How I Edit my JPEGs with Adobe Lightroom CC

– [Kevin] Hello everybody
and thank you once again for tuning into my YouTube channel. Today I am going to go
through my JPEG workflow for my Fuji Film files. Although most of this will actually apply to any camera that you use
whether it’s Fuji Film, Canon, Sony, Nikon, whatever, it
should all apply still. However this is the
JPEG workflow that I use when I’m shooting JPEG’s. I recently did a video
about the way that I edit my raw files both black
and white and the color ones, I’ll link to those above
and one of the questions that came from that of course mostly was what about the JPEG’s? How did you edit those JPEG’s? So today I am going to
answer that question and go through my JPEG
workflow in Lightroom. (soft instrumental music) As always, it would be
remise of me to actually not ask you to like,
subscribe, hit that bell, smash it as they would say in America. But yeah, it really helps
me if you do subscribe to the channel. The more numbers I get,
the better it is for me, the more I can keep creating
content for this channel. Okay, let’s get straight into it. Now the first thing to
say is that these are JPEG file of course,
they’re futurism JPEG files. And the whole point of
shooting JPEG really in the camera is to get
as much right as possible in camera to do as little
editing as possible. So actually what you’re going to see today is pretty minor tweaks. I’m going to show you the basic editing and then towards the end
I’m going to show you a little bit more of an
advanced way of doing these using presets and tone curves, et cetera. But by enlarge, this is
the way that I would edit any JPEG file that came
straight from a camera. Now with that in mind,
it’s worth remembering that Fuji Film camera’s are
laid to save up to seven custom settings within the camera itself. And actually so does Canon and Nikon and all that kind of stuff. So you’re own different recipes will apply and you will have your
own different variances with those things. Now, from Fuji Film point of view at least in the latest cameras you can record up to seven JPEG settings, custom settings that they call them. And in the older cameras, I
think it starts with three and went up to five, et cetera. But certainly everything
from perhaps the X100 AIR, FD2, X Pro 2, XT3, XH1, if you’re using any of those camera’s, GFX, et cetera, you can actually get a very,
very good starting point with the JPEG’s in the
camera, and record them as custom settings. Now I actually recorded a video recently which I’ll link above,
I’m not going to go into all of that again because
it’s already on the channel which will show you how to
create those custom settings and it will actually show you the settings that I’m using also. Now, when you have those set
up, what happens of course is the JPEG’s that you
bring into the camera will inherit those settings
and that’s the perfect starting point and often
it can be the ending point. The ones I typically use are
the ones based on an emulation of Martin Par, Dausi
Padilla, Joel Merwits, and then a handful of my
own ones, street, portrait, night and day. These are the ones that I
use in all of my cameras these days and these are
the JPEG’s that I start with from scratch and you’ll
see how I manipulate those images in this video. But I’m also going to show
you how I would start from, or how I would manipulate
a JPEG that’s just a basic standard. Everything’s set on zero, flat JPEG image. Now you can see from the
footage in front of you my Lightroom catalog. This particular image I’ve titled Merwits, because it’s using the
Merwits film preset. So all of these JPEG’s you’re going to see through this video are JPEG’s
straight from the camera using those presets. Now what you can see
there, while I hover over the exit dataries, all we
get in Lightroom is the shooting data, 1 3000 from second, 23 mil, ISO 160, et cetera. I don’t know about you but
I find it quite frustrating that with the JPEG access
data that’s in Lightroom that we can’t see things
like what film simulation did we use, what shadow,
what highlights, et cetera. Now think on a Mac you
can do that, you can see that information in
the explorer or finder, whatever they call it on a Mac. I don’t use a Mac, I use a PC. So I’ve actually created a
little tool, very simple tool that I’ve popped onto
my website at as you can see there, that will allow us, me, you, you’re more
than welcome to use it, to upload an image and it has to be a JPEG straight from the
camera, kind of being one that’s a rule that’s being
processed for example. And if you just upload it,
it will upload the image, it will tell you in all it’s glory, what film simulation you use,
what shadows, what highlights, et cetera, because that
