IntroductionWelcome| 00:04 | Hey welcome! My name is Chris Orwig.
| | 00:06 | I'm a photographer.
| | 00:07 | And I'm a teacher among the faculty at
the Brooks Institute in Santa Barbara,
| | 00:11 | California where we are right now.
| | 00:13 | And it is a stunning evening.
| | 00:16 | The sun is about to set.
| | 00:17 | The shadows are getting long.
| | 00:18 | And the light is just exquisite.
| | 00:20 | And you know I love getting out in
the grayed outdoors with camera in hand.
| | 00:25 | There's something about taking
pictures in moments like this
| | 00:28 | that reminds me that
photography somehow gives me more.
| | 00:32 | I get more out of life by taking pictures.
| | 00:35 | And if you're like me, you're
probably passionate about photography.
| | 00:38 | And my passion for photography
extends to my postproduction work as well.
| | 00:43 | That's why I'm really excited about this
course, Lightroom 3 Essentials, because
| | 00:48 | here you're going to learn everything
that you need to know in order to get
| | 00:51 | started with Lightroom.
| | 00:53 | And Lightroom is a really
powerful tool. It's simple.
| | 00:55 | It's elegant.
| | 00:56 | It'll help you to be more
creative and more effective.
| | 01:00 | So what exactly will we cover here?
| | 01:02 | We'll start off by providing you
with a bit of an overview of Lightroom.
| | 01:05 | From there we'll get into the interface.
| | 01:07 | We'll focus in on some of our shortcuts.
| | 01:09 | We'll also take a look at the Grid View
and the Loupe View and Library module.
| | 01:13 | We'll take a look at how can
rate and sort our photographs.
| | 01:16 | We'll also look at how we can add
metadata or how we can export our photos to
| | 01:21 | popular photo sharing sites like Flickr.
| | 01:24 | And in addition, because getting good at
Lightroom is about getting good at photography,
| | 01:29 | I thought it'd be fun to include a
few photographic creative tip movies.
| | 01:33 | And I'll intersperse those
throughout the entirety of this course just to
| | 01:37 | provide you with a bit of
insight and inspiration along the way.
| | 01:41 | Now in closing, it really is a distinct
honor and privilege to partner with you
| | 01:46 | in a training adventure like this.
| | 01:48 | Thanks for joining me on this one.
| | 01:50 | Let the adventure begin!
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| Using the exercise files| 00:00 | If you are a premium member to the
lynda.com Online Training Library or if
| | 00:05 | you're watching this on a disk, you
have access to the Exercise Files.
| | 00:10 | Once you've located the Exercise Files
folder, you can simply double-click it in
| | 00:15 | order to open it up.
| | 00:17 | Here inside of this folder, you'll
discover that our files are organized into
| | 00:20 | different subfolders.
| | 00:22 | What you can do is simply open
up one of those subfolders, for
| | 00:26 | example, 03_Demo_Files.
| | 00:28 | You'll find a handful of different
helpful resource files that we'll be using
| | 00:32 | throughout this course.
| | 00:34 | You can also open up the other
folders, for example, 02_General_Photos.
| | 00:38 | And there you'll discover all of the
different photographs that we'll be working
| | 00:41 | on throughout the entirety of this course.
| | 00:44 | Now in one of the subsequent chapters
I'll actually be talking about how to import
| | 00:48 | these photos into Lightroom.
| | 00:50 | But for now I simply wanted to point them out.
| | 00:53 | If you don't have access to
your Exercise Files, no big deal.
| | 00:56 | You can simply follow along or of course,
you can always work on your own images.
| | 01:00 | All right. Well on that note, let's begin.
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1. Getting StartedCreative tip: Using Lightroom| 00:02 | Hey welcome. You know for me there is
nothing like getting out in the mountains.
| | 00:06 | It's a beautiful misty morning.
| | 00:07 | There're wildflowers everywhere.
| | 00:09 | And there's something about the fresh air,
which just compels you to take a deep
| | 00:13 | breath and really absorb it all.
| | 00:15 | You know, there's something magical about
photography, something special about it.
| | 00:19 | I love what Marc Riboud once said.
| | 00:22 | He said, "Photography is about
savoring life at 1/100 of a second."
| | 00:27 | Somehow we get more out of
life when we take pictures.
| | 00:30 | And even what I hear is that a lot of
people are passionate about the active
| | 00:34 | photography, whether in the
studio or in the great outdoors.
| | 00:37 | They love getting out there.
| | 00:38 | They love doing photography.
| | 00:39 | But then they get back to their computer work.
| | 00:42 | They feel like they're chained to their
computer, like it's weighing them down.
| | 00:46 | What's the remedy to that problem?
| | 00:48 | Well, you have to see what it is for yourself.
| | 00:51 | But what I've discovered is that
it's Lightroom, because Lightroom is a
| | 00:55 | tool which helps us to be more efficient,
more effective, but ultimately more creative.
| | 01:00 | It not only frees us and
liberates us, but it also empowers us.
| | 01:06 | What I've found is that it
empowers us to create more compelling and
| | 01:09 | engaging photographs and perhaps
even more importantly, it empowers us to
| | 01:13 | enjoy the overall process.
| | 01:15 | So here's what I encourage you to do.
| | 01:17 | Dig into Lightroom and find out for
yourself, because I think you'll discover as
| | 01:21 | I've discovered that it's one of these
profound and quite amazing tools that can
| | 01:25 | really change and improve and give a
boost your overall photographic workflow.
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| An overview of Lightroom| 00:00 | As a photographer and as a teacher, I'm
often asked this question. "So hey Chris,
| | 00:05 | what's Lightroom all about?"
| | 00:07 | Well, here's my response.
| | 00:08 | At its core, Lightroom is about
creating, compelling photographs.
| | 00:13 | It's about photography.
| | 00:14 | It's about the art and craft of photography.
| | 00:17 | It's a tool designed to help
photographers to be more effective, more efficient,
| | 00:22 | and ultimately more creative.
| | 00:24 | Well, at its core at least in my
opinion, Lightroom is the professional
| | 00:29 | photographer's tool for processing,
organizing, and outputting your photographs.
| | 00:34 | Now sometimes when I describe
Lightroom as professional, some people are a
| | 00:37 | little thrown off and they say "well, what I if
I'm an amateur or a hobbyist or an enthusiast?"
| | 00:42 | And I say, well, I'm using this term
professional to say that Lightroom is a good tool.
| | 00:47 | It's rock-solid. It's strong.
| | 00:49 | Now there are other tools out
there for processing your photographs.
| | 00:53 | They are just not as good.
| | 00:54 | And so while I use that term
professional, I'm not using it in a sense of being
| | 00:58 | limiting. Rather I'm using this in the
sense of saying, hey, this tool is good.
| | 01:04 | And if I had a bit more time, I might
get into this whole idea that Lightroom is
| | 01:09 | built-in a pretty unique way. It's simple.
| | 01:12 | It's elegant, and it's a workflow application.
| | 01:15 | And the way that I mean that, that we're
able to process and organize and output
| | 01:19 | our photographs, is because
Lightroom is built-in a modular fashion.
| | 01:24 | In other words, they're these different modules.
| | 01:26 | In each of the different
modules we can do different things.
| | 01:29 | And while each module is
distinct, it's also interconnected.
| | 01:34 | And then if I had a bit more time,
I might go onto describe the modules.
| | 01:38 | You know one of the first modules that you
discover in Lightroom is the Library module.
| | 01:42 | And this is where all of the
organizational work takes place.
| | 01:46 | In other words, this is where you can
determine is the image a keeper or not.
| | 01:50 | You could add a star rating, a label or a flag.
| | 01:53 | You can also add keywords and do
a number of other things as well.
| | 01:56 | Now the next module that we're going
to encounter is the Develop module.
| | 02:00 | This is where the image develops. It emerges.
| | 02:03 | It comes to life.
| | 02:04 | This is really where the art and
craft of photography takes place.
| | 02:07 | This is the fun module, right, because here
we're really starting to work on the image itself.
| | 02:14 | Another module that you will
encounter in Lightroom is the Sideshow module.
| | 02:18 | Now to be honest this particular module
in previous versions of Lightroom wasn't
| | 02:23 | really used very much,
because it had some limitations.
| | 02:27 | Well, here is the good news.
| | 02:28 | Those limitations have been removed in
particular in regards to exporting the slideshows.
| | 02:35 | And new to Lightroom 3 is the ability
to export your slideshows as movies.
| | 02:40 | We'll talk a little bit
more about that one later.
| | 02:43 | Another module is the Print module.
| | 02:45 | You may be thinking, "okay, big deal.
I can print my photos."
| | 02:48 | Well, we can do much more than that.
| | 02:50 | We can create layouts that are
either effective or practical or creative.
| | 02:54 | For example, you could create a layout,
or you print one image on one piece of
| | 02:58 | paper, but print it in a
bunch of different sizes.
| | 03:01 | You can create a contact sheet, or you
could create some really creative layouts here.
| | 03:05 | So in other words, a Print mdule
is both functional and creative.
| | 03:09 | The last module that you will
encounter is the Web module.
| | 03:13 | And this is the one that helps us
tap into the Web where we can create a
| | 03:16 | gallery, whether in HTML or in Flash,
and then seamlessly upload those images
| | 03:21 | and get those online.
| | 03:23 | All right, so back to the question,
what is Lightroom and what's it all about?
| | 03:29 | Well, at its core it's about
creating compelling photographs.
| | 03:32 | It's a tool for photographers.
| | 03:34 | And it's designed to help photographers
be a little bit more organized and also
| | 03:39 | process their images a little bit
more effectively and creatively.
| | 03:43 | And then finally output their images
in a number of different ways, whether in
| | 03:47 | a video format or in a print
or to get those images online.
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| Photographic workflow puzzle| 00:00 | It is an incredibly exciting time for
photography as I'm sure you would agree.
| | 00:05 | You know the digital revolution has
infused so much creativity, so much passion,
| | 00:10 | and so much innovation into
photography, yet there is a problem.
| | 00:15 | With all of this innovation,
there is a bit of confusion.
| | 00:18 | How do I make sense of all
of these different things?
| | 00:21 | How do I put together a
workflow that's actually efficient?
| | 00:24 | And in dealing with this conundrum,
I think it's kind of helpful to step back
| | 00:29 | and talk a little bit about our workflow.
| | 00:31 | And here we have some graphics, which
visualize the workflow from input all the
| | 00:35 | way over here on the
left to output on the right.
| | 00:38 | And typically what we do is
we capture our photographs.
| | 00:41 | We then transfer them via a
media card to our computer.
| | 00:45 | We have our main hard drive,
some backup hard drives.
| | 00:47 | And we definitely need some kind of RAID
device or something that's really reliable.
| | 00:52 | And then finally we output our images
whether online or onscreen or in print format.
| | 00:57 | Now the three applications that are
typically used in regards to this overall
| | 01:01 | workflow are Lightroom, Bridge and Photoshop.
| | 01:05 | And I get a lot of questions
about these three applications.
| | 01:08 | And a lot of these questions are,
you know, should I use one versus another?
| | 01:12 | Should I use Lightroom versus
Photoshop or is it Lightroom versus Bridge?
| | 01:16 | Well, I don't think it's an either/or question.
| | 01:19 | Rather, I like to think of these three
applications as part of the same family.
| | 01:24 | Now they're all very distinct.
| | 01:26 | Yet they were designed
and built to work together.
| | 01:29 | Well, you then may be thinking, okay,
well, should I just use them all equally?
| | 01:34 | Well, not necessarily.
| | 01:35 | Here is what my workflow looks like,
and I think this is mirrored and shared by
| | 01:39 | a lot of other photographers as well.
| | 01:42 | In my own workflow, I use Bridge
only in real functional situations.
| | 01:46 | And I don't use it that frequently.
| | 01:49 | On the other hand as you can see by way of
these graphics, Lightroom, that's the bad boy.
| | 01:53 | That's my mainstay.
| | 01:54 | That's the application that
I'm using most frequently.
| | 01:58 | And as you can see here this is
bigger than the other two applications.
| | 02:02 | Well, what then about Photoshop?
| | 02:03 | Do you not use that as much?
| | 02:05 | Well, I still use Photoshop a ton,
because there are certain things that you can
| | 02:10 | only do in Photoshop.
| | 02:12 | In certain areas Photoshop is still king.
| | 02:15 | So again, if you want to create a good
overall workflow, at least in my opinion,
| | 02:20 | you want to use these three applications.
| | 02:22 | All right, so then you may be thinking,
okay, well, if Lightroom is this program
| | 02:26 | that's really significant, that you're
using on a regular basis, well, tell me a
| | 02:30 | little bit more why use this.
| | 02:32 | Well, let's go ahead and dig into
that question in the next movie.
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| Why use Lightroom?| 00:00 | All right, so I mentioned that Lightroom is
this great program that I use on a regular basis.
| | 00:05 | So you may be thinking, okay, well why?
| | 00:08 | Well, you're going to need to come up
with your own answer to that question.
| | 00:11 | Here I thought it would be helpful to
share with you some of the reasons why I
| | 00:14 | found Lightroom to be such a useful
and helpful program, and I thought it'd be
| | 00:18 | helpful to do this by way of illustrating
a few ideas and some images. All right.
| | 00:23 | Well, for starters, one of the reasons
why I like Lightroom so much is because
| | 00:27 | it is elegant and simple. Let me explain.
| | 00:31 | A while back I was in Switzerland, and
I was on a train and sitting next to me
| | 00:35 | was this guy who was in the Swiss Army.
| | 00:38 | So eventually of course I had to ask him,
do you actually have a Swiss Army Knife?
| | 00:43 | And he said yeah, of course and he
pulled out a knife, and it looked very
| | 00:46 | similar to the one here on the left.
| | 00:48 | So many of us get ensnared into the idea
that we need all of these features, yet
| | 00:54 | we actually don't, and this
particular knife on the right, it weighs seven
| | 00:58 | pounds, and it's not very useful at all.
| | 01:00 | And one of things I like about
Lightroom is that it is simple and elegant and
| | 01:05 | when they built it, they said, "hey,
let's just take the essentials and let's
| | 01:09 | just include the essentials and let's
make those essentials really good," and
| | 01:14 | somehow this context helps me
to be focused and determined.
| | 01:19 | Here are some photographs that I
captured of Kelly Slater, who is a world
| | 01:22 | champion surfer, and when I hung out
with him I was just so impressed how
| | 01:26 | focused and determined he is, and in
order to be the best in the world that's
| | 01:32 | something you really have to have this narrow
focus, this determination that is iron strong.
| | 01:38 | And somehow because Lightroom is simple and
elegant, it helps me sharpen my overall focus.
| | 01:44 | It reminds me that hey, I'm in the
game of making pictures and I'm all about
| | 01:49 | the art and craft of photography and in
that context I'm interested in creating
| | 01:53 | compelling and engaging
and enlivening photographs.
| | 01:57 | In other words, what the program does
for me is it extends or expands my overall
| | 02:02 | Vision, because I'm working with this
elegant tool that's simple and easy to use.
| | 02:07 | It helps me to think big,
helps me to dream big dreams.
| | 02:12 | On the other side of things,
it helps me to be really fast.
| | 02:16 | Now a lot of people get excited about
Lightroom because it's 64-bit now and
| | 02:19 | it's really fast in the
way it renders the images.
| | 02:22 | It's really fast and while I agree
with that and I share in that excitement,
| | 02:26 | I think I'm even more excited that I
can use the program quickly. Not just that
| | 02:31 | the program itself is quick,
but that my workflow is quick.
| | 02:35 | In other words, I don't need to learn
500 shortcuts to use Lightroom well.
| | 02:40 | I only need to learn a handful of shortcuts.
| | 02:43 | The program is intuitive. It's pretty clear.
| | 02:45 | It's concise.
| | 02:46 | It's based on some of these essential
things that I need to do, which ultimately
| | 02:50 | help me to be much quicker, as I
progress throughout my overall workflow.
| | 02:55 | And what this does for me is it
makes my workflow much more cohesive.
| | 03:00 | In other words, I don't have to hop and
skip and then go do something here and
| | 03:03 | then go do something there.
| | 03:05 | It's so well designed that again it makes
my workflow really seamless and really fluid.
| | 03:10 | Now another thing that's important in
regards to Lightroom is that it helps me
| | 03:14 | focus in on details, because of the way
it renders previews and because of the
| | 03:18 | way you can zoom in and really
focus in on different aspects of your
| | 03:22 | photographs, I'm able to get into the
details and in photography small details
| | 03:28 | can make or break a photograph and
again so I find Lightroom's functionality
| | 03:32 | there to be really helpful, in order to
make images that are that much better.
| | 03:37 | Another thing that I've discovered in
my days is that context matters and for a
| | 03:43 | moment I'll talk about physical
space and then go back to Lightroom.
| | 03:47 | Here's a snapshot of my office from a
few years ago, and one of the things that
| | 03:50 | I've discovered is that my office and
studio need to be creative spaces, so that
| | 03:55 | when I walk into them I'm excited and
I'm invigorated, and that's incredibly
| | 04:00 | true with physical
spaces and also with software.
| | 04:04 | If I open up an application and
it just looks awkward or it looks
| | 04:08 | confusing, or I feel bogged down,
it's going to be difficult to create
| | 04:12 | compelling photographs.
| | 04:14 | On the other hand, Lightroom doesn't do that.
| | 04:16 | Lightroom excites me. I open it up.
| | 04:17 | It's clean. It's simple.
| | 04:18 | I can minimize things if I want to, I
can focus in on the image, and it helps me
| | 04:23 | to become a more efficient and more
creative photographer. All right.
| | 04:27 | Well, back to the physical space for a
moment. One of the things as I mentioned
| | 04:30 | I've discovered is that space matters.
| | 04:32 | So I have a question for you.
| | 04:34 | What you need to do in your own
physical space, your own context, to turn it
| | 04:38 | into a greenhouse of creativity?
| | 04:41 | In other words, your workspace, your
office, your studio, whatever it is, what
| | 04:44 | you need to do today to make
that a more creative place?
| | 04:48 | Now the Lightroom team has
done that for us with Lightroom.
| | 04:51 | What are you going to do on your end in
regards to your overall context? All right.
| | 04:55 | Well, let's keep moving.
| | 04:56 | Earlier, we started to talk about our
overall workflow and one of the things
| | 05:00 | that happens when we tend to talk
about workflow is we talk about workflow as
| | 05:04 | if it exists in a vacuum. We just talk
about different aspects of what we need to do.
| | 05:09 | We really focus in on work.
| | 05:12 | Oh, I think that there's something
missing there and one of the things that I
| | 05:15 | think is missing that our workflow, in
order for it to be effective, it needs to
| | 05:19 | allow us to grow and develop who we are.
| | 05:22 | In other words, I need my workflow to
be really quick, so that I've time to get
| | 05:27 | out and surf and bike and hike and
run and camp and do all those things and
| | 05:31 | become a passionate person, because if
I'm a passionate person, I can then bring
| | 05:35 | that back to my workflow and if my
workflow is seamless and fluid, then I have
| | 05:39 | time to become more passionate, and
the two go hand-in-hand. All right.
| | 05:42 | Well, back to the original
question, why use Lightroom?
| | 05:48 | And as you can tell I'm pretty
passionate about Lightroom and what my hope here
| | 05:52 | is just to share with you some of
the background behind this passion in
| | 05:55 | distilling the answer to this question.
| | 05:58 | I like Lightroom so much because of speed,
simplicity, creativity, passion and vision.
| | 06:06 | It's a tool which helps me to
become a better photographer and for me,
| | 06:10 | photography, as Marc Riboud once said,
is savoring life at 1/100 of a second,
| | 06:16 | and therefore Lightroom as a tool helps
me get more out of life and ultimately
| | 06:21 | helps me create more
compelling and engaging photographs.
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| Lightroom and Photoshop| 00:00 | The official name of Lightroom is
Adobe Photoshop Lightroom, and that's kind of
| | 00:05 | interesting, isn't it?
| | 00:06 | Sometimes we forget that we forget
that Lightroom is part of this Photoshop
| | 00:10 | family and that these tools are
really intended to be used together.
| | 00:15 | Here what I want to do is not teach
Lightroom, but just begin to get us to think
| | 00:19 | about how we can use
Lightroom and Photoshop together.
| | 00:23 | Now the nice thing about Lightroom is
we can do a number of different things,
| | 00:26 | like we could add keywords to our photographs.
| | 00:28 | We could go to the Develop module, in
the Develop module we could change the
| | 00:32 | overall Color Temperature.
| | 00:33 | We could modify its Tone,
the Contrast, the Clarity.
| | 00:37 | We could create different types of
effects with our images and in this case I'm
| | 00:41 | going to show the before and after.
| | 00:42 | Here's before and there's after.
| | 00:45 | And so, as you can see we can start
to make some really interesting changes
| | 00:48 | to our photographs.
| | 00:50 | Now again, I'm just barely skimming
the surface, but you get the idea.
| | 00:54 | We could also show this as a
slideshow, print this image or put it in an
| | 00:58 | online Web gallery.
| | 01:00 | So there's quite a bit that we can do
inside of Lightroom, and we'll dig into
| | 01:04 | all of these details.
| | 01:05 | Well, why then would you use
Photoshop or how would this compare to a
| | 01:09 | Photoshop workflow?
| | 01:11 | Well, in Lightroom, it's always
going to remember everything we've done.
| | 01:14 | It's a raw workflow, which means we
can always undo this, and I'll go ahead
| | 01:19 | and undo this here.
| | 01:20 | So now I've undone everything.
| | 01:22 | You'll also notice that there is no render time.
| | 01:25 | I didn't have to render filters, or
create new layers, or increase the file size.
| | 01:31 | So it's a really quick workflow.
| | 01:34 | Yet there is a point where you're going
to want to take an image further, like
| | 01:37 | for example with this particular file,
I was interested in creating a little
| | 01:42 | bit more of a conceptual look.
| | 01:44 | I wanted an image which illustrated the
experience rather than journalistically
| | 01:48 | showed what was happening.
| | 01:51 | So in that particular situation what I
decide to do is to take it into Photoshop
| | 01:55 | and here in Photoshop we can see the
image as processed from Lightroom, cleaned
| | 01:59 | it up, clarity, sharpness, noise
reduction, etcetera, and then I started to do
| | 02:05 | things, like I retouched this window out.
| | 02:07 | Now you can't do that in Lightroom,
not with those type of exact edges.
| | 02:11 | That's one of the limitations of the
retouching in Lightroom, and as you can see
| | 02:15 | here, I'll just turn on these layers.
| | 02:17 | I applied a number of different effects
in order to modify how the image looked,
| | 02:21 | and again, just looking to try to
create a different type of experience.
| | 02:26 | Now the point here isn't that every
time you go to Photoshop, you create
| | 02:30 | something this dramatic, yet I think
this is a helpful image to illustrate this
| | 02:35 | idea that in Lightroom, a lot of
our work is a little bit broader.
| | 02:40 | Now a lot of times you
finish images in Lightroom.
| | 02:42 | I mean they work amazing in Lightroom,
yet there are those situations where
| | 02:47 | perhaps you want to take things a
little bit further or work on a specific
| | 02:50 | detail or retouch something in a
really unique way and in those situations,
| | 02:55 | you're going to go to the other family
member, right? From Lightroom you go to
| | 02:58 | Photoshop and then you
come back around to Lightroom.
| | 03:01 | So the nice thing about these two
programs is that they work together, and I
| | 03:06 | think my intent in this movie is just
to begin to get you to think about how
| | 03:10 | they work together and to
not drop your Photoshop skills.
| | 03:14 | I mean so many people would say, hey,
I only work in Lightroom now, and I can tell.
| | 03:19 | Their images are at about 80% of
their potential, and yes, in Lightroom,
| | 03:24 | you can go really far, and it's one
of the main tools, but if you want to
| | 03:28 | take things even further, you will
also need to include Photoshop in your
| | 03:31 | overall workflow.
