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Subtitles
Russian
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then we are going to see the settings of the00:00:02
basic settings panel so we are going to00:00:04
take an image00:00:06
you can take any00:00:08
image that is provided with the training00:00:10
I am going to take this one so the one with 2400:00:12
29 points cr3 which was taken in the forest00:00:14
from brocéliande00:00:15
we are going to go to window and a00:00:17
development00:00:18
and we are therefore going to talk about basic settings00:00:22
it is the first panel which is here00:00:23
so you have seen normally if you00:00:26
follow the training in order the00:00:27
video on the histogram00:00:29
but also what I invited you to00:00:31
do is to actually consult the nex00:00:33
I did not include in the order of the00:00:35
training because it is not00:00:36
directly said in lightroom but I00:00:39
strongly advise you to consult the nex00:00:41
on colors00:00:43
what primary colors are for00:00:45
additive synthesis for00:00:47
subtractive cpta how to link a histogram00:00:48
all these things which are still00:00:50
quite important which are not00:00:51
directly linked to lightroom but00:00:53
nevertheless which allows you to better understand00:00:55
how the tools work00:00:56
inside Lightroom so for00:00:58
example not our basic settings are there00:01:00
and I say it every time in00:01:02
my training on Lightroom very poorly00:01:04
its name because it would suggest00:01:05
that these are basic settings so00:01:07
basically basic and possibly on00:01:10
the interpreter it is implicit whereas in00:01:12
reality it is probably where you00:01:14
are going to take your photo in fact00:01:16
once we have done everything that needs to be done00:01:17
in basic settings and there is a part00:01:19
of subjectivity when I say everything there is00:01:20
to do of course but in00:01:22
general your photo was not far00:01:23
from being finished everything that is behind00:01:25
it is important but once again there are00:01:28
so many important things in00:01:29
settings of basis that once we have00:01:31
gone through that the rest in my opinion is00:01:32
detail it only concerns me but00:01:34
really I feel that this panel they00:01:35
bear poorly on our faults bears00:01:38
its name well but in general it is sure00:01:39
interpreted by beginners in00:01:41
particular who will immediately go and00:01:43
dive into the bottom of the interface in00:01:45
ten years and tools which are more00:01:47
advanced in that I'm going to do more00:01:48
stuff on my photos but in reality in00:01:50
fact the interface here in Lightroom has00:01:52
always been designed since version 100:01:53
so that we follow its developments00:01:55
and its development settings in00:01:57
order, that is to say that the engineers00:01:59
obviously programmed Lightroom with00:02:02
photographers, that is to say that it is a00:02:03
tool for photographers and00:02:05
photographers have provided the00:02:06
information needed for00:02:07
things to be done in order so the00:02:09
basic settings panel is for example00:02:10
here if we see black00:02:12
and white color processing example and then the profile00:02:15
so basically the type of00:02:18
color correspondence table that we want to00:02:19
put as input followed by the00:02:20
white balance will obviously speak you can see00:02:23
very well that if you have had good00:02:25
photography practice for several00:02:26
years these are things which are00:02:28
absolutely essential00:02:29
it is absolutely essential to00:02:31
decide them straight away so obviously00:02:32
the flexibility of digital means that if00:02:35
you don't do it you change00:02:36
your mind it doesn't matter since the00:02:38
power of raw files means that we00:02:39
can all modules and especially come back00:02:41
more or less all the time but00:02:43
obviously there is advice to give00:02:44
and there are work flows which are00:02:46
still a little more methodical than00:02:47
others so it is not because everything00:02:49
is possible that it you have to do00:02:51
anything and it's not because the settings00:02:53
are a priori non-destructive in any case00:02:56
not too much on a file on an00:02:59
image sorry which was taken and00:03:00
correctly and therefore with the00:03:01
red display which has a lot00:03:02
of information it is not because we00:03:04
can do lots of things that we have a00:03:05
very large latitude that we have to do00:03:06
anything so the basic settings panel00:03:08
offers you a first choice which00:03:11
is color or black and then so00:03:13
what does black and white do in fact what it00:03:14
will do is that it will take00:03:16
the original colors and it will00:03:19
transform them into grayscale is in00:03:21