information is in the essive data, but it doesn’t get past through
to most pieces of software that we use. Some of them do, some of them don’t. So I’ve built this little
application that’s online. You can see I’m just going
to go and pick an image now. I’ll go for one of these ones. This one here, classic
chrome, so this one here was classic chrome,
direct from the camera. I’ll upload it, and once
it’s finished uploading you’ll see the bottom left hand side, just uploading that image,
it will tell me exactly what the structure of that
image was from the JPEG point of view. So it tells me the film simulation, it tells me the highlight tone,
it tells me the shadow tone, the noise reduction, all
of that kind of stuff. And no, let’s just upload another one just so you can see it working again. This is a macro shot of a leaf. So we’ll just upload it, it
takes a couple of seconds to upload it to my web server. And there we have, so this
was Fuji chrome velvia. Medium hard, medium soft. Depending on the camera
you use, depends on what information is given there. Not what information but how it’s titled. No, down at the bottom by the
way, if you are so inclined, you’ll find this tool nice to use. Or any of this stuff I produce,
you’re more than welcome to make a donation on
that little button there. 25 percent of it will go to
Safe West Children Hospital. Anyway, let’s go back to
Lightroom and see how we do some editing. Like I said, remember, I’m
using the custom settings that I’ve set up in the camera,
but these editing processes will work with any kind of
JPEG setting that you have. I’ve got weddings images,
I’ve got seven here. These are based on the
seven presets like I said. I’ve got Meyerwitz, I’ve Mullins Day, I’ve got, what’s next, Mullins Night. You can just see them changing
slightly on the screen. Mullins portrait, they’re
really subtle changes. Mullins street and then we have Padilla and then we have finally Martin Parr. Now all of these are just JPEG’s remember. It’s nothing dramatic. You can have your own
personal profile if you wish. So first thing I’m actually going to do is in this latest version of
Lightroom which is really cool, you can change the order of
the panels on the develop setting which is great. So I’m going to use
split quite a lot today so I’m just going to customize. I’m going to drive split
tone up to just below the transform sorry
tone curve so it’s just a little bit closer for me. I’ll say that it will
make me restart Lightroom and then we can get on
with doing the stuff we need to do. That’s really neat and new
feature of Lightroom actually so it’s worth dating your
Lightroom if you don’t have that and you’d like to. Or you get frustrated with the positions of the develop panels
on the right hand side. Now just crop this image very slightly and I’m just going to
use the develop settings to copy option to copy that
crop option that I’ve made. Just select crop in the copy settings. There we go. I’m just going to paste
that across those other six images so we have the same crop thread the whole edit. Just take one second to do that. Paste settings, boom, there we are. Everything’s cropped
now nice and straight. Now if you did use the same JPEG settings that I’ve used in my
custom settings before, you’ll know that some of
them, on the XT3’s especially, will use things like the
grain strength, noise, all of that kind of
stuff, to try and bake in some actual noise to the image itself. SO some of these images have
noise baked in to the JPEG’s. Now one of the benefits
of raw files of course is that you have total control over that. So this is in the case of
why you should use JPEG’s overall. This is just a different
way of doing stuff if you so wish. I like to shoot JPEG. I like to get as much done
as possible in the camera, but you of course may use
raw and like I said earlier, I have the raw editing
stuff that I’ve done also on this channel. My personal favorite is the Padilla preset which is very high on
grain, it’s very punchy, very kind of contrasty,
grainy image, I love that. So there’s a lot of natural
noise in those JPEG’s which is a great starting point for me. Okay, so the first thing I
want to do with this JPEG is just maybe lighten
up her eyes a little bit in this little girl. She’s hanging upside down, bless her, having the time of her life. So I’m just going to
use the exposure brush or the brush on the right side
and use the exposure preset. I’m going to bring the size of it down and just literally going
to brighten up her eyes very slightly, very subtle,
nothing too dramatic. All of this kind of stuff
can be done to JPEG’s as well as your raw files. Auto mask you’ll see that option. That’s really important,
because that will try and keep it within control,