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2. Setting the StageThe Lightroom interface| 00:00 | One of the first steps in regards
to learning Lightroom is becoming
| | 00:03 | familiar with the interface.
| | 00:05 | So, let's go ahead and take a look.
| | 00:07 | One of things you'll notice is in the top
left-hand corner we have the Lightroom logo.
| | 00:11 | This is called the identity plate, and
then on the right-hand side we have what
| | 00:16 | is called the Module Picker.
| | 00:18 | And here we can select different
modules and these are the modules we've
| | 00:21 | already talked about.
| | 00:22 | Well, currently I'm in the Library
module and here you can see that I've panels
| | 00:28 | on the left and right-hand side.
| | 00:30 | And one of the things that's
interesting is that we'll see panels in each of
| | 00:34 | the different modules.
| | 00:35 | Now, there will be a few similarities,
but for the most part each module has
| | 00:40 | its own set of panels.
| | 00:42 | For example, I'm going to go ahead
and click on the Develop module and here
| | 00:45 | you're going to see that yes, I do have
a navigator, although these panels down
| | 00:49 | below are different.
| | 00:51 | Let me click back so that
you can see the comparison.
| | 00:54 | In the right-hand side it's
much more dramatic, right?
| | 00:57 | We have Histogram, Quick Develop, and
then in the Develop module, we have
| | 01:00 | Histogram, then Basic and so on.
| | 01:03 | Another thing that you're going to
notice is that in the two different modules,
| | 01:07 | we have a toolbar down below.
| | 01:10 | This sits beneath the image.
| | 01:12 | And here we have a number of different options.
| | 01:14 | We can increase the rating
for this particular image,
| | 01:17 | we can add a label and a
few other things as well.
| | 01:20 | Now, when I go back to the Library
module, you're going to notice that I've
| | 01:24 | different options here.
| | 01:26 | And these options have to do with the
different ways we can view the images,
| | 01:30 | compare them, and a few other things as well.
| | 01:32 | If I click on this icon here,
it will take me to this Grid View mode.
| | 01:37 | It's a little bit of a smaller view,
and then the Loupe View mode is the icon
| | 01:42 | right next to it, which is this
larger more zoomed in perspective.
| | 01:46 | We'll, down below in each module
you'll be able to access the filmstrip.
| | 01:52 | And the filmstrip is a location where we
have small thumbnails of our photographs.
| | 01:57 | Now, you can increase or decrease the
size of the filmstrip by simply hovering
| | 02:01 | over the dividing line right below the
toolbar and clicking and dragging up, or
| | 02:07 | on the other hand clicking and dragging down.
| | 02:09 | Now, the particular size of your
thumbnails is really going to be contingent
| | 02:13 | upon how many you have in
your own preference. All right.
| | 02:16 | Well, let's take a look at a couple
more modules. Next we'll look at the
| | 02:20 | Slideshow module and again here you
can see we have different options on each
| | 02:24 | side regards to our panels.
| | 02:26 | And then we have the Print module,
which gives us some options for how we can
| | 02:31 | print the photograph, and finally the Web module.
| | 02:34 | So, as you can see, navigating between the
different modules is actually really simple.
| | 02:40 | The other thing that I want to
illustrate here is if we go to Develop module,
| | 02:44 | you'll notice that we have a number of
different panels on the right-hand side
| | 02:48 | that have been collapsed.
| | 02:50 | Now, to open one of panels, all that
you do is click on its name or the little
| | 02:54 | triangle icon and that will open the panel.
| | 02:57 | You can of course close it the same way.
| | 03:00 | If you have multiple panels open at
once, you can uses this scrollbar on the
| | 03:04 | right-hand side to scroll
up and down. All right.
| | 03:08 | Well, now that we know a little bit
about the interface, let's take a look at
| | 03:11 | some of the essential interface
shortcuts, so that we can navigate throughout
| | 03:16 | the interface a little bit more effectively.
| | Collapse this transcript |
| Essential interface shortcuts| 00:00 | Throughout this training title,
you're going to pick up a number of really
| | 00:03 | valuable shortcuts, which will help
you speed up your overall workflow.
| | 00:08 | Here, what I want to do is
begin to introduce you to few of the
| | 00:11 | essential shortcuts.
| | 00:13 | Now, we're going to cover more than this
later, yet here are a few to get you started.
| | 00:18 | All right, what are the things that I
want to do first is just to find a few
| | 00:21 | areas of our interface.
| | 00:24 | If we look up top, you'll notice that
we have the menu bar and that's at the
| | 00:28 | very tippy-top of the application.
| | 00:31 | Underneath that is the area where we
have the identity plate on the left in the
| | 00:35 | Module Picker or the
modules over there on the right.
| | 00:40 | Next thing that I want to highlight is
the middle area is called the work area.
| | 00:44 | And the work area will change,
depending upon the module that we're in.
| | 00:49 | On the right and left-hand side, we
have our panels and these panels are
| | 00:53 | different based on the different modules.
| | 00:56 | Down below, we have what's called the toolbar.
| | 00:59 | And if the toolbar is invisible, simply
press the T key and that allows you to
| | 01:04 | toggle the Visibility of the toolbar
on and off, whether you're in the Library
| | 01:08 | module or in the Develop module.
| | 01:11 | The toolbar contains some really
helpful information, although sometime
| | 01:15 | that gets in the way.
| | 01:16 | We'll talk about that in a second.
| | 01:19 | Down below we have what's
called the filmstrip. All right.
| | 01:22 | Well, now that we've defined these areas;
| | 01:24 | let's get to a few shortcuts.
| | 01:27 | Currently, I'm in the Develop module.
| | 01:29 | You can see that here,
although it's a little grayed out.
| | 01:31 | And in the Develop module, we have
shortcuts for some of the things that we'll
| | 01:35 | be doing quite often, like
adding flags or stars or labels.
| | 01:40 | And in order to add flags, we can use P,
U or X. P stands for Pick, U stands for
| | 01:48 | Unpick and then X stands for Reject.
| | 01:52 | Now, of course we'll talk about how to
actually use these later, although here I
| | 01:57 | think it will be helpful
to jot these shortcuts down.
| | 02:00 | For adding a star rating to your
photograph, you press the number key between
| | 02:04 | one and five. To add a label,
| | 02:07 | you press a number key between 6 and 9.
| | 02:10 | Now, you can of course also hide the
entire toolbar. If you press the T key that
| | 02:17 | will toggle between hiding and
showing the toolbar. All right.
| | 02:21 | Let's move on. How about our panels?
| | 02:24 | One of the things that you'll notice
is the panels take up a lot of screen
| | 02:28 | real estate, so there will definitely
be times where we're going to minimize
| | 02:33 | or hide those panels.
| | 02:34 | There are a couple of different ways to
do this, but one technique that we can
| | 02:38 | use is the shortcut.
| | 02:40 | If you press the Tab key, that will
then show or hide your Side panels.
| | 02:46 | So if they are open and you hit Tab it
will then close them; hit it again and
| | 02:50 | it will bring them out.
| | 02:51 | You can also use this shortcut here,
which is Shift+Tab, in order to hide or
| | 02:57 | show all the panels.
| | 02:59 | In other words, it will hide everything up top.
| | 03:02 | It'll hide the filmstrip.
| | 03:04 | It'll hide the panels on the left
and right-hand side. All right.
| | 03:07 | Well let's keep moving.
| | 03:08 | What about getting into more
specific areas of the interface?
| | 03:12 | We can use our F keys, in particular
F5, F6, F7, and F8 in order to hide
| | 03:18 | specific areas of the interface.
| | 03:21 | If you press F5, it will toggle between
hiding and showing the area up top, F6
| | 03:27 | that will hide or show the filmstrip,
F7 that will hide or show the panel on
| | 03:31 | the left, and then F8, the panel on the right.
| | 03:34 | And the reason that this is helpful is
you'll find in your workflow there will
| | 03:38 | be times, let's say, when you're in
the Develop module and you want a larger
| | 03:42 | area in order to work on your photograph.
| | 03:45 | So, in those particular situations you
can press F7. That would then open up more
| | 03:50 | space for the image giving you a larger
view of the file, so that you can dial
| | 03:55 | in your settings a little bit
more appropriately. All right.
| | 03:57 | Well the last thing that I want to
highlight here is that there are two global
| | 04:02 | shortcuts that are really important.
| | 04:04 | One is the F key, and what the F key
does is it toggles through the different
| | 04:08 | fullscreen views, and then the L key.
| | 04:11 | What the L key does is if you press it
multiple times it will dim or darken or
| | 04:17 | if you set it up in your preferences,
| | 04:18 | it can also brighten the interface.
| | 04:21 | And the whole point of the L key is that
you can minimize or hide the interface,
| | 04:26 | so you can focus in on the image. All right.
| | 04:29 | Well that wraps up our first look at
a few shortcuts that we'll be using.
| | 04:33 | Now I understand that those shortcuts
may seem a little bit abstract right now.
| | 04:38 | Yet I wanted to introduce them here,
so that you can begin to take some notes
| | 04:42 | and jot down those shortcuts and
then add to that list as you learn more
| | 04:46 | shortcuts throughout the
rest of this training title.
| | Collapse this transcript |
| Using the interface shortcuts| 00:00 | Now that we've been introduced to the
interface and a few of the shortcuts,
| | 00:03 | let's take a look at how we
can actually begin to use those.
| | 00:07 | Now, a couple of the shortcuts that we
talked about had to do with the toolbar.
| | 00:11 | The toolbar sits beneath the image,
and if the toolbar isn't visible, simply
| | 00:16 | press the T key. That allows you to
toggle the visibility of the toolbar on and
| | 00:21 | off, whether you're in the
Library module or in the Develop module.
| | 00:26 | Here we have flagging, stars and colored labels.
| | 00:30 | Now in regards to flags, you may
remember that P is the shortcut key to flag
| | 00:35 | an image as a pick.
| | 00:37 | Now if we press the U key that
will unpick or remove that flag.
| | 00:41 | If you press the X key, that
will then set the flag as rejected.
| | 00:46 | Now, if we want to remove that, what we
need to do then is press the U key for
| | 00:50 | Unpick and that will remove that flag.
Whatever the flag is, whether it's
| | 00:55 | positive or negative.
| | 00:57 | Next, we can press the number key to
add a star rating. So I'll press the 1 key
| | 01:01 | that will give me a one star rating.
| | 01:04 | Now if I press two, it will change
that to two, three, so on and so forth.
| | 01:08 | If I've a three star rating and I
press the 1 key, it will take off whatever
| | 01:13 | I've done previously and just
allow me to have that one star.
| | 01:17 | Now, what about removing stars altogether?
| | 01:20 | Well you probably guessed it. It's the 0 key.
| | 01:22 | All right. Well what
about the labels over here?
| | 01:25 | Well, we have Red, Yellow, Green, Blue, Purple.
| | 01:28 | All we can do is we can press the 6
key to add a label. If you want to change it,
| | 01:33 | just press another number
key, anything between 6 and 9.
| | 01:38 | Now to remove a label, it's actually
kind of interesting, all that you do is
| | 01:42 | press that number key again.
| | 01:44 | So 7 is the number key for the Yellow
label. So if I press 7 again as I'll do so now,
| | 01:50 | it will then remove that label. All right.
| | 01:53 | Well what about those times
when the toolbar gets in the way?
| | 01:57 | How can we hide that?
| | 01:58 | Well, if you press the T key, that will
toggle between hiding, and then press it
| | 02:04 | one more time, and showing that
particular aspect of the interface.
| | 02:08 | Now another shortcut that we talked
about had to do with the panels on the
| | 02:12 | left and the right.
| | 02:14 | If we want to hide those panels,
what we can do is press the Tab key.
| | 02:18 | It will then minimize those,
so we can focus in on the image.
| | 02:23 | Press the Tab key again, and
we'll bring those back. All right.
| | 02:26 | Well what about that other shortcut, which
was a shortcut to hide all of the panels?
| | 02:31 | Well, that was Shift+Tab.
| | 02:34 | That will then hide everything, press
that one more time, Shift+Tab, and it will
| | 02:39 | bring all of those back.
| | 02:40 | Now you also may recall that I mentioned
there's times when you may want to just
| | 02:44 | hide a particular aspect of the interface,
and then we can use our shortcut keys
| | 02:49 | F5, F6, F7 and F8 to hide the interface.
| | 02:53 | So if we press F5, it hides this area up top.
| | 02:58 | F6, that's going to be the filmstrip
down below, F7, panel on the left, over
| | 03:03 | there, and then F8, panel on the right.
| | 03:07 | Now if ever you've hidden a certain
amount of your panels and let's say we've
| | 03:11 | hidden three of the four areas,
how could we bring all of that back?
| | 03:15 | Well, you know the shortcut
key already. It's Shift+Tab.
| | 03:19 | That will then bring everything back.
| | 03:22 | So just press that multiple times until
you get back to this view where you've
| | 03:26 | brought all of the interface back to normal.
| | 03:29 | Now the last few shortcuts that I
talked about were the Full Screen
| | 03:32 | shortcuts and the lights out.
| | 03:34 | If you press the F key, you can toggle
through the different Full Screen view
| | 03:39 | modes, and you can see how I'm going
through those different modes here, and
| | 03:43 | that's really nice because a lot of
times what you'll want to do is minimize
| | 03:47 | like this top area here is
showing me my catalog name.
| | 03:51 | So I don't really need to see that,
and now have a little bit more space for
| | 03:55 | working on the image.
| | 03:56 | The next shortcut key and last one
that we'll talk about here is the L key.
| | 04:01 | If you press the L key, it will dim
the lights and when you dim the lights
| | 04:06 | what's interesting is you still have
access to all of your controls here.
| | 04:10 | You can see that I'm modifying the
image in this way, and that's really handy.
| | 04:15 | Press the L key one more time, and it
will completely turn out the lights.
| | 04:19 | Now this is really helpful especially
when you're going to show client an image.
| | 04:23 | A lot of times, when you turn the
lights out, you may be thinking, gosh,
| | 04:28 | it would be nice to have a
larger view of the image, right?
| | 04:31 | So I'll press the L key to
bring the lights back up.
| | 04:34 | How can we have a larger view of the image?
| | 04:36 | Well, you already know the shortcut.
| | 04:38 | It's Shift+Tab. That hides everything
and then press L and turn off the lights,
| | 04:45 | and now we have a much larger view. All right.
| | 04:47 | Well that wraps up our look at using a
few of these introductory shortcut keys.
| | 04:53 | One of the things that I highly
recommend is that you keep a little place in
| | 04:56 | your notes where you can write down
these different shortcuts, so that you can
| | 05:00 | begin to integrate them into your own workflow.
| | Collapse this transcript |
| Customizing the identity plate and module pickers| 00:00 | One of the nice things about Lightroom
is that you can customize the interface.
| | 00:04 | And you can customize it so much that you
can actually change what appears right here.
| | 00:09 | You can include something other than the logo.
| | 00:12 | You can also change the size of the
Module Picker buttons over here on the right.
| | 00:17 | In order to do that, navigate
to the Lightroom pulldown menu.
| | 00:21 | On a PC, navigate to the Edit pulldown
menu and choose Identity Plate Setup.
| | 00:27 | Now the first thing that we want to
do is use a styled text identity plate.
| | 00:32 | We can type out some text here and I
go ahead and do all caps, CHRIS ORWIG
| | 00:36 | PHOTOGRAPHY, all right, great.
| | 00:38 | Well, how come I can't see anything?
| | 00:40 | What you need to do is click on this
button here, Enable Identity Plate.
| | 00:45 | Let's say I think that's a
little bit too far to the left.
| | 00:48 | Click in front add a few spaces.
| | 00:50 | Let's say the font is too small.
Highlight it, choose a new size.
| | 00:54 | We'll go ahead and crank that up.
| | 00:55 | You can also customize the color.
| | 00:58 | I'll highlight this word PHOTOGRAPHY
and then click on the color swatch here,
| | 01:02 | and I'm going to choose a new color, all right.
| | 01:04 | That looks pretty good,
and then I'll close that.
| | 01:08 | Okay, well so far so good.
Let's say that I like this identity plate.
| | 01:11 | Well, in order to see that all I
need to do is click on the pulldown menu
| | 01:17 | and choose Save As, and I'll just name this
one CO for Chris Orwig, and then save that out.
| | 01:25 | Now if I want to choose that I have
the option here from the pulldown menu.
| | 01:29 | So as you can imagine, you can get
kind of creative with this, have some fun
| | 01:33 | identity plates, some different options
and experiment with your overall branding
| | 01:38 | right inside of Lightroom.
| | 01:40 | Not to mention, this is really
helpful when a client is viewing images and
| | 01:44 | they're looking at the
images inside of Lightroom.
| | 01:46 | It just makes the overall
experience that much better.
| | 01:49 | Well one of the problems with this
particular identity plate is it now makes
| | 01:53 | these buttons seem really, really big.
| | 01:55 | Well, that's no big deal.
| | 01:57 | I can change their size by simply
choosing a new font size here and I'll go
| | 02:01 | ahead and make these a little bit
smaller, and I can of course change the way
| | 02:05 | that the highlight works.
Currently the highlight is white.
| | 02:09 | I want to change that.
| | 02:10 | Let's say I'd like it to be blue.
| | 02:12 | I can now set it up so that
the highlight is now blue.
| | 02:16 | Okay, we can also choose
the font as well. All right.
| | 02:18 | Well now that you've made all of these
changes, to apply these changes all that
| | 02:23 | you need do is to simply click OK.
| | 02:26 | Well, you may have noticed that there
is one other option that I have neglected
| | 02:30 | to mention and that is
using a graphical identity plate.
| | 02:34 | Now because that one is a little bit
more involved, let's talk about doing
| | 02:38 | that in the next movie.
| | Collapse this transcript |
| Using a graphic identity plate| 00:00 | Another way to customize your identity
plate is to create and include a graphic
| | 00:05 | up here in this top portion of Lightroom.
| | 00:08 | Now in order to do that, what you
need to do is prepare a few graphics
| | 00:12 | outside of Lightroom.
| | 00:13 | So what I'm going to do here is I'm
going to navigate to the Adobe Bridge and
| | 00:18 | in the Adobe Bridge I'm
going to pull up this folder.
| | 00:21 | It's titled sample_identity_plate.
| | 00:24 | You can find it in our Exercise Files
folder, in 01_Getting_Started, and then
| | 00:29 | it's a subfolder there.
| | 00:31 | Here you can see that I've
created two different identity plates.
| | 00:34 | The one thing that you need to keep in
mind with these is you want them to be
| | 00:37 | about 60 pixels tall. In this
case these are both 57 pixels tall.
| | 00:42 | Now the width is kind of
interesting and we'll talk about that.
| | 00:46 | You'll notice that one identity plate is
kind of short, and another one is long.
| | 00:50 | Well let's go ahead and open
these up in Photoshop. All right.
| | 00:53 | Well, now that these are open,
let's start off by working with this
| | 00:58 | identity_plate_long here.
| | 01:00 | I am going to go ahead and press the F
key to go to Full Screen View mode and
| | 01:04 | that way we can see this one in its entirety.
| | 01:08 | We have some images there and all that
I did was create a document at a particular
| | 01:12 | size, brought in some images, typed out my name.
| | 01:16 | Now I know that's kind of
hard to see because it's small.
| | 01:19 | I want you to get a feel for
the overall length of this file.
| | 01:23 | Now it's time to head back to Lightroom.
| | 01:26 | In Lightroom, head to the
Lightroom pulldown menu.
| | 01:29 | On a PC, navigate to the Edit pulldown
menu and choose Identity Plate Setup.
| | 01:34 | Here we're going to choose
Use a graphical identity plate.
| | 01:38 | We want to locate the file
and we're going to go to this
| | 01:41 | identity_plate_long file
right here. Click Choose.
| | 01:45 | All right. Well I can't see it yet, because I
need to enable it so now I can see that right there.
| | 01:51 | Okay, well that looks nice, and I
have my little images. I have my logo.
| | 01:55 | I'm good to go.
| | 01:57 | What about how long it is?
| | 01:58 | Well currently the length is black.
| | 02:01 | There is a black background here.
| | 02:03 | What if I added another graphic
behind that, how far would it extend?
| | 02:07 | Well, let's go back to Photoshop to find out.
| | 02:10 | Here I have this layer, which is titled
big, and this big layer, if you click and
| | 02:16 | drag it you can see it's just my
name, and it just extends really far.
| | 02:20 | Now that we can see that this
extends out almost to the end, I'll press
| | 02:25 | Command+S to save that, and
then navigate back to Lightroom.
| | 02:30 | And in Lightroom I'm going to clear
the image and then locate the file again,
| | 02:35 | because I need to do that to refresh that view.
| | 02:38 | Here you can see that text in the
background extends from the far left all the
| | 02:43 | way over to the far right.
| | 02:45 | This will go as far as your
resolution is set for your monitor.
| | 02:49 | So you can have this behind these
other buttons. Just keep that in mind it's
| | 02:53 | going to be behind them.
| | 02:55 | If this were bright white text, it'd
be kind of hard to actually see those
| | 02:59 | Module Picker buttons.
| | 03:02 | Now that being said, you don't have to
use a long identity plate. It might make
| | 03:06 | more sense to use one
that's a little bit more simple.
| | 03:10 | So I'll go ahead and clear that
image and then I'll go to the Identity
| | 03:13 | Plate which just has my name in it
there, and here you can see I can have my
| | 03:17 | name typed out really well, and this would
make sense especially if this were my logo.
| | 03:23 | Now you also may be thinking, okay,
well, why not just type out your name?
| | 03:28 | Well in this particular case if you use
a graphic, you can define the height of
| | 03:33 | the text and you can see that this
text is sitting on an imaginary line, which
| | 03:37 | is pretty equivalent to
the Module Picker buttons.
| | 03:41 | So in this particular case, it's
just illustrated that you can change the
| | 03:44 | location of this text.
| | 03:46 | Whereas, when you use a text identity plate,
you notice that it's riding a little bit high.
| | 03:51 | In my opinion that's a little bit awkward.
| | 03:54 | This is a little bit of a cleaner look,
although we're using similar typography.
| | 03:59 | Well, the whole point here is
that you can get really creative with
| | 04:03 | your identity plates.
| | 04:05 | All that you need to do is to
create some graphics in Photoshop.
| | 04:09 | Now if you're looking for a starting
place with all of this, I recommend that
| | 04:12 | you open up those sample files that
are included with the Exercise Files and
| | 04:17 | just delete my layers and add your own,
and then start to import them here,
| | 04:22 | locate the file and see how they look.
| | 04:24 | Once again, as we've done with our
text identity plate, we can also save this
| | 04:29 | out as a template and we'll go ahead
and save this one as co-graphic, just
| | 04:36 | something a little different so we can
see that we have two options. One is a
| | 04:39 | text option another is a graphic-based option.
| | Collapse this transcript |
| Changing the panel end marks| 00:00 | Another way that you can customize
the Lightroom interface is by modifying
| | 00:04 | what's called the panel end mark.
| | 00:07 | You can see the end mark here.
| | 00:09 | It's going to be the same in the
left and right-hand side panels.
| | 00:13 | Now the nice thing about this is this
will always be located underneath the
| | 00:17 | panels, whether or not the
panels are open or closed.
| | 00:20 | You're going to see this is going to
travel so that it's always at the base.
| | 00:24 | There's another area where we're
going to actually see these end marks and
| | 00:28 | that's in the Import dialog.
| | 00:31 | While we haven't covered that topic yet,
I thought it'd be helpful to at least
| | 00:35 | show you the dialog so you can see
where those end marks are located.
| | 00:39 | You can open up the Import dialog by
navigating in to the File pulldown menu and
| | 00:45 | then by selecting Import Photos.
| | 00:49 | That will launch or open up this Import dialog.
| | 00:53 | Now down below you can see that we
again have that same end mark on the left
| | 00:57 | and right-hand sides. All right.
| | 00:59 | Well let's cancel out of this, and
let's get to customizing this feature here.
| | 01:04 | There are a couple of different ways
that you can customize this. Perhaps the
| | 01:08 | easiest is by right-clicking
on this area of the panels.
| | 01:12 | If you do that, what you can do is open up
this dialog and then select Panel End Mark.
| | 01:19 | And here you have a
handful of different options.
| | 01:22 | I'll choose another one,
| | 01:23 | let's say Leaf, and we'll see that
updated on the right and left-hand sides.
| | 01:28 | Another way that you can change this is
by navigating to the Lightroom pulldown
| | 01:33 | menu and choosing Preferences.
| | 01:36 | On a PC you'll find your Preferences
options located in the Edit pulldown menu.
| | 01:41 | In the Preferences dialogs, you'll
notice that you have an Interface button.
| | 01:47 | If you click on the Interface button,
you can go to your panels option and
| | 01:51 | here you can choose the End Marks, and
I'll go ahead and take this back to the
| | 01:55 | default setting of Flourish, and it's going
to reset that to what we've seen previously.
| | 02:01 | All right.
| | 02:02 | Well now that we've seen how we can
change the panel end mark, what about
| | 02:05 | creating our own custom panel end marks?
| | 02:08 | Let's cover that topic in the next movie.
| | Collapse this transcript |
| Creating a custom panel end mark| 00:00 | Creating your own custom panel end
marks is something you may want to do
| | 00:04 | just for fun, and it's simply a way
to make your version of Lightroom a
| | 00:09 | little bit more unique.
| | 00:11 | Now I've created a couple of sample
files that we're going to use in this movie
| | 00:15 | and if you're creating your own files,
all that you need to do is make sure they
| | 00:18 | match the same background color as the panels.
| | 00:22 | Well, I'm going to navigate over to the
Adobe Bridge and in the Adobe Bridge I'm
| | 00:27 | going to navigate to the
01_Getting_Started folder.
| | 00:30 | Inside of that folder you'll notice
that I have these two panel end marks.
| | 00:35 | I'm going to select both of those files
and then open them up in Adobe Photoshop.
| | 00:39 | All right. Well here you can see that
these files are actually pretty simple.
| | 00:45 | Panel end mark version number one.
| | 00:47 | We have a few different layers and all
that I've done is typed out some text,
| | 00:51 | PHOTOGRAPHY IS SAVORING LIFE AT 1/100TH
OF A SECOND by Marc Riboud and I included
| | 00:57 | a little graphic of a vintage camera and
also what I'm calling a little flourish there.
| | 01:03 | Then in the other option same kind of
thing. You can see here that I've just
| | 01:07 | done the same thing, made it a little bit
smaller and I haven't included the graphic.
| | 01:12 | Now the whole point here is
you can do anything you want.
| | 01:16 | I mean the sky is the limit, and I
imagine you could come up with some pretty
| | 01:21 | creative panel end marks.
| | 01:22 | If you do you come up with some,
feel free to e-mail them to me.
| | 01:25 | It'd be really fun to see those. All right.
| | 01:28 | Well now that we have those two files,
what we're going to do is we're going to
| | 01:31 | navigate back to Lightroom.
| | 01:34 | In Lightroom we'll go ahead and right-
click in this area and in the Panel End
| | 01:40 | Mark dialog, I am going to choose Go
to Panel End Marks Folder. All right.
| | 01:46 | That will then open up this folder.
| | 01:49 | Here you can see that I have an empty folder.
| | 01:52 | Now what I need to do is I need to
find my two panel end marks, and I need to
| | 01:56 | copy them to this particular location.
| | 02:00 | So I'm going to go ahead and open up
Adobe Bridge here and I'll just drag
| | 02:04 | Bridge off to the right, so that I can
see this folder and I'll grab those two
| | 02:10 | files and drag and drop them into this location.
| | 02:14 | So we can see that they are now
located in this Panel End Marks folder.
| | 02:18 | Back to Lightroom! Inside of Lightroom,
all that we need to do is right-click
| | 02:23 | on this area and then choose Panel End Mark,
and then we have our two end marks right here.
| | 02:29 | I'll go ahead and choose the first option.
| | 02:32 | There is option number 1.
| | 02:33 | Now one of the reasons I did this one
is it's a little bit big, but you get a
| | 02:37 | feel for how that would show up.
| | 02:38 | And then let's right-click.
| | 02:41 | Go to that Panel End Mark
folder and choose end_mark_2.
| | 02:45 | That one is a little bit
more subtle and discreet.
| | 02:48 | So again, this is simply a fun way
to customize Lightroom even further.
| | Collapse this transcript |
| Changing the image background| 00:00 | Currently I'm viewing this image in the
Loupe View mode inside of the Library module.
| | 00:05 | Here we can see that we have a
medium dark gray in the background.
| | 00:09 | Now we can change this
background a couple of different ways.
| | 00:13 | One technique that we can use
is to right-click in this area.
| | 00:17 | As you're starting to pick up,
Lightroom really likes it when you right-click,
| | 00:21 | so I'll go ahead and do that and
here you can see that I can change my
| | 00:24 | background to white or all the way up to black.
| | 00:29 | So again whatever color you
choose here is your own preference.
| | 00:33 | Let's go back to our Medium Gray, and
then let's take a look at one more option.
| | 00:38 | If you right-click or Ctrl+Click you can
also add a texture to the background as well.
| | 00:43 | Well as I mentioned, I'm currently in the
Library module. What about the Develop module?
| | 00:49 | When I navigate to the Develop module,
we're going to see those same settings here.
| | 00:52 | So if I make a change in this dialog,
I'll go ahead and choose None. and then
| | 00:58 | head back to the Library module.
that background change will carry over.
| | 01:02 | The last way that you can make this
particular change is by navigating to your
| | 01:06 | interface preferences.
| | 01:08 | You can do so by navigating to the
Lightroom pulldown menu and then by
| | 01:13 | choosing Preferences.
| | 01:16 | On a PC, navigate to the Edit
pulldown menu and choose Preferences.
| | 01:20 | In Preferences, you want to make sure
to click on the Interface tab and what
| | 01:24 | we're going to do here is we are
going to change our background color and
| | 01:28 | here you can see it a little bit
more easily, because you can preview this
| | 01:33 | without having to exit out of the menu and
the same texture options as we've seen before.
| | 01:39 | If you are using a second monitor, you
can also change the background attributes
| | 01:43 | for that second monitor here as well.
| | Collapse this transcript |
| Modifying other interface preferences| 00:00 | While we were on the topic of
modifying our interface preferences,
| | 00:03 | I want to talk about a few
other preferences as well.
| | 00:06 | Let's navigate to the Lightroom
pulldown menu and then select Preferences.
| | 00:12 | You can find your Preferences on a PC
by navigating to the Edit pulldown menu.
| | 00:17 | In the Preferences dialog, we're
interested in clicking on the Interface button.
| | 00:22 | Now one of the things that I want to
highlight here is our Lights Out option.
| | 00:26 | Currently, when we press the L key,
what happens is it dims to a particular
| | 00:31 | level, 80%, and then if we press it
one more time, it goes completely black.
| | 00:37 | We can actually change this quite a bit.
| | 00:40 | We can go to a different shade of gray
or for that matter we can even "turn
| | 00:45 | the lights on" by going to a shade of White.
| | 00:48 | Now our Dim Level again, we can
change a couple of different ways.
| | 00:51 | Let's just choose another option so we
can see how this looks, and I'll go to
| | 00:54 | a Dim Level of 50%, and I'll close the
Preferences dialog, and then I'll press L once.
| | 01:01 | There is turning the lights on to 50%,
press L one more time, and now I'm going
| | 01:06 | to this pure white situation.
| | 01:09 | Now some people really like
this because it's a brighter view.
| | 01:12 | One of the things you have to keep in
mind is whatever color or brightness value
| | 01:16 | is surrounding your image will affect
it, so you may want to try different
| | 01:21 | values here in regards to your
overall dimming and Lights Out.
| | 01:26 | Let's navigate back to the Lightroom
pulldown menu, back to Preferences, and I'm
| | 01:31 | going to go ahead and take this back
to the default black and then that 80%.
| | 01:36 | A couple of other things here that I
want to point out, one is we talked about
| | 01:39 | our panel end marks;
| | 01:41 | you can also change the Font Size.
| | 01:43 | If you feel this size is a little bit
too small, you can increase it, although
| | 01:48 | that being said, if you choose Large
it's going to prompt you to say, hey!
| | 01:51 | This font change will only take
effect once you have restarted Lightroom.
| | 01:56 | Now for most users the small font size
will be just fine, but if you need it,
| | 02:00 | they've also included that large option as well.
| | Collapse this transcript |
|
|
3. The Library Module: Importing ImagesImporting and file formats| 00:00 | Before importing your files in the
Lightroom there are a few topics that are
| | 00:04 | worth briefly considering.
| | 00:06 | For starters, what type of files
can we actually bring into Lightroom?
| | 00:11 | Well this has changed a little bit in Lightroom 3.
| | 00:13 | As far as file formats, we can bring in
TIFF files, PSD, any type of a RAW file,
| | 00:20 | as well as MOVIE documents.
| | 00:22 | Now this is brand-new to Lightroom 3,
and it's a real welcomed enhancement.
| | 00:26 | We'll be talking more about that later.
| | 00:28 | Now this isn't necessarily a file type, but
it is something that's kind of significant.
| | 00:33 | We can now import and access and
view and even process CMYK files.
| | 00:39 | We'll talk about working with this
a little bit later but I just want to
| | 00:42 | point that out here.
| | 00:44 | Now what are some of the considerations?
