IntroductionWelcome| 00:00 |
(music playing)
| | 00:04 |
Hello, I'm Tim Grey.
| | 00:05 |
And in this course I'm going to guide you
through Adobe Bridge.
| | 00:08 |
A powerful application for managing your
digital photos.
| | 00:11 |
Adobe Bridge is often referred to as a
browser application.
| | 00:15 |
Because it allows you to browse your
photographic images along with other
| | 00:18 |
supported file formats.
But Bridge is actually much more powerful
| | 00:22 |
than that, enabling you to manage, sort,
and organize your digital photos.
| | 00:26 |
We'll start off by taking an overall look
at Adobe Bridge, so you can get to know
| | 00:30 |
the interface and features, as well as
how to configure Bridge to suit your preferences.
| | 00:35 |
We'll then explore the basic
organizational features so use can use
| | 00:39 |
Bridge to help you locate images you want
to optimize in Photoshop, for example.
| | 00:43 |
Once you understand the basics of Bridge,
we'll delve into more advanced topics.
| | 00:47 |
I'll show you some of the more powerful
organizational capabilities of Bridge and
| | 00:51 |
also show you how you can leverage
Photoshop from within Bridge to make to
| | 00:54 |
make working with your photos more
efficient.
| | 00:57 |
After you finish this course, you'll have
an appreciation for all the features
| | 01:00 |
offered by Adobe Bridge as well as the
confidence to put this tool to us to
| | 01:04 |
manage your digital photos.
| | 01:06 |
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1. Getting StartedBridge overview| 00:02 |
I often think of Bridge as a very
powerful replacement for the File > Open
| | 00:06 |
dialogue in Photoshop.
After all, in large part, you're
| | 00:09 |
utilizing Bridge to locate a particular
image and you generally want to open that
| | 00:14 |
image in Photoshop once you've found it.
Bridge provides a variety of tools that
| | 00:18 |
enable us to add information to our
images so that those photos are easier to
| | 00:22 |
find later.
Let's take a look at how Bridge is
| | 00:25 |
organized, so that you'll have a better
sense of the interface, and you'll know
| | 00:28 |
where to find the things you need when
you need them.
| | 00:31 |
Below the title bar, you'll find of
course, a menu, and on that menu, you'll
| | 00:35 |
find a wide variety of commands for
working with your images and with Bridge itself.
| | 00:40 |
Below the menu bar, you'll find a toolbar
that contains access to a variety of features.
| | 00:45 |
Also, a summary of our current location
with the ability to navigate to a
| | 00:48 |
different location.
And the option to change workspaces
| | 00:52 |
within Bridge, as well as some other
controls for viewing the images.
| | 00:57 |
Most of the space in Bridge is taken up
by panels.
| | 01:00 |
You can see here, for example, I have a
Favorites panel, and a Folders panel, as
| | 01:04 |
well as a Content panel and a Preview
panel, among others.
| | 01:08 |
These panels provide access to the
various things we need.
| | 01:11 |
For example, the ability to navigate to a
particular folder, the ability to view
| | 01:15 |
our images and maybe select a particular
image, and also the option to review
| | 01:20 |
metadata about the photos, for example.
We can switch among the various panels
| | 01:24 |
just by clicking on the tab for that
panel.
| | 01:27 |
But I think one of the most important
things to keep in mind when it comes to
| | 01:30 |
these panels, is that they're modular.
When you switch among various workspaces,
| | 01:35 |
you'll see that the panel arrangement
changes.
| | 01:38 |
The beauty of this of course, is that you
can configure the Bridge interface to
| | 01:42 |
suit your particular needs at any given
time.
| | 01:45 |
Down below, the assortment of panels,
we'll find the status bar.
| | 01:48 |
And the status bar will indicate for
example, how many images are in the
| | 01:52 |
current folder.
How many images are selected.
| | 01:54 |
It provides an opportunity to adjust the
size of the thumbnail display, as well as
| | 01:59 |
to change the overall display of our
images.
| | 02:02 |
So that provides you with a basic
overview of the Bridge interface, so that
| | 02:06 |
you'll have a general sense of what's
going on.
| | 02:08 |
And of course, as you continue working
with your images in Bridge, you'll get a
| | 02:11 |
better sense of which specific panels you
want to have available at any given time.
| | 02:16 |
And you'll be better equipped to organize
your images and locate those images later.
| | 02:20 |
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| Downloading images| 00:02 |
When you capture new images of course
you'll need to download those images onto
| | 00:05 |
your computer or an external hard drive.
And Bridge provides a tool for doing
| | 00:09 |
exactly that.
Let's take a look at how we can download
| | 00:12 |
new pictures and place them into a folder
so that we can view and manage them with Bridge.
| | 00:17 |
We can get started by going to the File
Menu and choosing Get Photos From Camera.
| | 00:21 |
But there's also a shortcut on the
toolbar.
| | 00:23 |
It's a camera with a downward pointing
arrow.
| | 00:26 |
I'll go ahead and click that button.
And that will bring up the Adobe Bridge
| | 00:30 |
Photo Downloader.
If you've connected a camera directly to
| | 00:33 |
the computer, it will most likely be
automatically detected.
| | 00:36 |
And generally speaking the same will be
true if you've connected a card reader to
| | 00:39 |
your camera.
But if the device is not found, you can
| | 00:43 |
click the pop up and choose to refresh
the list if the device does not appear or
| | 00:47 |
you can simply choose the device.
So in this case for example, I have a
| | 00:50 |
card reader attached and I will choose
that as the source of images.
| | 00:54 |
As soon as I set that source, you can see
that I have an indication of how many
| | 00:58 |
files will be imported, and the total
size of those files.
| | 01:02 |
In this case, I just have a small
collection of JPERG captures, and so the
| | 01:06 |
file sizes are not all that large.
I can then specify the Import settings
| | 01:12 |
starting with the location where I want
to copy these images.
| | 01:14 |
I'll go ahead and click the browse
button, and then I can navigate to a
| | 01:18 |
particular location that I want to use
for storing all of my photos.
| | 01:22 |
This could be, for example, an external
hard drive that you use exclusively for
| | 01:26 |
storing your photos, or a particular
folder somewhere on your computer.
| | 01:30 |
By specifying that primary location,
you're creating a simpler workflow for
| | 01:34 |
downloading your images.
Of course we don't want all of our photos
| | 01:37 |
to go into the exact same folder on the
exact same device.
| | 01:40 |
And so we'll create a subfolder and so
I'll go ahead and choose an option from
| | 01:43 |
the popup.
I can choose not to create a subfolder if
| | 01:46 |
I want to, or I can use today's date or
the capture date for my photos as a
| | 01:51 |
folder name, but I'm going to use a
custom name.
| | 01:54 |
I'll go ahead and click the Custom Name
option.
| | 01:57 |
And then in the text box below, I can
type a name for the folder.
| | 02:00 |
You'll notice now that the location has
been updated to indicate that folder name.
| | 02:05 |
I can also rename my images.
Of course, when the camera creates the
| | 02:08 |
file in the first place, the file name is
essentially just a serial number and so
| | 02:13 |
it's not all that useful.
But you can create your own custom file
| | 02:16 |
names if you'd like.
I'll click the popup and I'll use a
| | 02:19 |
Custom Name option.
So I'll go ahead and click Custom Name.
| | 02:22 |
And in this case, I'll just call the
files Paris, since these images were
| | 02:27 |
captured in Paris.
I can also specify the starting sequence number.
| | 02:31 |
In this case, this is the first set of
images that I captured from this
| | 02:34 |
particular trip and so I'll start the
sequence with 1.
| | 02:38 |
If I've already done some work with these
images, perhaps with another application.
| | 02:42 |
I can also turn on the checkbox to
preserve the current file name.
| | 02:45 |
In other words the original file name in
the XMP Metadata for the images.
| | 02:49 |
But I'm not concerned about that in this
case.
| | 02:51 |
Because I've not worked with these images
yet.
| | 02:53 |
So I can just simply rename them right
from the start.
| | 02:57 |
Next we have a checkbox for open Adobe
Bridge and that means that once the
| | 03:01 |
download is complete, Bridge will launch.
Of course, Bridge is already launched so
| | 03:05 |
I do not need to have launched once
again, so I'll go ahead and turn off that checkbox.
| | 03:10 |
We can also convert our RAW captures to
the DNG file format, but, I'm not going
| | 03:14 |
to take advantage of that feature so I am
going to leave that check box turned off.
| | 03:18 |
We could also delete the original files
if we'd like but in most cases I leave
| | 03:22 |
this option turned off.
For example if I'm downloading images
| | 03:26 |
from my media card taken out of my
camera.
| | 03:28 |
I will then, when the process is finished
put that card back in the camera and
| | 03:32 |
reformat it in order to initialize it.
this provides one extra safeguard so that
| | 03:37 |
I can for example, back up my images
before I reformat the card.
| | 03:41 |
In some cases though you may want to turn
this option On.
| | 03:43 |
For example, when you're downloading
images from a smart phone, more often
| | 03:47 |
than not, it's more convenient to delete
as part of the download process.
| | 03:51 |
Rather than having to manually delete
those photos later.
| | 03:54 |
We can also create a backup copy of our
photos during this download process.
| | 03:59 |
To do so, we can simply turn on the
checkbox.
| | 04:02 |
And then choose a location where we'd
like to back up the images.
| | 04:05 |
Ideally that backup copy should be stored
on a separate physical hard drive.
| | 04:09 |
I'll go ahead and click the Browse button
and then navigate to another location
| | 04:13 |
where I can save my backup copies.
Note that we also have the option to
| | 04:18 |
Display an Advanced Dialog.
This primarily means that we'll see a
| | 04:21 |
series of thumbnails that allows us to
review the images to make sure we're
| | 04:25 |
downloading the correct photos.
And we could also turn off the checkbox
| | 04:29 |
for any photo we don't want to download.
In most cases though, I prefer to
| | 04:32 |
download everything and then review and
delete later as needed.
| | 04:36 |
But with the Advanced dialogue, we also
have the option to apply some Metadata to
| | 04:41 |
our images.
We can add, for example, the name of the
| | 04:44 |
photographer as well as copyright
information if we'd like to.
| | 04:47 |
For now, I'll just leave those options
blank.
| | 04:49 |
I can always apply a Metadata template
later.
| | 04:52 |
So I'll click the Standard Dialogue
button to get back to the Primary
| | 04:55 |
Dialogue for the photo downloader.
And at this point, I have all of my
| | 04:59 |
settings established, so I can simply
click the Get Media button and Bridge
| | 05:03 |
will copy all of my images to the folder
that I specified.
| | 05:07 |
And with this process complete, I'm ready
to start reviewing those images so I can
| | 05:11 |
get them organized.
| | 05:12 |
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| Bridge preferences| 00:02 |
Bridge is obviously a somewhat
complicated application providing you
| | 00:05 |
with a wide variety of tools for managing
and organizing your photos.
| | 00:09 |
And of course different photographers
will prefer to work in different ways
| | 00:13 |
within Bridge.
Such as by switching between different
| | 00:16 |
work spaces and even creating your own
custom work space.
| | 00:19 |
But we can also fine tune some settings
within Preferences.
| | 00:22 |
To get to the preferences dialogue simply
choose Edit > Preferences on Windows or
| | 00:27 |
Bridge preferences on Macintosh.
That will bring up the Preferences
| | 00:31 |
dialogue which includes a number of pages
of settings that we can adjust based on
| | 00:36 |
our personal preference.
On the General page, we can first adjust
| | 00:40 |
the Appearance.
For example, choosing among the various
| | 00:42 |
color themes which are essentially
Brightness settings, as it were, for the
| | 00:46 |
Bridge interface.
You can choose from the preset themes or
| | 00:50 |
adjust with a slider.
In most cases I prefer to use a slightly
| | 00:54 |
darkened version of the interface.
So I'll stick with the Default.
| | 00:57 |
We can also adjust the shade of gray for
the backdrop that falls behind our
| | 01:01 |
images, and here again I tend to leave
the setting at about its default value.
| | 01:05 |
We can also change the Accent color, and
that's the color that's used, for
| | 01:09 |
example, to identify selections.
Over here on the Folders panel, for
| | 01:13 |
example, we can see that the Paris folder
is highlighted, but I can also change
| | 01:17 |
that accent color if I'd like.
In the Behavior section, we have a couple
| | 01:21 |
of checkboxes.
The first is double-click Edit Camera Raw
| | 01:25 |
settings in Bridge.
And what that means is, that if you
| | 01:28 |
double click a raw capture in bridge,
Adobe camera raw will appear, but the
| | 01:33 |
image will not actually get opened in
photoshop, unless you click the open
| | 01:36 |
image button.
If you simply click the Done button, then
| | 01:39 |
you'll have been able to adjust the Raw
settings without actually opening the image.
| | 01:43 |
And that can be convenient in certain
situations, so you might want to turn
| | 01:46 |
this option On.
We can also specify that a Ctrl+click, or
| | 01:50 |
command click on Macintosh, is required,
in order to bring up the Loop view, when
| | 01:54 |
you're previewing an image.
By default, you simply need to click on
| | 01:57 |
the image, but if you find that you
inadvertently bring up the loop when it's
| | 02:01 |
not really wanted.
You can turn on this check box so that
| | 02:03 |
the Ctrl or Cmd key is required in order
to bring up the loop.
| | 02:08 |
You can also specify how many items
should appear on the Open Recent menu.
| | 02:12 |
The default is ten, and that's perfectly
fine by me.
| | 02:15 |
And then we can choose which specific
items we want to appear on the Favorite's panel.
| | 02:21 |
In essence, any locations that you tend
to navigate to on a regular basis you'll
| | 02:25 |
want to make sure are checked here.
And any locations that you don't tend to
| | 02:28 |
use, you can turn off, so they don't
clutter the display if you like.
| | 02:32 |
We also have a button that allows us to
Reset all of the warning dialogues.
| | 02:35 |
In many of the warning dialogues in
Bridge, you'll have a checkbox that
| | 02:38 |
allows you to tell Bridge not to show you
that specific warning in the future.
| | 02:42 |
But if you decide that you want those
warnings to return, you can click the
| | 02:45 |
Reset button and all of those warnings
will be reset.
| | 02:49 |
So that they will appear as applicable,
although you do have the option once gain
| | 02:53 |
to turn on that checkbox for individual
alerts.
| | 02:56 |
Going to the Thumbnails page, and you'll
see that we have an option to Not Process
| | 03:00 |
Files Larger Than 1000 MB or one GB.
And what that enables us to do is to
| | 03:06 |
improve performance in situations where
we have very large images.
| | 03:09 |
For example, if you create a large
composite panorama.
| | 03:13 |
You might not want Bridge to create a
Thumbnail or Preview for that specific
| | 03:17 |
image since it is so large.
And obviously then will take a
| | 03:20 |
significant amount of time to process.
If you tend to work on large images and
| | 03:25 |
want to have those images visible in
Bridge.
| | 03:27 |
You may need to raise this value, but for
most users, I think the default setting
| | 03:31 |
here is perfectly fine.
We can also choose to show additional
| | 03:34 |
information in the details display.
If you utilize the details display, and
| | 03:38 |
you want additional items to be shown.
You can turn on the show check box and
| | 03:42 |
then choose a specific item from the
popup list.
| | 03:45 |
For example, perhaps you want to display
Exposure Information.
| | 03:49 |
And we can also choose for that details
display if we want a Tooltip display to
| | 03:53 |
appear when we hover the mouse over the
image.
| | 03:56 |
Next we'll go to Playback and there we
can choose a playback rate for stacks.
| | 04:00 |
So if you utilize stacks, how many images
per second do you want to playback, if
| | 04:05 |
you choose to play that stack.
We can also choose whether we want audio
| | 04:08 |
and video files to play automatically,
and whether we want that playback to be looped.
| | 04:13 |
On the Metadata page we can choose which
specific Metadata values we want to
| | 04:18 |
appear on the Metadata tab.
If there particular values you don't care
| | 04:22 |
about, you can turn those off and if
they're items that you would like to see
| | 04:25 |
for example, maybe the rating and label.
You can turn those options On.
| | 04:29 |
Note that there also checkboxes down
below.
| | 04:32 |
One to hide any empty fields so that if
there's no value in a particular Metadata
| | 04:36 |
field that field simply won't be shown.
