Now I did say that before I went I would just quickly show you regional edits in Lightzone. In this particular image I didn't use them, but since I'm here in Lightzone and I don't know when I'll be back next in Lightzone and showing it on the show, I did just want to quickly show you something. So let's just say for example that I want to do some work particularly on that castle. So let's go, let's just zoom in a couple of steps and zoom in on that castle. Okay and I'm going to just sort of drag this over so that I'm just looking at the castle. There we go. Now let's say I'm looking at the tones because it's zoomed in a little view here as well. I can find the brightest tones in the castle which are around about there and I can find the darkest tones in the castle which are around about there. So we've got our darkest tones here and our brightest tones sort of here and I could if I wanted to darken those dark tones down and maybe the light and those light tones up a little bit and then I probably want to grab one of the middle tones and just darken it a little bit more. That's just going to give us a little more detail. Now the reason I'm working in zoomed in like this is so that you can't see what it's doing to the rest of the image. If I turn this layer on and off we can see that it's building out some of the detail in this castle but if I go back to the fits of you it's also going to be affecting the rest of the image in ways that I don't want you to. So it's also worked on all this ground down here and I don't particularly like that. And once again we've lost some of the definition in those clouds in the sky. So I could now apply just those changes just to the castle. So if I choose this tool and start just drawing around the edge of the castle I only need to do this roughly. I don't need to do this precisely. Then what I've done I can just right click and that's the point I don't need. Now what's happening now because I've made a region let's turn this on and off and see what's actually happening. It's just affecting that castle. It's just affecting the bit region inside and I can also drag in and out on what this is doing. It's because I've defined a multi-point region here and it's all I can click and drag these points around. It's got a feathering region around that region and I can click on drag on that in line and that changes the size of the feather. So I can pull those points out so that the feathering goes along the edges of the castle nicely and obviously you can spend a long time with these masks. But I have found in light zone usually you actually don't want to make your masks too precise. You actually kind of want to rely on the feathering which does a very very nice job in light zone. The feathering works really beautifully and these edits can quite often be very very unnoticeable if you do the edits the masks nicely. So we also have an option here to invert the mask and I can if I tick that on you can see that the edit disappears off the castle there and edits the rest and affects the rest of the image but in this case I do want just just the castle to be affected. So let's go back to our standard mode so we get rid of the view of our selective edit and just turn that layer on and off and see what it's doing and what you see that is just affecting the detail on the castle. So that's doing a pretty nice job just of bringing some of that detail in and I think that's an excellent way of working on just sections of the image. If you've got a region that's maybe too bright you can sometimes dim it down with a zone mapper and just affect that bit of the image and it does give you a level of control that isn't available in Lightroom 1. So in this case I think I'm going to leave just a little bit of that in because actually I think that that edit is turned out quite nicely. This isn't something I did in the original version of this image but there you are I think in this case it has actually added a little something so I'm going to set the tool opacity there to about 50% and just leave that on there. So that's just done in Lightroom, in Lightzone rather. We're now going to take this image which as I say has still got some things that need to do. We need to affect the sky, we need to affect the ground and we need to just really boost the lust of the contrast up and bring out those beautiful light golden tones that we had in the ground there. So having done with that we can click the done button right here and that's going to save that back to Lightroom and remember what's going to happen here when we go back to Lightroom is that it is going to take the image that it created, the tip that it created in Open and Lightzone and it's going to stack it with the version that was already in Lightroom the CR2 raw file and it will make this new version the top version in that stack. Okay so here we are back in Lightroom now. We've got the version of the image that we had just produced out of Lightzone and as you can see now at the bottom here we've got one of two and two of two that means these two images are in a stack and as you can see one of two is the one that we've just created. So this is now the tip that we're working on. So if I now go to the Develop View and we can close down this bottom film strip at the bottom here we don't need that. I'd like to keep as much screen real estate as possible and we can see that by default all these settings are sort of zeroed and set to the middle because we're now working on a tip, we're not working on a raw file. So what we're doing now is relative changes relative to the data that came in of the tip. This is still a 16 bit image and it's still proto to RGB so we've still got loads and loads of data. We've not thrown much away from the raw at all and we're still working on a very large image which is going to take a lot of memory and a lot of processing power to work with. Now I'm going to just sort of quickly do some very basic edits here just to try and get us up to a sort of a decent starting point. Just a little bit of fill like that. Just dragging the fill like slider up and down you can see what that's doing. It's affecting their ground area a lot. Just going to do just another little tweak just to bring a little bit more light into the ground. Remember that clarity slider I was talking about? Here it is in light room and if I put it all the way out to maximum as you can see it's a very similar effect to that detail slider in light zone but not nearly as strong. We do get on the high end of the clarity slider what looks like just a little bit of haloing along the top of the castle. Watch the edges of the castle there as I drag that clarity slider up and down. You can see it does darken the interior edges of the castle. It's a very very useful slider. I mean just certainly in certain landscape shots you can just bring a little bit of detail back in and it enhances detail beautifully. In this case I don't think we want to play with the clarity slider. We did quite a lot of that work in light zone so we'll leave that alone just for now. What we do want though is to work on the color. In order to do that I'm going to use the vibrance and the saturation sliders. Now these two are both boost color. Let me just drag that all the way up and see that really boosts the color up. If I drag that back down to zero, oops that was setting the rating to zero and we click in the vibrance thing and set that back to zero, do saturation and you can see this does a very similar thing. Now there is a very important difference between the vibrance and saturation slider. The saturation will just push the color values up regardless of what that then does to clipping. The vibrance will not. So if you've got for example an image that has got a very strong color in it. So imagine some red flowers or something and you want to increase the vibrance of the color but you don't want to push the red channel beyond the point where it starts to clip and you start to lose detail in that red channel. What you need is the vibrance slider instead of the saturation slider. And usually in most images, unless it's an image like that with the channel that's going to start clipping before the others, usually it doesn't make a huge difference which you use. I like to use a little bit of both. They both seem to have a different effect on the image. So what I'm going to do here is just sort of ease them up together a little bit and just sort of I think I'm looking for a quite a high color. I can always drag this back down again later. So somewhere in that region I would say for our vibrance and saturation. Now once again this is another one of those occasions where courage of your convictions. It looks to my eyes even now. If you're doing it now, it looks overly strong color wise. I know I can drag it back down later. So I'm going to have the courage of my convictions. I'm going to leave it there and I'm going to go on to do the color work that I know I need to do. And I'm going to go down here and if in 10 minutes time I still think it looks too strong, I'll go back and I'll drag it back down. But I need to just sort of let my eyes learn to live with it for a minute or two. Photo walkthrough was a free online video show about photography and digital photo editing using Photoshop and Lightroom. Join the photo walkthrough community, find all the old shows and subscribe to the new ones for free at photowalkthrough.com.