Well, the first consideration has to do
| | 00:47 | with how we work in Photoshop?
| | 00:50 | One of the things that we need to do,
if we're going to save our files as .psd
| | 00:54 | documents is if we want these files to
be visible inside of Lightroom, i.e. if
| | 00:59 | we want to import them, one of the
things that you have to do is you have to
| | 01:03 | maximize PSD and PSB file compatibility.
| | 01:08 | Now I'm going to go ahead and open up
the Photoshop Preferences and talk a
| | 01:11 | little bit more about this.
| | 01:13 | In Photoshop, if you navigate to File
Handling, you'll notice that you have this
| | 01:18 | line here, Maximize PSD
and PSB File Compatibility.
| | 01:22 | Now previously to using Lightroom
typically the best way to go was Never.
| | 01:27 | And why this was is what happens when
you maximize compatibility is you actually
| | 01:32 | save your layered file and you also
save a flattened version of the same thing.
| | 01:37 | Now this is all wrapped up inside of the
PSD file, so you'd never really know it
| | 01:42 | except that it increases file size.
| | 01:45 | And for that reason most
people would choose Never here.
| | 01:48 | They would only turn this on if they
knew that this file were to be sent to
| | 01:53 | someone who is using a much
older version of Photoshop.
| | 01:56 | But for the most part this
has become really irrelevant.
| | 01:59 | But now with the advent of Lightroom,
in order for Lightroom to be able to
| | 02:03 | handle the file, what you need
to do is make sure that this PSD
| | 02:07 | compatibility has been turned on.
| | 02:10 | Now you may think then, well
you should put it on always.
| | 02:13 | Well not necessarily, because not
every Photoshop document that you work on
| | 02:18 | will you also access and work on in Lightroom.
| | 02:21 | So in my particular case, here is what I do.
| | 02:24 | I leave it onAask. That
way whenever I save a file,
| | 02:28 | it will ask me and if I know I'm
going to Lightroom, I'll simply click Yes.
| | 02:32 | If I'm not going to Lightroom
with the file, I'll simply click No.
| | 02:36 | Now your own preference setting here is
entirely up to you and your own workflow.
| | 02:41 | Yet this is the one that has
worked well for me. All right.
| | 02:44 | Well, I'll go ahead and click OK.
| | 02:46 | Now another consideration
has to do with our RAW files.
| | 02:50 | Now we all know the each camera
manufacturer has a different type of RAW file.
| | 02:55 | Now you can of course work on that
file and a lot of people argue that you
| | 02:59 | should keep your images, or your RAW
files, in their native format, meaning if
| | 03:03 | it's a canon.cr2, leave it that way.
| | 03:06 | Because there may be something in that
file that Canon knows about, that you'll
| | 03:10 | be able to access with Canon software.
| | 03:13 | Now there are other people who say,
"you know what I convert everything to DNG."
| | 03:18 | Now this is a format that
was put together by Adobe.
| | 03:21 | You can kind of think of it like a
little Tupperware container that wraps
| | 03:25 | around the RAW file.
| | 03:27 | Some of the advantages for
using this are archival confidence.
| | 03:31 | What Adobe articulates here is that
because this is a non-proprietary open
| | 03:35 | source file type, 50 years from now
people will be able to access and open and
| | 03:40 | use and process this file.
| | 03:43 | It also decreases your file size
significantly and it doesn't require sidecar files.
| | 03:48 | Now in Lightroom sidecar files aren't
really relevant but if you're using Bridge
| | 03:52 | occasionally, this then does become relevant.
| | 03:56 | Now the debate continues.
| | 03:57 | There are those in favor of DNG,
and there are those who don't use DNG.
| | 04:01 | So what I want to do here is I want to
pull up Adobe's site briefly and this is
| | 04:06 | a location where you can go to find
some more information about this file type.
| | 04:10 | If you navigate to adobe.com/products/
dng, you can learn a little bit more
| | 04:17 | about this file format.
| | 04:19 | Now in my own particular workflow, what
I do is actually convert all of my RAW
| | 04:23 | files to this DNG format.
| | 04:25 | Yet one of the things that you're
going to want to do is to dig into this
| | 04:28 | issue a little bit in order to
determine what file format is best in your own
| | 04:33 | particular situation.
| | Collapse this transcript |
| Importing preferences| 00:00 | Before importing your files in the
Lightroom it's a good idea to go ahead and
| | 00:03 | double-check your preferences.
| | 00:05 | Now these preferences for the most part
are identical the Lightroom 2, although
| | 00:09 | they've reorganized things a little bit.
| | 00:11 | You can open up your Preference dialog
by navigating to the Lightroom pulldown
| | 00:16 | menu and then by choosing Preferences,
| | 00:19 | while if you are using a PC you can
navigate to the Edit pulldown menu and find
| | 00:23 | your Preferences there.
| | 00:25 | In the Preferences dialog, we
want to first start off on General.
| | 00:28 | Now for the most part the
default settings are going to be fine.
| | 00:31 | I'm just going to highlight a few
things that you definitely want to turn on.
| | 00:35 | For starters, I recommend you check
the box for Show Import dialog when a
| | 00:40 | memory card is detected.
| | 00:42 | That way when you connect a memory
card and insert the memory card it will
| | 00:46 | automatically open up the Import dialog.
| | 00:49 | The next thing that I want
to highlight is File Handling.
| | 00:52 | Here if you are going to convert your
files to DNG, in this particular case you
| | 00:57 | can choose your extension, capital or
lowercase, you can choose a compatibility
| | 01:02 | with Camera Raw, and typically what
you want to do is the most recent version
| | 01:06 | of Camera Raw, and then your JPEG preview,
and that medium-size preview will be fine.
| | 01:11 | If you decide that you're really
concerned about losing some information,
| | 01:15 | you can of course include the original RAW
file, although this will exorbitantly
| | 01:20 | increase your file size. So I don't
really recommend this, although some people
| | 01:25 | find this kind of helpful because it's
a bit of a safety net, so that they're
| | 01:29 | not losing any of the original information.
| | 01:32 | All right, in regards to the metadata
for the files, you can treat different
| | 01:35 | things as keyword separators.
| | 01:37 | That's going to really be contingent
upon your own workflow, and then you have
| | 01:41 | file naming generation.
| | 01:43 | Typically when you are generating files,
because you'll do that on import quite
| | 01:48 | often, what you want to do is treat
any of the characters as illegal and make
| | 01:52 | the list a little bit more
exhaustive, this one here.
| | 01:56 | Essentially what this will do is if
you take all those characters it will
| | 01:59 | replace them with something else.
| | 02:01 | You can choose underscore or
dash. Now I prefer underscore.
| | 02:06 | It is a little bit easier on the
eyes, although either one will do.
| | 02:09 | And then finally when a file name has
a space, you want to replace that space
| | 02:14 | with something else.
| | 02:15 | Now one of the reasons why you want to
do you this is it'll make your files more
| | 02:19 | stable across platforms, especially
if they're going to be viewed online
| | 02:23 | eventually, and it's just a better
workflow to have that particular preference
| | 02:27 | dialed in so that your file has
that much more stability. All right.
| | 02:31 | Well that wraps up our
conversation about Preferences.
| | Collapse this transcript |
| Introducing the Import dialog| 00:00 | Whether you are new to Lightroom, or if
you've used Lightroom previously, when
| | 00:04 | you open up Lightroom 3,
you won't have any photographs in it.
| | 00:08 | So, one of first steps and one of the most
important steps is to import our photographs.
| | 00:12 | What we're going to do here is
take a look at the Import dialog.
| | 00:17 | Let's go ahead and open up the Import dialog.
| | 00:19 | To do so, we need to be in the Library module.
| | 00:22 | You can click on the word Library
here in the Module Picker up top.
| | 00:26 | Next, we can either select or click the
Import button, or navigate to the File
| | 00:32 | pulldown menu and choose Import Photos.
| | 00:35 | Of course, there's also a shortcut.
| | 00:37 | This is one of the shortcuts you want
to jot down, because you'll find that
| | 00:41 | you're going to import photos all the time.
| | 00:43 | The shortcut on a Mac is
Shift+Command+I. On a PC, that's
| | 00:48 | Shift+Ctrl+I. All right.
| | 00:50 | Well, whatever your preference, go
ahead and open up the Import Photos dialog.
| | 00:55 | Now, one of the first things that
you'll notice is that this dialog looks a
| | 00:59 | lot like Lightroom.
| | 01:00 | Now, it's not only
visually similar to Lightroom.
| | 01:02 | It's also functionally similar. Let me explain.
| | 01:05 | Over here in the left-hand side, we have
panels just like we have in Lightroom.
| | 01:09 | We can open and close
these panels in the same way.
| | 01:13 | On the right-hand side, same thing.
| | 01:14 | We have different panels
that we can open and close.
| | 01:17 | The other thing that you're going to
notice about this dialog is that the
| | 01:21 | flow is left to right.
| | 01:22 | We start over here by selecting a
source, then we apply some options or we
| | 01:27 | choose some options here up top.
| | 01:28 | We maybe select some images we want to
import, and then finally we determine
| | 01:32 | where we're going to import those files to,
and perhaps apply a few settings as well.
| | 01:37 | All right. Well, let's take a look
at this overall flow from left to right.
| | 01:42 | Let's start over here on the left,
and open up our Source panel.
| | 01:45 | In the Source panel, I
currently have two options.
| | 01:49 | I have one internal drive, which is
located in the desktop that I'm working from.
| | 01:54 | I also have an external drive.
| | 01:56 | In this case, it's a Drobo S drive.
| | 01:59 | This is the drive that I use for all of
my photographs, because it's a RAID drive.
| | 02:03 | In other words, this drive is
really fast and it's really reliable.
| | 02:08 | So, in this particular case, I have
my exercise_files folder on my Drobo.
| | 02:13 | What I want to do is click on this folder here.
| | 02:16 | Now, when I click on that, it
recognizes the drive, even brings in a little
| | 02:19 | icon, and says, "hey, these are the files."
| | 02:22 | Well, I have a couple of options.
| | 02:24 | One of the options is to either view
all of the images in this folder, in this
| | 02:28 | case Include Subfolders, which is
really nice because rather than having to
| | 02:33 | click on one of these folders or all
of them, I can simply choose Include
| | 02:37 | Subfolders, or if I want to select just
a single folder, I would just turn this
| | 02:41 | option off and then click on a single folder.
| | 02:44 | So, use whatever preference makes
sense in your own workflow. All right.
| | 02:47 | Well, our next option has to do
with how we decide to handle the files.
| | 02:51 | We have four options.
| | 02:53 | The first option is Copy as DNG.
| | 02:56 | What this option means is that we can
take the files and create a duplicate
| | 03:00 | version of every little file, and then
convert it to DNG. Oor we can select Copy.
| | 03:07 | In this case, we'll just take a
duplicate version of the files and then put
| | 03:10 | them in a new location, or we can choose Move.
| | 03:13 | What Move will do is say, "hey, take
all these files, put them in new spot."
| | 03:17 | Or finally, we can choose Add.
| | 03:19 | Now, when we choose Add, what it does
is says, "hey, you know what, I like where
| | 03:23 | the files are, I like how the files are
organized, I like how the files are named,
| | 03:28 | etcetera, I just want to add them
to my Lightroom library. All right."
| | 03:31 | Well, once we've made our selection
up top in regards to handle the files,
| | 03:35 | what we're going to do is we're going to take a
look at what files we actually want to import.
| | 03:39 | So, we can scroll through all of these files.
| | 03:41 | You'll notice that
there's a wide range of images.
| | 03:44 | Let's say that we get to a particular file,
and we're not sure if we want to import it.
| | 03:48 | What we may want to do is
click on that file to highlight it.
| | 03:51 | You can see that file is now highlighted gray.
| | 03:54 | Let's say we want a little bit
of a larger view of this image.
| | 03:57 | What we could do in that particular
case is we can navigate to a view which is
| | 04:02 | called the Loupe View mode.
| | 04:04 | This is the same view that we
have inside of the Library module.
| | 04:08 | You can access this view in
a couple of different ways.
| | 04:11 | One way that you can do this, really
simply, is by clicking on the Loupe View icon.
| | 04:16 | This will give us this larger preview.
| | 04:18 | I have this photograph of my daughter
Annika here, and let's say at this point
| | 04:21 | I decide this image is a keeper.
| | 04:23 | I do want to include this in the import,
so I leave that check box turned on.
| | 04:27 | Well, if I want to navigate back to the Grid
View mode, which was the view we had previously,
| | 04:33 | I can either click on this icon
here, or I can use a shortcut key.
| | 04:38 | The shortcut keys to navigate
between Grid and Loupe are as follows.
| | 04:42 | The shortcut for the Loupe view is the
E key. The shortcut to go back to the
| | 04:46 | Grid, well, that's the G key.
| | 04:48 | Well, another way that we can
navigate between those two views is
| | 04:51 | by double-clicking.
| | 04:52 | If I double-click on an image, it'll get larger.
| | 04:55 | Double-click again, it will get smaller.
| | 04:57 | Now, we can, of course,
make selections here as well.
| | 05:00 | If we don't want to import an image, all we
need to do is simply click off the check box.
| | 05:05 | If we do want to import it,
we click on the check box.
| | 05:08 | Well, now that we've decided which
images we want to import, we've decided how
| | 05:12 | we want to handle them, let's go
over here to the right-hand side.
| | 05:16 | We're going to import all of these
images into our current catalog and we have
| | 05:20 | a couple of options.
| | 05:21 | In regards to the file handling, we can
choose a few different render previews.
| | 05:26 | We'll talk about this a little bit more
in the next movie, because this option
| | 05:29 | is actually pretty important.
| | 05:30 | We can also turn on the option to not
import suspected duplicates. That's important.
| | 05:35 | Otherwise, our library can get a little
bit convoluted and confused. Definitely
| | 05:39 | a good idea to turn that option on.
| | 05:41 | Now, if we were importing photos from a
compact flash card, it would be essential
| | 05:45 | to turn this option on.
| | 05:47 | In other words, when we import from a
compact flash card, what we're going to do
| | 05:51 | is we're going to copy
our files to a hard drive.
| | 05:53 | In my case, I copy all of my photos to
my Drobo drive and then I also make a
| | 05:58 | second copy to another external hard drive.
| | 06:01 | That way upon import I at least have
these images in two different locations.
| | 06:06 | Well, digging into the next panel here,
Apply During Import, we can apply some
| | 06:10 | presets, some metadata, and
some keywords. All right.
| | 06:13 | Well, now that we've been introduced
to the Import dialog, let's go ahead and
| | 06:16 | dig a little bit deeper, and let's dig
into catalog preferences, importing and
| | 06:21 | also our render previews option.
| | 06:24 | Let's go ahead and do that in the next movie.
| | Collapse this transcript |
| Catalog, import, and preview preferences| 00:00 | When importing photographs, one of
the important options to consider is
| | 00:03 | your render preview.
| | 00:05 | Now as I mentioned, you can open up
the File Handling panel, and you can view
| | 00:09 | your Render Previews.
| | 00:10 | There are four options here, Minimal,
Embedded & Sidecar, Standard, and 1:1.
| | 00:17 | So, what I want to do here is navigate
to a slide, which will help us demystify
| | 00:21 | how to actually work with Previews. All right.
| | 00:24 | Well, one of the things that we need to
consider in regards to previews in the
| | 00:27 | Import dialog is which option is best.
| | 00:30 | As I mentioned, there are four options.
| | 00:33 | What I like to do is I like to think of
these options as speed versus quality.
| | 00:38 | The first two options
really have to do with speed.
| | 00:42 | Minimal and Embedded & Sidecar
basically means that it'll use a JPEG preview,
| | 00:47 | either a really small preview or a
JPEG that's embedded in the RAW file.
| | 00:51 | Now, why would you want to do that?
| | 00:53 | Well, in certain situations, let's say
you're shooting RAW images, and let's
| | 00:58 | say you're a wedding photographer,
and you just shot a thousand images and
| | 01:01 | you're at the wedding.
| | 01:03 | What you want to do is import
these files in the Lightroom.
| | 01:05 | Go through them really quickly.
| | 01:07 | Select 50 for a slideshow that
you're going to play at the wedding.
| | 01:10 | Well, in that particular case, you
don't need a super-accurate preview.
| | 01:15 | You just want to quickly view the
image, and access the file, and make some
| | 01:19 | quick decisions and then
put together a slideshow.
| | 01:22 | So, in those cases, Minimal or
Embedded & Sidecar would work really well,
| | 01:26 | because you're prioritizing speed.
| | 01:29 | Now, what's the downside to this?
| | 01:31 | Well, the preview isn't going to be a
very accurate representation of the RAW file.
| | 01:36 | So, if you're interested in accuracy or
in quality, you're going to choose one
| | 01:40 | of the latter two options,
either Standard or 1:1.
| | 01:44 | And what these options will do is
necessitate that Lightroom renders or creates
| | 01:49 | a preview based on the RAW information.
| | 01:53 | In other words, Lightroom is going to dig into
the RAW file and say, okay, hey what's there?
| | 01:56 | All right, because of what I'm
seeing here, I'm going to then create this
| | 01:59 | preview so it's a little bit more accurate.
| | 02:02 | Now then a lot of people say, okay, well, out
of these four options, which is typically best?
| | 02:07 | For the most part it's
going to be Standard or 1:1.
| | 02:09 | Out of those two, which is the best?
| | 02:12 | Well, really that's a question
that's contingent upon hardware.
| | 02:16 | In other words, what camera are you using?
| | 02:18 | How fast is your computer?
| | 02:20 | In my particular case, I'm shooting
with a Canon 5D Mark II, and I've a
| | 02:24 | pretty fast computer.
| | 02:26 | Yet, that being said I choose Standard,
because I find with my camera, because
| | 02:30 | it's generating such a large file, if I
use 1:1, that it takes so long to render
| | 02:35 | that preview that it's not really worthwhile.
| | 02:38 | Now that being said, if I were using an
older camera that was capturing a file
| | 02:41 | that was a little bit smaller, well
then I may choose that 1:1 option.
| | 02:45 | So, what you're going to need to do is
to experiment a little bit in regards to
| | 02:49 | your overall workflow and see
which option works best for you.
| | 02:53 | Now, one of the things that we need to
define is if we we're going to choose
| | 02:56 | Standard, how big is that
preview going to actually be?
| | 03:00 | Well, we can define that in
our Catalog Settings dialog.
| | 03:05 | You'll notice here that in the
Import dialog, we have File Handling.
| | 03:08 | We have the same option in our Catalog Settings.
| | 03:11 | We also have the Preview as Standard.
| | 03:13 | We have the same option over
here, Standard Preview Size.
| | 03:17 | So, the nice thing about this is that,
what we can do is we can define how big
| | 03:22 | we want the Standard Preview Size to be.
| | 03:25 | You notice that currently it's 1440.
| | 03:27 | In other words, it's a pretty high-
res file, but it's not super-big.
| | 03:31 | Now, we can change this.
| | 03:33 | We can increase or decrease this amount by
simply clicking on this dropdown menu here.
| | 03:38 | Now, what you may want to do is to
choose a little bit of a larger preview if
| | 03:41 | you're using a higher-resolution monitor.
| | 03:44 | If it's a smaller-resolution monitor,
like a small little laptop, perhaps
| | 03:48 | you're going to choose even a smaller size.
| | 03:50 | We have one more option
here that's kind of important.
| | 03:52 | It has to do with our preview quality.
| | 03:55 | So, let's say we define our size, well,
what's the quality of their preview?
| | 04:00 | We have High, Medium, or Low.
| | 04:02 | Now, the thing to keep in mind in
regards to these options is that the High
| | 04:05 | option is going to generate a
preview based on the ProPhoto color space,
| | 04:10 | whereas Medium and Low are going to generate
a preview based on the Adobe RGB color space.
| | 04:16 | Now, you may be thinking, okay,
well, what does that mean?
| | 04:18 | Well, basically if you choose High, that
preview is going to be a little bit more accurate.
| | 04:23 | It's going to have more access to a wider
gamut or a wider array of colors and tones.
| | 04:28 | So typically, what happens when
you're working on a computer is if you
| | 04:32 | choose High, it means a larger file
size, which means your computer may run
| | 04:36 | a little bit more slowly.
| | 04:37 | Well, in this particular case, the trade-off
is well worth it, because it is just a preview.
| | 04:43 | It's not like a huge file that it's rendering.
| | 04:46 | It's worth it to have that High
setting turned on, so that you have a much
| | 04:49 | more accurate preview, which then
makes that preview more relevant to your
| | 04:53 | overall workflow process. All right.
| | 04:55 | Well now that we've seen some of these options,
let's go ahead and navigate back to Lightroom.
| | 05:01 | In Lightroom, what I'm going to do is
cancel out of the Import dialog here and
| | 05:05 | I'm going to navigate to my Catalog Settings.
| | 05:07 | I'm going to go ahead and choose
Lightroom and then Catalog Settings.
| | 05:11 | On a PC, you can find those
settings in the Edit pulldown menu.
| | 05:15 | This will then open up
the Catalog Settings dialog.
| | 05:18 | There are three tabs.
| | 05:20 | If you click on File Handling, you
have the option to choose your Standard
| | 05:23 | Preview Size, in this case, 1440
pixels, or you can go higher or lower.
| | 05:29 | Now, because the resolution of the
monitor I'm working on is actually a
| | 05:32 | little bit lower than I typically would use,
I'm just going to leave it on this 1440 size.
| | 05:37 | Preview Quality though I'm taking up
to High, because I want a really nice
| | 05:40 | preview so I can actually evaluate
the image little bit more effectively.
| | 05:45 | Now, in an ideal world,it would be
great to keep our 1:1 previews, and we can
| | 05:49 | create those either as we're
working on our images or upon import.
| | 05:53 | Yet, the reality is that
these files get to be pretty big.
| | 05:57 | So, you may want to choose an option to
discard those after certain amount of time.
| | 06:02 | You're going to want to choose the
option that makes sense in your own workflow.
| | 06:06 | If you have access to a ton of hard
drive storage space and you're not really
| | 06:09 | worried about it, well choose Never.
| | 06:11 | In other situations, you're going to
want to probably discard these after
| | 06:14 | a certain amount of time once you
know that you're not going to really
| | 06:18 | need access to those.
| | 06:19 | In my particular case, I just leave it
on the default, After 30 Days, and that's
| | 06:23 | intended to work well in
my own workflow. All right.
| | 06:25 | Well, now that we've been introduced
to the Import dialog and some of our
| | 06:29 | options and preferences, let's go ahead
and take a look at how we can actually
| | 06:33 | import files so that we can
begin to work on them in Lightroom.
| | 06:37 | Let's go ahead and do that in the next movie.
| | Collapse this transcript |
| Importing photos from a folder| 00:00 | Here, we're going to take a look at
how we can import photos into Lightroom
| | 00:04 | that already exist or already live in a folder,
where we really like the folder structure.
| | 00:09 | All we want to do is have Lightroom
recognize it, so that we can access and
| | 00:12 | begin to work on these photos.
| | 00:14 | Now, in this particular case, you can
see that I have my Drobo S drive and on
| | 00:18 | this drive, I have my exercise_files folder.
| | 00:21 | Well, if I go ahead and expand that
folder, you'll notice that I have a bunch of
| | 00:24 | different subfolders as well.
| | 00:26 | I want to bring all of
these images into Lightroom.
| | 00:29 | Now, in order to do that, there are a
couple of different techniques that I can use.
| | 00:33 | If you're on a Mac, you can simply
click and drag on this folder and then drag
| | 00:36 | it to the Lightroom icon.