fact if we go down a little bit lower00:03:22
we see that here we have a black and00:03:25
white mix so this number panel only appears00:03:27
if we select a black00:03:29
and white treatment and so for example here you00:03:33
see that originally there was a lot00:03:34
of green so obviously in the glasses00:03:36
I will be able to have a big impact00:03:37
on my development if I00:03:39
decide to lighten the greens obviously00:03:41
it radically changes the atmosphere of the00:03:43
photo could even have the impression00:03:44
that it's not even the same trees anymore and00:03:47
all that is obviously linked to the colors00:03:48
that we have of origin if we look at it00:03:50
brand of origin then its prices in a00:03:52
fair and therefore there is very little blue a00:03:54
little bit on the sky but very little and00:03:56
the rest are young people oranges and00:03:58
greens essentially so if we go00:04:00
to black and white and adjust the00:04:02
blues you see that apart from a small00:04:05
fringe of the sky not much is00:04:06
happening if we adjust the turquoises there is00:04:09
almost nothing that moves and that's normal00:04:11
since once again this balance of00:04:14
black and white is obtained as a function00:04:16
of the original colors could not00:04:18
too there is no action on a00:04:20
color transforms into gray levels if00:04:21
this color originally does not does not exist00:04:23
we are going to press g to return to the00:04:25
grid I am going to go down and I am going to00:04:27
take an image where there is a little more00:04:29
blue already so we are going to take00:04:31
something like that so there 250000:04:34
points cr3 we are going to go to the00:04:36
development window is so obviously if00:04:40
we go back up and convert to black and white00:04:43
we will be able to play with more things00:04:45
so if I go down you see that there is00:04:47
some information in glass on the00:04:49
beach there are obviously with the sand00:04:51
a lot of young people there are also at the00:04:53
passage of orange and there is here in this00:04:57
photo so you see blue on which00:04:58
we will be able to act a lot the occurrence00:05:00
in power between the sky much more00:05:03
present in this photo so obviously the00:05:05
more colors I have at the origin the more00:05:07
I can sculpt my honorable and this00:05:09
panel nber so only appears up if00:05:12
we select honorable then when00:05:13
I write on colors the bottom panel00:05:15
applies t she it carried a00:05:17
luminance saturation once again we00:05:18
will talk about it a little later in the00:05:19
training so the first adjustments that00:05:22
we must make is to choose a suitable00:05:24
color images or an image in black00:05:25
then therefore profile then it is quite00:05:28
simply in which color profile00:05:30
we are going to interpret this file so when00:05:33
I say color profile it is in00:05:34
reality a color correspondence table00:05:36
what we call a struggle luca00:05:37
lpr in English I click here on the00:05:40
thumbnail in any case on the00:05:42
kitty kohn grid which represents a00:05:44
grid and I will find the favorites00:05:46
and I will find other struggles that00:05:48
I can install00:05:50
for example here if we go to artistic00:05:52
you see that we will be able to choose00:05:53
artistic 1 and without doing anything I have00:05:55
already carried out a development we can00:05:57
also use level to more or00:05:59
less dilute it with the original photo00:06:00
so the power of another00:06:02
color correspondence table is00:06:04
to interpret the raw file in a00:06:06
certain way to say well for example00:06:08
the times thought are here in the occurrence00:06:10
tinted with magenta they can00:06:12
possibly be a little more butchers00:06:13
can be interpreted differently00:06:15
depending so the coverage lookup table00:06:17
you have yet done nothing00:06:19
on the file it is already ready00:06:20
develop if you generally prefer00:06:22
the lookup tables of color00:06:23
it is used to correspond00:06:25
sending of files to a type of00:06:28
January 2 say of peripherals or in00:06:31
this case film if you00:06:33
want emulators and a film for00:06:34
example there is rmi which manufactures00:06:36
superb00:06:37
color correspondence tables00:06:38
for example to00:06:40
allow you to develop your image in the00:06:42
Fuji Astia way, I haven't00:06:45
done anything yet on my image, I have00:06:46
the interpretation of the blues and the young people00:06:48
which corresponds very much to the Fuji Astia and00:06:50
we have a whole series of films on your router00:06:53
for example the siala provia00:06:54
laval scene via which I really like00:06:56
which allows you once again in one00:06:58
click without having yet done anything on00:07:00