And we can also choose whether or not we
| | 04:40 |
want to view the Metadata Placard.
With this option turned on we'll able to
| | 04:44 |
see a summary of capture information on
the Metadata panel.
| | 04:48 |
Under keywords we have a few options that
mostly relate the Hierarchical Keywords.
| | 04:53 |
So, for example, we can choose whether or
not we want to apply Parent Keywords when
| | 04:58 |
we assign a Child Keyword.
So for example if we had a key word of
| | 05:03 |
Paris and a Parent of that Keyword was
France.
| | 05:06 |
We could have the France keyword
automatically assigned to the image
| | 05:10 |
anytime we add the Paris keyword.
We can also specify if we want to write
| | 05:14 |
Hierarchical Keywords to our images.
Now keywords in Metadata actually don't
| | 05:19 |
truly support a hierarchy.
But we can create a hierarchy by using
| | 05:23 |
the pipe symbol or the slash, backslash
or colon symbols.
| | 05:27 |
If you want to utilize higher
Hierarchical Keywords you can turn on the
| | 05:31 |
checkbox and then specify what you want
the separator will be.
| | 05:34 |
Because Hierarchical Keywords are not
supported consistently by various
| | 05:38 |
software applications.
I prefer not to put them to use, however
| | 05:42 |
I will leave the read Hierarchical
Keywords option turned On.
| | 05:45 |
So that if I have any images that
previously did have hierarchical keywords
| | 05:50 |
they will still be displayed as such
within Bridge.
| | 05:53 |
On the Labels page we can choose whether
or not we want to require the control key
| | 05:57 |
in order to apply Labels and Ratings.
I prefer to have this option turned off
| | 06:02 |
so that, for example, I can assign a star
rating simply by pressing the numbers one
| | 06:06 |
through five.
Rather than having to hold the Ctrl key,
| | 06:09 |
on Macintosh, of course, that would be
the Cmd key rather than the Ctrl key.
| | 06:13 |
And you can see that the same thing
applies for Color Labels.
| | 06:17 |
We have the numbers six through nine for
the red, yellow, green and blue Color Lables.
| | 06:21 |
And so if the check box turned Off I can
simply press those numbers.
| | 06:24 |
I can also change the word associated
with a Color Label.
| | 06:29 |
When we add a Color Label, we're not
actually adding a color per se to
| | 06:33 |
Metadata, but rather, adding a word that
indicates what that color would be.
| | 06:37 |
You can see that the defaults in Bridge
are Select, Second, Approved, etcetera.
| | 06:42 |
The problem is, this doesn't match what
other applications such as Adobe
| | 06:46 |
Photoshop Lightroom use.
So you might want to change these to the
| | 06:49 |
actual words red, yellow, green,
etcetera.
| | 06:53 |
The most important thing is to be
consistent.
| | 06:55 |
So if you're already using color labels,
then you probably want to leave these at
| | 06:58 |
their defaults.
But it is an issue worth being aware of.
| | 07:02 |
Next we have File Type Associations.
And here we can specify which application
| | 07:06 |
should be used to launch specific file
types.
| | 07:09 |
So for example you can see that the
CompuServe GIF file format will be opened
| | 07:13 |
in Photoshop, but I can also change that
to another application if I'd like to.
| | 07:18 |
On the Cache tab we'll have some options
that of course relate to the cache in Bridge.
| | 07:23 |
And this is essentially a temporary
storage area where Bridge maintains
| | 07:27 |
previews of our photos so they don't have
to be re rendered every time we browse an image.
| | 07:32 |
We can choose to keep 100% preview in
cache, so that if we zoom in on a photo,
| | 07:36 |
for example, we won't have to re-render
each time.
| | 07:39 |
We can also choose to Export the cache to
the individual folders, along with the
| | 07:44 |
images if we want to.
By default, the cache is stored in a
| | 07:47 |
central location.
But, for example, if you have images on
| | 07:50 |
an external hard drive.
And you want to be able to move that
| | 07:53 |
drive among various computers without
having to rebuild the cache with
| | 07:56 |
different computers, you can turn this
option on.
| | 07:59 |
You can also specify the location for the
central cache.
| | 08:02 |
In most cases, though, there's no need to
move this to a different location.
| | 08:06 |
But if you do have an additional internal
hard drive separate of your operating
| | 08:09 |
system's hard drive.
It can improve performance to move the
| | 08:12 |
cache to a different location.
You can also specify the Size of the Cache.
| | 08:16 |
The slider is not really labeled for a
specific value.
| | 08:20 |
It's just a rough sense essentially.
But the range goes from 10,000 images
| | 08:24 |
through 500,000 images a larger cache can
help improve performance.
| | 08:28 |
Because it means previews don't need to
be rendered on the fly for images as you
| | 08:32 |
browse them.
But it also consumes a fair amount of
| | 08:35 |
disk space.
So you may need to balance this depending
| | 08:37 |
on your particular configuration.
You can also compact the cache
| | 08:41 |
periodically, to help improve
performance.
| | 08:43 |
Simply click the button to do so.
And if the cache ever gets corrupted, you
| | 08:47 |
can purge it by clicking the Purge Cache
button.
| | 08:49 |
And then thumbnails and previews would
need to be re-rendered for images as you
| | 08:53 |
browse them.
Next, we have Start Up Scripts.
| | 08:57 |
And in most cases, you don't need to
worry about these settings.
| | 08:59 |
But if you have some instability or odd
issues then you might want to disable the
| | 09:03 |
start up scripts temporarily to try to
Trouble Shoot the issue.
| | 09:06 |
In some cases, for example, the start up
script might cause some problems in terms
| | 09:10 |
of stability for Bridge.
And then finally, we have the Advanced section.
| | 09:15 |
And here we have, for example, an option
to use software rendering.
| | 09:19 |
In other words, to not use your graphics
processor to generate the thumbnails and previews.
| | 09:24 |
This is an option that I would definitely
leave turned off.
| | 09:27 |
Because turning it on will slow
performance.
| | 09:29 |
The only time I would turn it on is if
you're experiencing stability issues with Bridge.
| | 09:34 |
You can also choose to generate
monitor-sized previews.
| | 09:37 |
In other words, the previews rendered
based on the largest monitor display size.
| | 09:42 |
Note that if you choose to utilize this
option then you'll need to purge the
| | 09:46 |
cache in order to regenerate the existing
previews.
| | 09:49 |
You can also choose to launch Bridge at
startup, which makes Bridge more readily
| | 09:54 |
available when you do choose to start it
up.
| | 09:57 |
But in general, I prefer to minimize the
number of applications that are running
| | 10:00 |
at any given time.
And so I launch Bridge as I need to and
| | 10:03 |
leave this checkbox turned off.
And then finally we have Language
| | 10:07 |
options, both the language of the Bridge
interface as well as the keyboard layout.
| | 10:11 |
Which obviously would be applicable for
international purposes.
| | 10:15 |
But my language is obviously English so
I'll leave those options set exactly as
| | 10:19 |
they are.
As you can see there are a wide variety
| | 10:22 |
of options available within the
preferences dialogue.
| | 10:25 |
Most of the default settings are
perfectly fine, but there are some
| | 10:28 |
options you may want to evaluate and
adjust based on your own personal preferences.
| | 10:32 |
Once you have established those settings
you can simply click the OK, button in
| | 10:36 |
order to apply the changes.
| | 10:37 |
| | Collapse this transcript |
| Using workspaces| 00:02 |
When you launch Adobe bridghe for the
first time you;ll see a configuration
| | 00:05 |
that looks like this.
This is called the essentials work space,
| | 00:08 |
but one of the things that I really
appreciate about Adobe Bridge is that you
| | 00:12 |
can change the oveall work space to suit
your own needs.
| | 00:16 |
You can see that we have a set of default
panels here.
| | 00:19 |
There's the Content Panel, the Preview
Panel, Meta Data and Keywords Panels,
| | 00:23 |
among others.
All of those panels can be found on the
| | 00:27 |
Window menu.
The ones with the check mark indicate
| | 00:29 |
that they are currently in use or
currently available.
| | 00:32 |
And those without a check mark are not
currently in use.
| | 00:35 |
You can turn a panel on or off simply by
selecting it from the window menu.
| | 00:40 |
But first, let's take a look at the other
options that are available.
| | 00:43 |
The essentials work space is the default
workspace, but we can switch to other options.
| | 00:48 |
You'll notice that we have shortcuts to
the work spaces.
| | 00:50 |
You can see that essentials is
highlighted.
| | 00:52 |
I can click filmstrip to switch to that
work space, metadata, etcetera.
| | 00:56 |
There's also a popup menu here where we
can choose to reset the work space,
| | 01:01 |
create a new work space, delete a work
space, reset all of the standard work spaces.
| | 01:07 |
In other words those that come by default
with Adobe Bridge and we can also choose
| | 01:11 |
among the various work spaces.
We'll go ahead and switch to light table
| | 01:15 |
for example and you can see that this is
the work space that focuses on the
| | 01:19 |
thumbnail display so that we can see a
large number of images all at once.
| | 01:24 |
So let's take a look at how we can create
our own custom work space and perform
| | 01:27 |
some other tasks related to work spaces.
For me, personally, I tend to like the
| | 01:31 |
Filmstrip workspace, although there are
some additional options I'd like to add.
| | 01:37 |
For example, I like to be able to view
the Metadata panel, and so I'm going to
| | 01:41 |
go to the Window menu and then choose
Metadata Panel to bring up that metadata panel.
| | 01:47 |
You can see that it appeared over on the
right side, and the problem is that's
| | 01:50 |
taking up a fair amount of space I can
adjust how much space is allocated to
| | 01:55 |
that metadata panel by dragging the
dividing line to the left or right.
| | 01:59 |
But even making it smaller is not going
to help much because it still takes up
| | 02:03 |
some space here and now I can't really
see most of the information on it.
| | 02:07 |
So, instead I'd like to move the metadata
panel to a different location.
| | 02:11 |
The favorites and folders panels I use
fairly frequently, but once I've
| | 02:15 |
navigated to a specific folder I don't
necessarily need to switch to another
| | 02:20 |
folder right away.
Hence why I think it makes sense to have
| | 02:22 |
the metadata panel here, that way I can
utilize the filter panel for example to
| | 02:27 |
help filter the images in the current
folder, and then select an image and view
| | 02:30 |
the metadata for the image.
So I'm going to move that met data panel
| | 02:34 |
by dragging the tab for the metadata
panel to a new location.
| | 02:39 |
You'll notice as I move the mouse around
that I get a blue highlight indicating
| | 02:43 |
where that panel will end up when I
release the mouse.
| | 02:46 |
So I'll hover my mouse over the area
where I want that panel to appear and
| | 02:50 |
then I will release the mouse button and
you can see that meta data panel has moved.
| | 02:55 |
That's left an empty space in the right
pane, so I'll go ahead and drag that
| | 02:59 |
dividing line over toward the far right.
In order to reclaim that space so now I
| | 03:03 |
can see a larger version of my preview
image.
| | 03:07 |
Now that I've customized this workspace a
little bit to my own liking, I'll go
| | 03:10 |
ahead and save it.
I'll go to the Window Menu and choose
| | 03:14 |
workspace followed by new workspace.
That will bring up the new workspace dialogue.
| | 03:18 |
I'll just type my name since this is my
workspace.
| | 03:21 |
But of course you might also use a name
that is indictive of the task you're
| | 03:25 |
going to perform with that particualr
workspace.
| | 03:27 |
For example if you use one workspce when
you're updating keywords in metadata.
| | 03:31 |
And a different workspace when you're
looking for specific images.
| | 03:34 |
You can name those workspaces
accordingly.
| | 03:37 |
I'll also save the window location as
part of the work space.
| | 03:41 |
And also the sort order.
This can be helpful in situations where
| | 03:44 |
the sort order is critical to a
particular task, for example.
| | 03:47 |
With those options established, I'll go
ahead and click the save button and you
| | 03:51 |
can see that my work space has been
created.
| | 03:53 |
So now, I can switch between between my
various workspaces, but always get back
| | 03:58 |
to my own personal workspace.
And if I make any changes, let's say for
| | 04:01 |
example I inadvertently get rid of one of
the panels that I actually want.
| | 04:05 |
I'll go to the Window menu and for
example turn off the Folders Panel.
| | 04:10 |
That will make it a little difficult for
me to navigate among my folders, so I
| | 04:13 |
certainly want that panel back.
But if I'm not sure exactly what I need
| | 04:16 |
to bring back, in other words I'm not
sure what panels were lost, then I can
| | 04:20 |
simply reset the workspace.
So I'll go to the window menu, and choose workspace.
| | 04:26 |
You can see that the tin gray workspace
is currently active but its been modified
| | 04:30 |
also so it doesn't actually completely
reflect that saved workspace but I can
| | 04:35 |
choose reset workspace to reset that
workspace back to the save setting.
| | 04:40 |
So you can see that the meta data panel
If you've created multiple workspaces
| | 04:45 |
form time to time you may find that you
have an extraneous workspace, in which
| | 04:49 |
case you can go to the Window menu,
choose Workspace and then choose Delete Workspace.
| | 04:54 |
You may have noticed that this option was
not available initially, and that's
| | 04:57 |
because you cannot delete the work spaces
that are included with Bridge by default,
| | 05:01 |
and so until you create your own
workspace this option will not be available...
| | 05:05 |
But you can choose Delete Workspace and
then choose your specific saved workspace
| | 05:09 |
from the pop-up.
If you do want to delete it, in which
| | 05:12 |
case you can simply click the Delete
button but of course in this case I don't
| | 05:15 |
want to delete this workspace so I'll
just click the Cancel button.
| | 05:18 |
You may very find that one of the work
spaces included with Bridge, works
| | 05:22 |
perfectly well for your needs.
But if not, rest assured that you can
| | 05:26 |
fine tune the overall layout of the
Bridge interface and save your own work
| | 05:30 |
spaces as needed.
| | 05:31 |
| | Collapse this transcript |
| View options| 00:02 |
In addition to being able to adjust the
overall panel layout and save a work
| | 00:05 |
space reflecting that layout, Bridge also
allows you to adjust a variety of other
| | 00:09 |
View options.
Let's take a look at some of those settings.
| | 00:13 |
We'll start off by taking a look at the
View menu, and on that View menu you'll
| | 00:16 |
see that there are a variety of options.
So we can choose between full screen
| | 00:21 |
previews, slide show, and review mode for
example.
| | 00:25 |
We can also choose if we want to view our
images as thumbnails, as a detail
| | 00:27 |
display, or as a list display.
We can choose to show only the thumbnail,
| | 00:30 |
not for example the file name below the
thumbnail.
| | 00:34 |
We can lock the grid for the thumbnail so
that thumbnails are never cut off as we
| | 00:40 |
zoom in or out.
We can also choose whether we want
| | 00:43 |
rejected files to be displayed versus
hidden, and also whether we want to view
| | 00:47 |
hidden files, so those with the hidden
attribute in your operating system.
| | 00:51 |
We can specify whether we want folders
contained within the current folder to be
| | 00:55 |
displayed, or if we only want to view
images.
| | 00:57 |
And we can also turn on an option to
display all items, including from sub
| | 01:02 |
folders, inside the current folder.
We also have a variety of sorting options.
| | 01:07 |
We can sort by file name for example or
the resolution of the image if you want
| | 01:12 |
to and then we can choose whether we want
to sort in ascending versus descending
| | 01:16 |
order by turning on or off the ascending
order check box.
| | 01:19 |
And then we also have an option to
refresh the display.
| | 01:22 |
So if something doesn't look quite right
for example, you can force Adobe Bridge
| | 01:25 |
to refresh the on screen display.
These options are obviously all
| | 01:29 |
relatively straight forward, but most of
the key settings that you're likely to
| | 01:33 |
use can actually be found outside of the
menu itself.
| | 01:37 |
For example, we can adjust our sorting by
clicking an option on the toolbar.
| | 01:41 |
Just click the Pop up and choose the Sort
Order and then choose Ascending versus Descending.
| | 01:46 |
We can also switch between the thumbnail
display, the details display, or the list
| | 01:51 |
display by choosing one of the buttons at
the bottom right of the bridge display.
| | 01:56 |
And when we're working with thumbnails we
can also specify if we want to lock the grid.
| | 02:01 |
When we have the grid locked you'll see
that we have an available space that fits
| | 02:05 |
each thumbnail, so that we don't have a
thumbnail that's cut off.
| | 02:08 |
I'll turn that option off for a moment.