| | 00:38 | This will then open up the Import dialog,
and it will point to that particular folder.
| | 00:43 | Now, if you don't prefer that technique,
all that you need to do is to go into
| | 00:46 | Lightroom and navigate to your File
pulldown menu and choose Import Photos, or
| | 00:52 | press the shortcut key.
| | 00:53 | On a Mac, it's Shift+Command+I. On a PC,
that's Shift+Ctrl+I. We'll go ahead and
| | 01:00 | click on that option there, and
that will open up the Import dialog.
| | 01:04 | Now, here what I need to do is I
need to first define the source.
| | 01:08 | So, I'll go ahead and
select the exercise_files folder.
| | 01:11 | It's located on this external drive.
| | 01:13 | Now once I've selected that, I need
to define or determine how I want to
| | 01:17 | handle these files.
| | 01:18 | In this particular case, all I want to
do is add them to my catalog. I don't want
| | 01:22 | to move them. I don't really want to
change them. I don't want to rename them.
| | 01:26 | So, it's actually going to be
quite a simple little process here.
| | 01:28 | Well, I'm going to add these to my
catalog and in regards to File Handling,
| | 01:32 | as we've talked about, typically rendering
the Standard size preview is going to work best.
| | 01:38 | Now, I don't want to
import suspected duplicates.
| | 01:40 | Now, that's not really a concern
because I don't have any images in my library,
| | 01:44 | but in a typical workflow it is a concern.
| | 01:47 | So, by default, I always leave that turned on.
| | 01:50 | What other options do we have here?
| | 01:52 | We can apply some Develop Settings.
| | 01:54 | If we know that we want to process
images a certain way, again let's say we're
| | 01:58 | a wedding photographer and we
quickly want to generate a whole gallery of
| | 02:02 | black-and-white images.
| | 02:03 | Well, we could then choose one of these
black-and-white Develop Setting presets.
| | 02:08 | We can, of course, access all of
the presets that we have installed or
| | 02:11 | included with Lightroom.
| | 02:12 | That way, if you've created your own, or
if you've purchased some, or found some
| | 02:16 | on different sites and downloaded
them and included them in Lightroom, they
| | 02:19 | would all be accessible right here. All right.
| | 02:21 | Well, what about Metadata?
| | 02:23 | This is actually a little bit more
important because in reality, it's not that
| | 02:27 | often that we apply Develop Settings
upon import, but every time we import,
| | 02:32 | we will want to add some metadata to our files.
| | 02:35 | So, what you want to do is
to create a Metadata template.
| | 02:38 | Now, we'll talk a little bit
more about that in the next movie.
| | 02:41 | So for now, I'm going to go
ahead and leave that as it is.
| | 02:43 | In regards to Keywords, I'll go ahead
and just add some keywords here, lynda.com
| | 02:48 | and lightroom 3 essentials.
| | 02:51 | Now, you want to keep your keywords
really broad in this case, because they need
| | 02:55 | to apply to a whole huge set of files.
| | 02:58 | So, in this case I've included some,
which are pretty broad for these images here.
| | 03:02 | Well, the next thing that we need
to consider is what images to import.
| | 03:07 | We've already seen that
we have a few options here;
| | 03:09 | in other words that we can click on
and off these check boxes to select
| | 03:13 | or deselect photos.
| | 03:15 | Yet what we haven't seen is that you
can click on one photo, and then hold down
| | 03:19 | the Shift key and click on another in
order to select contiguous files, or if
| | 03:25 | you'd like to select discontiguous files,
on a Mac, hold down the Command key,
| | 03:29 | on a PC, hold down the Ctrl key,
and then click on multiple files.
| | 03:33 | Well, either way, however you select
these files, if you now turn on and off the
| | 03:38 | check box of one, it'll apply that
to all of the rest of the images.
| | 03:43 | That's a really nice way to handle files.
| | 03:45 | Now, it's especially nice when you're
importing photos from a CompactFlash card
| | 03:49 | or from a folder and you know that,
you know what, I really don't want to work
| | 03:53 | on these files so I'm just not going
to include them, or if you do want to
| | 03:57 | include them, again, you can
select all of those that way.
| | 03:59 | Now, another technique that you can
use is you can select a photo, and then
| | 04:03 | you can right-click it.
| | 04:04 | Now, when you right-click or Ctrl+Click, it
gives you the option to import the photo or not.
| | 04:10 | In this case, I'll choose
to not import that photo.
| | 04:13 | Now, as we've seen before, a lot of
times when we're making those decisions,
| | 04:17 | it doesn't make sense to make
them on a small thumbnail.
| | 04:20 | So, what we want to do is go to the larger view.
| | 04:23 | We can do that by double-clicking the image.
| | 04:25 | It will then take it into this Loupe View mode.
| | 04:28 | In this particular case, I decide oh,
you know what, my mistake, I do want to
| | 04:32 | include this particular image in my
Lightroom catalog and I want to import this one.
| | 04:37 | You'll also notice that there are few shortcuts.
| | 04:40 | You can see those shortcuts
down below and Include in Import.
| | 04:44 | They're the same shortcuts
that we have for flagging.
| | 04:47 | This is really interesting.
| | 04:49 | So, P is a shortcut to add a flag,
U is a shortcut to unflag or to unpick,
| | 04:55 | then we also have the shortcut of the Tilde key
or the Accent key to toggle on and off importing.
| | 05:01 | This doesn't work in the Grid View mode.
| | 05:04 | So, in other words, if I press P or U or
the Accent key, it's not going to work here.
| | 05:08 | I need to be in that Loupe View mode.
| | 05:11 | So, typically, the way that a workflow
will actually follow is what you'll do is
| | 05:15 | you'll make a selection of an image,
double-click or press the E key in order to
| | 05:20 | zoom in, and then at this juncture,
you can either press P or U or toggle
| | 05:26 | between those two options by pressing
the Tilde key or the Accent key in order
| | 05:31 | to make the selection. All right.
| | 05:32 | Well, now that we've gone through all
these options, we're just about ready to
| | 05:36 | import our photos into Lightroom.
| | 05:38 | Yet before we do, let's talk a little
bit more about metadata, and we'll do
| | 05:42 | that in the next movie.
| | Collapse this transcript |
| Creating a metadata preset| 00:00 | Here, I want to take a look at some
techniques that we can use to speed up our
| | 00:03 | overall importing workflow.
| | 00:05 | I've selected a file.
| | 00:06 | I'm going to go ahead and double-click
on that file in order to zoom in on that.
| | 00:10 | Now, when I zoom in on this file,
it's a photograph of Eddie Vedder and Ben
| | 00:14 | Harper at this concert in someone's backyard.
| | 00:17 | It was quite a show.
| | 00:17 | What I want to do is I want to
add some metadata to this image.
| | 00:21 | So, I'm going to go ahead and open
up the Apply During Import panel.
| | 00:25 | I'm going to click on
the Metadata pulldown menu.
| | 00:27 | What I want to do is
create a new metadata preset.
| | 00:30 | So, I'll go ahead and select New.
| | 00:33 | Now, this will open up
the Metadata Preset dialog.
| | 00:36 | There are a huge range of
options that we can choose here.
| | 00:40 | In order to just cover one of the
essentials, what I'm going to do is I'm going
| | 00:43 | to create a preset, which
includes my copyright information.
| | 00:46 | So, I'll go ahead and navigate
down to the IPTC Copyright field.
| | 00:50 | I'm going to add my information here.
| | 00:53 | I'm going to include the
copyright status of that particular image.
| | 00:56 | Now once I've done that, I'll click Create.
| | 00:59 | Now again, keep in mind there are a
number of other options that you can
| | 01:02 | include there as well.
I'm just including the essential.
| | 01:05 | So, now in this particular case, I
have this copyright that I can access
| | 01:09 | from this pulldown menu.
| | 01:10 | If you have other metadata needs and
other metadata presets that you've created,
| | 01:14 | you could access those here as well. All right.
| | 01:17 | Well, now that we've dialed in our
copyright metadata, there's one more thing
| | 01:21 | that we might want to do to
speed up our overall workflow.
| | 01:23 | It has to do with our Import Preset.
| | 01:26 | At the bottom you may have noticed
this tab here where currently I have None.
| | 01:30 | What I can do is I can save these
current settings as a new preset.
| | 01:34 | What I'm going to do is name this
ldc for lynda.com, lr3 for Lightroom 3,
| | 01:40 | and then click Create.
| | 01:42 | Now what that will do is it'll
remember all of my different settings that
| | 01:46 | I've dialed in here.
| | 01:47 | Now, in contrast, I've created
another one just to compare it.
| | 01:50 | This one's called Lightroom 3 essentials.
| | 01:53 | Now when I select that option, you
notice that there isn't any metadata being
| | 01:56 | applied and it's applying different keywords.
| | 01:59 | So, what you can do is you can define
different settings in regards to your
| | 02:02 | Render Previews, your different options in
all of the different panels that you have.
| | 02:06 | Keep in mind that when you're copying
files as DNG, you even have more options
| | 02:11 | in regards to the panels over here
on the right-hand side. All right.
| | 02:14 | Well, let's go back to Add,
because that's what we want to do.
| | 02:17 | Let's go back to the preset that we
had previously, which was ldc_lr3,
| | 02:22 | lynda.com, Lightroom 3.
| | 02:24 | Now this is really nice, because a lot
of times what you'll discover is that
| | 02:28 | when you import files into Lightroom,
you'll start to create a pattern.
| | 02:32 | And you'll do the same thing
over and over and over again.
| | 02:35 | So rather than having to dial in the
settings every time, you can create a
| | 02:39 | preset to speed up your overall workflow.
| | 02:41 | In addition, there may be times when
you'll want to collapse this dialog.
| | 02:46 | You can do so by clicking on this
triangle icon in the bottom left-hand corner,
| | 02:50 | which will then give you a much smaller view.
| | 02:53 | In this case, what it's doing is it's
giving you a highlight of some of the
| | 02:56 | options that you've chosen here.
| | 02:58 | Now, if these are the options that I didn't
want, I would simply choose my other preset.
| | 03:02 | In this case, you can see that it goes
back to those different settings here.
| | 03:06 | Now again, what I want to do is go
back to the preset we just created,
| | 03:09 | because that one's good.
| | 03:11 | Because we're new to importing, I'm
going to go ahead and expand this dialog, so
| | 03:14 | that I can see all of my options.
| | 03:16 | I'm going to go to my Grid View mode,
just to make sure that I have all of
| | 03:20 | these images selected.
| | 03:21 | Definitely, they're all selected.
| | 03:23 | I'm now good to go.
| | 03:24 | And I'm going to go ahead
and import these photos.
| | 03:27 | So, let's click on the Import button.
| | 03:29 | What we'll see here is that it's
importing the files from their current location.
| | 03:33 | It's going to give us progress of that.
| | 03:35 | Then once that's complete, it's
going to then go through and render those
| | 03:38 | Standard sized previews.
| | 03:40 | Now, at this rendering time,
you don't really have to wait for.
| | 03:43 | What it's going to do is go
through the files in a linear fashion.
| | 03:46 | You can see that it's working
through these, in this case.
| | 03:49 | What I could do is zoom in on one of
the images and start to work on it while
| | 03:53 | it's rendering the others in the background.
| | 03:56 | Now, there are those who say, "you know
what, this just takes too much time for me.
| | 03:59 | It's not worth rendering all of these."
| | 04:01 | You have to keep in mind, this
rendering happens in the background.
| | 04:05 | Even if you choose 1:1, you
can still have a really quick and
| | 04:09 | efficient workflow.
| | 04:10 | And it's one of the reasons why
Lightroom is such an effective tool.
| | 04:13 | In other words, it can be
generating these huge previews.
| | 04:16 | Meanwhile, you can start to work on
image 1, image 2, image 3, and by the time
| | 04:20 | you get to image 5, it's
already going to have been rendered.
| | 04:23 | In other situations, what I'll do is
I'll start import of my files, and I'll
| | 04:28 | click Import, and then I'll walk away,
or I'll go and check e-mail, or I'll go
| | 04:31 | and do something else.
| | 04:33 | In that way, the render time becomes
somewhat meaningless, because I'm occupying
| | 04:37 | myself with some other task.
| | 04:38 | And then I come back to Lightroom,
once the task has been completed, and
| | 04:42 | everything is good to go.
| | Collapse this transcript |
| Importing photos from a CF card| 00:00 | One of the more common ways to import
photos into Lightroom is by way of a media card.
| | 00:04 | In this particular case, I have
some photographs that I captured this
| | 00:07 | morning down at the beach.
| | 00:09 | One of the things that I love about
lynda.com is it's located not too far away
| | 00:13 | from a really good surfing spot.
| | 00:15 | So I jumped out in the water with my
camera in housing, and here you can see I
| | 00:19 | have some photos from this morning.
| | 00:22 | What I want to do is I want to bring
these photos into my overall Lightroom
| | 00:26 | catalog, so I can start to work on them.
| | 00:28 | Now, one of the things that you
want to do is you want to set up your
| | 00:30 | preferences to automatically show the
Import dialog when you connect a media card.
| | 00:36 | You can do that by navigating to your
Preferences, Lightroom and then Preferences.
| | 00:41 | On a PC, navigate to the Edit
pulldown menu and choose Preferences, then
| | 00:46 | by selecting in the General tab, Show
import dialog when your memory card is detected.
| | 00:52 | Because I have that option on, when I
inserted the memory card and connected it,
| | 00:55 | it opened up this dialog.
| | 00:57 | Now, by default, it's going
to show you all of the photos.
| | 01:00 | It's also going to give you the option either
to copy to a new location or to copy as DNG.
| | 01:06 | You can't move or add these files,
because they are on a media card.
| | 01:10 | So, we need to create
another version of the file.
| | 01:12 | Now that's actually really helpful.
| | 01:14 | It's a little bit of a safety net.
| | 01:15 | In other words, if we make any mistakes,
those files will always at least be on
| | 01:20 | that CompactFlash card until we
delete or format or clear that card.
| | 01:24 | Now, what are we going to do
here in regards to our options?
| | 01:27 | Well, in my overall workflow, the way
that I handle files is I copy as a DNG,
| | 01:31 | convert them to this new location.
| | 01:33 | Now, one of the reasons I do this
is because it's lossless compression.
| | 01:37 | It makes my files anywhere
between 10% and 40% smaller.
| | 01:40 | In other words, it makes my
overall workflow a ton faster.
| | 01:44 | Also, I like the DNG format, because
it's open source and it gives me a
| | 01:49 | little bit more confidence in regards to
being able to access these files in the future.
| | 01:53 | So again, you'll want to make your own
decision in regards to this format, but
| | 01:56 | in my own workflow, I convert everything to DNG.
| | 02:00 | All right, while I'm currently
selecting all photos, now I can of course
| | 02:04 | right-click or Ctrl+Click to deselect
one of the photos, or click on the little
| | 02:08 | check box in order to include that.
| | 02:11 | We can increase or decrease our
thumbnail size, if we want a smaller view.
| | 02:16 | One of the things that's also kind of
interesting is how we sort the images.
| | 02:19 | A lot of times what you'll do is say
okay, let's uncheck everything, because
| | 02:24 | some of these photos just aren't very good.
| | 02:26 | But what I want to do is import these
two photos where I just swam under water
| | 02:30 | and shot up towards the sun.
| | 02:32 | Yet if I had a whole list of images, a
big long slew of them, it would be kind
| | 02:37 | of confusing to find the
ones that you've selected.
| | 02:40 | So, what you can do in regards to
your sorting is choose Checked State.
| | 02:45 | That will then put all of the
checked images near the top.
| | 02:48 | Again, it's a nice way to group the
files you actually want to import,
| | 02:51 | rather than having to scroll through them
all and try to determine what's a keeper or not.
| | 02:56 | Now, we can, of course, turn off this
option and choose File Name or Capture Time.
| | 03:01 | Typically, in most workflows, Capture
Time makes sense because it follows how
| | 03:05 | you're actually shooting.
| | 03:06 | It kind of helps you remember the
overall flow of a particular shoot. All right.
| | 03:09 | Well, let's move over to our
options on the far right-hand side.
| | 03:13 | Now we're going to save
these files to our hard drive.
| | 03:15 | Yet we need to define this
a little bit more closely.
| | 03:19 | So, let's go into File Handling.
| | 03:21 | We're going to Render Previews
as that Standard size preview.
| | 03:24 | We've already talked about that.
| | 03:25 | We don't want to import suspected duplicates.
| | 03:27 | It's really important.
| | 03:28 | Leave that one checked on.
| | 03:30 | I also want to make a
second copy to a backup drive.
| | 03:33 | Here I have this backup drive connected.
| | 03:35 | I can click on this option.
| | 03:37 | It will open up the hard drive.
| | 03:39 | I can choose the folder where
I want to save these files to.
| | 03:43 | Then simply click Choose.
| | 03:44 | It will then update that and show me
hey, it's saving it to this hard drive I
| | 03:48 | have named sashimi_2 and into a folder
I've titled backup. All right, good!
| | 03:53 | One of the things that you're going to
find with your panels is as you start to
| | 03:56 | open them, you're going to have to do quite a
bit of scrolling, right, just like in Lightroom.
| | 04:00 | Well, if you prefer not to
scroll, here's what you can do.
| | 04:04 | Just like in Lightroom, you can take
these panels to what's called Solo mode.
| | 04:09 | You can access Solo mode, one of the
two ways, either right-click and choose
| | 04:14 | Solo mode from this contextual menu here,
or you can hold down the Option key
| | 04:19 | if you're on a Mac, that's the Alt key if
you're on a PC, and click on the Triangle icon.
| | 04:25 | In that way, it will only allow
you to have one panel open at a time.
| | 04:30 | I find this makes a little bit more
sense, because otherwise all of this
| | 04:33 | scrolling gets a little bit
confusing, at least for me.
| | 04:36 | So, I prefer Solo mode here.
| | 04:38 | Well, next option, File Renaming.
| | 04:40 | This would be helpful if I needed to
rename the files in order for them to fit
| | 04:45 | more closely into my overall workflow.
| | 04:47 | A lot of times what people will do is
rename files and create custom templates
| | 04:51 | with different criteria
for renaming those files.
| | 04:54 | Now, in my particular case,
I leave the files as-is.
| | 04:57 | So, I'm going to go ahead
and skip these steps here.
| | 05:00 | Apply During Import, we've seen this before.
| | 05:03 | We can apply specific Develop Settings
if we find those to be helpful, or we can
| | 05:08 | apply some metadata.
| | 05:09 | We've already talked about creating a preset.
| | 05:12 | So, I have that nice preset of
my copyright. I'll add that.
| | 05:15 | In regards to Keywords, I'm going to choose
a location, Ventura, and surf and underwater.
| | 05:21 | All right, so now I have some keywords,
which apply to all of these images.
| | 05:27 | Next, Destination, where do I
actually want to save these files?
| | 05:31 | Now, there are a couple of different options.
| | 05:33 | You can save them all into one folder,
or if you want to do something different
| | 05:38 | you can organize them by date.
| | 05:41 | Now when you choose Organize By Date,
you can see that it's giving me the
| | 05:44 | folder, in this case, 2010, and then
the subfolder of that particular date when
| | 05:49 | these files were captured.
| | 05:50 | Now, in my particular case, I'm not going to
organize these by date, but into one folder.
| | 05:55 | Now how you organize your
files really is preference.
| | 05:58 | There's no right or wrong.
| | 06:00 | If I were integrating these into my
actual library on my actual computer in my
| | 06:04 | studio, well, I would organize them by date.
| | 06:07 | But here, because this is a training
title, it will make more sense to put
| | 06:10 | them in one folder.
| | 06:12 | What I want to do with that folder
is I want to save that to that Drobo
| | 06:15 | drive, exercise_files.
| | 06:17 | I'll go ahead and select
the general photos there.
| | 06:20 | I'm going to put this in a
folder called underwater.
| | 06:25 | What it's going to do for me is it's
going to create a folder inside of this
| | 06:28 | folder here called underwater, where
I'll be able to save those images to that
| | 06:33 | particular location.
| | 06:35 | So again, I've dialed in
the location for these files.
| | 06:39 | We can see it's going to
put them in a subfolder.
| | 06:41 | Organize all the files there.
| | 06:42 | Keep their names as-is.
| | 06:44 | Let's say that we want to bring in all photos.
| | 06:47 | I'm going to go ahead and change my
options here and choose Check All, so I can
| | 06:50 | bring in all of these images. All right.
| | 06:52 | Well, now that I've dialed in all of
my settings, what's typically going to
| | 06:57 | happen is that when you import your
photos from a media card, you're going to
| | 07:01 | import in the same way.
| | 07:03 | In other words, in my own workflow,
I always import them into my main photos
| | 07:08 | folder on my Drobo S drive.
| | 07:09 | So, in those particular situations,
the Import Presets become really important.
| | 07:15 | So, you'll want to experiment with
these presets and figure out what your
| | 07:18 | workflow actually is in regards to
importing and really create some presets
| | 07:23 | that make sense for saving files or
copying files or converting to DNG or adding
| | 07:28 | different metadata and all of those
different things, so that you can then take
| | 07:32 | advantage of them as you
continue to import from your CF card.
| | 07:36 | As a quick side note, the presets are
also really helpful for me when I'm doing
| | 07:40 | a commercial shoot and I have a few assistants.
| | 07:43 | If I have a digital tech assistant,
what I'll do is I'll set this up so that
| | 07:48 | I have a preset, so that I'm
predefining how the files are going to be
| | 07:51 | brought into the computer, where
they're going to be saved, on what hard
| | 07:54 | drive and whatnot, so that the
digital assistant doesn't have to make any
| | 07:58 | critical decisions.
| | 07:59 | In other words, they can just view this
as a collapsed view mode, and they can
| | 08:04 | choose a preset which is
relevant for that particular shoot.
| | 08:08 | So I set that all up beforehand.
| | 08:10 | Last little tip here is that if you
want to navigate between this collapsed and
| | 08:14 | expanded view, well, you can press the Tab key.
| | 08:17 | Tab key makes it larger.
| | 08:18 | Then the Tab key also will compact that and
make that view a little bit smaller. All right.
| | 08:24 | Well, once we've decided on those
settings, all that we need to do is go
| | 08:27 | ahead and click Import.
| | 08:29 | What we'll see is that it's going to
give us progress in regards to converting
| | 08:33 | those files to the Digital Negative
format, importing them, and then eventually,
| | 08:38 | rendering the previews.
| | 08:40 | Now, we'll take a little bit more time
to convert to Digital Negative, and to
| | 08:43 | render a little bit of a larger preview.
| | 08:46 | Yet, I say it's worth the wait.
| | 08:47 | I would rather have all of my waiting
time happen in the beginning, right now,
| | 08:52 | rather than having that happen as
I progress throughout Lightroom.
| | 08:56 | In other words, I could either click
on an image, wait, wait, wait, click on
| | 08:59 | another image, wait, wait, or I can
have all of the rendering, all of the
| | 09:04 | previews generated in the
initial process as it's happening here.
| | 09:08 | Then the rest of my workflow
can be really fast. All right.
| | 09:11 | Well that wraps up our conversation
about importing from a CompactFlash card.
| | Collapse this transcript |
| Using Auto Import| 00:00 | Another way that we can bring files
into Lightroom is by way of autoimport.
| | 00:05 | And autoimport is actually kind of interesting.
| | 00:07 | Here you can see I'm working
from this folder 01_Getting_Started.
| | 00:12 | Inside of that folder there are a couple
of different subfolders that we will be
| | 00:16 | working with, in particular
watched_folder and auto_import.
| | 00:20 | And what you can do in Lightroom is you
can define a folder as a watched folder.
| | 00:24 | In other words you can say, hey,
Lightroom keep your eye on this folder.
| | 00:28 | If I copy any images in this folder I
want you to do something with those files.
| | 00:31 | I want you to process them, apply
some metadata, and then copy them to a new
| | 00:35 | location and integrate them or
import them into my Lightroom Library.
| | 00:41 | Well, let's take a look
at how this actually works.
| | 00:44 | You can see here that I have two
Finder windows open and currently on my
| | 00:48 | desktop I have this file titled surfer.jpg.
| | 00:51 | Well, I want to autoimport this
image into my overall Lightroom catalog.
| | 00:55 | How am I going to do that?
| | 00:56 | Here is how it works.
| | 00:58 | If we go back to Lightroom, we can
navigate to the File pulldown menu.
| | 01:02 | Here we are going to choose Auto
Import and then go to Auto Import Settings.
| | 01:07 | In this dialog we are going to
work on it from top to bottom.
| | 01:11 | Now we don't want to enable the Auto
Import yet, so we'll skip that step.
| | 01:15 | Next we want to define a watched folder.
| | 01:17 | I'll go ahead and click on Choose.
| | 01:19 | Here what I am going to do is
in my exercise_files I'll go to
| | 01:23 | 01_Getting_Started, and then I'll
select this folder named watched_folder.
| | 01:27 | Now you can name this folder whatever
you want, but I just want to keep things
| | 01:31 | simple here for demo
purposes. That's the folder.
| | 01:34 | We are going to be able to drag
something into and Lightroom will then process it
| | 01:38 | and integrate it into our library. Great!
| | 01:41 | Let's click Choose.
| | 01:43 | Next step, Destination or
where do we want to move this file.
| | 01:47 | Well, we will define that as well
simply by clicking on Choose and again in
| | 01:51 | this 01_Getting_Started folder here I
am going to choose my auto_import_folder.
| | 01:56 | One of the things that I do want to
point out is when you are defining your
| | 01:59 | watched_folder, you do have to start out
with an empty folder. Otherwise it will
| | 02:04 | tangle things up a bit.
| | 02:05 | So it's required that this folder is
empty and currently there are no files in it.
| | 02:10 | Now in regards to our Destination
folder you can choose Subfolders.
| | 02:13 | In this case I have dialed
in a subfolder named surfer.
| | 02:16 | Okay, well, perfect.
| | 02:18 | File Naming, you can choose any of
your different custom naming options.
| | 02:21 | You can also apply Develop Settings as
needed, and then you can apply metadata
| | 02:26 | presets, if you have any.
| | 02:28 | We've already created a copyright one.
| | 02:29 | So let's go ahead and choose that.
| | 02:31 | We've also discovered that in most
scenarios Initial Preview of Standard
| | 02:36 | tends to work best.
| | 02:37 | So I'll select that as well.
| | 02:39 | Now here what I can do is either
click on Enable Auto Import, or click OK
| | 02:44 | and then navigate back to the File
pulldown menu and then choose Auto Import
| | 02:49 | and Enable Auto Import.
| | 02:51 | Now once we do this, nothing will really
happen, because it now requires that we
| | 02:56 | take some kind of an action.
| | 02:58 | So what I am going to do is pull
up my Finder windows once again.
| | 03:02 | Well, here I have both these Finder windows.
| | 03:04 | One is point to my Desktop;
the other one is pointing to this
| | 03:08 | watched_folder here.