so it will try and, for example, if you’re
going over the eyes, it will try and keep it tight in the eyes. Now if I go all the way to the right you’ll see how dramatic in
can be and how bad it can look so you want to bring that down to keep it as natural as possible wherever you can. Now one of the great things
I used in something like, Lightroom or A skin
exposure, or pretty much any raw software that I’m aware
of, is that they are mostly non destructive. So JPEG’s actually are
unlike raw files in that they are compressed images
and the more you work on them the more the image will actually do great. Now that doesn’t actually come
true within Lightroom itself because it keeps all of the
changes you’re making separate. It keeps them all away from
the JPEG and applies them at the end when you export. So you can actually make quite
a lot of substantial changes if you so wish without
degrading the quality of the original JPEG image. It will create a new
one when you export it. So now I’m looking at a
color version of this image, color JPEG and I’m just
going to drag the shadows up a little bit. See how that makes a bit of a difference. Just generally doing a little
bit of exposure correction to the image itself. Now, when you’re shooting with a mirror camera, of course,
you’re going to see mostly in the view finder
so it shouldn’t really be too much of an excuse to get
things dramatically wrong. If I hold down the alt key
using the shadow slider highlights, any of the sliders really, the alt key will show me
the click so I can see exactly where the blacks
and the whites are. So I want to be a little
bit careful with that when I do that edit. I’ve just moved over to the Mullins one, exactly the same image
again and again I’m going to hold down the alt key, drag
the highlight slider around so I can just see exactly where
the burnt out highlights are if I can bring them back a little bit. There’s the shadows so
they’re okay, that’s all good in that image. Let’s have a look at this one. Night, it’s just a very
subtle difference there. They’re all good actually,
they’re fine I think, they’re pretty good. That’s the one with the
burnt eyes I showed you so we don’t need to,
those eyes are too bright. That’s the exposure adjustment
we did on those eyes. Now you can see there
again, the grain I the grass because of the Padilla and
so the Padilla has a lot of noise in it. Now if I go down to
the hedge itself panel, hues, saturation,
illuminance, because we’re in black and white,
they’re not going to have any impact whatsoever. The color isn’t in it, so
it’s black and white JPEG. If you were using a raw
file, and converting it to black and white you could
do all of that first of course. So getting it right in the
camera is really important with JPEG’s, really important. If I go over to a color
image, I can start moving those colors around a little bit. So green, I can drag it
to make it a little bit more natural if I so wish. And we can actually have
a little bit more control. So the red of this lady’s jacket over her, her suit, I can just make
that a little bit brighter if I wanted to. You get the idea. So you have more control
obviously over the colors, and the color image than you would in a black and white JPEG. But like I said, the raw
file is going to give you much more control from the
ab sight, but the work flow for a raw file is much more difficult. Okay, so let’s move over to this image. This is totally flat JPEG from the camera. It didn’t have any of my
custom settings applied. It’s just an across file. Everything else is set to zero. Highlights, shadow, tone et
cetera, it’s all set to zero. So totally flat image from the camera. Now I’m going to hit the
develop module of course and we’re going to try
and work on this image just to see if we can get it to the level that we want. Of course, it’s a very visual thing, that’s the whole point of
using things like Lightroom where you can just see
everything adjusting in real time. So I’ll move the shadows,
highlights a little bit. I’ll just nudge the tone
curve also, just move that up a little bit. Just get a little bit brightness in there. Bring that dark down slightly again. Underneath you can see the highlights and the shadows and all those
files moving accordingly. So you can do it manually if you so wish. Now clarity’s really important
I think for JPEG images. See the punch there? See how that just kind
of gives it a little bit more crispness and obviously
saturation doesn’t work on a black and white image. You can’t make it black
and white JPEG color, but you can make a color
JPEG image black and white. Again, one of the other
benefits of raw of course is that it’s always color in the ex set. So just cropped it and