And then zoom the display of my
| | 02:12 |
thumbnails and as you can see that as I
zoom some of those thumbnails get cut off.
| | 02:17 |
If I turn on the Gridlock option then
you'll see that the images fit within the
| | 02:21 |
available space with none of those
thumbnails cut off.
| | 02:24 |
Even as I zoom in or out in order to
adjust the thumbnail size, you'll see
| | 02:28 |
that the thumbnails are not cut off.
In addition to using the slider to adjust
| | 02:33 |
the thumbnail size, we can also reduce
the size of thumbnails by clicking the
| | 02:36 |
button to the left of the slider or
increase the size of thumbnails by
| | 02:40 |
clicking the button to the right of the
slider.
| | 02:42 |
So as you can see we have a variety of
options for changing the overall view
| | 02:46 |
settings within Adobe Bridge based on our
personal preference or the particular
| | 02:50 |
task we are performing at any given time.
| | 02:55 |
| | Collapse this transcript |
| Purging the cache| 00:02 |
When you browse your photos with Bridge a
thumbnail and preview will be generated
| | 00:06 |
for those images and that enables a
faster experience browsing your images.
| | 00:11 |
The first time you browse a folder the
thumbnails and previews will be generated.
| | 00:15 |
So that the second time you browse a
folder there's no need to regenerate
| | 00:19 |
those previews, they can be displayed
instantly.
| | 00:22 |
From time to time though, you may need to
purge the cache of those thumbnails and previews.
| | 00:27 |
For example, you may find a situation
where some of the previews have become
| | 00:31 |
corrupted and no longer reflect
accurately the contents of the image.
| | 00:35 |
Or you may find that the cache is just
consuming too much hard drive space and
| | 00:39 |
you need to free up some of that space.
There are a couple of options for purging
| | 00:43 |
the cache.
If you just have a problem with the
| | 00:45 |
images in a single folder, then you can
simply choose Tools from the menu
| | 00:49 |
followed by Cache and then Purge Cache
for Folder.
| | 00:54 |
And you'll see, of course, that the name
of the current folder is indicated there.
| | 00:58 |
When you choose this option, the
thumbnails and previews will need to be re-rendered.
| | 01:02 |
In this case, that process takes
virtually no time at all, because there
| | 01:05 |
are only 18 images here, and they're
relatively small JPEG images.
| | 01:09 |
For a large collection of raw captures,
that process may involve a little bit
| | 01:13 |
more time.
But once that process is complete you'll
| | 01:16 |
be able to browse among your photos very
quickly.
| | 01:19 |
If you have a larger issue, for example,
you need to clear out the overall cache
| | 01:23 |
so that you can free up some hard drive
space, you can purge the entire cache for
| | 01:27 |
the entire Bridge catalog.
To do so, we'll go to Preferences.
| | 01:31 |
So on Windows we can choose Edit >
Preferences, and on Macintosh, we can
| | 01:35 |
choose Bridge > Preferences.
In the Preferences dialog, we'll go to
| | 01:39 |
the Cache section and then we can click
the Purge Cache button.
| | 01:43 |
You'll be asked for a confirmation that
you really do want to purge the cache.
| | 01:46 |
If you click OK, that cache will be
purged for all of the images that are in
| | 01:51 |
the current cache.
You can then click OK to close the
| | 01:53 |
Preferences dialog, and as you browse to
various folders the thumbnails and
| | 01:57 |
previews will be regenerated.
For most photographers there's not really
| | 02:01 |
much need to purge the cache for a single
folder or for Bridge in its entirety but
| | 02:06 |
every now and then you may find that it
becomes necessary for one reason or
| | 02:09 |
another and so it's helpful to know where
those options exist...
| | 02:15 |
| | Collapse this transcript |
|
|
2. Organization BasicsNavigating among photos| 00:02 |
Adobe Bridge is used primarily to manage
your digital photos, and of course, that
| | 00:06 |
means you're going to need to navigate
among the various folders where your
| | 00:09 |
images are stored and move through the
various images to review them.
| | 00:12 |
Let's take a look at the various options
that are available within Adobe Bridge
| | 00:16 |
for navigating among your images.
I'm currently browsing a South Africa folder.
| | 00:21 |
But you can see on the folders panel that
I also have access to the other folders
| | 00:25 |
that are adjacent to that South Africa
folder.
| | 00:27 |
I can also navigate up to a higher
location or just to a different folder in general.
| | 00:31 |
I can even navigate among the various
drives on my computer.
| | 00:34 |
So for example I can see all of the
additional hard drives attached to my computer.
| | 00:39 |
And I can go to the desktop as well to
look for images there.
| | 00:43 |
The point is that I can navigate among
all of the various locations on my
| | 00:47 |
internal hard drive, attached external
hard drives, network locations, et cetera
| | 00:52 |
all through that folders panel.
As needed, I can collapse or expand the
| | 00:56 |
individual folders that are displayed on
that folders panel.
| | 01:00 |
I can do that just by clicking the
triangle to the left of any of the
| | 01:03 |
drives, folders, or other locations that
are indicated.
| | 01:06 |
In addition to the folders panel, I can
also utilize the favorites panel.
| | 01:10 |
You can add items to the favorites panel,
but by default you'll have access to your
| | 01:14 |
computer, or the desktop, the My Pictures
folder, et cetera.
| | 01:18 |
I'll go ahead and navigate to the
desktop, for example, and then choose a
| | 01:21 |
particular folder that I want to browse.
Once I've navigated to a particular
| | 01:25 |
folder, you'll notice that I have an
indication of that folder's location on
| | 01:29 |
the toolbar.
In addition to providing some information
| | 01:32 |
about where I'm currently browsing I can
also navigate by clicking on a parent folder.
| | 01:37 |
So for example I can click on the
Exercise Files folder or the Desktop
| | 01:41 |
folder in order to navigate among those
locations.
| | 01:45 |
If I actually didn't want to go all the
way back to the Desktop, but rather
| | 01:48 |
wanted to be in the Exercise Files
folder.
| | 01:50 |
I can't actually navigate to it right
here because it's not displayed.
| | 01:54 |
I can certainly use the Content panel but
since the Exercise Files folder is the
| | 01:58 |
last folder I was in I can also click the
back button and once I've gone back, I
| | 02:04 |
can also go forward.
Much like you would navigate backward and
| | 02:07 |
forward using a web browser.
When you navigate to a particular folder,
| | 02:11 |
an image will not be selected by default
and so to actually navigate among your
| | 02:16 |
images or to view a preview of one of
those images, you'll need to click on
| | 02:20 |
that image to make it active.
And, of course, I can click on any of the
| | 02:24 |
images on the content panel In order to
view that image in the preview panel.
| | 02:28 |
But I can also navigate using keyboard
shortcuts.
| | 02:31 |
For example I can press the Home key to
go to the first image in the content panel.
| | 02:35 |
And I can press the End key to go to the
last image.
| | 02:38 |
In most cases, I would start reviewing
images with the first image.
| | 02:41 |
So that Home key shortcut can be very
helpful.
| | 02:44 |
I can then use the arrow keys to navigate
through the images.
| | 02:47 |
Pressing the right arrow key to go to the
next image or the left arrow key to go to
| | 02:51 |
the previous image.
Once you're able to navigate around among
| | 02:54 |
the various folders and navigate among
the individual images, you'll be able to
| | 02:58 |
review those images in order to keep them
organized and find just the image you need.
| | 03:02 |
| | Collapse this transcript |
| Rotating images| 00:02 |
Chances are the notion of rotating your
images in 90 degree increments isn't
| | 00:06 |
something you think about all that often.
And that's in large part because it's
| | 00:10 |
usually not necessary.
Our digital cameras contain sensors, so
| | 00:14 |
that the camera knows what the
orientation of the camera was at the time
| | 00:17 |
of the capture, and it marks the photos
accordingly, so a horizontal image
| | 00:21 |
appears horizontally and a vertical image
appears vertically, all automatically.
| | 00:25 |
In some cases, though, the camera may be
confused or you may want to exercise a
| | 00:30 |
bit of artistic license.
For example, if you hold the camera at a
| | 00:34 |
precisely 45 degree angle.
The camera doesn't really know whether
| | 00:38 |
you intended a vertical or horizontal
orientation.
| | 00:42 |
In that type of situation, you may need
to rotate the image.
| | 00:44 |
And in some cases, the image might not
really have a specific orientation that
| | 00:49 |
needs to be used.
For example, this closeup of an
| | 00:52 |
elephant's skin could probably be rotated
in just amount any orientation.
| | 00:57 |
Regardless of the reasons that you may
want to rotate an image, the task is very
| | 01:01 |
very simple.
In fact, there're buttons on the toolbar
| | 01:03 |
that allow you to rotate the image
counter-clockwise or clockwise.
| | 01:07 |
All you need to do is click the button,
and the image will be rotated.
| | 01:12 |
So with this image for example, I might
rotate around until I decide exactly
| | 01:16 |
which orientation I like.
And my sense is that this vertical
| | 01:19 |
orientation actually works a little bit
better.
| | 01:22 |
So I think I'll leave the image rotated
that way.
| | 01:25 |
In addition to using the buttons on the
toolbar, you can also go to Edit Menu and
| | 01:29 |
then choose to rotate the image 180
degrees or to rotate clockwise or
| | 01:34 |
counterclockwise in 90 degree increments.
You can also press Control with the right
| | 01:39 |
square Bracket key on Windows or Command
with the right square Bracket key on
| | 01:43 |
Macintosh to rotate clockwise and Ctrl or
Command with left square Bracket key in
| | 01:48 |
order to rotate counterclockwise.
So, while you might not need to rotate
| | 01:52 |
your images in 90 degree increments all
that often, it's very helpful that the
| | 01:56 |
feature is available in Adobe Bridge and
accessible when you need it.
| | 02:00 |
| | Collapse this transcript |
| Favorite locations| 00:02 |
One of the ways you can navigate among
various locations in Adobe Bridge is to
| | 00:06 |
utilize the Favorites Panel.
You can see for example at the moment, my
| | 00:10 |
Favorites Panel includes my computer so
that I can navigate among the various
| | 00:14 |
drives that are attached to my computer.
I can navigate to the desktop, to the My
| | 00:17 |
Documents folder or the My Pictures
folder.
| | 00:20 |
I can configure the favorites in
preferences.
| | 00:23 |
I'll go to the Edit Menu and choose
Preferences to bring up the preferences dialogue.
| | 00:27 |
And then on the general page of
preferences down at the bottom, you'll
| | 00:31 |
see the favorite item section.
Here, you can choose which specific items
| | 00:35 |
you want to appear on the Favorites Panel
by turning on or off the check box as appropriate.
| | 00:40 |
So, in this case, for example, you can
see that I have Computer, My Documents,
| | 00:44 |
Desktop, and My Pictures selected.
So, those items will be included on the
| | 00:48 |
Favorites Panel.
But the check boxes for libraries and
| | 00:51 |
trainer are turned off, so those items do
not appear.
| | 00:54 |
You can of course make any changes you
like here in the preferences, and then
| | 00:58 |
click OK to apply that change.
But you can also drag individual folders
| | 01:02 |
or locations into favorites.
For example, if I navigate to the
| | 01:06 |
desktop, and then take a look at the
contents, you'll see that I have my
| | 01:09 |
exercise files folder there.
And inside my exercise files folder, I
| | 01:14 |
have a number of additional folders
containing images.
| | 01:16 |
If I'm going to be working on those
photos relatively frequently, it might be
| | 01:21 |
convenient to have the exercise files
folder included on the Favorites Panel.
| | 01:25 |
To add that location, I can simply drag
and drop it from the Content Panel into
| | 01:30 |
the Favorites Panel.
So now, I effectively have a short cut to
| | 01:33 |
my Exercise Files folder so that I can
navigate among the various folders that
| | 01:37 |
are included there.
If I later decide that I don't want to
| | 01:40 |
have the Exercise Files folder included
on my list of Favorites, I can simply
| | 01:45 |
right click on that folder, and then that
item will be removed from the Favorites panel.
| | 01:49 |
So, if you have specific locations where
your photos are stored that you access on
| | 01:54 |
a regular basis, it can be very helpful
to add those locations to the Favorites
| | 01:58 |
Panel for quick access.
| | 02:00 |
| | Collapse this transcript |
| Basic image review| 00:02 |
The notion of reviewing images in Adobe
Bridge is rather straightforward.
| | 00:06 |
But there are a couple of things to keep
in mind when you are reviewing those photos.
| | 00:10 |
Let's take a look at the basic process of
reviewing a photo.
| | 00:13 |
The first step of course is to navigate
to a particular folder containing the
| | 00:16 |
images that you'd like to review.
In this case I've already navigated to my
| | 00:20 |
South Africa folder, for example, and I'm
ready to review these images.
| | 00:24 |
I need to select an image from the
Content panel in order to view it in the
| | 00:27 |
Preview panel, but if I'm going to review
all of my images in turn I probably want
| | 00:32 |
to press the Home key to navigate to the
first image in the group.
| | 00:35 |
I can then evaluate the image.
And that's essentially as simple as just
| | 00:39 |
looking at the photo and making decisions
about the aesthetics of the image, the
| | 00:43 |
sharpness of the image.
And that's largely a matter of just
| | 00:46 |
evaluating the image.
Considering the overall aesthetics, the
| | 00:49 |
composition, the exposure, the sharpness.
And all the other factors that determine
| | 00:54 |
whether or not an image is a favorite.
One of the images we're most likely to
| | 00:58 |
work with.
Of course generally speaking, you'll want
| | 01:00 |
to be able to get a closer look at your
images in order to evaluate sharpness and
| | 01:04 |
other considerations.
And there are a couple of things that we
| | 01:07 |
can do along those lines.
One of the first things that I'll tend to
| | 01:10 |
do when I find an image that I think may
be worthy of working on and possibly
| | 01:14 |
sharing with others is to press the space
bar key to go into the full-screen view
| | 01:19 |
for that image.
This still doesn't enable me to really
| | 01:21 |
critically evaluate sharpness, but it
removes all of the other distractions of
| | 01:25 |
the Bridge interface and allows me to
focus exclusively on the image itself.
| | 01:29 |
And I can then press the space bar key
again to go back to the normal display
| | 01:34 |
within Bridge.
If I want to check sharpness, I need to
| | 01:36 |
evaluate the image at a 100% zoom
setting.
| | 01:39 |
And of course, I can also use that same
setting for evaluating noise and other
| | 01:43 |
factors in an image.
And to view the image at 100%, I can
| | 01:47 |
utilize the Loupe.
That allows me to view a small area of
| | 01:50 |
the photo at a 100% scale.
To activate the Loupe I can simply click
| | 01:55 |
on the image, in order to bring up that
loop display.
| | 01:58 |
The display, of course, will be centered
on the portion of the image that I
| | 02:01 |
actually clicked on.
But I can drag that Loupe around the
| | 02:04 |
image just by clicking on it and dragging
my mouse.
| | 02:07 |
So that I can evaluate various other
areas of the image.
| | 02:11 |
Of course in this case I'll want to focus
on the cheetah's face and make sure that
| | 02:15 |
it's sharp et cetera, and that Loupe View
makes it easy to do that.
| | 02:19 |
To hide the Loupe View you can simply
click on it once again.
| | 02:23 |
With this basic process you'll be able to
evaluate each of your images as you
| | 02:27 |
choose which are your favorites, which
you want to optimize and perhaps which
| | 02:31 |
you want to share with others in a
variety of ways.
| | 02:33 |
| | Collapse this transcript |
| Star ratings| 00:02 |
One of the most common tools for
identifying favorite images is the Star Rating.
| | 00:06 |
We can rate our images between one star
and five stars to identify which images
| | 00:11 |
are the best.
The overall concept, of course, is very simple.
| | 00:15 |
If an image doesn't have a star rating,
that probably means that you simply
| | 00:18 |
haven't evaluated the image yet.
If an image has a five star rating, it
| | 00:22 |
means it's one of your very best images.
One that you're most likely going to want
| | 00:26 |
to share with others, for example.
And typically, a one star rating would
| | 00:30 |
mean the image is not very good.
But here's my thought about star ratings.
| | 00:34 |
If an image is not very good, it's
probably not worth assigning a star
| | 00:38 |
rating at all.
