroom_Classic_Photos.zip

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Jared Platt

Jared Platt is an international wedding, lifestyle, and portrait photographer and photographic lecturer.  Jared began his studies in photography in documentary and landscapes, but today you will find his images are a perfect blend of the three genres.

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topics covered in this class

Adobe Lightroom Beginner Post-Processing Software Photo Editing

Ratings and Reviews

Jim

This is a good class, which includes the most recent Lightroom updates. I've watched plenty of videos on YouTube, but this class is much more thorough and is useful to learn more quickly than other options. I recommend it.

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LRC Adjustments: More Masking

LRC Adjustments: More Masking

Lesson Info

21. LRC Adjustments: More Masking

Lessons

Introduction

A Tour of Lightroom Classic

Importing Images into Lightroom Classic

Selecting Images in Lightroom Classic

Importing Metadata and Catalogs into A Catalog

Organizing Images in Lightroom Classic

Adding Metadata to Your Images in Lightroom Classic

Bonus: Impossible Things AI Plugin

Adjusting Images in Lightroom Classic with Synchronization

LRC Adjustments: The Histogram and The Basic Panel

LRC Adjustments: Profiles

LRC Adjustments: The Transform Panel

LRC Adjustments: The Crop Tool

LRC Local Adjustments: Masking

LRC Adjustments: The B&W Panel

LRC Adjustments: Grain in the Effects Panel

LRC Adjustments: The Point Color Tool

LRC Adjustments: The Color Mixer Panel

LRC Adjustments: The Tone Curve Panel

LRC Adjustments: The Lens Blur Tool