now I’m just going to use the alt button on the
highlights and the shadows again just to double check the clip
in and see what we’ve got and just bring it back
up to where I’m happy. That’s good, happy with that so far. Now the next thing I want
to do is just brighten up the little girl a little bit. So I’m just going to hit
the adjustment brush. There it is and I’m going to make sure that I have exposure setting
in the dropdown list. You may have lots of things
on it, and you’ve got plugins or presets but exposure
will be a default one. Just going to drag it over
her face very very subtly, just bring it up slightly,
maybe a little bit down the arm as well, on
the dress, just a little bit of pop. Just bring that into
align with what I want. So I’ll close that off, that brush. Now all this area here is
actually still a bit bright. You know, it’s actually
okay, but I want her to pop a little bit more. So I’m going to use the
exposure brush again and I’m going to this
time, I’m going to make it a negative value. So we’ll start out
maybe one, and I’m going to make the brush much bigger. And I’m actually just going to
brush around everything else except her. So you can see already how
she’s popping a lot more. Now the next thing I’m
going to do is I’m going to move down to the push down vignette, all the way down in the
bottom just to give the image a little bit of a border, dark border. Literally all I do is I
knock the vignette down, very slightly, minus 10,
something like that’s perfect/ That’s all I need to do. It’s something you can’t
do in the camera at all, JPEG’s or raw ones. I’m going to crop it a
little bit just to get rid of some of the clutter
on the right hand side and pretty good actually, not too bad. Pretty good going there. What I need to do now
is do a slight warm up of the image so I’ll do a
split tone on the highlights round about 35 is normally
good enough for me. It’s normally where I hit it. Now on the XT3 you can
actually warm up the JPEG’S in the camera. Obviously I’m going to drag
it there so you can see how extreme it can be. But around 10 is usually what I have. So 35 degrees hue and 10 on the saturation is pretty good. Like I said, on the XT3 and
probably on Fuji Film cameras you’ll be able to do that in
the camera, in the JPEG itself whether you have the
control over it you want or you still do it in post production, that’s entirely up to you. Just going to drag that
down, tiny bit more. Close it off and yeah it’s good. Pretty happy with that as it stands. It’s all good. What we’ve got left to do. Just going to double
check a couple of these, make sure everything is good. White, see the white,
so if I bring those up it becomes a little too
bright of thing there. So I might just back that up slightly. There we go. You can still see all
the detail, but you know, we don’t obviously want
it to be too glaring, too bright. And the face again, so
go back to the brush. Is the existing one I had. Just going to pop it up
again, just to see if it makes more of a difference. And see again you can
see in the chest there it’s probably a little bit too bright. So the clarity here, and
that’s on the brush itself so it’s only adding
clarity to the little girl. So that’s okay, it’s not too bad. That’s the original and
this is the edited JPEG. I would probably back
off on the highlights a little bit more if I was doing this for an actual wedding edit. Other than that, pretty good. Let’s just do that, just bring that back, see other wise. Slight exposure, slight
those highlights back. And pros off that brush. And there we go, before and
after, before and after. Pretty simple, pretty straight forward. Okay, let’s head over to
one of the high ISO images, 10,000 ISO, 16 mil, XF16
mil, 1/125 is second, F 1.8, relatively clean
considering the ISO level. Remember the noise reduction in the camera will have been applied. If you’re doing this
with raw, you have to do all of the noise reduction afterwards. So it’s pretty good. Probably what I don’t like about the image as I look at the, it’s fine
straight out of the camera pretty much, but the white
balance is a little off. So I just want to adjust the white balance a little bit here. Maybe if you, typically
I would look for teeth or something like that,
try to get that RGB value as close together as possible
in terms of the numbers. And yeah, raw it’s good, pretty good. So I’m just going to straighten it up and pop up the clarity
slightly just to give it just a little bit of depth. See if I drag it all the
way, you can see how much you can get into that. Now the saturation here will
work because it’s a color image so I can pull that up
a little bit if I want. And the temperature again,