You're never going to be looking for your
| | 00:41 |
not so good images, so why have a one
star rating reflect a not so good image?
| | 00:46 |
Instead, I recommend that you utilize a
one star rating as indicating an image is
| | 00:51 |
worth keeping, possibly worth using.
Not one of your best images, but not a
| | 00:55 |
bad image, either.
I also suggest that you consider a
| | 00:58 |
multi-step approach to assigning star
ratings.
| | 01:02 |
Soon after capturing new images, the
experience is fresh in your mind, and
| | 01:05 |
you're probably feeling really good about
the experience and your photos.
| | 01:09 |
And as a result, you're going to be a
little more biased than usual about
| | 01:13 |
reviewing those images.
At least, I find that I am.
| | 01:15 |
And so, you might see an image and say
wow, this is just a great photo.
| | 01:20 |
The zebra here was looking right at me
and the stripes look so good, and you
| | 01:24 |
think this image needs to have a five
star rating.
| | 01:27 |
But later, when the experience isn't
quite so fresh in your mind, you may
| | 01:31 |
realize that there are some shortcomings
to this image.
| | 01:34 |
And while it's one that you might like
and you might be happy with, it certainly
| | 01:37 |
is not a five star image.
Therefore, the approach I recommend with
| | 01:40 |
star ratings is just start off by only
assigning a one star rating to images
| | 01:45 |
that you think are worth keeping or worth
working on.
| | 01:49 |
After you've gone through that process,
all of the images that you're likely to
| | 01:52 |
utilize will have a one star rating.
And those that are not likely to be used
| | 01:56 |
won't have a star rating at all.
You could then, delete those images if
| | 01:59 |
you wanted to, or just simply leave them
as they are because you can very easily
| | 02:03 |
filter images based on a star rating.
Then, a little bit later, maybe a few
| | 02:08 |
days, maybe a week or two, depending on
what sort of deadlines you might be
| | 02:11 |
facing, you can go back and review the
images again.
| | 02:14 |
Upgrading some of your images from that
particular shoot to a two-star or maybe
| | 02:19 |
three-star rating.
I recommend saving the four and five star
| | 02:22 |
ratings for images that you've already
optimized, maybe shown to others and
| | 02:27 |
gotten some feedback on.
That way, you're really making sure that
| | 02:30 |
only your very best images get a four of
five star rating.
| | 02:35 |
To assign those star ratings, you can
simply press a number on the keyboard.
| | 02:38 |
Pressing the 1 key on the keyboard will
add a one star rating, 2 adds a two star
| | 02:42 |
rating, and so on, all the way up to five
stars.
| | 02:45 |
If you want to remove a star rating from
an image, you can simply press the 0 key
| | 02:49 |
to set 0 stars as the rating.
So, perhaps I'll go through my images and
| | 02:54 |
assign one star to the images that I
like.
| | 02:56 |
Simply pressing the number 1 on the
keyboard.
| | 02:59 |
I think this one is kind of cute as well,
and this one looks interesting, this one
| | 03:03 |
maybe not so much, that one I don't
really care for, that one I like, etcetera.
| | 03:09 |
Then later I can come back and decide
which images should be upgraded.
| | 03:13 |
Maybe I decide this deserves two stars,
for example.
| | 03:16 |
And maybe this one gets a three star
rating.
| | 03:18 |
And then, after I've had some time to
work with my images and maybe get
| | 03:21 |
feedback from others, then I might even
come back and assign a four or five star
| | 03:26 |
rating to some of my very favorite
images.
| | 03:28 |
In addition to using the keyboard
shortcuts, we can also assign a star
| | 03:31 |
rating on the Label menu.
You'll see that we have a one star
| | 03:35 |
through five star indication.
We can also increase or decrease the rating.
| | 03:40 |
So, a five star image could become a four
star image by decreasing the rating.
| | 03:44 |
Or, a three star image could become a
four star image by increasing the rating.
| | 03:48 |
But I typically find that I simply want
to assign a specific value to a specific image.
| | 03:53 |
And so, I'll tend to just use the number
keys on the keyboard to assign those star ratings.
| | 03:58 |
As you can see, the process of assigning
star ratings is relatively straightforward.
| | 04:01 |
And using star ratings can be very
helpful in terms of identifying your
| | 04:05 |
favorite images.
And also, sort of stack ranking multiple
| | 04:09 |
images against one another, so that you
can see which images are stronger than
| | 04:12 |
others, for example.
But in my mind, star ratings represent a
| | 04:16 |
simple and very clear method of assigning
a ranking to each of your photos.
| | 04:21 |
| | Collapse this transcript |
| Color labels| 00:02 |
Star ratings tend to be the most common
approach to identifying favorite images,
| | 00:06 |
or not-so-favorite images, but we can
also assign a color label to images.
| | 00:10 |
There are some caveats, though, to using
color labels, so let's consider this
| | 00:15 |
additional option for identifying
specific images.
| | 00:18 |
First we'll take a look at the
preferences dialogue.
| | 00:21 |
So, I'll go to edit, Preferences on
Windows, or Bridge Preferences on Macintosh.
| | 00:26 |
That will bring up the Preferences
dialogue.
| | 00:28 |
And here I'm going to choose the labels
option from the list in order to display
| | 00:33 |
the labels page in Preferences.
And you''ll notice that the color labels
| | 00:36 |
are indicated by their color.
Red, yellow, green, blue and purple.
| | 00:40 |
But actually, when we assign a label to
an image, we're not adding a color to
| | 00:45 |
metadata we're actually adding a word or
words that represent that color.
| | 00:49 |
And in the case of bridge the defaults
are select for red, second for yellow,
| | 00:54 |
approved for green, etcetera.
Other applications use different words.
| | 00:58 |
For example, Adobe Photoshop Light Room
uses the word red to represent the red
| | 01:03 |
color label, yellow to represent the
yellow color label, et cetera.
| | 01:07 |
So, you may want to change these settings
if you're using other software to review
| | 01:11 |
your images.
If you've already started using color
| | 01:14 |
labels in Bridge, you probably want to
leave these set as they are.
| | 01:17 |
But if you've not yet started using color
labels, and you plan to, You might want
| | 01:21 |
to change these to match whatever other
software you may be using.
| | 01:24 |
I'll leave these as they are for the
moment and go ahead and click the okay
| | 01:28 |
button and then we can consider when we
may or may not want to use color labels.
| | 01:32 |
The challenge with color labels is
twofold.
| | 01:34 |
Number one, a color label does not have
an automatic inherent meaning.
| | 01:39 |
We all know what a five star image versus
a one star image might mean but we don't
| | 01:43 |
necessarily know what is meant by a red
color label versus a green color label.
| | 01:48 |
Furthermore, you can only add a single
color label to each individual image.
| | 01:52 |
That makes sense of course, but you need
to keep that in mind when you assign a
| | 01:56 |
meaning to a color label.
For example, if red means that an image
| | 01:59 |
needs to be cleaned up and optimized, and
green means that an image needs to be
| | 02:03 |
printed, what about an image that you
need to optimize and you also want to print.
| | 02:08 |
You can't add a red and a green color
label to the same image.
| | 02:12 |
I'll tend to use color labels for
specific projects, for example, or to
| | 02:16 |
indicate images I want to share with
someone.
| | 02:18 |
But the point is that you need to be
thoughtful about what the meaning of
| | 02:21 |
those color labels will be.
Once you've identified a meaning for a
| | 02:25 |
color label, then we can add color labels
with a quick keyboard shortcut.
| | 02:29 |
We can press the number six to assign the
red color label.
| | 02:32 |
We can press seven to assign a yellow
color label.
| | 02:35 |
Eight will assign a green color label,
nine will assign a blue color label, but
| | 02:40 |
there's not a keyboard shortcut for the
purple color label, so that one you'll
| | 02:44 |
need to choose from the menu.
We can simply choose Label and then
| | 02:48 |
either No label if we want to remove the
color label or the specific color, but
| | 02:53 |
again you'll see.
That the labels here are indicated based
| | 02:56 |
on the preferences setting.
So the purple color label happens to be
| | 02:59 |
to do.
Once again, the key thing to keep in mind
| | 03:02 |
is what the meaning is for each
individual color label.
| | 03:05 |
You might even want to make a list of
what each color means for your personal workflow.
| | 03:10 |
Just to make sure you don't forget or get
confused later.
| | 03:13 |
But as long as you take into account the
caveats of using color labels, it can be
| | 03:17 |
very helpful as part of your overall
image management work flow.
| | 03:20 |
| | Collapse this transcript |
| Rejecting and deleting photos| 00:02 |
Hopefully, it doesn't happen too often,
but every now and then, you're going to
| | 00:05 |
have an image that just isn't working for
you.
| | 00:07 |
Perhaps it was an accidental capture, or
the exposure was way off, or the image is
| | 00:12 |
wildly out of focus.
Whatever the reason, every now and then
| | 00:15 |
you're going to find some images that you
just don't care for.
| | 00:17 |
And then, you have a decision to make, do
you want to completely get rid of that
| | 00:21 |
image, mark it as one of your not so good
images, or just keep it and ignore it
| | 00:26 |
most of the time.
Bridge enables you to delete images of
| | 00:30 |
course, but you can also mark images as
rejected images.
| | 00:33 |
Let's take a look at the various options.
Here, I have an image that is just not
| | 00:37 |
working for me there are some
distractions in the grasses here, the
| | 00:41 |
head angle doesn't look all that good.
It's just not a good shot, and so I'd
| | 00:44 |
like to delete it.
So, I'll select that image if I haven't already.
| | 00:48 |
And then, I can simply press the Delete
key on the keyboard.
| | 00:51 |
I could also right-click on the image and
choose Delete from the popup menu or I
| | 00:55 |
could go to the File menu and choose the
Delete option there.
| | 00:59 |
When I press Delete, though, Bridge
doesn't know for sure what I actually
| | 01:02 |
want to do.
o I want to actually delete the image, or
| | 01:05 |
do I just want to mark it for rejection?
Note that I can press Ctrl+Delete on
| | 01:11 |
Windows or Cmd+Delete on Macintosh if I
definitely want to delete the image.
| | 01:17 |
But in this case, I only pressed delete.
And so, I need to make a choice.
| | 01:21 |
I can choose the Reject option, or I can
choose the Delete option.
| | 01:25 |
If I choose Delete, the image will be
moved to the trash or the recycle bin.
| | 01:29 |
But if I choose Reject, the image will
simply be marked for rejection.
| | 01:33 |
In this case, I want to actually delete
the image.
| | 01:35 |
And so, I'll go ahead and click the
Delete button.
| | 01:38 |
Of course, if I change my mind
altogether, I could click Cancel.
| | 01:41 |
So, I'll click Delete, and that
essentially is just as though I had
| | 01:45 |
pressed Ctrl+Delete or Cmd+Delete in the
first place.
| | 01:48 |
I'm still going to be asked for a
confirmation.
| | 01:51 |
Of course, I could turn on the Don't Show
Again check box if I don't want to see
| | 01:55 |
this confirmation.
But, I'm a little paranoid and I prefer
| | 01:58 |
to have that additional step as a
safeguard, just so I don't accidentally
| | 02:02 |
delete an image.
But, in this case, I really don't care
| | 02:05 |
for this photo, and so I'll go ahead and
click OK to confirm that deletion.
| | 02:09 |
As we've seen, of course, we also have
the option to reject an image.
| | 02:13 |
And so, if this image is one that I just
don't care for, but I don't want to
| | 02:17 |
delete it altogether I could simply
reject the image.
| | 02:20 |
We've already seen that if I press the
Delete key, I'll get a question, do I
| | 02:25 |
want to Reject the image or Delete the
image, or do I just want to Cancel.
| | 02:28 |
So, I could click the reject button, but
I can also use a keyboard shortcut or a
| | 02:32 |
menu command for that as well.
I'll go ahead and click Cancel.
| | 02:36 |
And then, we can go to the Label menu,
and find the Reject option.
| | 02:40 |
I can choose this option directly from
the menu, or I can press Alt+Delete on
| | 02:45 |
Windows, or Option+Delete on Macintosh,
in order to mark an image as rejected.
| | 02:50 |
I'll go ahead and choose that command
from the menu, and you can see that the
| | 02:54 |
image is marked very clearly as a
rejected image.
| | 02:57 |
That indication is certainly helpful, but
eventually once you've reviewed all of
| | 03:01 |
your images and marked the rejected
images, you probably don't need to see
| | 03:05 |
those images anymore.
By default rejected images are still
| | 03:09 |
displayed, they're just indicated as a
reject.
| | 03:12 |
But we can hide those images if we want
to by going to the View menu, and then
| | 03:16 |
turning off the Show Reject Files option.
With that option turned off, those
| | 03:21 |
rejected images disappear from view.
They've not been deleted.
| | 03:25 |
But their not visible either.
At any time, I can reveal those rejected
| | 03:29 |
images by choosing View, Show Reject
Files, once again from the menu.
| | 03:33 |
And of course, at some point I might
decide that I want to select all of my
| | 03:37 |
rejected images.
So, I could filter based on the reject flag.
| | 03:41 |
And then, delete all of those rejected
photos.
| | 03:43 |
But you may also want to keep them around
and just hide them from view just in case
| | 03:48 |
you change your mind later.
When you have an image that's just not
| | 03:51 |
that great, and you don't really think
you're going to use it, you can delete it
| | 03:55 |
altogether or mark it as a reject and
then hide those rejected images.
| | 03:59 |
As a result, of course, you'll be able to
focus on your favorite images.
| | 04:03 |
| | Collapse this transcript |
| Using Review mode| 00:02 |
Adobe Bridge includes an option called
Review Mode that, as the name implies,
| | 00:06 |
allows you to review your images.
So, perhaps you're working on a
| | 00:10 |
particular project and you need to find a
few images to use for that project, the
| | 00:14 |
Review Mode can be very helpful.
Let's take a look at how it can be used.
| | 00:18 |
I'll start by going to the View menu and
choosing Review Mode...
| | 00:21 |
I could also press Ctrl+B on Windows or
Cmd+B on Macintosh, in order to enter
| | 00:27 |
Review Mode.
And when I do so, I'll be reviewing the
| | 00:30 |
images in the current folder.
You can see, for example, that all of the
| | 00:34 |
images in this folder, 31 of them, have
been selected automatically.
| | 00:38 |
You'll also see that we have any
indication of which images are previous
| | 00:42 |
and next, as it were.
So that we know, for example, whether or
| | 00:44 |
not there are similar images.
I can then navigate among the images
| | 00:48 |
using the arrow keys at the bottom left
going to the left or to the right within
| | 00:53 |
the images that availabe for review.
Of course, I can also press the left
| | 00:58 |
arrow and right arrow keys on the
keyboard to navigate among those images.
| | 01:02 |
Of course, in the process, you'll
probably want to eliminate some images.
| | 01:06 |
Eventually, you'll want to narrow down
the group of images to perhaps just one
| | 01:09 |
or to just a handful of images that
you'll use for a particular project.
| | 01:13 |
When you want to remove the current image
from consideration, you can click the
| | 01:17 |
down arrow button at the bottom left of
the review mode display, or you can
| | 01:21 |
simply press the down arrow key on the
keyboard.
| | 01:23 |
And that image will then essentially
slide away from from view, so that it is
| | 01:27 |
no longer under consideration.
In this way, you can continue to remove
| | 01:31 |
images from consideration as needed.
And then, navigate among the various
| | 01:36 |
images all using the keyboard or the
buttons at the bottom left.
| | 01:40 |
If you need to get a closer look at an
image, you can click on the Loop button
| | 01:44 |
to bring up the loop, and then drag that
loop around within the image as needed.
| | 01:48 |
Or, you can simply click on the image to
bring up the loop and click on the loop
| | 01:52 |
to remove the loop from view.
So, you can continue reviewing all of the
| | 01:56 |
various images until you've narrowed down
the group to only those images that you
| | 02:00 |
actually want to include in your
particular project.
| | 02:04 |
The process, of course, is relatively
straightforward.
| | 02:06 |
And it enables you to really focus your
attention on just the images themselves.
| | 02:11 |
Once you've narrowed down the group of
images to only those that you want to
| | 02:15 |
include in the particular project that
you're working on, you can create a
| | 02:19 |
collection for that group of images if
you'd like.
| | 02:22 |
To do so, simply click the New Collection
button down at the bottom right.
| | 02:26 |
And then, you can name that collection.