the image to use00:07:02
a development loan in some way to00:07:04
match obviously I00:07:05
can dilute gpmm moreover00:07:07
push it and exaggerate it and there we see very00:07:09
clearly what it does in particular on00:07:10
the blues which are00:07:12
pushed towards the turquoise side and not towards00:07:15
the magenta side so that means that in00:07:17
fact it is happening things behind the scenes00:07:18
even before we use and00:07:21
develop the00:07:22
Lightroom development tools so00:07:24
obviously if you want to start from00:07:25
something neutral we're going to look for everything00:07:29
that concerns color we're going to00:07:30
look00:07:31
at d'auby colors which is the default thing00:07:33
in pot m landscape saw that it will be00:07:35
slightly contrasted and it will00:07:37
also slightly saturated the colors00:07:40
when I look at my histogram where00:07:41
they end up a little bit00:07:42
tighter00:07:43
and there will be a greater00:07:47
saturation of the colors so there is no00:07:49
cooking recipe, that is to say that00:07:51
I cannot, I am not going to tell you, you00:07:53
must use such and such a profile for such and such a00:07:54
photo and it is not because you are doing00:07:55
a landscape photo shoot that you00:07:58
absolutely must choose the profile at00:08:00
domi landscape if you want to start from there00:08:03
d'auby colors and it is for you00:08:04
a better starting point for your00:08:06
images go there if on the other hand afterwards you00:08:10
want to start from something00:08:12
a little more marked and then to have00:08:14
uniformity in your photos to00:08:16
make series and we will talk about it a little00:08:17
later once again in the00:08:18
practical examples in particular this is00:08:21
where the color correspondence tables to be very good because in00:08:22
fact so you give having00:08:24
in fact already given a movement to your photos00:08:26
before giving a direction before even00:08:28
having started to adjust them or then00:08:30
a photo like that which has no real00:08:31
fault we will say exposure you00:08:33
see that it is well exposed we have a00:08:35
very light because by feeling very very00:08:37
French a very light because by feeling00:08:38
very very clear which means that we00:08:39
could slightly push the contrast00:08:41
to correct that and yet we have every00:08:43
right not to want00:08:45
to have a contract on your image00:08:47
so be careful when you00:08:48
choose a00:08:49
color correspondence table, that is to say00:08:51
an entry profile, it inevitably has a00:08:53
consequence on everything that00:08:55
follows since it will already interpreted the00:08:57
information before you have done00:08:58
anything so then you have00:09:00
the button b b here which is00:09:03
obviously called white balance seings00:09:05
diminutive we white balance as00:09:07
it is what it does is that00:09:08
sally the white balance which was00:09:10
given in the metadata of the file,00:09:12
that is to say that the sensor when it00:09:13
wrote the file down in fact quite00:09:15
simply it will00:09:17
tell you the white balance which00:09:18
was used at the time of taking00:09:20
of view you can choose to let00:09:22
lightroom choose finally you can00:09:24
choose automatically in to00:09:25
let lightroom choose for you00:09:26
natural light and all these things that are00:09:28
found in fact on all00:09:29
film cameras00:09:31
so here you noticed that there is00:09:33
temperature in all there is also color00:09:35
in fact these two sliders if you00:09:38
followed the nex on the colors so you00:09:40
know that they correspond in reality00:09:41
or did not know but I tell you00:09:43
now they actually follow the mode00:09:45
she had that is to say that the chromium00:09:47
in is separated from the luminance years00:09:48
therefore has discs for two variables00:09:50
variable to a variable but a00:09:51
variable which goes from blue green yellow00:09:53
is a00:09:55
variable variable which goes from blue to the young00:09:57
variable b which goes from green to00:09:59
magenta and then we have a vertical axis00:10:02
imagine a spinning top which separates the00:10:06
luminance of these two00:10:07
chrominance discs so in reality the00:10:09
white balance is to vary this disc00:10:11
due to the bay quite simply so I00:10:14
can use the eyedropper to00:10:15
tell it that it would be the white point00:10:16
of my image so be careful if I00:10:18
take for example the sky you could00:10:21
possibly come across a pixel which00:10:23
would be a little bluish that's okay so00:10:24
tells lightroom to compensate00:10:26
completely is really too much with a00:10:27
yellowish image so trying to find00:10:29
a white point that is really a00:10:30
white point of the image something that you00:10:32