I might just nip that up very slightly just to warm it up. It’s quite blue light to that wedding. So that’s all pretty much good to go. I want to do my post crop vignette. There we go, bring that in and that’s good. Bring those highlights,
see if there’s any clip in. There is but it’s sparkling lights. Shadows are all good. The whites and highlights of
course is going to be blacks, is going to be in those images. Okay, so let’s take a look at this. This again is Acros with G
so this will be my portrait film simulation, custom
setting within the camera. Acros-G and again I’m just going to do some basic adjustments,
tone curve, just to give it a little bit more oomph I
suppose, a little bit more punch. It’s good, these black
and white’s are lovely. I’ll add my warmth to
the image, 35 and seven. Remember we said that earlier. It’s a little bit golden. I typically apply warmth to
most of the black and whites these days. I use to do it to pretty much everything, almost everything these days. I would say definitely
the weddings anyway. So we’ll go to exposure, slide it there. We’re just going to
bring it down slightly. Going to increase the brush
and brush around outside just to decrease the dark, just
make it a little bit darker just so she can pop more,
bless her, in the image itself. Close down the brush and her face okay. Going to increase the clarity generally because I want to see a
little bit more in her face. Shadows, want to bring the
detail back in the coat just so we can see a
little bit more there. That’s okay. Happy with the image at it stands. Very simple, very basic
adjustments, not a lot to it and that’s the point of shoot using JPEG. You just don’t need to
do too much to it at all. So we’ll just maybe brighten
her face up very slightly again going to a brush exposure. This time I want to increase it of course. And just bring the brush size
down, just dab it on her face, knock it over her hat just to bring the, it’s a little bit much. Push it back just maybe
a third of a, stop, that seems to work okay for that. I’m going to close that down. Going to check the highlights
and the shadows again using the alt key. It’s important to do this
pretty much every image, I’ll try that, make sure there’s nothing that’s clipping that could be recovered or should be recovered I should say. Yeah, and that’s alright. Now in terms of sharpening, I don’t do any sharpening at all, none
whatsoever until output. So I’ll go through that in a moment but none of the sharpening
is done even with raw files, I just accept the defaults. JPEG’s would always have
zero in their sharpening because the sharpening is
done in the camera typically. But I will show you the little
bit of output sharpening that happens. I’ll show you that in a short while. So that’s all good to go I think. Okay, so let’s move on to this image. This is Velvia, XPRO2, shot
with a 60 mil macro lens, it’s a leaf, in case you hadn’t wondered. And actually, I don’t
know there’s not much I can do to this image. This is obviously pretty
good, just exactly what I wanted straight out of the camera. Raw file would need a lot of work here. I might just knock the
clarity up a little bit just to give it a little bit more punch. Yeah, and that’s all good. Now because it is a
color image, color JPEG, I can control the HSL panel if I so wish. If I want to bring the
greens down a little bit, to make it a tiny, tiny bit warmer, that’s kind of garish I
guess, I need to do that and I can control all of those HSL curves, or HSL sliders I should say. Let’s go on to this one
of the purple flower. This is PRO Neg, high
simulation in the camera and again it’s fine. There’s nothing really
that needs to do now. Just hit that reset so you can see this directly out of the camera. Maybe I’ll bring the clarity
up on that just to give it a little bit of depth. Shadows, I might just check. Yeah, so you can just see
some of the clipping in there. I’m just going to pull that back and so all of that shadow
then has got some kind of detail in it that is allowable. And maybe I will again just have a look at the magenta or purple,
just check the saturation, purple, going to bring it up
a little bit just to give it a little bit more vibrance in that color. Yeah, that’s good to go, greens. It’s all fine. Going to flip back slightly. Yeah, that’s more natural to me, I think. Although I took this
image a very long time ago so I cannot remember
exactly what it looked like. But I’m happy with that, simple. So back to this one of the
little girl, bless her. And I’ll just mention
that we will talk about the sharpening, the open sharpening which we’ll do right now. So as I said, I only do that on export. So file export, sharpening,
it’s going to be down towards by fall, it might kind of preset, export preset here,