So, for example I might call this South
| | 02:30 |
Africa favorites, and then click the Save
button.
| | 02:34 |
And that will add all of the images that
are still here in Review Mode to the
| | 02:37 |
collection as it's created.
In this case, though, I don't actually
| | 02:40 |
need a collection, so I'll go ahead and
click the cancel button.
| | 02:43 |
When I'm finished reviewing my images, I
can click the X button down at the bottom
| | 02:47 |
right to close Review Mode.
And, notice that now all of the images
| | 02:51 |
that still remained in that review are
selected.
| | 02:54 |
So, I could add them to another
collection, I could add a particular
| | 02:57 |
keyword to these images.
The point is that that Review Mode makes
| | 03:01 |
it easy and efficient to work through my
various images and identify the specific
| | 03:06 |
images that I want to use for a
particular project.
| | 03:09 |
| | Collapse this transcript |
|
|
3. Getting More OrganizedBatch renaming| 00:02 |
The file names assigned by our digital
cameras aren't all that meaningful.
| | 00:06 |
In most cases, you'll have an IMG for
image, then an underscore, followed by
| | 00:11 |
what is essentially a serial number.
Or a sequence number.
| | 00:14 |
Different cameras, of course, may use a
different set up for that file name.
| | 00:17 |
But the bottom line is that that default
file name doesn't describe the contents
| | 00:22 |
of the image or anything about the
photoshoot.
| | 00:24 |
It can be helpful therefore, to rename
your images to better reflect the contents.
| | 00:29 |
This can be especially helpful if you'll
send your images to others for review.
| | 00:34 |
So here I have a group of images that
were captured in Croatia.
| | 00:39 |
They're in a Croatia folder but the file
names are those that came out of the
| | 00:42 |
camera, and so they're not all that
meaningful.
| | 00:44 |
To rename these images the first thing I
need to do is to select all of the photos.
| | 00:49 |
I can do that by going to the Edit menu
and then choosing Select all.
| | 00:53 |
Or by pressing Control+A on the keyboard
for Windows users or Cmd+A on the
| | 00:58 |
keyboard for MacIntosh users.
I'll go ahead and choose select all.
| | 01:02 |
And now all of these images are selected.
It's worth noting by the way that the
| | 01:07 |
sequence order here will effect the final
file names because I'll be including a
| | 01:11 |
sequence number as part of that file name
and so if I want the images to be
| | 01:15 |
numbered in a particular order, I need to
sort those images first but generally
| | 01:19 |
speaking sort by file name will sort the
images in the order that they were
| | 01:24 |
captured and that usually works pretty
well.
| | 01:27 |
So, with those images selected, I'll go
to the Tools menu, and then choose Batch Rename.
| | 01:31 |
That will bring up the Batch Rename
dialogue.
| | 01:34 |
Notice that I can choose from a preset if
I'd like.
| | 01:38 |
Of course, I could save a preset after
establishing my settings by clicking on
| | 01:42 |
the Save button.
But the most recently used settings will
| | 01:44 |
be preserved and so, in most cases, you
can just simply work from your existing setup.
| | 01:49 |
In the destination folder section, we can
choose if we want to rename the images in
| | 01:53 |
the exact same folder, move the images to
another folder, or copy the images to
| | 01:58 |
another folder.
In most cases, I'll simply rename exactly
| | 02:01 |
where the images are because I don't need
to move or copy them in the process
| | 02:05 |
generally speaking.
Then I can specify the file name
| | 02:08 |
structure that I want to use.
I can start off by clicking the pop up
| | 02:12 |
for the first line here for example.
You can see that it's currently set to text.
| | 02:17 |
I can also add a sequence number, I can
use the existing file name, I can use a
| | 02:20 |
folder name.
In this case, I'll use text though and
| | 02:23 |
then I can type into the text box the
value that I want.
| | 02:26 |
In this case, I want to rename all these
images to reflect the fact that they were
| | 02:29 |
captured in Croatia, so I'll type
Croatia.
| | 02:34 |
I also I have another text item, this
being a dash, to separate the word
| | 02:38 |
Croatia from the sequence number and I
already have a sequence number
| | 02:42 |
established as an additional item, here.
And over toward the right, I can specify
| | 02:46 |
how many digits I want to use.
I'll use 4 digits in this case, and then
| | 02:50 |
I can specify the initial number.
And of course, since this folder
| | 02:54 |
represents all of my Croatia images, I'll
start that numbering with 1.
| | 02:58 |
If I want to add additional elements to
my file name structure, I can click the
| | 03:02 |
plus button in order to add a new row.
And then I choose a particular item from
| | 03:07 |
the pop-up, for example, the date and
time.
| | 03:09 |
Maybe the date and time the images were
created and a particular format.
| | 03:13 |
But in this case I don't want to have the
date and time included as part of that
| | 03:16 |
file name structure.
And so I'll simply click the minus button
| | 03:19 |
to remove that element from the file
naming structure.
| | 03:23 |
I can also choose to preserve the
existing file names in the XMP metadata
| | 03:27 |
if I'd like to.
Generally speaking, I don't feel the need
| | 03:30 |
to take advantage of this option.
But if you may have referenced those file
| | 03:33 |
names somewhere else previously, it could
be a good idea to preserve those file names.
| | 03:37 |
You can also insure that the file naming
structure that you've utilized is
| | 03:41 |
compatible with various operating
systems.
| | 03:44 |
Because I'm working on a Windows system
at the moment, the Windows option is
| | 03:48 |
turned on and disabled.
I can't create file names on a Windows system.
| | 03:52 |
that are not compatible with Windows.
But I could also turn on the Mac OS and
| | 03:57 |
Unix options if I want to make certain
that my file naming structure is
| | 04:01 |
compatible with those remaining operating
systems.
| | 04:03 |
For example, different operating systems
have different characters that are not allowed.
| | 04:07 |
And so by turning on these check boxes
you'll make sure that that's not the case.
| | 04:11 |
Down below you can see that I have a
preview of my file rename operation.
| | 04:16 |
I can see the current file name for one
of my images, as well as the new name
| | 04:20 |
that that image will receive.
Everything looks good.
| | 04:23 |
And so now, I can simply click the Rename
button and all of those images will be
| | 04:28 |
renamed with more meaningful file names.
| | 04:30 |
| | Collapse this transcript |
| Reviewing and updating metadata| 00:02 |
One of the great advantages of digital
photography is the availability of
| | 00:05 |
metadata in our images.
With film photography, if you wanted to
| | 00:09 |
know which lens you used to capture an
image or which aperture and shutter speed
| | 00:14 |
combination you used for the exposure,
you pretty much had to remember it or
| | 00:18 |
write it down.
But with digital that information is
| | 00:21 |
captured and recorded automatically by
the camera but that's not the only use of
| | 00:25 |
meta data.
There's a variety of additional details
| | 00:28 |
that are available about our images and
in fact we can add information to those
| | 00:32 |
images as well in order to help us locate
images later or recall specific information.
| | 00:37 |
Let's take a look at the meta data
options.
| | 00:40 |
I'll start off by switching to the meta
data panel.
| | 00:42 |
If you don't currently have the metadata
panel available, you can go to the Window
| | 00:46 |
menu and choose metadata panel.
You can also utilize one of the work
| | 00:50 |
spaces that automatically includes the
metadata panel.
| | 00:53 |
But in this case, I already have the
metadata panel available.
| | 00:55 |
So I can just click on the tab for the
panel.
| | 00:58 |
I would, however, like to be able to see
a bit more of the information at any
| | 01:02 |
given time.
So I'm going to adjust the size of the
| | 01:04 |
panel here, so that I can see more of
those metadata details.
| | 01:10 |
At the top of the Metadata panel, by
default, we have a display that mimics
| | 01:14 |
what you might see on your camera's
display.
| | 01:15 |
That includes an indication of the lens
aperture, the shutter speed, the ISO
| | 01:20 |
setting, the metering mode, and some
other factors related to your exposure.
| | 01:24 |
To the right of that, you'll find some of
the basic file information.
| | 01:27 |
I can see the pixel dimensions.
The size of the image.
| | 01:30 |
The resolution that the image is set to.
The color space and whether it's an RGB
| | 01:35 |
verses, for example, CMYK or grey-scale
image.
| | 01:39 |
But there are also other details
available, I'll scroll up to the top of
| | 01:43 |
the metadata panel and there will find
the file properties section.
| | 01:47 |
And as you'd expect, this includes
information about the actual file that I
| | 01:51 |
have selected.
So this image is called
| | 01:53 |
Croatia-0010.jpeg, it's a jpeg file.
We can see the file size and dimensions,
| | 02:00 |
the resolution, the bit depth, a variety
of eatils about the image file itself.
| | 02:05 |
Scrolling down a little bit further we'll
find the camera data section or the X
| | 02:09 |
(UNKNOWN) section, and this includes
capture information, for example which
| | 02:14 |
lens was used, the specific focal length
the lens was set to, the aperture that
| | 02:19 |
was used...
And other details about that capture.
| | 02:23 |
This can be very helpful of course when
evaluating an image and making decisions
| | 02:27 |
about how you might use different
settings in the future.
| | 02:30 |
For example, if an image doesn't exhibit
quite enough depth of field, you could
| | 02:34 |
evaluate the aperture and the focal
length and get a sense of what settings
| | 02:37 |
you might need to use next time to
achieve a better result.
| | 02:41 |
Most of the information that we've seen
so far, is information that we can't
| | 02:45 |
really change directly.
For example, I can't decide to change
| | 02:48 |
which lens was used.
Whatever lens was used and was therefore
| | 02:51 |
recorded in meta data Is the lens that
was actually used to capture the image.
| | 02:55 |
And so I can't change that fact.
But there are a variety of metadata
| | 02:59 |
fields that I can modify.
For example, if I traveled and forgot to
| | 03:04 |
set the date and time on my camera
correctly, I can change that information
| | 03:08 |
right here.
And I can also add a variety of other
| | 03:11 |
details about the image.
Most of those details will be found in
| | 03:15 |
the IPTC core section.
You'll notice the series of pencil icons
| | 03:20 |
here, indicating that these values are
editable.
| | 03:23 |
Whereas, many of the camera capture
settings are not editable.
| | 03:27 |
So, for example, if I want to add some
location information.
| | 03:31 |
Maybe I'll add an indication of which
country this image was captured in.
| | 03:35 |
I can do that right here in metadata.
I can simply click on that value, type a
| | 03:39 |
new value, and press Enter or Return on
the keyboard.
| | 03:42 |
Or, click on the apply button, the check
mark icon, down at the bottom of the
| | 03:46 |
metadata panel.
So, for example, if I wanted to add some
| | 03:50 |
location information to this image I can
go to the appropriate field, for example,
| | 03:55 |
I might like to add the country name for
the image, and this image happened to
| | 03:59 |
have been captured in Croatia, so I can
go to the country field, click on it in
| | 04:03 |
order to activate it, type Croatia, and
then press enter or return on the
| | 04:07 |
keyboard, or click the apply button, the
check mark icon, At the bottom of the
| | 04:11 |
metadata panel, in order to apply that
change, to update that information in metadata.
| | 04:16 |
I can also update metadata information
for multiple images at once.
| | 04:20 |
For example, these first few images were
captured in the town of Porec in Croatia,
| | 04:25 |
and so I can select those images by
clicking on the first image in the
| | 04:29 |
series, and shift-clicking on the last
image in the series.
| | 04:32 |
Then, I can go to the city field and type
Porec.
| | 04:36 |
Of course in this case, I would also want
to add the country.
| | 04:39 |
And in fact since all of these images
were captured in Croatia, I may very well
| | 04:44 |
want to select all by pressing control A
on Windows or command A on Macintosh so
| | 04:49 |
that all of the images are selected.
I can then go to the country field and
| | 04:53 |
type Croatia and add that information for
all of the selected images.
| | 04:58 |
So in this way, for example I can add
location information, selecting all
| | 05:02 |
images that were captured in a particular
country and adding the country to all of
| | 05:06 |
them, and then selecting individual sets
of images that were captured in different
| | 05:09 |
cities for example and add that
information.
| | 05:12 |
And that's just one example of the
variety of details that I can add for my images.
| | 05:17 |
So I encourage you to review the various
fields that are available for meta data
| | 05:21 |
and consider which might be helpful for
you.
| | 05:24 |
Obviously adding meta data information
involves adding a little bit of extra time.
| | 05:28 |
But that time may be well spend when it
comes to finding those images later, or
| | 05:32 |
just recalling particular information.
Years from now I'm probably not going to
| | 05:37 |
remember exactly where this image was
captured.
| | 05:40 |
But by adding information to metadata I
can get that information very, very easily.
| | 05:45 |
So whether I simply need to refresh my
memory when I'm viewing a particular
| | 05:48 |
image, or I want to search based on
specific criteria, that metadata can be
| | 05:53 |
very helpful in your overall image
management workflow.
| | 05:59 |
| | Collapse this transcript |
| Using metadata templates| 00:02 |
Adding meta data to your images can be
incredibly helpful in terms of recalling
| | 00:06 |
specific information about your images or
locating specific images later.
| | 00:10 |
Of course the challenge is it takes extra
time to add meta data information to your images.
| | 00:14 |
With certain metadata that you want to
add to your images though, you may be
| | 00:18 |
able to utilize a metadata template so
that you're adding the exact same
| | 00:22 |
information to a large number of images
very easily.
| | 00:26 |
For example, I may want to add my name
and copyright information to every image
| | 00:30 |
that I capture, and I can utilize a
metadata template to make that task easier.
| | 00:35 |
I'll start off by creating a template, so
we'll go to the tools menu, and then
| | 00:39 |
choose create metadata template.
That will bring up the Create Metadata
| | 00:45 |
Template dialog, and we can specify a
name for this template.
| | 00:49 |
The important thing to keep in mind is
that you want this template to be as
| | 00:52 |
broad as possible, so that you can apply
it to as many images as possible.
| | 00:56 |
So for example, if I'm going to add my
name and contact information, that makes
| | 01:00 |
sense, since I'm working with all of my
images and all of those images were
| | 01:04 |
captured by me.
Generally speaking, though, I would not
| | 01:06 |
want to add, for example, location
information utilizing the metadata
| | 01:10 |
template because I visit a lot of
locations and my images are captured in a
| | 01:14 |
wide variety of places.
If you tend to capture images only in
| | 01:17 |
your studio, for example, that makes
things a little bit easier.
| | 01:19 |
But the point is to keep in mind that
we're going to be applying a metadata
| | 01:23 |
template to a wide variety of images.
And so the more broad-based that template
| | 01:27 |
is, the more useful it will be for you.
So I'll go ahead and create a template
| | 01:31 |
that adds my contact and copyright
information to my images.
| | 01:34 |
And I'll just call it Tim Gray Copyright
for example.
| | 01:39 |
I'll then specify that the creator is
myself.
| | 01:42 |
So I'll type my name there.
Notice that as I add a value the
| | 01:45 |
checkmark is added automatically.
That checkmark indicates which specific
| | 01:49 |
fields will be included as part of this
template.
| | 01:52 |
In other words, which values will be
updated for the images later.
| | 01:56 |
I can also add other contact information.
I'll put my email address, for example,
| | 02:01 |
and my website address, and then I'll
scroll down and I'm going to change the
| | 02:08 |
copyright status to copyrighted because
as soon as I capture an image it is
| | 02:12 |
copyrighted by me and so I'll add that
status as well.
| | 02:17 |
You'll notice there are other details,
for example, country and date created,
| | 02:20 |
that are included automatically, based on
the image that I currently have selected.
| | 02:25 |
But those items are not activated, the
check box is not turned on.
| | 02:29 |
So that information will not be included
as part of this metadata template.
| | 02:33 |
For now I think those are the only fields
I really need in terms of my contact information.
| | 02:37 |
I could include a phone number, an
address, and other details if I want to,
| | 02:41 |
but I think this will be adequate for my
purposes, so I'll go ahead and click the
| | 02:44 |
save button.
Now taking a look at the Meta Data panel
| | 02:48 |
you'll see that the creator information,
the email address and website, those
| | 02:52 |
values are all blank.