| | 03:09 | So I am going to grab this surfer.jpg,
and I'll go ahead and click and drag and
| | 03:13 | drop that into this watched_folder.
| | 03:15 | Now that that's part of this folder
what we are going to see is that Lightroom
| | 03:19 | is going to wakeup and say, "hey,
there is a file inside of that folder."
| | 03:22 | It then took it out of this folder. It's gone.
| | 03:26 | It applied those settings that we defined,
and it also moved it to a new location.
| | 03:31 | Here you can see it's inside of
auto_import_folder, subfolder surfer.
| | 03:35 | And there is the little JPEG file.
| | 03:38 | So when we go back to Lightroom what
we will discover is that this file is
| | 03:42 | now integrated into your overall
catalog, and it also brought with it that
| | 03:47 | particular folder structure where it
saved this file inside of the subfolder titled surfer.
| | Collapse this transcript |
| Using multiple hard drives| 00:00 | So far we've focused our
conversation around working with files that are
| | 00:03 | located on one hard drive.
| | 00:06 | What about those scenarios though that
are typical to all of us where we have
| | 00:09 | multiple hard drives?
| | 00:12 | For example, in this particular case I
have another drive titled sashimi_3 and
| | 00:16 | I've a folder titled photos.
| | 00:18 | What I want to do is I want to
import those photos that are located on
| | 00:21 | this external drive.
| | 00:23 | What I need to do is go
through the overall import process.
| | 00:26 | I'll go ahead and navigate to
Lightroom and select the File pulldown menu and
| | 00:31 | then choose Import Photos.
| | 00:33 | This will then open up the Import
Photo dialog and we've seen this before.
| | 00:37 | Here what I am going to do is select
that hard drive that we want to work with
| | 00:40 | and then the subfolder titled photos.
| | 00:43 | Well, I have these four photos that
I'm really interested in adding to
| | 00:47 | my Lightroom catalog.
| | 00:49 | I don't want to move them, because
let's say that this hard drive is a hard
| | 00:53 | drive where I have a lot of archives.
| | 00:55 | It's not my main drive, but it's
one of the drives that I need to
| | 00:58 | access occasionally.
| | 01:00 | So in this particular case I will
go ahead and import these files.
| | 01:04 | In regards to our File Handling we
will use the same settings that we've used
| | 01:07 | previously and Apply During Import, a little
copyright template there, and we are good to go.
| | 01:12 | Let's click Import.
| | 01:14 | This will then bring these files in.
| | 01:16 | And one of things that's kind of
interesting is not only did it bring the files in,
| | 01:20 | it also brought this
recognition of the hard drive.
| | 01:23 | We can see that its sashimi_3.
| | 01:25 | Now below we can see our
subfolder, which is photos.4.
| | 01:28 | And this is all fine.
| | 01:29 | We could open up these files or zoom into
the Loupe View mode and scroll through them.
| | 01:34 | Yet a lot of times what happens is when
we have multiple hard drives, we may be
| | 01:39 | accessing the files via
collections or sometimes via our catalog.
| | 01:44 | And in this case will be an All Photographs.
| | 01:46 | And we will scroll through our catalog
and all of a sudden we'll find one of
| | 01:49 | these images, and we will say,
"oh yeah, this one is great."
| | 01:52 | But we don't really remember
where the file was located.
| | 01:55 | Well, what you can do?
| | 01:56 | So if you are in the Grid View mode,
you can right-click and you can select Go
| | 02:02 | to Folder in my Library.
| | 02:04 | In other words, this will then point to
that folder and only show you the images
| | 02:08 | that are located there.
| | 02:10 | It's a real handy way to
quickly find those particular files.
| | 02:14 | Well, what about another scenario?
| | 02:16 | Sometimes we will Ctrl+Click or
right-click and say Show in Finder.
| | 02:21 | This will then open up our Finder window.
| | 02:23 | Here we can see that those
photos are saved on sashimi.
| | 02:27 | And let's say that I decide, you
know what, I want to eject this drive.
| | 02:30 | So I go ahead and click on the eject button.
| | 02:33 | Now when I do that and go back to
Lightroom, Lightroom says, "hey, you know what,
| | 02:37 | there is something wrong here."
| | 02:39 | You notice that it turned off the
brightness of the word sashimi and also turned
| | 02:43 | off the green light telling me that you
this hard drive was online. Now it's offline.
| | 02:47 | Also, in regards to my thumbnails you'll
notice that there is a question mark in
| | 02:51 | the top corner there.
| | 02:53 | That question mark is saying, hey, there
is some kind of problem with this file.
| | 02:57 | Now the nice thing that is I can click
on this question mark, and what it will
| | 03:02 | do is open up this dialog, which
tells me the previous location.
| | 03:06 | In particular, it's showing me that these
photos were saved on the drive named sashimi_3.
| | 03:12 | Now as you can imagine, that is so
helpful, especially when you have five or ten
| | 03:18 | or however many hard drives you have.
| | 03:21 | Because it's really tricky to remember,
okay, which image was on what drive
| | 03:25 | and how do I find this?
| | 03:26 | Well, all we need to do is
click on that question mark.
| | 03:30 | It's says, hey, this one was on sashimi_3.
| | 03:31 | I'll go ahead and find that hard
drive, and then I'll plug it in.
| | 03:36 | And I would be good to go.
| | 03:38 | I also have to point out here that you
don't always have to locate the drive.
| | 03:42 | You could of course just plug in the drive;
| | 03:44 | Lightroom would automatically detect it.
| | 03:46 | And again you would be good to go.
| | 03:48 | Well, my last comment here is in
regards to how you name your hard drives.
| | 03:53 | Because a lot of us have multiple hard drives,
| | 03:55 | it may be a good idea to come up with
a creative naming convention for those
| | 03:59 | drives and then of course to label each drive.
| | 04:03 | That way when I need to go and find
sashimi_3, I can go ahead and physically
| | 04:08 | pick up the drive, see a label
that says sashimi_3 on it, connect it.
| | 04:11 | And again I'll be off and running.
| | Collapse this transcript |
| Creative tip: Discard| 00:00 | Hey, welcome to another
creative photographic tip.
| | 00:03 | You know what's interesting about
digital photography is that these days it's so
| | 00:07 | easy to capture images.
| | 00:09 | A lot of time we compose, and
we shoot, we shoot, and we shoot.
| | 00:13 | Now one of the things that you have to
keep in mind is that photography is a journey.
| | 00:16 | We move a lot from point A to point B.
Not just physically to get a different
| | 00:20 | camera position, but
throughout our overall workflow.
| | 00:24 | And if you want to get good at
photography one of the things that you have to
| | 00:27 | keep in mind is that when you are
shooting, yes, you want to work it.
| | 00:29 | You want to work different angles.
| | 00:30 | You want to take a lot of pictures
in order to see things in new ways.
| | 00:35 | You want to be careful that when you
get back into your editing process that
| | 00:38 | you don't have so many images
that it becomes overwhelming.
| | 00:41 | You know I love what Igor Stravinsky
once said in the {italic}Poetics of Music,{plain}
| | 00:45 | a book that he wrote.
| | 00:46 | He said this. "To know how to discard,
as the gambler says, that is the great
| | 00:51 | technique of selection."
| | 00:53 | And we need to keep that in mind and if
you want to get good at photography you
| | 00:57 | really need to know how to discard, how
to let go of certain images whether on
| | 01:02 | camera or in Lightroom.
| | 01:05 | Those photographers who are the best,
those are the ones who don't give up when
| | 01:09 | they are going through their images.
| | 01:11 | I know for me it's easy to be
overwhelmed by a sea of mediocrity, images
| | 01:16 | that are just okay.
| | 01:18 | You have to have that persistence,
that persistent vision in eye to look for
| | 01:22 | those gems amongst the rubble.
| | 01:25 | If you can have that persistent, if
you can know how to discard, then you can
| | 01:29 | take your photography to a whole new level.
| | Collapse this transcript |
|
|
4. The Library Module: Tethered CaptureIntroducing tethered shooting| 00:00 | In the current photographic context a
need that many photographers share is the
| | 00:04 | ability to be able to capture
their images in a tethered context.
| | 00:08 | In other words, what photographers
need to be able to do is to connect their
| | 00:12 | cameras to their computer so that they
can then fire away, so that the images
| | 00:17 | will be transferred directly
to the computer's hard drive.
| | 00:19 | Now why would you actually
need to be able to do this?
| | 00:22 | Well, let's say, for example, in my own context.
| | 00:25 | The other day I was doing a commercial
shoot, and the art director and creative
| | 00:29 | director wanted to see what was
what was happening in regards to the shoot.
| | 00:32 | They wanted to get a feel for the
overall tone of the images right away.
| | 00:35 | So in that particular context I
connected the camera to the computer.
| | 00:39 | And in this case, I was using
Lightroom 3 and these images were coming up
| | 00:42 | directly right inside of Lightroom so that
they could evaluate the progress of the shoot.
| | 00:47 | It was a real helpful tool in order to
get some good feedback and also in order
| | 00:52 | to get the client to really buy in on
my overall vision and idea for the shoot.
| | 00:57 | So one of the things that's great about
Lightroom 3 is that tethered shooting is finally easy.
| | 01:03 | Now we could do this in Lightroom 2,
although it was a little bit awkward.
| | 01:07 | So here what I want to do is introduce
you to this tethered shooting window.
| | 01:11 | We can see this down below here
in this screen grab of Lightroom.
| | 01:14 | What are some of the items
that we are going to see here?
| | 01:17 | Well, one of the things that we are
going to see is that you can select a camera.
| | 01:20 | This is actually kind of interesting,
because you can choose between different
| | 01:23 | cameras that you have
connected to your computer.
| | 01:26 | This could be helpful if you have two
different cameras, one with a wide-angle
| | 01:30 | lens and one with a zoom or
two different perspectives.
| | 01:32 | Again, you can select which
camera you want to capture from.
| | 01:36 | Next, you can define your folder or
your shoot name in a particular way.
| | 01:41 | Say all these images will be
saved to this particular location.
| | 01:44 | Then we have some camera information, the
FStop, Shutter Speed, ISO and White Balance.
| | 01:50 | The interesting thing about this is
that basically this is giving us a little
| | 01:53 | bit of a larger view of our camera settings.
| | 01:55 | This is really helpful.
| | 01:57 | Let's say, for example, we realize, oh man,
I don't want to use Auto White Balance.
| | 02:01 | I need to use a different type of White Balance.
| | 02:04 | Well, this little dialog will show us
our camera settings so that then we can
| | 02:07 | make any changes that are needed.
| | 02:09 | The next option is actually kind of interesting.
| | 02:11 | Here you can see that we can
apply our presets upon import.
| | 02:15 | In other words, let's say, for example, we
want to create images that are all sepia tone.
| | 02:20 | What we could do then is select that
preset, so that when the images are
| | 02:24 | actually captured that preset
is applied to the photograph.
| | 02:28 | Again, this can be really fun, so
you can have some creative results.
| | 02:32 | It also can be a little bit more functional.
| | 02:35 | For example, let's say you are doing a
shoot and you know that the images will
| | 02:38 | be printed in black-and-white, and
the client really wants to get into this
| | 02:41 | whole idea of this look in black-and-white.
| | 02:43 | Well, in that case you could use a
develop setting that was black-and-white
| | 02:47 | and then instantly see that particular
perspective of the photograph inside of Lightroom.
| | 02:52 | A couple more things here.
| | 02:53 | The little gear icon, if you click on
that it'll open up your Settings dialog
| | 02:57 | where you can modify some the
settings for the tethered shooting.
| | 03:01 | You can also close or stop the tethered capture.
| | 03:04 | Then finally there is a Shutter Release
button that is located right inside of Lightroom.
| | 03:08 | So you can actually click this and
trigger your shutter and capture the image
| | 03:13 | from right inside of Lightroom.
| | 03:15 | You can of course also simply press the
Shutter Release button on your camera.
| | 03:19 | But it's nice that we have two options
here because in some situations we may
| | 03:23 | have the camera in a pretty good position,
say it's really high on top of a pole
| | 03:27 | or on top of a really tall tripod,
and we can't reach the shutter release.
| | 03:31 | Well, in those situations we could
trigger this way or for some other
| | 03:34 | creative purposes as well.
| | 03:37 | Well, now that we've been introduced
a little bit to the overall tethered
| | 03:39 | shooting window, let's go ahead
and take a look at how this works.
| | 03:43 | And we will do that in the next movie.
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| Working with tethered shooting| 00:00 | One of the first steps in regards to
tethered capture is to of course set up
| | 00:04 | your camera, dial in your composition
and all of your camera settings, and then
| | 00:09 | of course connect the camera to the computer.
| | 00:11 | From there we want to navigate to
the File pulldown menu and then select
| | 00:15 | Tethered Capture and click on the
option to start the Tethered Capture.
| | 00:20 | This will open up a dialog where we
can define a few capture settings.
| | 00:24 | So first thing that I want to do is
give this a session name, and I am going
| | 00:27 | to call this Vintage_Camera, because
we'll be taking a couple of photographs
| | 00:30 | of an old Brownie camera.
| | 00:32 | The next thing that I recommend you
check on is Segment Photos By Shots.
| | 00:36 | You want that on, because it gives
you the ability to segment or group your
| | 00:40 | photos into different folders,
and this is really helpful.
| | 00:44 | Let's say you are shooting a product
and you want to have a couple of different
| | 00:47 | perspectives, or let's say in one
shoot you have a couple of different
| | 00:50 | products or perhaps you have a couple of
different models, you'll see how this works in a moment.
| | 00:55 | But again, go ahead and turn that option on.
| | 00:57 | Naming convention, well, this is the
good old options we have seen before.
| | 01:01 | Then of course we can define a Location.
| | 01:02 | In my case, I'll save this
to my exercise_files folder.
| | 01:06 | Let me create a new subfolder
here. I am calling this Tethered.
| | 01:09 | Keep in mind that this is
how I am naming this folder.
| | 01:11 | You can name it whatever you want.
| | 01:13 | But keep in mind that name there.
| | 01:15 | We'll see that again. And click Choose.
| | 01:18 | Metadata, I'll add my copyright
information and then just a couple of different
| | 01:22 | Keywords here, lynda.com and ventura,
and that looks good and I'll click OK.
| | 01:28 | Now because we selected Segment Photos
By Shot, it opens up this dialog which
| | 01:33 | says, "what do you want the
initial shot to be called?"
| | 01:36 | I will just call it the
default Shot 1 and click OK.
| | 01:38 | Now once I do that, we are going to
see that I have the tethered window here
| | 01:43 | which I can reposition as needed.
| | 01:45 | It can even be on a second monitor.
| | 01:47 | I also have the folder structured
that I defined or created in that
| | 01:51 | Capture Settings dialog.
| | 01:53 | Here is the main folder Tethered,
inside of that this particular shoot we're
| | 01:56 | calling Vintage_Camera. The
first shot is Shot 1. All right.
| | 02:00 | Well let's go ahead and click on the
Shutter Release button and see how we are doing.
| | 02:05 | Now when I do this, one of the things
that you are going to notice that's going
| | 02:07 | to give me a progress of transferring
the file and then by default, it's going
| | 02:11 | to open up a preview of the image.
| | 02:14 | Now in this particular case, if I
look at it, I notice it's out of focus.
| | 02:18 | If I zoom in even further, I
realize, wow, it's really out of focus.
| | 02:21 | So I am going to go ahead and actually
focus the image and either click on the
| | 02:25 | Shutter Release on the camera or
click the Shutter Release here.
| | 02:29 | This is then going to bring in the new image.
| | 02:32 | And the nice thing about this, and one
of the reasons why I am talking about
| | 02:35 | focus is that what this will do for
us is it will give us the ability to
| | 02:38 | evaluate our photographs in
some pretty astounding ways.
| | 02:41 | In this particular case, I can see that
it actually Made In USA is a little bit
| | 02:45 | more sharp than the word Brownie.
| | 02:46 | But when I compare it to the previous
image, I can see that, yeah, I am actually
| | 02:50 | getting a little bit closer to
what I am interested in capturing.
| | 02:54 | So rather than evaluating the
photograph on the back of the camera, I now have
| | 02:59 | this much larger, much more
interesting, much more helpful preview.
| | 03:03 | Even when it's zoomed out,
I can't quite see the focus very well.
| | 03:07 | When I zoom in, I can
see it a little bit better.
| | 03:10 | Now another thing that's interesting
is you will notice here that I have my
| | 03:13 | Histogram panel open.
| | 03:15 | Here it is showing me the
dynamic range of this image.
| | 03:18 | Now, if I look at this and realize,
you know what, it's a little bit
| | 03:20 | underexposed, I could then
modify my Camera Settings.
| | 03:23 | I'll go ahead and do that, and I am
just going to make this kind of drastic so
| | 03:27 | we can see the visual change there.
| | 03:29 | Capture another image, and let's
take a look at our Histogram and we are
| | 03:33 | going to see the shift, because this one is
going to have an increasing overall exposure.
| | 03:38 | So it's shifted a little bit more to
the right compared to this one, a little
| | 03:41 | bit more to the left.
| | 03:43 | So again, this can be helpful in
regards to dialing in your overall exposure.
| | 03:47 | There is something else that you can
do here, and that is you can navigate
| | 03:50 | to the Develop module.
| | 03:52 | Now on the Develop module what you can
do is you can click on these triangles to
| | 03:56 | show different types of clipping,
either in the shadows or the highlights.
| | 04:01 | You can see that I have a little bit
of clipping in my highlights, meaning a
| | 04:04 | little bit of loss in information.
| | 04:07 | This isn't that big of a deal,
because in this particular case this
| | 04:10 | is reflective content.
| | 04:11 | But let me modify my
exposure one more time here.
| | 04:14 | So I am going to overexpose this image
significantly, and let's take a look at
| | 04:18 | these clipping indicators in this new
file, then what we'll see here in a moment
| | 04:23 | is it now there is clipping
indicator is a little bit more strong.
| | 04:26 | So here is the image with the lower
exposure, and that increased exposure.
| | 04:31 | So what you can do is obviously
start to take some of the strengths of
| | 04:35 | Lightroom with this tethered capture,
meaning it's not only there to just get
| | 04:39 | an image, but you can start to get and
evaluate your images in some pretty significant ways.
| | 04:44 | Well, what else can we do here?
| | 04:47 | Well, I am going to go ahead take my
exposure back down for a moment and what
| | 04:51 | I am going to do then is say that I really
want to process images with the sepia tone.
| | 04:55 | Well, in this option here Develop
Settings I can go ahead and choose a
| | 04:59 | different processing, and the
particular processing that I am going to choose
| | 05:03 | is Creative and then Sepia.
| | 05:06 | Now I may want to define this as a new shot.
| | 05:08 | So I am going to click on Shot 1 and I
am going to call this now Shot 2 - Sepia.
| | 05:14 | Now when I do that what's going to
happen is if you go back to our Library
| | 05:18 | module, we will be able to see that.
| | 05:20 | You can see I am in a new folder.
| | 05:22 | So this time, I'll click on the
Shutter Release button and in this particular case,
| | 05:26 | we are going to see the image
come in, and then we are going to see it
| | 05:29 | process with this particular preset
which is a sepia tone type of a look.
| | 05:34 | And again, that's really helpful, and
I can take advantage of any preset I've
| | 05:38 | defined or used or created or
purchased and that I have as part of Lightroom 3.
| | 05:43 | The other thing that you may want to do
in regards to your shots is you may want
| | 05:47 | to define let's say a different perspective.
| | 05:50 | So I am going to go ahead and
change the perspective here momentarily.
| | 05:52 | Just a little bit different look with
this one, and then go ahead and click on
| | 05:57 | where it says Shot 2.
| | 05:58 | I'll name this one Shot 3 and click OK.
| | 06:02 | Now on Shot 3 I am not going to apply any
Develop Settings, although I could if I wanted to.
| | 06:07 | Rather this time what I am going to do
is just get you into thinking about how
| | 06:10 | you can have this different perspective.
| | 06:12 | Here you are going to see with this
image that I have changed my composition a
| | 06:15 | little bit and I have angled
a camera in a different way.
| | 06:19 | So you can see in a realistic situation,
you can have these different type of
| | 06:22 | images grouped in a different way.
| | 06:25 | Now if you want to see the whole shoot,
no big deal. All you need to do is click
| | 06:29 | on Vintage_Camera, and then here you
can see I have all of the different images
| | 06:32 | that were captured in the shoot,
and I can go through them in that way.
| | 06:36 | Now let's say that we want to do
this a little bit more efficiently.
| | 06:39 | Well, there are a couple of shortcuts.
| | 06:41 | If you navigate to your File pulldown
menu, you'll see that Tethered Capture has
| | 06:45 | a couple of shortcuts, just two.
| | 06:47 | If you want to do a new shot on a Mac
that's Shift+Command+T, you can do that
| | 06:52 | rather than clicking on the word
here, in my case Shot 3. On a PC that
| | 06:56 | Shift+Ctrl+T. You can also show and
hide this window, if this is a little bit
| | 07:01 | distracting to you or maybe
distracting to the art director or the creative
| | 07:05 | director, you can hide that.
| | 07:07 | You can press Command+T
on a Mac or Ctrl+T on a PC.
| | 07:11 | Let's take a look at that one and all that
| | 07:13 | will do again is show or
hide this particular window.
| | 07:17 | Now when you are done you can either
navigate to the File pulldown menu and
| | 07:21 | choose Tethered Capture and then Stop,
or you can just simply click on the X in
| | 07:26 | the far right corner of
the Tethered Capture window.
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|
|
5. The Library Module: EssentialsWorking in Grid view and Loupe view| 00:00 | One of the strengths of the Library
module is that it provides you with a unique
| | 00:03 | way to organize and evaluate your photographs.
| | 00:07 | One of the reasons why the Library
module is so good is because we can view
| | 00:10 | our images either in this Grid View mode, or we
can "zoom in" and view them in a Loupe View mode.
| | 00:18 | Now, there are number of different
ways to navigate between Loupe and Grid.
| | 00:22 | So let me show you a few
different techniques. All right.
| | 00:25 | Well for starters you can see I'm in
the 02_General_Photos folder sub-folder
| | 00:29 | Kids, and I have selected one of the images.
| | 00:33 | Now, currently my grid is pretty small.
| | 00:35 | If I want to make this bigger, what I
can do is use this thumbnail slider in
| | 00:39 | order to increase the size of those thumbnails.
| | 00:42 | Now if this is invisible what you
can do is click in the toolbar on this
| | 00:46 | triangle icon and here you can select what
options you want to have visible in the toolbar.
| | 00:51 | For example, I turn on the option for Rating.
| | 00:54 | We can now see those stars show
up in the toolbar. All right.
| | 00:57 | So we can navigate with this thumbnail slider.
| | 01:00 | But what if we want an even bigger view?
| | 01:02 | What we can do then is navigate to
what's called the Loupe View mode.
| | 01:06 | You can do that by clicking on this icon here.
| | 01:09 | That will then give us a
larger view of the image.
| | 01:13 | What about going back to the Grid View mode?
| | 01:15 | Well in this case, let me share with
you a few shortcuts that I think will help
| | 01:19 | you out quite a bit.
| | 01:20 | If you press the G key that
will take you to the Grid.
| | 01:24 | If you want to go back to the Loupe View,
all you need to do is press the E key.
| | 01:29 | Now, if you ever forget those shortcuts
all you need to do is navigate your View
| | 01:33 | pulldown menu, and there you
can see we have them listed.
| | 01:36 | The Grid is the G key; the Loupe is the E key.
| | 01:40 | You can, of course, also select from
this pulldown menu in order to change
| | 01:44 | between those two different views.
| | 01:46 | Well there are a couple of other
techniques that you may find to be helpful here.
| | 01:51 | You can also press the Spacebar key.
That will quickly take you this Loupe View.
| | 01:56 | There is one more I want to share with
you, and this one is double-clicking.
| | 02:00 | If you double-click on an image,
it will go between the Grid View and
| | 02:04 | then double-click again.
| | 02:05 | It will take you to the Loupe View.
| | 02:08 | Well the last thing that I want to point out
here is in regards to the overall interface.
| | 02:13 | A lot of times what you do is you go
to this Loupe View mode in order to
| | 02:17 | evaluate a photograph.
| | 02:18 | You are trying to
determine is this image a keeper.
| | 02:21 | Well, a lot of times the Lightroom
interface takes up so much space,
| | 02:26 | the top and the panels and the
Filmstrip and toolbars, it will be really nice to
| | 02:30 | minimize those in order to be able to
focusing on the image and to have a larger preview.
| | 02:36 | Well there is a shortcut for that, and
it's one of the shortcuts we've covered
| | 02:39 | in the beginning of this
training title, and it's Shift+Tab.
| | 02:42 | What Shift+Tab will do is minimize
most of the Lightroom interface so you can
| | 02:47 | really focus in on the image, and it's
a great shortcut to have so that you can
| | 02:51 | evaluate your photographs a
little bit more effectively.
| | 02:55 | If you want to bring everything back,
well then simply press Shift+Tab one more time.