we’ll just do the files, and if you right down you have
the output file setting there so JPEG and as soon as
I export it will create a new JPEG. But this is the important
thing, sharpen for screen or matte paper if it’s going to an album, or glossy paper. And I always just leave
it on standard, that’s it. I don’t do any sharpening of
any consequence after that. That’s all I need to do. Now I understand obviously if
you’re a portrait photographer or landscaping you may need
to do a little bit more detailed sharpening but
typically you’d be shooting raw anyway in those cases. Okay, so let’s talk about how
we can speed this process up and that’s all down to
presets and a little bit of funky business with
the tone curve and having the custom tone curve also. So this is the classic
chrome, the original one directly into the camera and
you see I’ve got preset there, K and P punch JPEG I call it. It’s for JPEG’s only, I
wouldn’t apply it to a raw file and there’s the before
and there’s the after. Just one click, boom, straight
away, works really nice on most images. You would need to high ball
it on every image of course. Now all that does is add
to the clarity and a few of there other settings. I just apply it on the
black and white one as well. So you can see how that works
with exactly the same preset. So boom, it’s warming it
up, it’s adding the clarity. There’s before, there’s the after. It’s doing pretty much everything
that we’ve talked about already but just in one simple preset. And all we need to do
really is to have that as a, actually let’s just
try it as one of the others, the original ones that we had here. So let’s try the Meyerwitz
one, good to develop, reset it so it’s back to how it was. Meyerowitz of course, color preset. And see how that looks
with that K and P punch. There we go. So that would need a little bit more work. Might bring the highlights
down on that one. Other than that that’s okay. I think pretty much that’s good to go. So, well have a look on the Mullins Day, we’ll reset it, takes away that crop. And we’ll apply that
to K and P punch JPEG. Again it’s too bright so I’ll need to just bring that exposure down,
just the highlights. And there we go, everything’s
all nice and warmth, everything that I need
to go to those JPEG’s. So that preset kind of works
across most of my JPEG’s. Let’s try it on this one, we
haven’t seen this image earlier so this is an ACROS one,
I’m going to reset it. There we go, a lot of dark
in there so you can see how JPEG’s can recover a
lot of the dynamic range in the shadows. And so I just apply the preset and it’s okay, it’s a bit dark in the face and all that kind of stuff
so I’m going to bring the shadows up a bit. And I say you typically got
about three stops of correction, compared to five stops in a raw file. But it’s all nice, that
one stop, or that one step just apply it straight away. Very happy with that. Now the key to this is the tone curve. So here I have a custom tone curve and you’ll also see that
point curve underneath has my own preset K and P punch, it’s called mono but I
apply it to all of them. And you can save your own tone curves. All you need to do is
just drop that list down. Once you’ve got tone
curve that works for you drop that list down and
you can choose save as. You can see the values there. You can pause the video
and look at those values independently if you so wish. It’s very simple to do. Get a tone curve that you’re happy with. Drop down the point curve
option at the bottom and then just save it with your own preset and you’re good to go. And that’s it, that
really is it when it comes to that preset, that K
and P punch JPEG is just a one stop click that gets
me where I need to be, I need to just do some
kind of final adjustments if I so wish. And then we’re done, it’s
very, very straight forward. Bring that back a little bit. Darkening off the areas, which we did that earlier before anyway,
and we’re very happy with that image. Keep it going, bring that down. Close off the brush and yeah, that’s it. So really with JPEG’S,
there isn’t much that needs to be done to them. That’s the whole point of JPEG’s, bring the cloudy down a touch. If you shoot raw of course,
into your proactive, that’s a full stream
version of that one click JPEG edit, clarity, warming
it up very slightly, before and after as we can see there. Nice, it’s finished and
of course this is my own personal style. Your style may vary, your
model may vary as they say. But I hope you enjoy this video. I hope you’ve picked up a
few little tips and tricks and please do like, please
do subscribe, please share. Comment below, all of that good stuff and thank you very much. I will see you in the next video.

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