I'm now going to utilize that Meta Data
| | 02:55 |
template though to add information to my
images.
| | 02:59 |
In this case I want to select all of the
images so that I can add my copyright
| | 03:03 |
information to all images in the current
folder, and so I'll press Control A on
| | 03:07 |
Windows, or Command A on Macintosh in
order to select all of those images.
| | 03:11 |
I'll then go back to the Tools menu and I
can choose between Append Metadata or
| | 03:16 |
Replace Metadata.
In this case I actually want to Replace Metadata.
| | 03:20 |
If there was an exiting creator name, for
example, I don't want to add an
| | 03:24 |
additional name.
I want to replace that existing information.
| | 03:28 |
In this case, I think those values are
all blank for for all of these images,
| | 03:31 |
but still I would want to use Replace
Metadata in this example just to be on
| | 03:35 |
the safe side.
So I'll go ahead and choose my Tim Gray
| | 03:39 |
Copyright metadata template.
And that will add all of that information
| | 03:43 |
to all of the images that are currently
selected.
| | 03:46 |
And you can see sure enough on the
Metadata Panel the creator name, creater
| | 03:50 |
email address, website, and also the
copyrighted status have been added to all
| | 03:55 |
of these images.
If at any time I decide to make changes
| | 04:00 |
to my metadata template, I can do that by
going to the Tools menu, choosing Edit
| | 04:04 |
Metadata Template, and then choosing
whichever template I'd like to modify.
| | 04:08 |
And that will bring up the Edit Metadata
Template dialog, where I can make changes
| | 04:12 |
to any of these values.
However, it's important to keep in mind
| | 04:16 |
that changing the template will not
change the values in the images that you
| | 04:20 |
utilized that template for.
For example if I decide that I want to
| | 04:24 |
add a job title of photographer for the
creator, I can add that to my template.
| | 04:30 |
I'll go ahead and click save in order to
update the template.
| | 04:33 |
I'll then click yes to confirm that I do
want to replace that template information.
| | 04:39 |
But notice that the job title value has
not been updated for these images.
| | 04:43 |
I've updated the template, but not the
Metadata for the individual photos.
| | 04:47 |
So, it's important to think carefully
about how you are going to structure a
| | 04:51 |
particular Metadata template when you
create it but once you've created it, it
| | 04:55 |
can make it very fast and easy to add
specific information to a large number of photos.
| | 05:00 |
| | Collapse this transcript |
| Adding keywords| 00:02 |
Keywords are a specific metadata field
that provide a flexible way of adding
| | 00:06 |
information about our images that we can
later use to search for specific photos.
| | 00:12 |
Let's take a look at how we can add
keywords to our images.
| | 00:15 |
We'll take a look first at the metadata
panel.
| | 00:17 |
So I'll click on the metadata panel in
order to bring it up.
| | 00:20 |
And then I'll resize the panel here so I
can see some more information.
| | 00:24 |
And in the IPTC Core section, you'll
notice that we have a field for keywords.
| | 00:29 |
In other words, keywords is just simple
metadata field.
| | 00:32 |
We're able to update it just like any
other metadata field, but keywords tend
| | 00:36 |
to be especially important to
photographers.
| | 00:38 |
So it's worth spending a little time
thinking more carefully about how you
| | 00:42 |
might utilize keywords for your images.
Keywords are helpful in 2 basic ways.
| | 00:47 |
They allow you to search for images based
on specific key words, for example if I
| | 00:51 |
were looking for this image, I might try
searching for sunset but keywords also
| | 00:56 |
can help remind us of specific
information about the photos.
| | 01:00 |
Bare in mind that there tends to be a bit
of an overlap between keywords and other
| | 01:03 |
metadata aloes.
I might for example add Croatia as a
| | 01:07 |
keyword for this image even though I've
already specified that Croatia is the
| | 01:11 |
country where this image was captured,
therefore it's up to you to decide
| | 01:15 |
whether you want to add information to
metadata and keywords or use one and the
| | 01:20 |
other as your primary means of getting
organized...
| | 01:23 |
But the bottom line is that keywords,
much like other metadata fields, allow
| | 01:26 |
you to search for specific images and
also refresh your memory about some of
| | 01:30 |
the details of those photos.
I'll go ahead and click on the keywords
| | 01:34 |
field and I can type some words that I
think would be helpful if I were trying
| | 01:38 |
to search for this particular image...
Now the specific type of keywords you're
| | 01:42 |
adding really depends on your own
personal needs and your own work flow and
| | 01:45 |
what information you think is important
to recall.
| | 01:48 |
If you think you're never going to be
looking for a sunset photo, there's no
| | 01:51 |
sense in adding a sunset keyword.
But the challenge with keywords, of
| | 01:54 |
course, is that we don't always
anticipate how we're going to be looking
| | 01:58 |
for a particular photo.
For example, this image is predominantly
| | 02:01 |
orange, and so it might make sense to
type orange as a keyword in case I'm ever
| | 02:05 |
looking for an image with orange color
values.
| | 02:07 |
So I'll go ahead and type sunset for
example.
| | 02:11 |
And I might add water as a keyword and
boats as a keyword and orange as a keyword.
| | 02:17 |
I can even add Croatia since that's the
country even though I already have that
| | 02:22 |
information in my IPTC country field.
And I can add also Hvar, the name of the
| | 02:27 |
town as well as the island that this
photo was captured on.
| | 02:31 |
I can separate each of those key words by
a semicolon or a comma and those will
| | 02:35 |
each be treated as individual words.
Once I feel that I've added as many
| | 02:40 |
keywords as I need, I can go ahead and
click the applaud button, the check mark
| | 02:44 |
icon down at the bottom of the metadata
panel.
| | 02:47 |
We of course can also add key words to
multiple images at once just by selecting
| | 02:51 |
those multiple images, but for that i'm
going to take a look at the key words
| | 02:55 |
pannel in this case so that we can
explore some of the options that are
| | 02:58 |
available there.
So I'll go to the window menu, and choose
| | 03:01 |
keywords panel in order to bring up the
keywords panel and you'll notice that I
| | 03:06 |
have a series of keywords that I've
added: boats, Croatia, ha-var, orange,
| | 03:11 |
sunset, and water all have check marks
and that means that those keywords are
| | 03:16 |
added to the currently selected image.
You will also see that I have other
| | 03:19 |
keywords that are added for some images
being managed by Adobe Bridge but not
| | 03:24 |
added to the currently selected image.
So I can utilize these check boxes to add
| | 03:30 |
or remove keywords very easily for my
images.
| | 03:32 |
For example, there are a couple of other
images over here that include water and boats.
| | 03:37 |
I'll select a couple of them by clicking
on one of them and then holding the shift
| | 03:40 |
key and clicking on the other of them.
And with those images selected, I can now
| | 03:44 |
check keywords just by turning on a
checkbox.
| | 03:48 |
So, for example, I can add boats,
Croatia, Havar, and also water, as
| | 03:53 |
keywords for these particular images.
You'll notice that there are other
| | 03:57 |
keywords that have a basic hierarchy in
place.
| | 03:59 |
These are actually keywords included with
Adobe Bridge by default.
| | 04:03 |
But you could certainly utilize that type
of approach if you'd like to.
| | 04:07 |
For example, I'll select the group of
images here that were all captured at the
| | 04:10 |
same location and I can add that location
as a place.
| | 04:15 |
These images happen to be from (UNKNOWN)
Lake National Park and so I can go to the
| | 04:20 |
places key word and select it and then
click the The plus with the arrow there
| | 04:25 |
to add a new sub keyword.
The plus by itself will add a new keyword.
| | 04:30 |
The plus with the arrow will add a new
sub keyword.
| | 04:32 |
So we'll go ahead and click to add a new
sub keyword and then I can type the name
| | 04:37 |
of this place (SOUND) And then I'll press
Enter or Return in order to add that keyword.
| | 04:44 |
And now I can turn on the checkbox for
the keyword in order to add it to the
| | 04:49 |
selected images.
If there are keywords on the list that
| | 04:52 |
you don't use you can also remove them.
For example, I don't know who Matthew or
| | 04:57 |
Ryan are.
Those are just keywords included with
| | 04:59 |
Bridge by default.
And so if I want to remove those
| | 05:02 |
keywords, I can click on any of the
keywords.
| | 05:04 |
And then click the trash can button at
the bottom of the Keywords Panel.
| | 05:07 |
Clicking Yes to confirm so that I can
delete that particular keyword.
| | 05:11 |
And in this case, I might also delete the
people keyword as well.
| | 05:15 |
But I might leave that and then add
additionally sub keywords for the
| | 05:19 |
specific people I might include in my
photos but you can see that the basic
| | 05:23 |
concept of applying keywords in Adobe
bridge is relatively straightforward.
| | 05:28 |
You can create keywords and then utilize
the check box to add them as appropriate
| | 05:32 |
to specific images, or you can utilize
the IPCT core section of the metadata
| | 05:38 |
panel in order to add keywords to
specific images.
| | 05:41 |
But overall, the important thing is to
think carefully about what information is
| | 05:45 |
important to you, and what information
you're likely to search based on so that
| | 05:49 |
you can add appropriate keywords for your
images and help maximize your organization.
| | 05:54 |
| | Collapse this transcript |
| Stacking images| 00:02 |
From time to time you may find that
there's a certain degree of redundancy in
| | 00:06 |
your images, or perhaps a reason to group
specific images together.
| | 00:10 |
In those types of situations, you may
want to consider utilizing stacks in
| | 00:14 |
order to clean up the overall
presentation of your images.
| | 00:17 |
For example, I have several images here
of a statue in Opatija in Croatia and
| | 00:23 |
they're very similar so, I'm not likely
to utilize all three.
| | 00:26 |
I'd probably settle on one as my favorite
image from the group.
| | 00:30 |
I could certainly use star ratings to
help identify that.
| | 00:33 |
But there's also no real need for me to
be able to see all three of these images
| | 00:37 |
whenever I'm browsing my photos.
And so I can collapse them into a stack,
| | 00:41 |
essentially showing one image to
represent all three.
| | 00:44 |
So, I'll get started by selecting these
three images.
| | 00:48 |
I'll click on the first image in the
series and then hold the Shift key and
| | 00:52 |
click on the last image in the series.
As needed, I could also hold the Ctrl key
| | 00:56 |
on Windows or the Cmd key on Macintosh if
I need to toggle the selection of an
| | 01:01 |
individual image.
Once I've selected the images that I
| | 01:05 |
would like to group into a stack, I can
go to the Stacks menu and choose Group As
| | 01:09 |
A Stack.
I could also press Ctrl+G on Windows or
| | 01:13 |
Cmd+G on Macintosh in order to group
images into a stack.
| | 01:17 |
I'll go ahead and choose that option.
And you can see that I now have one thumbnail.
| | 01:21 |
There is an indication that this is a
stack.
| | 01:23 |
You can see that it looks like a virtual
stack.
| | 01:25 |
And there's a number three, indicating
that three images are included in this stack.
| | 01:30 |
So now as I navigate among my various
images, you can see that only one image
| | 01:35 |
is taking the place of three images.
Of course, at times, I may want to view
| | 01:39 |
the individual images that are in that
stack.
| | 01:42 |
And so I can go to the Stack menu, and
then choose Open Stack.
| | 01:46 |
I could also press Ctrl+right arrow on
Windows.
| | 01:49 |
Or Cmd+right arrow on Macintosh.
If I have multiple stacks, I can also
| | 01:54 |
open all of them.
By choosing Expand All Stacks from the
| | 01:57 |
Stacks menu, or pressing Ctrl+Alt+right
arrow on Windows or Cmd+Option+right
| | 02:02 |
arrow on Macintosh.
I'll go ahead and click the Open Stack
| | 02:06 |
option on the Stacks menu and you can see
that my stack is now expanded.
| | 02:10 |
I can navigate among the individual
images here if I'd like to.
| | 02:14 |
I can also decide to promote an image to
the representation of that stack.
| | 02:19 |
In other words, the image that will
appear for the stack itself.
| | 02:22 |
I'll select this image, for example, and
then from the Stacks menu I can choose
| | 02:27 |
Promote to Top of Stack.
That will position the image as the first
| | 02:32 |
image in the stack, but then also that
will be the only image I see when I
| | 02:36 |
collapse that stack once again.
And I can collapse that stack by choosing
| | 02:40 |
Stacks, Close Stack, or Collapse All
Stacks as applicable.
| | 02:44 |
But I can also hold the Ctrl key on
Windows or the Cmd key on MacIntosh and
| | 02:49 |
press the left arrow button, and that too
will collapse that stack.
| | 02:53 |
And finally, if I decide that I no longer
need these images to be included in a
| | 02:57 |
stack, I can choose Stacks, followed by
Ungroup from Stack.
| | 03:01 |
Or I can press Ctrl+Shift+G on Windows or
Cmd+Shift+G on Macintosh.
| | 03:06 |
But in this case, I think I'll leave
these images in a stack.
| | 03:10 |
Because that's just a more efficient way
to work with similar images when I'm not
| | 03:14 |
likely to use multiple images for a
particular project.
| | 03:17 |
And therefore I just don't need to see
all of those images on my film strip.
| | 03:20 |
| | Collapse this transcript |
| Using collections| 00:02 |
We store our digital photos in folders of
course.
| | 00:04 |
And then we can utilize metadata to add
information about our images which we can
| | 00:09 |
then use to search for those images.
But in some cases, you may want to have a
| | 00:13 |
somewhat more permanent search result so
to speak, and we can utilize collections
| | 00:18 |
for that purpose.
There are normal collections which are
| | 00:22 |
sort of like a virtual folder.
So that we can have a reference to an
| | 00:26 |
image without creating an extra copy of
that image.
| | 00:28 |
And then there are smart collections
which are essentially saved search results.
| | 00:33 |
Lets take a look at both of those
options.
| | 00:35 |
I'll start off by going to the
Collections panel.
| | 00:37 |
If you don't have the Collections panel
available you can go to the Window menu
| | 00:42 |
and then choose Collections Panel in
order to make it active.
| | 00:45 |
But in this case, I already have my
Collections panel available so I'll just
| | 00:49 |
click on the tab for it.
And then let's assume that I'm going to
| | 00:52 |
create a calendar next year.
And so I want to, throughout the course
| | 00:56 |
of this year, be able to specify images
that I will consider for that calendar.
| | 01:01 |
That calls for a normal collection.
And so at the bottom of the Collections
| | 01:05 |
panel, I'll go ahead and click on the New
Collection button.
| | 01:09 |
When I do so, because I have an image
selected, I'll be asked if I want to
| | 01:13 |
include that selected image in the new
collection.
| | 01:16 |
In this case, I don't want to add this
image, I wasn't really thinking about
| | 01:20 |
this specific image when I thought about
the calendar, I just want to create a
| | 01:23 |
collection so that I can start adding to
that collection.
| | 01:26 |
So I'll go ahead and click the No button
and then I can specify the name of my new collection.
| | 01:31 |
I'll just call this Calendar 2014 for
example.
| | 01:35 |
And I'll press Enter or Return on the
keyboard to apply that name change.
| | 01:39 |
And now I can add images to this
collection at any time.
| | 01:44 |
So I'll go ahead and scroll through, for
example, my Croatia images.
| | 01:47 |
And maybe I think this image might work
well for the calendar.
| | 01:50 |
So I'll drag it onto the collection.
And now that image is in the collection.
| | 01:55 |
But it's still in it's original location.
The collection is just a reference to
| | 01:59 |
that original photo.
So if I choose that collection, I can see
| | 02:02 |
the images that are currently included in
that collection.
| | 02:05 |
Note, by the way that I have an option to
remove selected images from the
| | 02:09 |
collection as well.
If I decide that I don't need a
| | 02:11 |
particular image included in that
collection.
| | 02:14 |
And so I can go ahead and scroll through,
and even select multiple images.
| | 02:18 |
That I think I might like to include in
the calendar, so I've clicked on one image.
| | 02:22 |
I can then hold the Ctrl key on Windows
or the Cmd key on Macintosh while
| | 02:26 |
clicking on another image.
And then I can click on either of those
| | 02:30 |
images and drag over toward the
collection and that will add those images
| | 02:35 |
to the collection as well.