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| Navigating and zooming| 00:00 | Another way that we can evaluate
and review our photographs is with
| | 00:03 | the Navigator panel.
| | 00:05 | Now you'll find the Navigator panel
in the Library and Develop modules.
| | 00:09 | It's actually identical in both places.
| | 00:12 | Let's go ahead and cover here.
| | 00:14 | You can open up the Navigator panel by
clicking on it in the left-hand side panels.
| | 00:18 | One of the things you will notice here is
that we have a preview of our photograph.
| | 00:21 | We also have a couple of different
zoom levels and here what I can do is zoom
| | 00:25 | in to say a 1:1 view.
| | 00:28 | 100% view of the photograph.
| | 00:31 | Now, when I did that, I can't really see
a portion of the image that's very helpful.
| | 00:35 | So you notice that there is a
rectangle showing me my zoom area.
| | 00:39 | I can reposition this so that I can view the
portion of the image that I want to evaluate.
| | 00:43 | Well I can also change the overall zoom level.
| | 00:47 | Let's click on 1:2.
| | 00:48 | That's a little bit more zoomed out,
or you click on these two triangle icons
| | 00:52 | you can zoom out even further or for
that matter, you can increase the zoom
| | 00:56 | level even much more.
| | 00:58 | One of the things that happens a lot of
times when we do this is we can either
| | 01:02 | click on the image, or we can
click in this little navigator area.
| | 01:06 | Now let's say, for example, that I want
to zoom in on this image and I go ahead
| | 01:10 | and hover over the pink shoes here and I click.
| | 01:13 | Well it zooms to that area, and you can see
the rectangle showing me where I am currently.
| | 01:18 | Well there is actually a better way
to zoom in than what I've done here.
| | 01:22 | It involves turning on a specific preference.
| | 01:25 | What you can do if you are on a Mac is
navigate to the Lightroom pulldown menu
| | 01:30 | and select Preferences.
| | 01:31 | If you're on a PC, you can
find those in Edit pulldown menu.
| | 01:35 | Well once we open up Preferences,
go ahead and click on the Interface tab.
| | 01:40 | Here what we can do is look all the way
down at the bottom where it's called Tweaks.
| | 01:45 | What we want to choose is
Zoom clicked point to center.
| | 01:49 | Also, while we are here, I am going to
point out that another Preference which
| | 01:52 | is a really good idea to have turned on
is in Filmstrip, and it's Show photos
| | 01:57 | in navigator on mouse-over.
| | 01:58 | Well, let's focus on these two things.
| | 02:01 | First zooming, second Navigator. All right.
| | 02:05 | Well let's exit from our Preferences and
then go ahead and go back to Fit-in view.
| | 02:10 | I am going to perform the same exact
click, zooming into the same exact area at
| | 02:15 | the same exact zoom level, but now
with that new preference turned on.
| | 02:20 | So when I zoom in into area, you'll
notice that where I clicked went to the
| | 02:24 | center of the screen.
| | 02:25 | You also notice that this
box is a little bit lower.
| | 02:28 | Before, the box was right about here.
| | 02:31 | Now it was right there so
that the shoe was in the middle.
| | 02:34 | Again, I can illustrate that in another way.
| | 02:36 | If I go ahead and click on my
daughter face here, this is Sophia.
| | 02:39 | It takes her right to the center of the screen.
| | 02:41 | One of the things that I find
although it's subtle, it's really helpful
| | 02:45 | because it gets me to the area that I
want to work on in a way that completely
| | 02:49 | disregards the composition.
| | 02:50 | In other words, it doesn't matter the
orientation of the image, horizontal versus
| | 02:55 | vertical, if it's been cropped or not etcetera.
| | 02:57 | It just gets me to the
content that I need to work on.
| | 02:59 | Well I also said there was another
preference that I want to point out and that
| | 03:04 | one is turned on by default and what
it is is it allows me as I hover over my
| | 03:09 | images to see a preview in the Navigator panel.
| | 03:12 | I really like this because again
a lot of times, I will have these
| | 03:15 | thumbnails really small.
| | 03:17 | You can change their size by hovering
over the dividing line between the toolbar
| | 03:21 | and the filmstrip and changing the size.
| | 03:24 | So if I have really small thumbnails, as I do
now, it's really tricky to find the right image.
| | 03:29 | But this makes it easy because I can
hover over the different images and then
| | 03:32 | select the one that I want to work on.
| | 03:34 | Now if you want bigger thumbnails all
you need to do is hover over this dividing
| | 03:39 | line here, and I'll go ahead and
increase the size of those thumbnails.
| | 03:42 | Also keep in mind there are a couple of
other ways that you can zoom in or zoom out.
| | 03:48 | Let's go ahead and
navigate back to Fit for a moment.
| | 03:51 | Currently I'm in this Fit-in View mode.
| | 03:54 | What I can do is if I am on a Mac I can
press Command+Plus, if I am on a PC that
| | 03:59 | going to be Ctrl+Plus, and you are
going to see that I am going to toggle
| | 04:03 | through these different view modes.
| | 04:04 | Now I'm all the way up to that 1:2 view.
| | 04:07 | If I press this one more time, again on
a Mac Command+Plus on a PC, Ctrl+Plus,
| | 04:13 | you are going to notice that it's
going to go through all of these different
| | 04:15 | options and then take me back to my Grid View.
| | 04:19 | Right now, I go ahead and press those again.
| | 04:21 | You can see I'm toggling
through these different views.
| | 04:24 | So Command+Plus is another nice way to be
able to zoom in and zoom out really quickly.
| | 04:29 | Just keep in mind that whatever zoom
level you determine here will define
| | 04:35 | how far you zoom in.
| | 04:36 | so I'll go ahead and press Command+Plus
on a Mac one more, and you will notice
| | 04:40 | I am in Fill, and then when I press it one
more time, I am in 1:1 and then finally 3:1.
| | 04:45 | So it's going to go through my
different zoom rates from further back all the
| | 04:50 | way to much closer, depending on what I
choose for my zoom level here when I go
| | 04:54 | through these different options.
| | 04:56 | The final little tip that that I want
to share here is if you are zoomed in and
| | 05:01 | you want to zoom out, you can use a
same shortcut that we use in Photoshop.
| | 05:06 | On a Mac that's Command+minus, on a PC
that's Ctrl+minus, and that will take you
| | 05:10 | backwards through those different zoom settings.
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| Shortcuts in Loupe view and Grid view| 00:00 | Another way to tap into the
organizational and evaluative strengths of the
| | 00:04 | Library module is to take a look at
what kind of information you can display
| | 00:09 | with the thumbnails, or what kind of
information you can include as an overlay
| | 00:14 | when you're in the Loupe View mode.
| | 00:15 | Now before you actually get to
customizing this, what I want to do is share with
| | 00:19 | you a few shortcuts for
accessing this information.
| | 00:22 | Now these shortcuts aren't very
intuitive so you want to jot them down.
| | 00:27 | If you're in the Grid View mode,
what you can do is press the J key.
| | 00:31 | By pressing the J key, you can see
that I'm toggling through different views.
| | 00:36 | The current view is without any
information, or then we have what's called the
| | 00:40 | Compact Cell or an Expanded Cell.
| | 00:43 | In this particular case, you notice it
has the dimensions, a file type, the name.
| | 00:48 | I can also add things like star ratings,
and I have other badges included as well.
| | 00:52 | All right. Well, let's take
this image to the Loupe View mode.
| | 00:56 | We'll do that by double-clicking the file.
| | 00:58 | Now here we can actually
display information as an overlay.
| | 01:03 | To toggle through the different
overlay modes, what we're going to do is
| | 01:06 | actually press the I key.
| | 01:08 | Think of it as information overlay.
| | 01:11 | So we'll go ahead and press the I key
once and there you can see I have some
| | 01:14 | information, an f-stop,
the file name, dimensions.
| | 01:17 | I'll press it again.
| | 01:19 | I've very different information.
| | 01:20 | Then press it one ore time,
and that info disappears.
| | 01:24 | So again, when you're in the Loupe
View mode, the shortcut is the I key.
| | 01:29 | If you're in the Grid View mode,
the shortcut key is the J key. All right.
| | 01:33 | Well, how about customizing that information?
| | 01:35 | Let's go ahead and take a
look at that in the next movie.
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| Customizing Loupe view and Grid view| 00:00 | What you want to do is customize the
information that you see in the grid
| | 00:03 | cells, as well as the information that's
overlaid on top of the image in the Loupe View.
| | 00:09 | Well, let's start off in the Loupe View,
because that one is a little bit easier to see.
| | 00:13 | I'll go ahead and double-click one of
my images, and I'm now in the Loupe View.
| | 00:17 | Next step is to navigate to the View
pulldown menu and then to choose View Options.
| | 00:23 | This will then open up the View Options dialog.
| | 00:26 | I'll reposition this actually over
here so I can see the info overlay.
| | 00:30 | Now the first thing that we need to do
is to click on this check box in order to
| | 00:34 | preview some of the information.
| | 00:36 | Now, currently you can see it's giving me
some exposure and ISO info in the first line.
| | 00:42 | Well, that's because it's displaying
Info 2, which is located down here.
| | 00:46 | Now I can change that.
| | 00:47 | Let's say I simply want to
see the File Name up top.
| | 00:50 | Now I have that file name displayed there.
| | 00:53 | So it's a simple as making
changes from these pulldown menus.
| | 00:56 | What about Loupe Info 1?
| | 00:58 | All I need to do is to preview that by
selecting it here, and then same thing.
| | 01:02 | I can make different changes by
selecting them from the pulldown menu in this way.
| | 01:07 | One more thing I want to point out here,
and that is this little General message.
| | 01:11 | It says Show message when
loading or rendering photos.
| | 01:14 | You definitely want to leave that checked
on, otherwise the image may be rendering.
| | 01:19 | You won't really know why.
| | 01:20 | It will be a little bit frustrating.
| | 01:21 | This will basically make your workflow a
little bit more seamless and enjoyable,
| | 01:25 | so leave that turned on.
| | 01:27 | All right, what about the Grid View?
| | 01:28 | What we can do is click on this tab up top.
| | 01:31 | It will take us to the Grid View.
| | 01:33 | Currently, it's showing my grid extras.
| | 01:36 | Now if I turned this off,
I won't have any preview.
| | 01:38 | I won't be able to customize this.
| | 01:40 | So let's turn that back on.
| | 01:42 | Then note that we can toggle between
Compact Cells or between these Expanded Cells.
| | 01:48 | Now there are number of different
options that we have, cell icons that we can include.
| | 01:52 | Compact Cell Extras.
| | 01:54 | So that would be if we're in this view here.
| | 01:56 | Then also Expanded Cell Extras, which would
be if we're in this particular view here.
| | 02:01 | So, for example, currently
it's giving me an Index Number.
| | 02:04 | I'm going to go ahead and
change this to File Name.
| | 02:06 | What you're going to see now is it's
showing me the file name above the images
| | 02:10 | in this particular location.
| | 02:12 | Now there are a lot of different options here.
| | 02:14 | Yet, they're all really self-explanatory.
| | 02:16 | Meaning, in other words, do I want to
tint the grid cells with the label colors?
| | 02:20 | Well, we either want that or we don't.
Again, if we go to the Compact Cells,
| | 02:24 | you'll notice that you have some options.
| | 02:26 | You always see the preview of
the options over here in the grid.
| | 02:30 | If we don't want that Index Number,
again, just turn off that option.
| | 02:33 | So because this is so visual, it doesn't
really makes sense to get into all the nitty-gritty,
| | 02:37 | except to point out that
this is there so that you can customize
| | 02:41 | it further so that it makes the most
sense for your own particular workflow.
| | Collapse this transcript |
| Comparing two images| 00:00 | You'll soon discover that as you're
evaluating and organizing your photographs,
| | 00:04 | you'll come across a number of
different scenarios where you have two images
| | 00:08 | that are similar yet different.
| | 00:10 | You want to compare those two photographs in
order to determine which one is the keeper.
| | 00:15 | Let's go ahead and take a
look at how we can do that.
| | 00:18 | Currently I've selected one image.
| | 00:19 | I want to compare this image
with this other file over here.
| | 00:23 | In order to do that, we need to select
both of these images either in the Grid
| | 00:26 | View or in the Filmstrip down below.
| | 00:29 | Now in either case, all that we need
to do is hold the Command key on a Mac,
| | 00:33 | Ctrl key on a PC, and then click
on multiple images. All right.
| | 00:37 | Well, now that I've clicked on both
of these files and selected them, I can
| | 00:41 | either press an icon or a shortcut.
| | 00:44 | Let me tell you the
shortcut first. It's the C key.
| | 00:46 | C for Compare, or you can click on
this XY icon located in the toolbar below.
| | 00:53 | Now once I do that, I get this nice
Select and Candidate view of these two images.
| | 00:58 | If I go ahead and pan over, you'll
notice that it will update both of the files.
| | 01:02 | At this particular zoom rate, we can't
really see that much of the photograph.
| | 01:06 | So what we're going to need to do
here is to take advantage of one of those
| | 01:10 | shortcuts that we've learned
previously, which allows us to hide the left
| | 01:14 | and right-hand panels. It's the Tab key.
| | 01:17 | Go ahead and press Tab, and now I have
much more screen real estate dedicated
| | 01:21 | to this comparison.
| | 01:23 | Well, one of the things that you'll
notice here is that we can change the zoom
| | 01:26 | rate by dragging the slider, or we can
unlock this and then click on an image
| | 01:31 | to zoom in, or simply
drag the slider to zoom in.
| | 01:34 | Once we lock this again, it will bring
both of those zoom rates back together.
| | 01:39 | Now in evaluating these photographs,
the light and color and sharpness of this
| | 01:43 | image on the right is much better.
| | 01:45 | This is the keeper.
| | 01:47 | Yet the problem is it's
currently called the Candidate.
| | 01:50 | So what I need to is to flip the
two positions of these photographs.
| | 01:54 | Well, I can do that pretty easily.
| | 01:56 | All that I need to do is to click on
this icon here with these two arrows.
| | 02:01 | You'll notice that this is now in the
Select position, and this is the Candidate.
| | 02:06 | All right. Well, what about the situations
where
you're comparing more than two photographs?
| | 02:11 | Well, let's go ahead and navigate back to
the Loupe module, because this is my Select.
| | 02:15 | When I press the E key, I'll go to the
Loupe module, so that I can view this image.
| | 02:19 | From there I could work on it, or
we can go ahead and press the G key and
| | 02:23 | go back to the Grid View.
| | 02:25 | In this particular Grid View,
I'm going to select three images.
| | 02:28 | So I'll click on one, hold down the
Command key on a Mac, Ctrl key on a PC, and
| | 02:33 | select a couple more.
| | 02:34 | Now when I do that, I'm going
to go ahead and press the C key.
| | 02:38 | When I go to the Compare mode, you'll notice
that I only have two images that are visible.
| | 02:43 | In this particular case, we're going for a
hike with my daughter and one of her good friends.
| | 02:47 | I saw them standing there waiting for me,
because I was hurrying to catch up with them.
| | 02:51 | I was with my younger daughter.
| | 02:53 | Then I stopped to compose the frame.
| | 02:56 | I was starting to get closer,
yet this image wasn't good enough.
| | 02:59 | So what I want to do is I want to
compare this with yet another image.
| | 03:03 | Well, what you can do is you notice
that there is a white and black dot here,
| | 03:07 | the Select and the Candidate.
| | 03:09 | We can go ahead and press these arrows.
| | 03:12 | When I press the arrow, you notice
that it changes the position of what
| | 03:15 | image it's evaluating.
| | 03:17 | So let's zoom out so we can see
that a little bit more clearly.
| | 03:20 | If I press the Left arrow key, it's going
to go back and forth between those options.
| | 03:25 | Now I can also shift this completely.
| | 03:27 | So I'm going to go ahead
and shift what I'm evaluating.
| | 03:30 | Then select another image here.
| | 03:32 | So I have these two, a Select and Candidate.
| | 03:35 | This time I'm going to press the Left
arrow key so that it keeps moving down the
| | 03:38 | line, or press the Right arrow key.
| | 03:41 | I'll go ahead and go pass this image.
| | 03:43 | You can see that I'm
comparing this with other photographs.
| | 03:46 | Now these comparisons don't really make sense.
| | 03:49 | Yet I wanted to illustrate that you can
use these arrow keys to select or to view
| | 03:53 | different types of images when you want to
evaluate more than two photographs. All right.
| | 03:58 | Well, as you can see, this can really
help out in the overall process in regards
| | 04:02 | to finding the final
keeper, like with this image.
| | 04:05 | This one is okay, but this one a
little bit more close is really nice.
| | 04:10 | Now with this file, I would
really like to crop it in even tighter.
| | 04:14 | I wish I got it even closer.
| | 04:16 | Yet I want to mark this as a keeper.
| | 04:19 | So what I can do here is I can
simply click on the little flag icon.
| | 04:22 | That's going to mark this
image as a Flag as Pick.
| | 04:26 | Then later, I can go back and
work on that particular photograph.
| | 04:30 | Again, once I'm ready to exit out of this
mode, I can do a couple of different things.
| | 04:35 | One of the things that I
can do is press the C key.
| | 04:37 | Now whatever image was in the Select
position, it'll go back and view that
| | 04:42 | image, assuming that's
the one you want to work on.
| | 04:45 | Now in this particular case, I also
need to bring back my panels, right?
| | 04:49 | So let's go ahead and do that.
| | 04:50 | Press the Tab key, and that will
bring your interface back to normal.
| | Collapse this transcript |
| Surveying multiple images| 00:00 | In other times when I'm interested in
just posing photographs, in regard to
| | 00:04 | compare and contrast, when I'm not
really looking for a keeper but rather I'm
| | 00:08 | trying to look at image combinations.
| | 00:10 | I'm starting to think about how
images work together, and this particular
| | 00:14 | feature is something that I use quite often.
| | 00:16 | Now here I have a particular set of
photographs that I captured when I was down
| | 00:19 | in Sayulita, Mexico.
| | 00:22 | These photographs were coming from a
book project I was working on where
| | 00:25 | there was a photo assignment, which
was to create a set of photographs where
| | 00:28 | the subject was color.
| | 00:30 | So color was the most important element.
| | 00:33 | So what I want to do here is I want to
take a look at how I can combine some of
| | 00:36 | these images together.
| | 00:38 | Well, the first thing that you may want to
do is go ahead and select multiple files.
| | 00:43 | So I'll hold down the Command key on
a Mac, Ctrl key on a PC, and I'm going to
| | 00:47 | go ahead and simply click on multiple files.
| | 00:50 | Now once I've done that, I want
to enter what's called Survey mode.
| | 00:54 | You can do that by pressing the N key,
or by clicking on this icon here.
| | 00:59 | Now the interesting thing about the
Survey mode is it allows you to again
| | 01:03 | compare and bring images
together in a pretty unique way.
| | 01:06 | Now if you ever want to remove an
image, you can either hover over it, and
| | 01:10 | click on the X icon.
| | 01:11 | I'll go ahead and do that.
| | 01:13 | It's going to rearrange or reposition
the photographs it has so that it can fit
| | 01:17 | those in the largest preview possible.
| | 01:19 | Now it gets a little bit interesting when you
choose images like this that don't really fit.
| | 01:24 | So a lot of times what I end up
doing is trying to keep my horizontals
| | 01:27 | and verticals together.
| | 01:29 | So in this case, I'll hold down the
Command key on a Mac, Ctrl key on a PC to
| | 01:32 | remove those photographs, or
hover over it, and click on the X key.
| | 01:37 | So in this particular case, I can
select some of these other verticals.
| | 01:40 | That's a pretty interesting color combination.
| | 01:43 | This happens a lot in photography,
where two images together are sometimes
| | 01:48 | stronger than one image by itself.
| | 01:50 | Now a lot of times as you do this,
what you may end up doing is simply
| | 01:55 | selecting a lot of images.
| | 01:57 | I'm going to go ahead and select all.
| | 02:00 | I'll do that by pressing
Command+A on a Mac, Ctrl+A on a PC.
| | 02:05 | Now if I want more screen real estate,
I again need to use that shortcut key
| | 02:10 | that we've learned in order to
minimize some of my interface.
| | 02:14 | That's the Tab key that will
hide the left and right-hand panels.
| | 02:18 | Now in this particular case, I
obviously have images that I don't like in here.
| | 02:21 | So I'm going to go ahead
and deselect some of these.
| | 02:24 | In particular, I'm just going to
deselect the images that are verticals.
| | 02:27 | Now I know there are faster ways to do
this and to sort and filter your files
| | 02:32 | based on different metadata,
yet we haven't covered that yet.
| | 02:35 | So I'm just going to go ahead and hide
those files in order to begin to build
| | 02:39 | this kind of layout.
| | 02:40 | Now one of thing that is kind of
interesting is trying to come up with a way
| | 02:44 | where these photographs will all fit together.
| | 02:47 | Sometimes, one of things that I find
is it's helpful to press the L key in
| | 02:52 | order to dim the lights.
| | 02:53 | Then the L key again, to turn them off to
really start to look at this type of a comparison.
| | 02:59 | Now in this particular case, this is
just a lot of fun, a lot of vivid colors.
| | 03:03 | Again, we can make this even better I
think by removing some of the more muted
| | 03:07 | photographs, just so we have these
really nice bright vivid colors that are
| | 03:11 | really taking up the entirety of the frame.
| | 03:14 | So I'll go ahead and make just a few
more selections here and then come up
| | 03:17 | with a certain layout.
| | 03:19 | Now other times, this may be a little
bit more functional than just let's say a
| | 03:24 | aesthetically pleasing.
| | 03:25 | I'll press the L key to
bring the lights back on.
| | 03:28 | I'll press Tab to bring back both of the panels.
| | 03:31 | Let me show you one more scenario.
| | 03:33 | I'm going to click on the people folder.
| | 03:35 | Then go ahead and scroll over to the
right where I have two photographs, one of
| | 03:39 | Bruce Heavin, and the
other one of Lynda Weinman.
| | 03:42 | Bruce and Lynda are two really
inspiring people to me on different levels.
| | 03:47 | I like bringing these two
portraits of this couple, this team, these
| | 03:50 | two creative minds together because I think
it creates something, or it says something.
| | 03:54 | There is some connection to
these two photographs. All right.
| | 03:57 | Well, let's go ahead and press the
Tab key in order to minimize the panels.
| | 04:02 | Now when I do that here, I kind of
have too much space between my images.
| | 04:06 | So just keep in mind that pressing the
Tab key will not always be the answer.
| | 04:11 | Rather, in this particular situation, I
think leaving those panels up and then
| | 04:15 | pressing the L key once and then twice
can really give you some creative ideas
| | 04:20 | on how you can combine images together.
| | 04:22 | Now again, I'm kind of
getting into the creative side.
| | 04:25 | This one is a little bit more functional.
| | 04:27 | There are even some more functional
purposes to this where you just want to
| | 04:30 | look at a swath of images, and start to
select the ones that you think will work for you.
| | 04:36 | Keep in mind that when you are in the
Survey mode, you can of course add
| | 04:39 | different labels and stars to your photographs.
| | 04:42 | While we haven't fully covered that,
| | 04:44 | let me at least briefly show you what I mean.
| | 04:47 | I can click on this flag icon to
flag this image as a Pick, in order to
| | 04:51 | give that a flag rating.
| | 04:53 | Now let's say I want to
do that to the other image.
| | 04:55 | You'll notice that this one
currently is the Select file.
| | 04:58 | It has a white outline.
| | 04:59 | Well, all that I would need to do would
be to click on the other image, or click
| | 05:04 | the Right arrow key.
| | 05:05 | That will then select that file.
| | 05:07 | Then I can add a flag rating, or a
star, or a label, or metadata, or I can
| | 05:12 | process the file, or whatever I wanted to do.
| | 05:15 | So keep in mind that this
particular feature is both creative and
| | 05:19 | very functional.
| | Collapse this transcript |
| Working with the toolbar in Grid view and Loupe view| 00:00 | In the Library module, the toolbar
contains a lot of really functional
| | 00:03 | information that you can access in
order to evaluate and rate, rank, and sort
| | 00:08 | and preview your photographs.
| | 00:10 | What we're going to do in this Quick
Movie is take a look at the different
| | 00:12 | toolbars that we have in the
Grid and the Loupe View mode.
| | 00:16 | In order to actually see all the
contents here of the toolbar, what I'm going to
| | 00:19 | do is press the Tab key in order to
hide the left and right-hand panels, so I
| | 00:24 | can really focus in on the toolbar.
| | 00:26 | Now for our starters the shortcut to
Show/Hide the toolbar is the T key.
| | 00:31 | So, if you're not viewing this, what
you can do is go ahead and press the T key
| | 00:35 | in order to show or hide that.
| | 00:37 | You can also navigate to the View
pulldown menu and there select Hide Toolbar or
| | 00:42 | for that matter, Show Toolbar.
| | 00:44 | One of the things that do you'd notice
here is that we have the different views.
| | 00:48 | We have Grid and Loupe View.
| | 00:50 | If I go ahead and click on the Loupe
View, what's going to happen is I have
| | 00:53 | different options here.
| | 00:55 | You can change what's displayed either
in the Grid or in the Loupe by simply
| | 01:00 | clicking on this triangle icon.
| | 01:02 | If you don't want one of these items to
be displayed, let's say like Zoom, I'll
| | 01:06 | go ahead and click on that and that
Zoom option will disappear. All right.
| | 01:10 | Well back the Grid View mode.
| | 01:11 | One of the things you'll notice in the
Grid view mode, as well as a Loupe View
| | 01:14 | mode is that you can always access
the different Compare and Survey Views.
| | 01:19 | This is really kind of interesting.
| | 01:21 | So, I can be, let's say, in a Loupe View.
| | 01:23 | I'll go ahead and double-click
an image to take it to the Loupe.
| | 01:26 | This icon is highlighted
showing me that's where I am.
| | 01:29 | I'll hold down the Command key on a Mac,
Ctrl key on a PC, to select another
| | 01:34 | image and then while in the Loupe
View, I'll then navigate to compare by
| | 01:38 | clicking on the Compare icon.
| | 01:41 | Now, the nice thing about this is, again,
it can help us really tap into some of
| | 01:45 | these strengths and as a side-note,
one of the things that I love about the
| | 01:48 | Compare View is that it can
teach you a lot about photography.
| | 01:52 | Here we have two very similar
images, captured with a wide-angle lens.
| | 01:57 | This one I shot at eye level.
| | 01:59 | This one I shot kneeling
on the train tracks there.
| | 02:01 | And when you shoot with wide-angle lenses,
you always need a subject in the foreground.
| | 02:06 | Now, I attempted that here, but I
forgot that you need to be close to that
| | 02:10 | subject, which makes this image much stronger.
| | 02:13 | So, one of the things that you may want
to do is take advantage of this Compare
| | 02:17 | mode as you shoot different ways,
different images, put them up side by side,
| | 02:21 | evaluate them, try to determine
which image is a keeper. All right.
| | 02:25 | Well that's was a bit of a tangent,
but nonetheless kind of fun. All right.
| | 02:28 | Well the last thing that I want to
highlight here in regards to the toolbar is
| | 02:32 | that you don't need this visible in
order to access all of these features.
| | 02:36 | For example, if I press the T key
right now, I've now hidden the toolbar.
| | 02:40 | Well, I'm still in the Compare mode.
| | 02:42 | To exit out of the Compare mode, I'll press
this C key again and I'm back to the Loupe View.
| | 02:48 | Let's say I want to re-enter Compare mode.
| | 02:50 | Well, I'll go ahead and select a few
files and then press the C key and that
| | 02:54 | will reactivate that mode.
| | 02:56 | So, just keep in mind that as you get
better at Lightroom, you may find that
| | 03:00 | there are certain situations where you
actually want to a hide that toolbar, and
| | 03:04 | then you just access the
information by way of a shortcut.
| | 03:07 | All right, one more thing
that I want to showcase here.
| | 03:10 | I'm going to go ahead and press the E
key to go to the Loupe View mode and
| | 03:13 | select another image.
| | 03:15 | Next, what I'd want to do is bring up
the toolbar by pressing the T key and
| | 03:20 | bring up my panels by pressing the Tab key.
| | 03:22 | Now, one of the things that I've started
to get you to think about is that a lot
| | 03:25 | of times as you evaluate a photograph,
| | 03:28 | you want to minimize the interface, so you
have the largest preview of the image possible.
| | 03:33 | Well, so far we've talked about pressing
Tab to hide the panels on the right and left,
| | 03:38 | or press Shift+Tab to
hide most of the interface.
| | 03:41 | So, let's go ahead and do that.
| | 03:43 | But what we haven't talked about yet is
that a lot of times when you get to this
| | 03:46 | juncture, your toolbar is still visible.
| | 03:49 | So, if you need even more space,
go ahead and press the T key.