know was white at the time of the00:10:33
photo usually when you want to do00:10:36
things very precisely what what we are going to00:10:39
do is photograph a test pattern in00:10:40
fact to be able to have the best00:10:44
possible result here so it has00:10:46
warmed up if we compare the before and after00:10:47
and probably he is a little right00:10:49
but I personally find it a00:10:51
little warm so this To00:10:53
tell you, you shouldn't worry too much00:10:55
about the white balance. I know00:10:56
I'm making some people jump, but I00:10:58
see there, I'm not, I'm not a00:11:00
300% academic freak in the00:11:03
photo. is on raw files so00:11:04
we do what we want we have the right00:11:06
to have a slightly00:11:07
cool atmosphere we have the right to have a00:11:08
slightly warm atmosphere in the end what00:11:10
counts is the story that you00:11:11
want to tell and it's something00:11:12
that I'm going to repeat during this00:11:13
training since I think we say00:11:15
never shaved but it's good to00:11:18
worry about the settings but00:11:19
what counts is the photo in the end00:11:20
so it's not because there is a00:11:21
casino a tutorial it is absolutely necessary00:11:22
to neutralize the white balance that00:11:24
well you absolutely need a00:11:25
neutral white balance you have the right to have00:11:27
a slightly fresh image00:11:29
because that's what you want to say, you have the right to have an00:11:31
image that's a little fragile, sees it become a00:11:32
little unsaturated, you're not going to00:11:34
evoke the same feeling as if you00:11:36
see an image, you see very00:11:37
saturated here and very hot there it is not at00:11:41
all the same story that you are telling00:11:42
see in two clicks already so that does00:11:44
not mean that it has one which is superior00:11:45
to the other it means that it has one that00:11:47
you want to tell and the other00:11:48
not so the aim of this training is00:11:50
to give you all the settings00:11:52
so that you can00:11:54
understand them well what they are for,00:11:56
master them well and then tell00:11:57
the story that you want not00:11:59
the story that julien pons wants to00:12:00
tell you or anyone else00:12:01
who pretends to tutoz on the internet and00:12:03
I insist on this because I00:12:05
see a lot of assertions it is quite00:12:07
peremptory that this is how we fact00:12:09
that's how we adjust the00:12:10
white balance it's like that and not00:12:11
otherwise and that always makes me jump a little00:12:14
because well I want to say00:12:15
who are you to ask me to tell me00:12:17
how I tell you my photo there are00:12:18
rules in photos which ensure00:12:20
that the photos are more or less00:12:21
successful is generally rather more than00:12:24
less particularly in terms of00:12:25
composition in particular this photo00:12:27
for example is not very well framed00:12:28
but it serves as a short support for00:12:30
the basic settings panel so that's00:12:32
not its role but as far as00:12:34
the story is told in terms of00:12:35
light and colors very frankly00:12:36
I think there aren't many rules rules00:12:38
that you must have is00:12:40
possibly in your portfolio a00:12:42
uniformity in any case have a style00:12:44
that is your own and within a00:12:46
photo manage to tell a story and00:12:47
ensure that the details00:12:48
which are very important are aired be00:12:50
highlighted and to adjust details that they00:12:52
are put important baptized00:12:53
settings which highlights them less00:12:54
so as not to disturb the legacy so these00:12:56
are things which are more or less00:12:57
universal but then at the level of the00:12:58
settings of the slides and what00:13:00
should be done there once again I00:13:02
think that there is no recipe for00:13:03
miracle kitchens so that's it for this00:13:05
little this introduction not the00:13:07
basic adjustment and in particular to the first00:13:09
adjustments that the we have seen that is to say the00:13:10
processing the color correspondence table00:13:13
and the white balance we will00:13:15
continue in the following video with the00:13:17
rest and you will see that when we00:13:19
arrive at the end of the basic settings panel00:13:21
we will have really done a00:13:23
lot of work on the images we will00:13:24
take several examples of course00:13:25
I invite you to follow little by00:13:27
little trying each time not00:13:29
necessarily to watch all the videos00:13:30
at once but to put everything into practice00:13:31
immediately and don't wait for the end00:13:33
of the chapterDescription:
https://fr.tuto.com/lightroom/lightroom-classic-formation-complete,169771.html Voici un extrait de la formation de Julien Pons sur Lightroom Classic 2022 : La formation complète
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