I can also create a smart collection.
| | 02:40 |
So I'll go back to my Croatia folder,
here.
| | 02:42 |
And then I will click the button to add a
new smart collection.
| | 02:46 |
By default, the collection will look in
the current location, but I could also
| | 02:50 |
specify a different location, for example
the parent folder or my Pictures folder.
| | 02:54 |
But in this case, I want to utilize the
Croatia folder.
| | 02:58 |
And then for criteria, in this case, I'm
going to include images that have a star rating.
| | 03:04 |
That is greater than or equal to a three
star rating.
| | 03:07 |
In other words three stars or better, my
favorite images from Croatia.
| | 03:13 |
If I want to add additional criteria, I
can click the plus button and then choose
| | 03:17 |
an addition option.
Perhaps I want to specify only those
| | 03:21 |
images with a red color label, for
example.
| | 03:23 |
Or only images captured at a particular
focal length, but in this case I just
| | 03:28 |
want to utilize the star rating, so I'll
click the minus button in order to remove
| | 03:31 |
that additional criteria.
I can then specify whether I need to
| | 03:34 |
match all criteria or any criteria.
In this case, I only have one piece of
| | 03:39 |
criteria and so the option doesn't really
matter.
| | 03:43 |
But if I have more than one criteria
specified, I can choose whether the
| | 03:46 |
images must meet all of the criteria or
just any one item on that criteria list.
| | 03:52 |
I can also choose if I want to search in
subfolders.
| | 03:54 |
In this case there aren't any subfolders
underneath this folder.
| | 03:57 |
So it doesn't matter which option I
choose.
| | 04:00 |
But you can specify whether you want to
only search in the currently selected
| | 04:03 |
folder or in all folders below that
folder.
| | 04:07 |
And you can also choose whether or not
you want to include non-indexed files.
| | 04:11 |
That will slow things down a little bit
potentially but it also ensures you get
| | 04:14 |
the most accurate results possible, so I
prefer to keep that check box turned on.
| | 04:18 |
With my criteria established I can click
the Save button, that will create the new
| | 04:23 |
smart collection, and of course I need to
give it a name.
| | 04:26 |
So I'll just simply call this Croatia
Favorites.
| | 04:29 |
I'll press Enter or Return to apply that
change.
| | 04:32 |
And you can see that there are no images
in this smart collection.
| | 04:36 |
But that's because there are no images in
the Croatia folder that have a three star
| | 04:41 |
or greater star rating.
That's because I haven't assigned star
| | 04:44 |
ratings for that folder yet.
But I can go back to my Croatia folder,
| | 04:47 |
for example, and I'll select an image
that I think is a nice image and assign a
| | 04:52 |
three star rating.
And then perhaps, I'll give this one a
| | 04:55 |
four star rating.
And I can scroll through my images, and
| | 04:59 |
find some of my favorite images out of
the Croatia folder.
| | 05:02 |
And add star ratings to those images.
And then, when I go back to my Croatia
| | 05:08 |
favorites collection.
You'll see that I have some images that
| | 05:11 |
have automatically been added.
To that particular collection, so all of
| | 05:15 |
the images with a three star or greater
rating that are in that Croatia folder
| | 05:20 |
have been added automatically to this
Croatia favorites collection.
| | 05:23 |
If I remove a star rating from an image,
for example, perhaps I decide this image
| | 05:28 |
really isn't all that great, and I'm
going to change the star rating to two stars.
| | 05:32 |
Then that image will end up being removed
from the Croatia Favorites smart collection.
| | 05:36 |
If I navigate to a different location and
return to that favorites collection,
| | 05:40 |
you'll see that the image that does not
have a three star rating is no longer included.
| | 05:45 |
So, whether you need essentially a
virtual folder where you can identify
| | 05:49 |
images for a particular project for
example.
| | 05:52 |
Or you essentially want a saved search
result, collections provide a great solution.
| | 05:57 |
And they're a great supplement to both
the normal folder structure as well as
| | 06:01 |
the ability to search metadata.
And they can be very, very helpful for a
| | 06:05 |
wide variety of situations.
Especially when you're working on
| | 06:08 |
particular projects.
| | 06:12 |
| | Collapse this transcript |
|
|
4. Finding, Processing, and Sharing ImagesSorting images| 00:02 |
When browsing your images and especially
when you're looking for a particular
| | 00:05 |
image the order in which the images are
displayed can be surprisingly helpful.
| | 00:10 |
By default images are sorted based on
their file name.
| | 00:13 |
That generally means that the images will
be sorted based on the time they were captured.
| | 00:17 |
Since your camera of course is going to
assign a number to those images, and that
| | 00:22 |
also means that if you've renamed the
images, they'll likewise appear in what
| | 00:25 |
is probably the same order depending on
how you renamed those photos.
| | 00:29 |
But there are also a variety of
additional options.
| | 00:32 |
Lets take a look at the various ways we
can sort our images.
| | 00:36 |
I'll click on a sorting popup on the tool
bar.
| | 00:38 |
We can sort by file name.
We can also sort by the file type and
| | 00:42 |
this can be helpful for example when you
want to separate out your raw captures
| | 00:46 |
compared to your Photoshop documents for
example for processed images.
| | 00:50 |
Or jpeg Images that you've created for
some form of output or sharing.
| | 00:54 |
You can also sort by the date created or
date modified, but it's important to keep
| | 00:59 |
in mind that this is not the same
necessarily as capture time.
| | 01:02 |
The date created will be the date the
file was actually created on your hard
| | 01:06 |
drive and the date modified will be the
date the file was updated.
| | 01:10 |
And that won't necessarily match the date
that it was captured based on your metadata.
| | 01:15 |
You can also sort by file size if you're
trying to find the largest or smallest
| | 01:18 |
images for example.
Similarly, you can sort by dimensions, in
| | 01:21 |
other words the pixel dimensions for the
image.
| | 01:24 |
The pixel per inch resolution, the
specific color profile by the color label
| | 01:28 |
that has been added to your images.
For example, here we can see that I have
| | 01:32 |
a few A few images with the green color
label versus images with no color label.
| | 01:36 |
We can also sort by star rating, by
keywords or manually.
| | 01:41 |
So let's take a look at the rating
option, I'll go ahead and choose by rating.
| | 01:46 |
And now all of the images are sorted
based on their star rating.
| | 01:49 |
So, images with no star rating will
appear first.
| | 01:52 |
And then we'll see the one star images,
the two star images, the three star
| | 01:56 |
images, etc.
And of course, more often than not, if
| | 02:00 |
you're sorting by rating, that's because
you're most interested in seeing the
| | 02:03 |
images with the highest rating and so you
might want to sort in descending order.
| | 02:08 |
In other words from the largest number of
stars down to the fewest number of stars
| | 02:11 |
and to change that order between
ascending and descending we can click the
| | 02:16 |
button to the right of the sort popup and
that will toggle between ascending and
| | 02:20 |
descending order.
So now, with the images sorted by star
| | 02:24 |
rating, and in decending order, we start
off with the images that have the highest
| | 02:28 |
rating and work our way down tot he
iamges with a lesser rrating.
| | 02:32 |
Which means we're seeing presumable our
favorite images first.
| | 02:36 |
We can also sort manually.
And this is an interesting option if, for
| | 02:39 |
example, I'm working on a project and I
want to see some images grouped together,
| | 02:43 |
I can drag images around on the content
panel in order to change their order.
| | 02:47 |
For example, if I want to group together
images that contain mustard seed flowers,
| | 02:51 |
I can click on the thumbnail and drag it
to a different position on the Content panel.
| | 02:56 |
I'll go ahead and drag this image over as
well, and now I have these several images
| | 03:00 |
grouped together.
This is not a particular order.
| | 03:04 |
This is just a manually adjusted order
I've specified a particular oder that I
| | 03:09 |
want for these images.
And I can continue moving images around
| | 03:13 |
as I see fit.
And this becomes the manual sort order
| | 03:16 |
for this specific folder.
If I change the sort order, for example
| | 03:21 |
I'll return to my star rating sort order
and I'll set that to inverted.
| | 03:26 |
You'll see that I'm back to the order
where the images are sorted based on
| | 03:29 |
their star rating.
If I want to get back to the manual sort
| | 03:32 |
order that I defined for myself I can
choose manually from the sort popup.
| | 03:37 |
And if I scroll to the end of the list
I'll see those images and that's because
| | 03:41 |
I'm currently sorting by descending value
but I want the ascending value in this
| | 03:46 |
particular case.
And you can see that I have the mustard
| | 03:48 |
seed images first and the other images
sorted based on that manual sort that I created.
| | 03:54 |
It's worth noting, by the way, that you
can also sort your images by going to the
| | 03:58 |
view menu and then choosing the sort
option followed by the specific option
| | 04:03 |
that you'd like to sort by.
So you can choose a partucular criteria
| | 04:05 |
and also toggle the ascending order
option on or off in order to sort images
| | 04:11 |
in ascending versus descending order.
I think you'll find that if you take a
| | 04:15 |
look at the various options for sorting
your images, that changing the sort order
| | 04:19 |
can be very helpful when you're looking
for particular images or working on a
| | 04:23 |
particular project with your images.
| | 04:25 |
| | Collapse this transcript |
| Searching and filtering| 00:02 |
One of the key reasons to make any effort
at organizing your digital photos, of
| | 00:05 |
course, is to be able to find particular
images later.
| | 00:08 |
And Adobe Bridge provides a variety of
ways that you can actually locate
| | 00:12 |
specific images.
That includes Searching and Filtering as
| | 00:16 |
the primary approaches.
The first step, of course, is to navigate
| | 00:20 |
to a particular folder whenever possible.
Because that enables you to narrow down
| | 00:24 |
the list of images that you're searching
for.
| | 00:26 |
And that'll help speed up your results.
In this case, I've navigated to a folder
| | 00:30 |
that contains some images that I'd like
to search for.
| | 00:32 |
And then I can search or filter based on
specific criteria.
| | 00:36 |
If I'm looking for a particular value
that I know is stored as part of the file
| | 00:41 |
name, a keyword, or other metadata.
I can simply search for that value.
| | 00:45 |
For example in this case I have some
images to which I've added a key word of wheat.
| | 00:49 |
If I'd like to find those images I can
simply go to the search field up at the
| | 00:53 |
top right of Adobe Bridge and then type
wheat.
| | 00:56 |
I'll press Enter or Return and now I've
created a search that only has images
| | 01:01 |
that contain wheat as part of their
Metadata, in this specific folder.
| | 01:06 |
That includes, of course, any subfolders.
And you'll see here that I have images of
| | 01:11 |
wheat, and that's because all of the
images here contain wheat.
| | 01:14 |
And more specifically, they contain the
key word of wheat.
| | 01:18 |
I can clear that search by clicking the X
in the Content panel and now I'm back to
| | 01:23 |
all of my images.
And I could continue in this way typing
| | 01:26 |
any value that appears within the
Metadata or other criteria for the image.
| | 01:30 |
And that will filter the images based on
that criteria but more often than not I
| | 01:35 |
find that the Filter panel provides a
better approach to locating specific images.
| | 01:41 |
And that's because it provides a good
degree of Flexibility and also it
| | 01:45 |
essentially reminds me of what values are
available, what sorts of things I can
| | 01:49 |
search for.
If the Filter panel is not currently
| | 01:51 |
available, you can go to the Window menu
and choose Filter panel.
| | 01:55 |
But mine is already here, I'll go ahead
and enlarge the size of that Filter
| | 01:59 |
panel, so that I can see more of the
criteria here.
| | 02:02 |
You'll see that first I have a Labels
section.
| | 02:05 |
And that's because some of the images in
this folder actually have a Color Label
| | 02:08 |
assigned, specifically a green color
label.
| | 02:11 |
So I can click that green color label to
filter the images so that I only see
| | 02:15 |
images that have a green color label, or
I can turn that option Off.
| | 02:19 |
I can also choose to see only images with
no color label so now if I scroll
| | 02:24 |
through, you'll see that those images
that have the green color label are not
| | 02:27 |
currently visible.
I'll go ahead and turn that option off as
| | 02:30 |
well and we can filter by star ratings,
so I can filter based on one star, or one
| | 02:36 |
or two stars, or one, two or three stars.
I could choose to see only the three star
| | 02:41 |
rated images if I'd like.
And I can also mix and match values.
| | 02:45 |
I'll go ahead and turn off the Star
Rating option.
| | 02:47 |
I can filter based on variety of other
values, for example keywords.
| | 02:52 |
I can also search based on Focal Length.
So if I'm looking for an image captured
| | 02:57 |
with wide angle lense or a relatively
wide angle lense.
| | 03:00 |
I can click for example on 10 millimeters
in this case.
| | 03:04 |
And maybe include a couple of other focal
lense as well.
| | 03:07 |
And maybe I'm specifically looking for
wide angle shots that include wheat.
| | 03:11 |
So I could go back up to the keyword
section and choose wheat.
| | 03:14 |
And now I have images that include the
wheat keyword and were captured at ten,
| | 03:19 |
22 or 28 millimeter focal lengths.
So in this way, you can actually locate
| | 03:25 |
images relatively quickly.
And the key is being able to filter down
| | 03:28 |
that list of images so that you're able
to browse relatively easily.
| | 03:32 |
When I start off with hundreds or even
thousands of images in a folder, it can
| | 03:36 |
be a daunting task trying to find a
specific image.
| | 03:39 |
But when I filter the images, and get
down to just a few images in the process
| | 03:44 |
this specific photo that I was looking
for becomes much easier.
| | 03:48 |
I recommend therefore that you get
familiar with the various options that
| | 03:51 |
are available on that filter panel.
And put it to good use whenever you're
| | 03:55 |
looking for an image.
You may think that you only know a couple
| | 03:59 |
of small little facts about an image that
you're looking for.
| | 04:02 |
For example that it was a wide angle shot
of wheat, but whatever the criteria are
| | 04:06 |
that you do know, there's a good chance
that by utilizing that Filter panel.
| | 04:10 |
You'll be able to reduce the number of
images that are displayed so you can
| | 04:14 |
locate exactly the image you're looking
for when you need it.
| | 04:16 |
| | Collapse this transcript |
| Presenting photos as a slideshow| 00:02 |
While Adobe Bridge is primarily focused
on helping you manage and organize your
| | 00:06 |
digital photos, it can also be used to
present a slide show.
| | 00:09 |
And in fact, that slide show can also be
helpful in reviewing specific images.
| | 00:13 |
Let's take a look at the basic features
and functionality of the slide show display.
| | 00:18 |
We'll start by setting the options for
the slide show.
| | 00:21 |
So from the View menu, I'll choose
Slideshow options to bring up the
| | 00:25 |
Slideshow options dialogue.
And then I can set the various options
| | 00:29 |
that are available here.
First we have a checkbox for Black Out
| | 00:33 |
Additional Monitors.
If you were presenting, for example,
| | 00:36 |
using a digital projector.
And the Slideshow was being presented on
| | 00:39 |
that projector, then you'd want to black
out the additional monitors.
| | 00:42 |
For example, your laptop display.
So if the Slideshow were being used as a
| | 00:46 |
presentation you would want this checkbox
turned on.
| | 00:49 |
Whereas if you were just using it to
review your images you might leave it
| | 00:52 |
turned off.
You can also specify if you want the
| | 00:55 |
slide show to repeat indefinitely by
turning on the Repeat Slideshow checkbox.
| | 01:00 |
And you can also turn on a zoom feature
so that the images will zoom in and out
| | 01:05 |
as the slide show progresses.
In the slide options section you can
| | 01:08 |
specify how long you want each image to
be displayed.
| | 01:12 |
If you're controlling the presentation
yourself, you may want to use the Manual option.
| | 01:16 |
Or you can choose 1, 2, 5, or 10 seconds,
for each of the images.
| | 01:21 |
You can also include a Caption.
The default is off, but you can add a
| | 01:25 |
page numbers caption, just to indicate
essentially the image number in the
| | 01:28 |
overall sequence.
Or you can add Compact or full Metadata.
| | 01:32 |
In other words, basic information about
each image as it's displayed and then you
| | 01:37 |
can specify what you want to do with each
image.
| | 01:42 |
Do you want to Center each image?
And that would really only be an issue if
| | 01:46 |
the images were, in some case, smaller
than the display resolution, or you can
| | 01:49 |
Scale the image to Fit.
So that the image will be sized based on
| | 01:53 |
the available space.
In other words vertical images will be
| | 01:56 |
sized based on the height of the display.
And horizontal images will be sized based
| | 02:01 |
on the width of the display.
If you want to though you can also choose
| | 02:05 |
Scale to Fill.