| | 03:53 | That will get rid of that, and
now we have an even larger preview.
| | Collapse this transcript |
| Working with folders and files in the Library module| 00:00 | One of the things that we will want to
get a handle on is how we can work with
| | 00:03 | folders and files inside a Library module,
because again, this is where a lot of
| | 00:07 | our organizational work will take place.
| | 00:09 | Let's say that I'm going through an
entire folder of images and I have a bunch
| | 00:13 | of sub-folders and I come
across these files here.
| | 00:16 | These particular photographs were taken
when there was a really devastating fire
| | 00:20 | in my town of Santa Barbara.
| | 00:23 | And I notice that these
files are named miscellaneous.
| | 00:25 | And what I'd like to do is I'd like to
figure out what folder they're located in.
| | 00:30 | So, I'll go ahead and press the G key
to go back that Grid View mode, and I'll
| | 00:34 | Ctrl+Click or right-click.
| | 00:35 | What I'm going to do is say
Go to Folder in Library.
| | 00:39 | Now, we've already seen this before,
but what we haven't seen is how we can
| | 00:42 | actually begin to change
some of the things here.
| | 00:45 | Let's say that what we'd like
to do is rename these files.
| | 00:49 | Well, I can go and select one or
more files and then press the F2 key.
| | 00:54 | What this will allow me to do
is to choose a different name.
| | 00:57 | I'm going to create a custom name.
| | 00:59 | Actually I take that back.
| | 01:01 | I'm going to create a custom name
with a sequence, because I've multiple
| | 01:03 | files there, right?
| | 01:04 | I'm going to go ahead and called
this sb_fire, and then it will give me a
| | 01:08 | preview of the file there,
sv_fire-1, and I'll click OK.
| | 01:12 | Well, that will then update those
file names and if we go ahead and hover
| | 01:16 | over the images or select them, you can see
that it's giving me that new file name right there.
| | 01:21 | Well, let's say that I want
to create a folder for these.
| | 01:23 | How can I actually do that?
| | 01:25 | Well, if you go over to your folders,
you can right-click on the folder and
| | 01:29 | choose Create Folder Inside miscellaneous.
| | 01:32 | I'll go ahead and name this folder sb_
fire and what I want to do is I want to
| | 01:37 | include the selected photos.
| | 01:38 | Now, I've have only have one photo selected.
| | 01:40 | That's no big deal. We'll fix that.
| | 01:42 | Go ahead and hit Create.
| | 01:44 | That will then create this new folder
for me, so if I expand this, we can see I
| | 01:47 | now have one image in that subfolder.
| | 01:51 | Let's say I want those other
two in that folder, no big deal.
| | 01:53 | All that I need to do is to select
those files and go ahead and click and drag
| | 01:57 | and drop and then move them to this location.
| | 02:00 | Now, this warning dialog says, hey,
you know if you do this, they're actually
| | 02:04 | physically going to be moved on your hard drive.
| | 02:06 | You can't undo this.
| | 02:08 | Oh, yeah, of course, that's no big deal.
| | 02:09 | I do want them in a new location.
| | 02:11 | I'll simply click Move.
| | 02:13 | Now those are all located in this subfolder.
| | 02:15 | So, the nice thing about this as
you can imagine is that you can really
| | 02:18 | customize where things are,
drag things around quite a bit.
| | 02:22 | Let's say I all of a sudden decide I
want this folder inside of another folder.
| | 02:26 | Well, drag and drop and as I do that
it will then update that location.
| | 02:30 | So, it's now located
inside of this Letters folder.
| | 02:34 | If I realize I made a mistake, no big deal.
| | 02:36 | Again, just simply click and drag
and drop to new location. All right.
| | 02:40 | Well what about some other situation?
| | 02:42 | Let's go to another folder, like Athletes.
| | 02:44 | Now here, let's say that what I
want to do is rename this folder.
| | 02:48 | What I can do is right-click, and
here select Rename, and I'll go ahead and
| | 02:53 | give this a new name.
| | 02:54 | What I'm going to do is I'm going to
name this based on the shoot, frs_p3.
| | 02:59 | It was a shoot for the energy
drink FRS at the P3 workout gym.
| | 03:04 | I'll go ahead and click Save.
| | 03:06 | Now, I have a new folder name and put
it in a new position alphabetically.
| | 03:10 | Yet, all of a sudden, let's say that I
happen to navigate outside of Lightroom.
| | 03:15 | And I'm going to go ahead and do that.
| | 03:17 | If I right-click that folder, and then
select Show in Finder, what I'm going to
| | 03:21 | see is this particular
folder here on my hard drive.
| | 03:25 | In this case, it's on my Drobo, and
this is where I have all my photos.
| | 03:29 | And let's say that once I get
here and I'm outside of Lightroom,
| | 03:32 | I all of a sudden decide, you know what,
| | 03:35 | I don't like that full name.
| | 03:37 | All I need is the company name for who
the shoot was done for, in this case, FRS.
| | 03:42 | So, I'll go ahead and rename the folder.
| | 03:44 | What's going to happen when I go back
Lightroom, when I go back to Lightroom,
| | 03:48 | it says, hey you know what,
something weird has happening here.
| | 03:53 | And so, there are a couple
of different options here.
| | 03:55 | One of things that I can do is I can
relocate these files, and I can relocate
| | 04:00 | them as we've seen before by
clicking on this question mark icon.
| | 04:04 | So, if I go ahead and click on that, it says,
"hey, we used to be able to find this file.
| | 04:08 | We can't find it anymore, locate it."
| | 04:11 | So, in this particular case, what I'll
do is I'll select that new folder name.
| | 04:16 | I'll make sure to select the correct image.
| | 04:18 | We can see it was frs_04,
showing me right there.
| | 04:22 | I'll select that file and
then go ahead and choose Select.
| | 04:25 | What it's going to do is it's going to
update this to the new folder location.
| | 04:29 | Well I have a problem, right?
| | 04:31 | I now have two folders.
| | 04:32 | I have the correct folder, but I
also have this incorrect folder.
| | 04:36 | Well, how can I get rid of this?
| | 04:39 | A couple of different ways. The
easiest perhaps is to right-click and then
| | 04:43 | simply choose Remove.
| | 04:44 | So, let's go ahead and do that.
| | 04:46 | And that will then remove that there, and now
have the folder simply called frs. All right.
| | 04:51 | I'll go ahead and click on these files,
looks like it just took a second to
| | 04:55 | update those thumbnails,
but now we're good to go.
| | 04:57 | Well, last thing I want to point out
here is that you'll notice that you have
| | 05:00 | these different folders located right here.
| | 05:03 | This is actually kind of interesting.
| | 05:04 | What I can do is I can select another folder.
| | 05:07 | You'll notice that I have general photos.
| | 05:09 | I have all these photos.
1 selected. Which image is selected.
| | 05:12 | What I can actually go through this and
click on this little triangle icon and
| | 05:17 | it's going to show me all of the
recent folders that I've been in.
| | 05:19 | For example, I can go back to that
Santa Barbara Fire folder and then go ahead
| | 05:24 | and activate that and view
the photos inside of that.
| | 05:27 | Or, if I find that there's a folder I
need to go to quite often, like let's say
| | 05:31 | my exercise_files folder, this is one
that I'm going to go to quite often.
| | 05:35 | We'll click on the triangle icon and
then from there say Add to Favorites.
| | 05:39 | I'll go ahead and add that
particular folder to Favorites.
| | 05:41 | So now, if I'm in a new location, to
go back to one of my Favorites we'll
| | 05:46 | click on the triangle icon again and
you'll see the Favorite Sources are located here.
| | 05:50 | And this is new in
Lightroom 3, a great new feature.
| | 05:53 | Here all we have to do is click that
and then it'll take me to my master
| | 05:57 | exercise_files folder.
| | 05:59 | So, keep in mind, if you ever find
yourself traveling to specific folders again
| | 06:03 | and again and again, you may
want to save those as Favorites.
| | 06:06 | What this means for me with my own
photographic library is my Favorites are
| | 06:12 | 2009, 2010, so on and so forth.
| | 06:15 | Or if I have a particular client that I
work for a lot, I'm going to go to that
| | 06:19 | particular folder as well. All right.
| | 06:20 | Well that wraps up our
conversation about folders and files.
| | Collapse this transcript |
| Using dual monitors| 00:00 | You can think of this movie as an
advanced bonus movie and here what we're
| | 00:04 | going to focus in on is how we can work with
two monitors from right inside of Lightroom.
| | 00:09 | Now, if you have the luxury of having
two monitors, I want to assume that you're
| | 00:13 | a bit of an advanced user.
| | 00:14 | Therefore, what I want to do here is
simply introduce the topic of working with
| | 00:18 | two monitors and also share with you
some tips and tricks and shortcuts in order
| | 00:22 | to expedite your overall workflow.
| | 00:24 | Well for starters, how do we
launch our second monitor view here?
| | 00:28 | What you can do is simply click on the
number 2 icon of this monitor here, and
| | 00:32 | you can do that by clicking on
the icon above the filmstrip.
| | 00:35 | That then launches the Secondary
Display window, which is a bit too small.
| | 00:40 | So how can I change that?
| | 00:41 | Well, here's the first tip for you.
| | 00:42 | What you can do is click on this icon
again to close that, then hold down Option
| | 00:46 | on a Mac, Alt on Windows and then when
you click on this, what you'll be able to
| | 00:50 | do is you'll be able to expand
this to this full-screen view.
| | 00:53 | Once it's in this full-screen view, you
can of course simply open and close it,
| | 00:57 | by clicking on the number 2 Icon. All right.
| | 00:59 | Well, now that we're in this full-screen
view, let's take a look at a few other
| | 01:03 | shortcuts that we can use for opening
and closing the secondary display and also
| | 01:08 | for changing its size.
| | 01:10 | These are a few shortcuts
you'll want to write down.
| | 01:12 | Here's the first one, on a Mac, press Command,
on Windows, press Control, then the F11 key.
| | 01:18 | That will open or close your secondary display.
| | 01:21 | Next, if you want to change the size
of this window, add a modifier key,
| | 01:25 | Shift+Command+F11 on Mac, Shift+Ctrl+
F11 on Windows will toggle back and forth
| | 01:32 | between the smaller and also
the full-screen view. All right.
| | 01:35 | Well, so far so good.
| | 01:37 | You can see that we're currently
in the Loupe View mode over here.
| | 01:40 | Well, how can we navigate
between these different modes?
| | 01:42 | Well, you can of course simply click
on the buttons in order to change your view,
| | 01:46 | for example, we could go to that Grid
View mode by simply clicking on the Grid button.
| | 01:50 | But let's say we want to
speed up our workflow even faster.
| | 01:53 | How can we modify these different views or
going to these different areas by way of a shortcut?
| | 01:58 | Well, the shortcuts are really easy
to remember, because they're the same
| | 02:02 | shortcuts that we use in Lightroom,
except with an added modifier key.
| | 02:06 | So to go to the Loupe View mode, you
press the Shift key, then the E key.
| | 02:10 | That takes you to the Loupe.
| | 02:11 | Back to the Grid, press
Shift+G. What about Compare?
| | 02:15 | Well, once again, hold down the Shift
key, then press the C key to go to that
| | 02:18 | Compare View mode, press Shift+N to
go to the Survey mode. All right.
| | 02:22 | Well now that we know how to navigate
between these different modes, let's click
| | 02:26 | on the Loupe View mode for a second.
| | 02:28 | Over here in the Loupe View we have this
really nice big preview of this photograph.
| | 02:32 | You'll notice that we're currently
viewing this in Normal mode. What's Normal?
| | 02:36 | Well, how this works is is as we click
on an image we see it updated over here,
| | 02:40 | in the secondary display.
| | 02:42 | What's the difference
between Normal, Live and Locked?
| | 02:45 | What's interesting is when you select
Live, when you hover over your thumbnails
| | 02:49 | you have this big preview update over
there on the left. And this is true
| | 02:53 | whether you're in the Loupe View, press
the G key or in the Grid View. You can
| | 02:57 | see I have a larger view of those images.
| | 03:00 | Sometimes this can be a nice
way to evaluate your photographs.
| | 03:03 | Here I'll go ahead and click on
an image and then select Locked.
| | 03:07 | What Lock is going to do is it's going
to lock to this particular photograph.
| | 03:11 | So if I make a change either here or down
below, I'm not going to see that change.
| | 03:15 | Now, why would you want to do that?
| | 03:17 | Well, sometimes it's helpful to lock an
image over there on the left, select an
| | 03:21 | image on the right, then press the E key
to go to the Loupe View, and what I can
| | 03:25 | do is I can select images that I want
to compare and here I have this nice
| | 03:29 | side-by-side comparison
from one monitor to another.
| | 03:32 | Now, when it comes to comparing we
can also of course use the Compare mode.
| | 03:36 | Let's take a look at that.
Press Shift+C to enter Compare mode.
| | 03:40 | Now, when we do that, we have the
ability to compare two photos and what's great
| | 03:45 | about this is we can change this, and we
can change this by holding down Command
| | 03:48 | or Control and then clicking on photos
in order to add these to this comparison
| | 03:52 | or remove them, and here we can see we
have two different options, and we can
| | 03:56 | select the image which is best.
| | 03:57 | What about the situations where
you want to look at a lot of images?
| | 04:01 | Well, then press Shift+N. Once you've
entered the Survey mode, what you want
| | 04:05 | to do is hold down Command on a Mac, Control
on Windows, and then click on multiple images.
| | 04:10 | This allows you to add many images to
this overall survey of these photographs.
| | 04:15 | Just to point out, if you go back to
the Grid View in your library by pressing
| | 04:19 | the G key, you can also hold down the
Command key here to add more images or
| | 04:24 | you can hold down the Shift key and
then click and you can add a whole series
| | 04:27 | of photographs to this survey.
| | 04:29 | Now sometimes this can be a nice way
to look at a set of images in order to
| | 04:33 | determine which images are best.
| | 04:35 | Now how can you remove images?
| | 04:37 | Well, once again, hold down Command or
Control and simply click on a photograph
| | 04:42 | either in the Filmstrip or the Grid
View or over here, if you hover over an
| | 04:46 | image, you'll notice that
there's an icon in the bottom corner.
| | 04:49 | You can click on that in order to
remove a photograph from a particular survey
| | 04:53 | and here you can see it's changing
the size of the images dynamically, as I
| | 04:57 | reduce the number of images that
I'm viewing here in survey mode.
| | 05:01 | All right, what about this
last selection, Slideshow?
| | 05:05 | We can of course enter the Slideshow
mode by simply clicking on Slideshow, or
| | 05:09 | another thing that we
can do is press a shortcut.
| | 05:12 | It's a bit of a mouthful, but here it goes.
| | 05:14 | On a Mac, it's Shift+Opt+Command+Return;
| | 05:18 | on Windows, that's Shift+Alt+Ctrl+Enter.
| | 05:21 | This then enters the Slideshow mode.
| | 05:24 | Now upon entering this mode, you'll
notice that it picked up the last settings,
| | 05:27 | which I used the last time I
was in the Slideshow module.
| | 05:31 | In order to play the slideshow, I can
simply click Play and then what you'll
| | 05:34 | see here is that I have a slideshow of
these select photographs on the left,
| | 05:38 | while I have my other
view over here on the right.
| | 05:42 | This can be a great way to show clients
images or perhaps to have your secondary
| | 05:46 | display be a projector.
| | 05:48 | So you can then show a slideshow while
you can work on your files or select that
| | 05:52 | particular files you want to
have over here on the right.
| | 05:55 | It can also be another way just to be
doing two things at once in a sense.
| | 05:59 | Sometimes when we get into
postproduction work, we think about what are the
| | 06:03 | problems here, what do I need to fix?
| | 06:05 | Every once in awhile it's nice just to
run a slideshow and enjoy the photographs
| | 06:09 | from what they are, and to step back
from this critique mode or this editing
| | 06:13 | mode and just say, okay,
hey, this is a nice set.
| | 06:15 | It's nice to think of these without
all these different tools or controls.
| | 06:19 | Whenever you're ready to exit the
slideshow, simply press the Escape key and
| | 06:23 | that will take you out of the slideshow
and back to this particular view. All right.
| | 06:27 | Well as you can see we can do quite a
bit here with this secondary display, just
| | 06:31 | to reiterate, to go over a couple of
the more important shortcuts, to go to the
| | 06:35 | Grid View, it's Shift+G. To go to the
Loupe View, Shift+E, Compare, that one is
| | 06:41 | Shift+C, Survey, Shift+N, and
then the Slideshow, on a Mac it's
| | 06:46 | Shift+Opt+Command+Return, on
Windows, that's Shift+Alt+Ctrl+Enter.
| | 06:51 | And then the last shortcut which I
would like to highlight is the shortcut to
| | 06:55 | open or close the secondary window here.
| | 06:58 | To do that on a Mac, press Command+F11,
on Windows, press Ctrl+F11 and there you
| | 07:03 | can see that you can open or close
the secondary display. All right.
| | 07:07 | Well that wraps up our conversation
about working with dual monitors inside
| | 07:11 | of Lightroom 3.
| | Collapse this transcript |
|
|
6. The Library Module: Working with CatalogsIntroducing catalogs| 00:00 | In the grand scheme of things Lightroom
is actually a pretty young application.
| | 00:04 | It was only introduced just a handful
of years ago, yet one of the reasons that
| | 00:09 | Lightroom has gained so much
popularity, that it is really starting to grow so
| | 00:13 | immensely to the point where it simply
dominates the postproduction context, is
| | 00:18 | because of the Lightroom catalog.
| | 00:20 | Now because of that it's worth asking
the question, what is a Lightroom catalog?
| | 00:25 | If you go ahead and take a look at
your catalog, one of the things that
| | 00:28 | you'll discover is they're simply two
little files here and if we highlight
| | 00:32 | these files, you'll notice that we have
Previews and then also the Catalog file itself.
| | 00:37 | Both of these files together really
make up our overall catalog and essentially
| | 00:42 | this catalog is how Lightroom tracks
the location of files and remembers
| | 00:47 | information about them. It is a database.
| | 00:49 | Now a lot of times when people hear
this word database, they are like, oh no,
| | 00:53 | like, that's kind of a scary word.
| | 00:55 | They're not really sure what to think of it.
| | 00:57 | But let's break this down for size.
Basically what it means is it contains
| | 01:01 | preview info, file location, metadata,
whether descriptive or additive, develop
| | 01:07 | module settings, ratings,
keywords and collections.
| | 01:10 | Now essentially why have catalogs?
| | 01:12 | Well, it gives you Flexibility in
managing, identifying, and organizing
| | 01:17 | photos and media files.
| | 01:19 | Now at this particular juncture,
you may be thinking that's still kind of
| | 01:23 | abstract, and what I want to do is try
and make this concept a little bit more
| | 01:27 | concrete, by way of a comparison.
| | 01:30 | Let's just pretend for a moment that you
sell bikes and let's say that you have
| | 01:34 | a handful of bikes that you need to sell.
| | 01:36 | In order to organize and access these
bikes, you could use a tool like the
| | 01:42 | Adobe Bridge, and the Adobe
Bridge works really well when you have a
| | 01:45 | smaller volume of things.
| | 01:47 | But let's say that all of a
sudden business is booming.
| | 01:50 | I mean you have so many bikes
you can't keep track of them.
| | 01:53 | You have a whole warehouse full of bikes.
| | 01:55 | What are you going to do
in situations like this?
| | 01:56 | In these particular situations,
Lightroom really comes to save the day and what
| | 02:01 | Lightroom does is it analyzes everything,
and it thinks, and it processes, and
| | 02:06 | then it churns out a file that we can
call a catalog, and essentially it's like
| | 02:11 | a normal catalog and what this does is
it organizes everything. It creates a
| | 02:15 | little bit of order in midst the chaos.
| | 02:17 | And this particular catalog file here,
it contains information about something
| | 02:22 | else, about something
tangible like a photograph.
| | 02:25 | In other words, you could flip to page
22 and page 22 would tell you, yes, I
| | 02:30 | have 10 bikes that are blue, five
that are red in these particular sizes.
| | 02:35 | So that if someone came to you and
needed to buy a bike, rather than having to
| | 02:38 | wander around the warehouse of all of
these hard drives digging in different
| | 02:43 | folders and different places, you
have this guide, which organizes all that
| | 02:48 | you have and it gives you the ability
again to access these files really efficiently.
| | 02:52 | Now the catalog isn't just about
efficiency, although that's really important.
| | 02:57 | In other words, you can quickly see
previews, you can quickly process files, you
| | 03:01 | can quickly add metadata. Yes, all of
those things are important, but it's not
| | 03:05 | efficiency for efficiency's sake,
rather it's a tool which helps us to be more
| | 03:11 | efficient so that ultimately we
can be more creative. All right.
| | 03:15 | Well in summary, what is a catalog conceptually?
| | 03:18 | Well, in Lightroom we have a Catalog
file, also a Preview file, but let's
| | 03:23 | just say conceptually this Catalog file and in
that file, we have file name and information.
| | 03:28 | We have metadata that's descriptive
like the file dimensions, the file type,
| | 03:32 | when it was captured.
| | 03:33 | We also have additive metadata, things
that we've added like ratings or labels
| | 03:38 | or flags, and we also have the all
important preview so that we don't always
| | 03:42 | have to re-render the preview.
| | 03:45 | In other words, let's step back for a moment.
| | 03:47 | Let's say that all of a sudden you
lost this catalog and a client came in and
| | 03:51 | said, "hey, I want to buy a bike."
| | 03:52 | You would say, okay, well let's go
wander around the warehouse, and it'll be
| | 03:56 | really tricky and what you would have
to do then is go in the warehouse and
| | 03:59 | recreate the catalog every time you
went back there, because it would be
| | 04:02 | constantly changing.
| | 04:04 | You would constantly lose this document.
| | 04:05 | Well, in Lightroom, you
don't ever lose that document.
| | 04:08 | It stays with you, and there is a
way that it's built-in to back that up.
| | 04:11 | So there's a certainty that you can
always have access and that you can always
| | 04:15 | easily process and work on your photographs.
| | 04:18 | So why have a catalog?
| | 04:19 | Well, not only does it help you to
become more effective and efficient,
| | 04:23 | ultimately it helps you
create more compelling photographs.
| | Collapse this transcript |
| Working with catalogs| 00:00 | Because catalogs are such a
significant part of Lightroom,
| | 00:04 | it obviously makes sense to spend a few
minutes to learn how to work with catalogs.
| | 00:08 | What we're going to do first here is
press the F key multiple times to toggle
| | 00:12 | through the different fullscreen view modes.
| | 00:14 | Now, when we do that, we can go to the
view where we can see our current catalog.
| | 00:18 | In my case, this is a catalog that I created.
| | 00:21 | I named it Lightroom 3 - Essentials.
| | 00:23 | Now how then do we create a new
catalog, let's say a different catalog?
| | 00:28 | What we're going to do here is
navigate to our File pulldown menu and then
| | 00:32 | choose New Catalog, and this will give
us the option to save this catalog to a
| | 00:36 | particular location. And currently I'm
in a Pictures folder and here you can
| | 00:41 | see my other catalogs.
| | 00:42 | So what I want to do is I want to create a
new catalog, let's say, based on a subject.
| | 00:47 | I know that I'm going to be doing a
particular shoot for a client, so I'm
| | 00:50 | going to go ahead and put the
client name in here, in order to name the
| | 00:53 | catalog based on that.
| | 00:55 | Next what I'm going to do
is go ahead and click Create.
| | 00:58 | Now what will happen is it will close
Lightroom and then reopen it with this new catalog.
| | 01:04 | Now you can think of this closing and
opening almost as if a catalog is like a book
| | 01:09 | or like a physical catalog that has
bikes in it right, like we were talking
| | 01:13 | about in the last movie, and then it's
physically closing one book, setting it
| | 01:16 | aside and then opening up another one.
| | 01:19 | And here you can see that I'm
currently working in Trek.lrcat.
| | 01:24 | In this particular catalog file, if I
want to go ahead and examine it, what I
| | 01:27 | could do is I could navigate to my Finder,
and I'm going to open up my Pictures folder.
| | 01:32 | Now inside of my Pictures folder, you
can see that I have a couple of different
| | 01:35 | catalogs here and this is the
current catalog file that I'm in.
| | 01:39 | Now there isn't any information inside of
this because I haven't imported any files.
| | 01:44 | In comparison with the catalog for this
training title, here you can see there's
| | 01:48 | quite a bit of information, a lot of
previews there, and then also all of the
| | 01:52 | essential information in this catalog file here.
| | 01:55 | What about changing back
to the previous catalog?
| | 01:58 | Let's say we've completed our
work here. How do we get back?
| | 02:01 | What you can do is navigate back to
Lightroom and then click on the File
| | 02:05 | pulldown menu and choose Open Recent,
and here what I'm going to do is go ahead
| | 02:10 | and click on the Lightroom
3 - Essentials catalog file.
| | 02:14 | This will then say, hey, you're going
to relaunch Lightroom with this catalog,
| | 02:18 | and that's no big deal.
| | 02:19 | That happens every time.
| | 02:21 | So what I recommend you do is
click on this option, Don't show again.
| | 02:24 | You don't need to see this warning
dialog. Just relaunch it, close one, open
| | 02:28 | another, no big deal.
| | 02:30 | You can be off and running. All right.
| | 02:31 | Well it brought me right exactly back to
where I was previously which is really nice.
| | 02:37 | What are some different situations where
you might want to have multiple catalogs?
| | 02:41 | In Lightroom 2 there were a number of
different scenarios where it made sense to
| | 02:44 | have multiple catalogs, because if you
had a lot of files in one catalog,
| | 02:48 | its performance would start to lag.
| | 02:50 | Well, fortunately for us, the way
that catalogs work in Lightroom 3 has
| | 02:54 | completely changed. I mean it can handle
so many more photos, it's ridiculous.
| | 02:59 | So one of the things I think
you'll discover is that there won't be a
| | 03:01 | performance issue in regards to needing
to have multiple catalogs. Rather there
| | 03:06 | may be a few situations where you want
to create a catalog, perhaps based on a
| | 03:10 | particular photo shoot in order to just
to kind of organize those photos in that
| | 03:13 | particular way, just for your own
preference, versus the need for performance.
| | Collapse this transcript |
| Exporting catalogs| 00:00 | There may be times when you'll find
it advantageous to export a set of
| | 00:04 | photographs as a catalog and here are
the set of photographs. These were captured
| | 00:08 | of a particular family down at the
beach and what I want to do is I want to
| | 00:12 | select all of these images and I want
to export them out as a catalog, because
| | 00:16 | let's say I'm going to send them to a
colleague or a friend or a client who
| | 00:20 | then wants to be able to open up that
catalog and access all of the different
| | 00:24 | things that I've done in
Lightroom with those images.
| | 00:26 | Well, all that we need to do is to
select one image. Press Command+A on a Mac,
| | 00:30 | Ctrl+A on a PC, in order
to select all the photos.
| | 00:35 | Next step is going to be to navigate to
this File pulldown menu and here we're
| | 00:39 | going to go ahead and choose Export as Catalog.
| | 00:42 | That will then open up this Export dialog.
| | 00:45 | Now what I want to do is I want
to save this to the Desktop here.
| | 00:48 | I'm going to go ahead and name this family.
| | 00:50 | I'm going to include the photos,
also the previews, and then go ahead and
| | 00:54 | click Export Catalog.
| | 00:57 | It's a really simple process as you can see.
| | 00:59 | Well, once it's gone through all of that,
how would I then open that catalog or
| | 01:04 | access that as a catalog?
| | 01:06 | Well, we already know how to do that, right?
| | 01:07 | You simply navigate to the File pulldown menu.
| | 01:10 | Here you choose Open Catalog. In this
particular case we'll go to our Desktop.
| | 01:14 | We'll go to that family catalog.
| | 01:16 | We're looking for the lrcat
file, and we'll click Open.
| | 01:20 | This will then close our current catalog,
open up Lightroom with this new catalog.
| | 01:25 | It's going to bring in the overall
folder structure that we created before.
| | 01:28 | Here you can see the files
and folder structure there.
| | 01:31 | It's going to contain all of the
Metadata that we've added, any collections that
| | 01:34 | we've created, any Develop module settings.
| | 01:37 | As you can see, inside of this new
catalog, you have access to everything that
| | 01:41 | you've done previously
with all these photographs.
| | Collapse this transcript |
| Updating legacy catalogs| 00:00 | With the advent of the release of
Lightroom 3, one of my big questions was, what
| | 00:05 | about all of my Lightroom 2 catalogs?
| | 00:07 | Will I be able to use
those inside of Lightroom 3?
| | 00:10 | And the good news is that, yes,
you'll definitely be able to use those.
| | 00:14 | You simply have to go through a
process of upgrading the catalogs and
| | 00:17 | fortunately, the process is really easy.
| | 00:20 | So here you can see I'm in
Lightroom 2 and I have this catalog, which
| | 00:24 | contains two photographs.
| | 00:26 | That's two photographs of world
champion surfer Shaun Tomson. He's someone I
| | 00:30 | admire really deeply. And let's say
that I've decided, you know what,
| | 00:33 | I'm done with Lightroom 2.
| | 00:34 | I'm making the switch.