Meaning the image will fill the entire
| | 02:09 |
available space.
That does mean, however, that most
| | 02:12 |
images, or at least many images, will be
cropped.
| | 02:15 |
For example, vertical images would
essentially be cropped to horizontal, and
| | 02:19 |
you're not able to control that specific
cropping.
| | 02:22 |
So in most cases, I'll utilize the Scale
to Fit option.
| | 02:25 |
Next, we can specify a transition for our
slides.
| | 02:28 |
I tend to use a relatively basic setup,
so I'll use either Dissolve or in some
| | 02:33 |
cases None.
But you do have a variety of other
| | 02:36 |
options including a random option that
will just randomly switch between the
| | 02:40 |
various transitions as the slideshow
progresses.
| | 02:43 |
In this case, i'll leave the option set
to Dissolve and so i'll move that slider
| | 02:47 |
a little bit further away from Faster,
shifting it towards Slower.
| | 02:50 |
And now I think I have settings that will
work well for my slideshow presentation.
| | 02:55 |
If i'm not yet ready to present my
slideshow, I can simply click Done, but I
| | 02:59 |
can also click the Play button to start
the slideshow right away.
| | 03:02 |
In this case, i'll go ahead and just
click Done, so that I establish those settings.
| | 03:06 |
But I don't yet start the slideshow, but
as soon as I'm ready I can go to the view
| | 03:11 |
menu and then choose slideshow.
Note that I can also press Ctrl+L on
| | 03:16 |
Windows or Cmd+L on Macintosh, to play
the slideshow.
| | 03:20 |
And when I choose that option, the
current image will be the first image in
| | 03:23 |
the slide show.
And then the slide show will continue
| | 03:26 |
based on the settings that I've
established.
| | 03:29 |
So, in this case, for example, I'm
transitioning between images every five seconds.
| | 03:34 |
I can also override that timing though if
I want to, I can press the right arrow
| | 03:38 |
key, for example, to move to the next
image.
| | 03:41 |
Or the last arrow key to move to the
previous image.
| | 03:43 |
And at that point the slideshow
essentially is paused, but I can press
| | 03:47 |
the Spacebar key to continue playback
with my normal settings.
| | 03:52 |
When I'm finished with my slideshow I can
simply press the Esc key to get back to
| | 03:56 |
Adobe Bridge.
So as you can see the slideshow
| | 03:58 |
presentation option in Adobe Bridge is
relatively straightforward.
| | 04:02 |
But it can still be helpful in reviewing
images or presenting images to others.
| | 04:10 |
| | Collapse this transcript |
| Quick image optimization| 00:00 |
And at times when you're reviewing your
images in Adobe Bridge you may decide
| | 00:05 |
that you'd like to touch up that image
just a little bit and you may not want to
| | 00:09 |
necessarily send that image to photoshop
for processing, but rather if it's a raw
| | 00:14 |
capture you may just want to adjust the
settings in Adobe Camera Raw...
| | 00:18 |
Let's take a look at how we can work
directly within Bridge, essentially,
| | 00:21 |
using Adobe camera raw to fine tune a raw
capture.
| | 00:25 |
I first need to establish a setting
within the preferences dialogue, and so
| | 00:28 |
on Windows I'll go to the Edit menu, on
Macintosh that would be the Bridge menu,
| | 00:32 |
and then I'll choose Preferences from
that menu.
| | 00:36 |
then I'll go to the general page and I'll
turn on the option that a double click
| | 00:40 |
will edit camera raw settings in bridge
and what that means essentially is that
| | 00:44 |
photoshop will not be launched by default
just because I've double clicked a raw
| | 00:49 |
capture within Adobe Bridge.
Instead, the adobe camera raw dialogue
| | 00:53 |
will come up and I can simply adjust the
settings without necessarily opening the
| | 00:57 |
image in photoshop.
With that checkbox turned on, I'll go
| | 00:59 |
ahead and click okay.
And now I can navigate to and double
| | 01:03 |
click on any of my raw captures in order
to edit the appearance of that image.
| | 01:08 |
So I'll double click this image, and
you'll notice that PhotoShop does not
| | 01:11 |
launch, but Adobe Camera Raw comes up and
now I can apply some adjustments to this image.
| | 01:16 |
I might adjust the overall exposure just
a little bit.
| | 01:19 |
Maybe brighten up the white point.
I'll hold the Alt key on Windows, or the
| | 01:23 |
Option key on Macintosh, while adjusting
that white point.
| | 01:26 |
So that I can see the clip in preview.
And determine when I'm actually losing
| | 01:31 |
highlight detail.
Then I'll release that alter option key
| | 01:34 |
and refine my adjustment based on the
image itself as needed.
| | 01:38 |
I'll go ahead and adjust the black point
in a similar way.
| | 01:40 |
Darkening up the blacks for the photo.
And I think I'm also going to tone down
| | 01:45 |
the shadow areas a little bit.
I could brighten or darken shadows.
| | 01:49 |
But I'd like to get a bit more contrast
in this image.
| | 01:51 |
I think I'll even brighten up the
highlights just a little bit as well.
| | 01:56 |
I'd also like to add a little bit of
clarity and maybe I'll bring up the
| | 01:59 |
vibrance so that the colors will get a
little bit of a boost, the point of
| | 02:03 |
course is not to necessarily apply any
specific adjustments in this case but
| | 02:07 |
rather just to take a look at the
capability of working directly in Adobe
| | 02:12 |
Camera Raw...
While working in Bridge.
| | 02:14 |
In other words not bringing up Photoshop
in that process.
| | 02:18 |
Once I've applied the basic adjustments
that I want for this raw capture, I then
| | 02:22 |
do have the option to send the image to
Photoshop if I click the open image
| | 02:27 |
button, but in this case I just wanted to
touch up the image.
| | 02:30 |
Maybe apply some adjustments so I can get
a better sense what star rating I might
| | 02:34 |
design, for example.
And so I don't really need to open the
| | 02:37 |
image in Photoshop.
I just wanted to bring up Adobe Camera
| | 02:40 |
Raw to be able to modify the appearance
of this image.
| | 02:43 |
So, at this point, I'll simply click the
done button in order to apply those changes.
| | 02:48 |
And you'll notice that my image reflects
the changes that I made in Adobe Camera Raw.
| | 02:52 |
So I've been able to apply changes to the
appearance of my raw capture.
| | 02:56 |
Essentially, directly within Adobe
Bridge, without launching PhotoShop.
| | 03:04 |
| | Collapse this transcript |
| Processing with Photoshop| 00:02 |
One of the primary reasons to use Adobe
Bridge of course, is to keep your images organized.
| | 00:06 |
And part of the reason for organizing
your photos is to be able to locate the
| | 00:09 |
specific images that you want to work
with from time to time.
| | 00:13 |
And we can utilize Adobe Bridge in order
to open images in Photoshop for example.
| | 00:17 |
By default if you simply double-click on
one of your images in Bridge it will open
| | 00:21 |
in Photoshop.
But in some cases you may want to take
| | 00:24 |
advantage of special features in
Photoshop for specific images.
| | 00:27 |
Here for example I had a series of
captures that represent a composite Panorama.
| | 00:32 |
And I'd like to assemble those images
into a single photo in Photoshop.
| | 00:36 |
So I'll click the first image in the
sequence and then hold the Shift key and
| | 00:40 |
click on the last image in the sequence
in order to select all of those images.
| | 00:45 |
Now if I were to double click on anyone
of these thumbnails, then all of these
| | 00:48 |
images will be open in Photoshop via
Adobe Camera Raw.
| | 00:52 |
But I want to process these images in a
different way, specifically to assemble
| | 00:56 |
them into a panorama.
And so in this case I go to Tools menu,
| | 00:59 |
and then choose Photoshop followed by
Photomerge.
| | 01:03 |
Note that we could also create a layered
document.
| | 01:06 |
For example if we wanted to create a
composite image by using the load files
| | 01:10 |
in the Photoshop Layers option.
I could also take the multiple exposures
| | 01:14 |
of a high dynamic range image and merge
them to HTR Pro But in this case, I'm
| | 01:20 |
going to utilize photomerge to create my
panorama.
| | 01:22 |
So, with my images selected, I'll choose
this command from the menu.
| | 01:26 |
Photshop will then launch, if it was not
already running, and the Photomerge
| | 01:30 |
dialog will appear.
I'll let Photoshop determine the best
| | 01:33 |
layout options.
I'll choose Auto in the Layout section.
| | 01:37 |
You'll notice that the files I selected
in Adobe Bridge are automatically set as
| | 01:41 |
the source images to be assembled into my
Panorama.
| | 01:43 |
I'm going to make sure that the Blend
Images Together checkbox is turned on.
| | 01:47 |
That's perhaps the most important option
because that's what actually creates a
| | 01:51 |
seamless panorama out of my multiple
images.
| | 01:53 |
I won't take advantage of the Vignette
Remove.
| | 01:55 |
Removal option because in this case I
didn't use a wide angle lens and I don't
| | 01:59 |
think vignetting is going to be a real
issue.
| | 02:01 |
And I'm also not going to take advantage
of the geometric distortion correction option.
| | 02:06 |
In most cases I prefer not to utilize
this option, instead cropping and
| | 02:10 |
transforming the image myself later.
The geometric distortion correction tends
| | 02:14 |
to cause too much of a transformation of
the image, therefore requiring too much cropping.
| | 02:19 |
So with those setting established, I'll
go ahead and click OK.
| | 02:23 |
And Photoshop will process all of those
images, taking the individual frames of
| | 02:28 |
my composite panorama, assembling them
into a layered document.
| | 02:32 |
Then aligning all of the images and
creating Layer masks, in order to blend
| | 02:36 |
all of those photos together into a
seamless final result.
| | 02:45 |
With the process incomplete you can see
that I have my final panorama created.
| | 02:49 |
I'll go ahead and choose the Crop tool
and then Crop the image just a little bit
| | 02:54 |
mostly to get rid of those areas that
didn't quite align perfectly along the edges.
| | 03:00 |
Maybe bring that one corner in a little
bit further and bring this edge in just a
| | 03:05 |
little bit.
And that looks to be pretty good, I'll go
| | 03:10 |
ahead and turn off the Delete Cropped
Pixels check box.
| | 03:12 |
So that those pixels that fall outside
the crop box won't actually be removed,
| | 03:17 |
they'll just be hidden from view.
I'll go ahead and apply that crop.
| | 03:23 |
And now I have the final result, which I
can of course save.
| | 03:27 |
I'll go to File menu and choose Save As
so that I can save this image as a
| | 03:32 |
separate file.
I'll go to the location where the
| | 03:35 |
original images are stored and then I'll
just call this Mustard Seed Panorama.
| | 03:41 |
I'll save it as a Photoshop file, and
then I'll click the Save button in order
| | 03:46 |
to save that image.
I'll turn on maximized capability and
| | 03:49 |
click OK, and now, my image is being
saved.
| | 03:55 |
Once the image has been saved, I can
simply close the image.
| | 03:58 |
And then I'll return to Bridge.
And we'll find that the image I just
| | 04:02 |
created has been included as a part of
this folder.
| | 04:05 |
Since it's saved in that folder, Bridge
of course has a browser.
| | 04:09 |
We'll know that it's there, enabled me to
browse that particular image.
| | 04:13 |
Note, by the way, that the Metadata.
From the original source images, in this
| | 04:16 |
case a star rating and a Color Label are
included in this assembled result.
| | 04:22 |
This is just one example of course of the
various ways that we can incorporate
| | 04:25 |
Photoshop with Bridge in order to process
our images.
| | 04:29 |
| | Collapse this transcript |
| Exporting copies of images| 00:02 |
At times of occurs you'll probably want
to share some of your images and there
| | 00:05 |
are many ways you can do that.
But generally it will involve saving your
| | 00:09 |
images as derivative copies.
Here for example I have some raw captures
| | 00:14 |
and I can process those images, but when
I'm all finished I might want to share them.
| | 00:18 |
Maybe I'll share them on a photo sharing
site or email them to friends.
| | 00:22 |
The point is that I'm not going to share
my raw captures, but rather, in this
| | 00:26 |
example, I might use JPEG images, for
example.
| | 00:29 |
So, I'll go ahead and select some images
that I want to share.
| | 00:32 |
And then I'll use the Image Processor,
which is a Photoshop feature I can access
| | 00:36 |
from Bridge.
In order to process my images and create
| | 00:39 |
those derivative files.
In this case, I'll start off by filtering
| | 00:43 |
my images to include only the three
star-rated images.
| | 00:46 |
And then I'll press Ctrl+A on Windows or
Cmd+A on Macintosh.
| | 00:51 |
In order to select all of those images.
In this case, just three images that I'd
| | 00:55 |
like to share online.
Then I can go to the tools menu and
| | 00:59 |
choose Photoshop, followed by image
processor.
| | 01:01 |
That will launch Photoshop if its not
already running and bring up the image
| | 01:06 |
processor dialogue where I can specify
the settings for the processed images.
| | 01:10 |
You can see that only the images that I
selected in Bridge are being processed.
| | 01:14 |
I can turn on the checkbox here if I want
to open the first image of my selected
| | 01:19 |
images in Adobe Camera Raw .
In order to adjust the settings for my
| | 01:23 |
images that are being processed.
In this case, though, the images are
| | 01:26 |
ready to go, so I'll leave that checkbox
turned off.
| | 01:29 |
I can also specify where I want to save
these images.
| | 01:32 |
I could choose a specific folder.
For example, often I'll save the images
| | 01:36 |
to the Desktop, just because that's a
convenient location.
| | 01:39 |
In this case though I'll save them in the
same location.
| | 01:41 |
But it's important to keep in mind that
by same location it doesn't mean that
| | 01:45 |
these images will be mixed up with my
existing photos rather a sub-folder will
| | 01:50 |
be created based on file type.
And speaking of file type, I can save
| | 01:54 |
these derivative images as JPEG images,
Photoshop documents or TIFF images.
| | 02:00 |
In fact I can process these images into
multiple image types by turning on
| | 02:04 |
multiple checkboxes.
But in this case I only need to save JPEG
| | 02:08 |
images, so I"ll turn on the save as JPEG
checkbox.
| | 02:11 |
I can then specify a quality setting.
Since I'm going to be saving these images
| | 02:15 |
online I'll set a compromise value as it
were of eight.
| | 02:19 |
That provides a good balance between
overall image quality and the file size.
| | 02:24 |
I will convert the images to sRGB because
that generally produces better colors
| | 02:29 |
with more saturation when they're
displayed in an online environment.
| | 02:33 |
And I also want to resize the images to a
smaller size.
| | 02:36 |
Specifically, I'll size them to no more
than a 1,000 pixels on either side.
| | 02:41 |
So, I'll specify a box, as it were, of a
1,000 pixels by a 1,000 pixels.
| | 02:46 |
That every image must fit inside, and
that means that vertical and horizontal
| | 02:50 |
images will both have their long edge set
to 1000 pixels.
| | 02:54 |
I can also Run an Action if I'd like to.
For example, to apply some changes to the image.
| | 02:59 |
In this case, I'll leave that checkbox
turned off.
| | 03:02 |
I can add Copyright Information if I'd
like to.
| | 03:04 |
I'll go ahead and just type my name here.
And then I'll include the ICC profile
| | 03:09 |
that will cause the files to be slightly
larger.
| | 03:11 |
But it also helps ensure more accurate
presentation for situations where color
| | 03:15 |
management is being used.
So, with those options established, I'll
| | 03:19 |
go ahead and click the Run button.
And each of those images will be opened
| | 03:23 |
and prepossessed by Photoshop and then
saved as a derivative file.
| | 03:29 |
With that process complete I'll return to
Bridge.
| | 03:31 |
So that I can view the derivative images.
Once again while I've chosen to save in
| | 03:36 |
the same folder they're actually going to
be saved in a subfolder, in this case
| | 03:40 |
called JPEG.
Since I saved those images JPEG files and
| | 03:45 |
you can see that the images have retained
their Metadata, for example the three
| | 03:48 |
star rating.
But now they are JPEG images sized down
| | 03:52 |
to a thousand pixels on the long side.
So by utilizing the image processor which
| | 03:57 |
is a Photoshop feature.
We can access from Adobe Bridge we're
| | 04:00 |
able to take our raw captures for example
and process them to create derivative
| | 04:05 |
images for sharing with others.
| | 04:06 |
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