I'm going to Lightroom 3.
| | 00:37 | What I'd want to do would be to close
Lightroom 2 and I'll do that by pressing
| | 00:41 | Command+Q on a Mac, and that's a
shortcut for quitting an application.
| | 00:45 | Well, let's go ahead and
take a look at this catalog.
| | 00:48 | On my desktop you can see that I
have a folder called LR2 catalog.
| | 00:52 | Here's the catalog I was just
working on with two images inside of it.
| | 00:55 | Well, the photos are located in this
folder here and typically you have your
| | 01:00 | catalog and your images
saved in different locations.
| | 01:04 | So here are two photos of Shaun Tomson.
Now we can see the preview there. All right.
| | 01:08 | Well let's go ahead and
make our way back to Lightroom.
| | 01:12 | All right, back in Lightroom now,
what we actually want to do is we want to
| | 01:15 | navigate to our File pulldown menu
and choose Open Catalog, or we can use
| | 01:21 | this shortcut. On a Mac, Shift+Command+O, on
a PC, Shift+Ctrl+O to open up that catalog.
| | 01:27 | We'll select the catalog from the Desktop.
| | 01:30 | Remember we're selecting
the Lightroom 2 catalog.
| | 01:33 | Click Open and it gives us this great message.
| | 01:35 | It says, you know what, it's
going to create a new catalog file.
| | 01:38 | In other words, it's not going
to overwrite your old catalog.
| | 01:42 | That one will still be there, so
you can still access it if needed.
| | 01:45 | But it is going to generate some new
previews, put them in a new location and
| | 01:49 | convert everything for Lightroom 3.
| | 01:51 | So typically what you want to do is
choose a new destination for this.
| | 01:55 | So I'm going to go ahead and change
this and what I'll do in my case is I'm on
| | 01:59 | Desktop and I'm just going to name this
LR3 up top and then I'll click Create.
| | 02:05 | And once I've done that, I'll
click on the Upgrade button.
| | 02:08 | This will go through the process of
upgrading this particular catalog and then
| | 02:12 | reopen Lightroom with this catalog accessible.
| | 02:16 | Now here you can see I have these
photographs and I have all of the metadata
| | 02:19 | information, develop settings,
collections, etcetera, everything I've done
| | 02:23 | before I can now continue to do in Lightroom 3.
| | 02:26 | Now there's one thing that I want to
point out here in regards to this process,
| | 02:30 | and that has to do with
where it stores the photos.
| | 02:33 | Now you're going to notice here in this
new folder that we have our new catalog file.
| | 02:38 | Well it didn't touch the location
of the photos. And that's great news,
| | 02:43 | because what it's doing here is it
is assuming that you already have your
| | 02:47 | photos in a great location.
| | 02:49 | We're not going to touch those.
| | 02:51 | Rather, what we are going to do is
just be able to recognize those and access
| | 02:55 | those and create a catalog that has
continuity with the past, but also helps us
| | 02:59 | move forward into the future.
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| The relationship between the raw and DNG catalogs| 00:00 | In order to understand how to fully
work with catalogs, what we're going to do
| | 00:04 | is we're going to dig a little bit
deeper in this topic of working with RAW
| | 00:07 | files or DNG files in the Lightroom catalog.
| | 00:10 | Now, this is going to be
a little bit complicated.
| | 00:12 | So, you're going to hold on your hats
and glasses for this one, because we're
| | 00:16 | going to really dig into this topic.
| | 00:18 | Here, what I'm going to do is take two movies.
| | 00:20 | The first movie we're going to
conceptually talk about the idea of the RAW
| | 00:24 | workflow and DNG workflow and catalogs.
| | 00:27 | And then in the second movie,
I'll actually show you how it works.
| | 00:31 | So, the first movie is a
little bit more conceptual.
| | 00:33 | And where we want to begin is
just with regular RAW processing.
| | 00:37 | We have a RAW file.
| | 00:38 | We open it up in Photoshop, which
then opens the file in Adobe Camera Raw.
| | 00:42 | And in that context, what actually happens
is we have what's called the sidecar XMP file.
| | 00:49 | And the sidecar XMP file is just a
text file, and it contains some really
| | 00:53 | interesting information.
| | 00:54 | In other words, it'll say this image
should have this amount of contrast.
| | 00:58 | And it'll then apply that contrast to the image.
| | 01:01 | In other words, when you RAW
process images, it's nondestructive.
| | 01:05 | You're not affecting pixels.
| | 01:07 | Rather you're changing the
text in the sidecar file.
| | 01:10 | And that's really how that
typical RAW workflow works.
| | 01:14 | So how does this work inside of Lightroom?
| | 01:16 | Well, by default, Lightroom saves all of
this information inside of its main catalog.
| | 01:21 | There's no need for an XMP file.
| | 01:23 | Yet some people may discover that
they'd prefer to have their settings saved to
| | 01:28 | this little text file, this little XMP file.
| | 01:31 | So of course, there's a way to do
this, either by preference or manually.
| | 01:35 | And here we can see a couple of screen
grabs, where you can either turn on this
| | 01:38 | option to automatically write your
changes into XMP, or again to manually
| | 01:43 | file-by-file, you can choose this to
save the metadata to file. All right.
| | 01:47 | Well that's how it works with RAW images.
| | 01:50 | What about the DNG format?
| | 01:52 | Well, the DNG format is kind of interesting.
| | 01:55 | By default, there are no XMP files.
| | 01:58 | So, what happens again is by default,
any settings you apply, like let's say a
| | 02:02 | black-and-white conversion,
| | 02:04 | well, that is all saved inside
of the catalog. Okay, well great!
| | 02:08 | Well that works really well inside of Lightroom.
| | 02:10 | Yet of course, there's another option.
| | 02:12 | It's a similar option to working with RAW files.
| | 02:15 | And here what we can do again is turn
on that same preference to automatically
| | 02:18 | write the changes into the XMP.
| | 02:21 | In the DNG format, the XMP is
actually inside of this file.
| | 02:24 | So again there's no sidecar file, but
it's writing the change to the file itself.
| | 02:29 | Or you can do this manually, image-
by-image, either one image at a time
| | 02:33 | or multiple images.
| | 02:35 | You can select this option to
update your DNG preview & metadata.
| | 02:39 | Now at this juncture, if you're like me,
you're probably thinking, okay this
| | 02:43 | is a little bit clear.
| | 02:44 | I'm getting this concept
that with DNG or RAW files.
| | 02:47 | You can either save your settings to a
catalog, or you can save them to XMP or
| | 02:52 | write to the DNG file.
| | 02:53 | Yet I need to see a little bit more.
| | 02:55 | I need to see a hands-on perspective in
regards to how this actually works in
| | 02:59 | order to fully understand this concept.
| | 03:02 | So, let's go ahead and take a look at
how this works inside of Lightroom and
| | 03:06 | let's do that in the next movie.
| | Collapse this transcript |
| Working with raw files in Lightroom| 00:00 | In the previous movie, I introduced
this concept of how we can work with RAW
| | 00:04 | or DNG files and how these images are
changed by a way of working on different
| | 00:08 | settings, and then where those settings are
changed, whether in a catalog or with the file.
| | 00:13 | Well, here let's take a little bit more
of a practical look, and let's start off
| | 00:17 | with working with RAW files.
| | 00:18 | So, I have this RAW file that came
directly from a camera, and it's of
| | 00:21 | my daughter Sophia.
| | 00:23 | Now, one of the things that we can
do is make a change in Lightroom.
| | 00:26 | So, I'll go ahead and press the R key,
and I am going to crop this image.
| | 00:30 | I'm going to make a pretty significant
crop change there, and let me go in even
| | 00:33 | tighter just so we can really see this.
| | 00:35 | And then I'll double-click to apply.
| | 00:37 | I'm going to increase my Color
Temperature a little bit, a little bit of Fill
| | 00:40 | Light, little bit of Contrast.
| | 00:41 | So definitely made some kind of
significant change to the photograph, right?
| | 00:45 | Well, where have those changes have been saved?
| | 00:48 | Well remember, by default the changes
are being saved to the Lightroom catalog.
| | 00:54 | So in other words, if I were to right
-click this image and choose Show in
| | 00:57 | Finder, what I would see
is that I have the image.
| | 01:00 | I have the sidecar file but none of
the changes are made inside of this file.
| | 01:05 | In other words, if I were to double-
click the file here, it would open it up
| | 01:08 | inside of Adobe Camera Raw,
without the crop, right?
| | 01:11 | You can see the image hasn't been cropped.
| | 01:13 | You can also see that it hasn't been
warmed up, or any of the other settings
| | 01:17 | I've applied are not part of this file.
| | 01:20 | Rather, all of those settings are
inside of the Lightroom catalog. All right.
| | 01:25 | Well let's cancel out of here and
go back to Lightroom for a moment.
| | 01:28 | And how can we then change that?
| | 01:30 | Well one of the things that we
could do is let's make yet an even more
| | 01:33 | significant change.
| | 01:34 | Let's convert to black-and-white.
| | 01:35 | Let's do something that we can really see here.
| | 01:38 | We can go to our catalog settings.
| | 01:40 | On the Mac, you go to Lightroom and
choose Catalog Settings. On a PC that's
| | 01:45 | under the Edit menu.
| | 01:46 | In Catalog Settings, we're
going to choose Metadata.
| | 01:49 | Now, one of the options that we have is
to Automatically write changes into XMP.
| | 01:54 | If I click on this option, what's going
to happen then is this particular file,
| | 01:59 | any of the changes that I make, will
actually go to that sidecar XMP file, will
| | 02:04 | travel with this file.
| | 02:06 | The change will be a little bit more local.
| | 02:08 | In other words, rather than having the
change inside of Lightroom catalog,
| | 02:12 | the change is now in a sidecar file.
| | 02:14 | So, we can either turn on that
preference which would mean, every time we make
| | 02:18 | adjustments to a RAW file, here is another one.
| | 02:21 | If I made an adjustment here,
it would save it to a sidecar file.
| | 02:25 | Or let's say then, rather than doing
this globally, what we can do is go back to
| | 02:30 | Catalog Settings, turn this off, and
let's say we want to do this just to a
| | 02:34 | single image, or for that
matter, to a group of images.
| | 02:38 | We could make a selection, whatever the case.
| | 02:40 | In those situations, what we can do then
is we can go to our Photo pulldown menu
| | 02:45 | and here we can select Save Metadata to
Files and this will then manually save
| | 02:50 | this data to the sidecar XMP files.
| | 02:53 | So, for example, if I were to select one
of these images and then right-click or
| | 02:57 | Ctrl+Click and choose Show in Finder,
what I would see as if I were to
| | 03:01 | double-click this image now, it would
open it up inside of Camera Raw with
| | 03:06 | whatever settings I've applied. All right.
| | 03:08 | Well let's quickly jump back to Lightroom.
| | 03:10 | So again to reiterate, we have two options.
| | 03:13 | We can either turn on one option so
that this happens all the time, and that's
| | 03:17 | the option where we're going to go to
our Catalog Settings, and in our Catalog
| | 03:21 | Settings, turn on this
Automatically write changes to XMP.
| | 03:25 | So again, that would happened globally
with every RAW image that we work on, or
| | 03:30 | if we prefer another technique, which
is a little bit more manual, a little bit
| | 03:34 | more image-by-image or group of images
by group of images, in those cases what
| | 03:40 | we're going to do is navigate to our
Photo pulldown menu and here we're going
| | 03:43 | to select Save Metadata to File. All right.
| | 03:45 | Well now that we've seen how this works
with RAW files, what about the DNG format?
| | 03:50 | Let's take a look at that one in the next movie.
| | Collapse this transcript |
| Working with DNG files in Lightroom| 00:00 | By default, when we're working with the
DNG format, we don't have sidecar files.
| | 00:04 | In other words, if we make a change
like we desaturate here, increase our
| | 00:08 | Exposure, Fill Light, and
maybe add a little bit of Contrast,
| | 00:12 | well, if we then go and look at the actual
file, we'll see that there's just one file.
| | 00:16 | Let's do that.
| | 00:18 | Right-click the file and choose Show in
Finder and here you're going to see that
| | 00:22 | we just have the DNG file.
| | 00:24 | What's going to happen if we double-click it?
| | 00:26 | Well, if we double-click this file,
it'll open it up in Adobe Camera Raw, but
| | 00:30 | without any of the settings. Why is that?
| | 00:33 | Well again, by default all the settings
are saved to the Lightroom catalog and
| | 00:38 | that's a good thing because it
keeps things really organized.
| | 00:41 | Yet, let's say that we decide to drag this
DNG file somewhere else outside of Lightroom.
| | 00:46 | And we do this "behind Lightroom's back".
| | 00:48 | Well, in that case, we're not going
to have any of the work that we've done
| | 00:52 | inside of Lightroom with this file.
| | 00:55 | So in those scenarios, if we want to
have those changes embedded into that DNG file,
| | 00:59 | what we need to do is
navigate back to Lightroom.
| | 01:03 | And we have two options, very similar
options to what we saw with Camera Raw.
| | 01:07 | We can either go to our Catalog Settings.
On a Mac, that's Lightroom > Catalog Settings.
| | 01:12 | On a PC that's Edit > Catalog
Settings. And in the Metadata tab here,
| | 01:17 | we can choose to
Automatically write changes into XMP.
| | 01:21 | Now, this is a little bit misleading, because
some people say, "well, DNG doesn't have XMP.
| | 01:26 | So what's going to happen?"
| | 01:28 | In reality, what it is is the XMP
file is inside of that DNG file format.
| | 01:33 | I like to think of DNG format as a
Tupperware container. Inside of that it contains
| | 01:38 | all of these other little things.
| | 01:39 | So rather than having multiple parts,
just wraps everything up into a nice
| | 01:44 | little tight container.
| | 01:45 | So, it'll automatically write the
change to the file. So we can either turn on
| | 01:49 | that preference and what that would
do is apply this to every DNG file that
| | 01:54 | we've worked on in Lightroom, or if we
didn't want this to be a global change,
| | 01:59 | we could then just go to one particular file,
or for that matter, a group of files.
| | 02:04 | And let's do a couple of files
just to illustrate this here.
| | 02:07 | I'll select another DNG file here, and I'm
going to convert this one to black and white.
| | 02:12 | And so now that I've two of these files
selected, again one or more, I'm going
| | 02:16 | to go to the Photo pulldown menu and
here what I'm going to do is say Update
| | 02:20 | DNG Previews & Metadata.
| | 02:22 | Now, this is the equivalent to what
we've did to our Camera RAW files, except in
| | 02:27 | Camera Raw you choose to Save Metadata to Files.
| | 02:30 | Here, we're going for DNG, so we
say Update DNG Previews & Metadata.
| | 02:35 | That will give us a little bit of a
progress up here, telling us that it is doing that.
| | 02:39 | And once we've done that, we can go
back to our Finder window and now here we
| | 02:44 | have those two files that we've worked on.
| | 02:46 | If we double-click either of those two
files, what we're going to see is that in
| | 02:49 | Camera Raw, all of the settings that
we've applied in Lightroom are now embedded
| | 02:54 | or integrated or part of the actual file.
| | 02:57 | Let's cancel out of this one and just
to make sure, to confirm, we'll go to a
| | 03:01 | other file here, double-click that one
as well, and we'll see the same thing.
| | 03:06 | So, what's the big deal with all of
these and why are we digging into this
| | 03:09 | overall topic of how this actually works?
| | 03:11 | Well one of the things that I'm trying
to reiterate, going back to our slide, is
| | 03:16 | that what we want to do is just have
a good knowledge of how this works.
| | 03:19 | So, again to reiterate, RAW files by
default all the adjustments are saved to
| | 03:23 | the catalog, although you can
manually choose to have them save to the XMP
| | 03:28 | sidecar file either by way of a
catalog setting preference or by manually
| | 03:33 | choosing this option.
| | 03:34 | And the reason this is important is
so that if we move our files outside of
| | 03:38 | Lightroom, we just know what's happening,
and so that we don't lose any of the
| | 03:42 | adjustments that we've made.
| | 03:44 | If we do intend to say grab a group of
RAW files on a hard drive or a group of
| | 03:49 | DNG files on a hard drive, and then
just duplicate them, thinking that we've
| | 03:53 | saved all of our Lightroom work.
| | 03:55 | We'll, in those cases,
| | 03:56 | we won't have saved that work.
| | 03:57 | We'd need to have exported it to either
the sidecar files or in the DNG format.
| | 04:02 | We'd have needed to update the DNG
preview or automatically write the changes to
| | 04:07 | the DNG file itself.
| | 04:09 | You may be thinking, okay, well this is
interesting and it's helping me out a
| | 04:11 | little bit, but then why
choose one option versus another?
| | 04:15 | Why not just always write the changes to
the XMP or to the DNG file because that
| | 04:20 | seems like it makes a little bit more sense?
| | 04:23 | Well, while it does make a little bit
more sense because that file then contains
| | 04:27 | those changes so to speak,
| | 04:29 | the downside is time, its speed.
| | 04:31 | It's a little bit more of a slower
workflow because it's always writing to the
| | 04:35 | file rather than writing to this main catalog.
| | 04:39 | One of the reasons why Lightroom is so
fast is because everything is contained
| | 04:43 | inside of the catalog.
| | 04:44 | It's lightening fast, right, because
it's not always writing to the file,
| | 04:48 | exporting things, and you notice that
as I save the files or updated the DNG
| | 04:52 | preview and metadata, what happen is
that it took a little bit of time and that
| | 04:56 | was just with a couple of images.
| | 04:58 | So, again it comes down to a question of speed.
| | 05:02 | So what then do I recommend?
| | 05:03 | Well, in my own context, or my own
workflow, I save everything to the catalog.
| | 05:08 | And then, if I want to move a RAW
file or a DNG file, if I want to take
| | 05:12 | something out of Lightroom, I just
do that by the way of an export and it's
| | 05:16 | actually a really simple process.
| | 05:18 | So in another words, I can work really
quickly in Lightroom and then if I need
| | 05:22 | to export a file as a original file or
as a DNG file, in other words, save all
| | 05:28 | the settings that I've applied,
I just so that with the Export dialog.
| | 05:32 | We'll talk about the Export dialog later.
| | 05:34 | And then, yeah, sure, there's a little
bit of wait time but it's a wait time
| | 05:37 | that happens all at once.
| | 05:39 | I click Export, I walk away,
I come back, and it's done.
| | 05:42 | Finally, in conclusion here, as you
can see, this topic is a little bit
| | 05:46 | confusing, but my hope is that these
last few movies have helped make this a
| | 05:50 | little bit more clear so that you can
make the appropriate decisions for your
| | 05:54 | own workflow as you start to work with
RAW files and DNG files and also as you
| | 05:59 | start to see how that connects and
relates to your overall Lightroom catalog.
| | Collapse this transcript |
| Creative tip: Using the right gear| 00:01 | Welcome to another creative photographic tip.
| | 00:04 | Here I want to talk a little bit about gear.
| | 00:07 | You know whether you are a
woodworker or a musician or an artist or a
| | 00:11 | photographer, you have an interesting
relationship with your gear because you rely on it.
| | 00:16 | You can't do what you do without gear.
| | 00:19 | Therefore it's worth taking a
couple of minutes thinking about our
| | 00:22 | relationship with our gear.
| | 00:23 | You know, for me early in my
photographic career, I had this experience which
| | 00:28 | shaped how I think about my gear.
| | 00:30 | I was listening to a prize-winning photographer.
| | 00:33 | She was voted as the
Photojournalist of the Year.
| | 00:36 | She worked for the LA Times.
| | 00:38 | And she was sharing some images
she captured in the Middle East.
| | 00:41 | And she said at one point, there was
a little bit of a sketchy situation.
| | 00:44 | She was in one area.
| | 00:45 | She had to run from one spot to another,
and it was pretty dangerous, pretty dicey.
| | 00:49 | Well, as she was running,
she dropped her prized zoom lens.
| | 00:53 | It fell on the ground and
literally broke in two pieces.
| | 00:57 | Now without missing a beat, she picked
up both pieces, ran back to a corner, put
| | 01:02 | the pieces together, duct tape them together.
| | 01:04 | Put them on her camera.
| | 01:05 | She noticed that autofocus didn't work but
manual focus did, and she kept on shooting.
| | 01:11 | Now what's fascinating to me about that
is it she showed these images that she
| | 01:15 | captured with this broken lens.
| | 01:18 | They were heart-wrenching, stunning
and beautiful all at the same time.
| | 01:23 | And what this experience taught me was
that you know what, whatever gear you have,
| | 01:27 | it's good enough.
| | 01:29 | You know as a photographer,
gear is really important.
| | 01:31 | You need to know a lot about your gear.
| | 01:33 | You need to dig into gear.
| | 01:34 | You need to read about your gear online and
ask other photographers about what gear is best.
| | 01:39 | But here's what else you need to do.
| | 01:41 | Get into your gear, but also get over it.
| | 01:45 | And remember that whatever
gear you have, it's good enough.
| | Collapse this transcript |
|
|
7. The Library Module: Processing ImagesUsing Quick Develop in the Library module| 00:00 | For the most part, we'll do a lot of our
organizational work in the Library module.
| | 00:04 | Now that been said, the Library module
is equipped with a pretty powerful panel.
| | 00:09 | It's titled Quick Develop, and
it's over here on the right-hand side.
| | 00:13 | One of the things that you'll notice
when you open up this panel is that
| | 00:16 | everything is really compact.
| | 00:18 | There aren't a lot of controls here.
| | 00:20 | Even in regards to the presets,
you're just seeing the Saved Preset,
| | 00:23 | some default settings.
| | 00:24 | You can click to access a few others.
| | 00:27 | But are there any other presets? Well, sure.
| | 00:29 | You just have to expand this
to see a few other options here.
| | 00:32 | You see that there indeed are
some other options. All right.
| | 00:34 | Well let's start at the top.
| | 00:36 | What about these presets?
| | 00:38 | Well, one of the things that you can do
is you can choose a preset just to see
| | 00:41 | if a particular photograph
will look good treated one way.
| | 00:44 | Let's scroll through these photos first.
| | 00:47 | As I go through these photos, you're going
to notice that they're all a little bit flat.
| | 00:50 | And the reason is is because
they all were captured on an iPhone.
| | 00:54 | Let's say that we want to either treat
these images a little bit differently or
| | 00:57 | make them snap, kind of
come to life a little bit.
| | 00:59 | What are some other options?
| | 01:01 | Well, we can tap into these presets,
which are all Develop module presets.
| | 01:06 | And we can try different ideas on for size.
| | 01:08 | For example, we could try Black
-and-White with Low Contrast.
| | 01:11 | Now that's kind of an interesting
treatment, but perhaps we don't like it.
| | 01:14 | We could also try something
like an Antique Grayscale.
| | 01:18 | Now a lot of times what this will do for
you is it will just help you experiment
| | 01:21 | with different ideas.
| | 01:22 | Now let's say that what I really
want to do is just increase the overall
| | 01:26 | contrast a bit in order to make
this look a little bit more lively.
| | 01:30 | Well, I'll go ahead and reset
this to the Default Settings there.
| | 01:33 | And then add that Tone Curve
setting so that preview is updated.
| | 01:36 | Here is our before, and then
here is our after. Okay, great!
| | 01:40 | Well, so far so good, except one of
the problems with this particular file is
| | 01:45 | that I'm interested in warming it up a
little bit and increasing its exposure as well.
| | 01:49 | Well, with these Temperature sliders
what I can do is I can click to the right
| | 01:54 | in order to warm this up.
| | 01:55 | Now if click on the double-arrow icon,
it's going to move a little bit more quickly.
| | 02:00 | And if I click on the single-
arrow icon, it's going to move in
| | 02:02 | smaller increments here.
| | 02:04 | I can also increase the Exposure, increase
my Blacks, increase the Contrast and Clarity.
| | 02:10 | And I'm going to go ahead and just
click on a few of these sliders until
| | 02:12 | visually I'm seeing something that I think
is a little bit more appealing. All right.
| | 02:16 | Well, as you can see this photograph
is indeed looking a little bit better.
| | 02:20 | Let's compare it with one of the other images.
| | 02:22 | This one again feels a little bit flat.
| | 02:24 | This one feels a little bit
more vibrant and alive. All right.
| | 02:26 | Well let's say that I
really like these settings.
| | 02:30 | How could I then apply all of these
settings to the rest of the photographs?
| | 02:34 | Let's take a look at that in the next movie.
| | Collapse this transcript |
| Synchronizing processing settings across multiple images| 00:00 | Now that one of the images has
been processed in a way that it looks
| | 00:03 | somewhat interesting, what I want
to do is I want to synchronize these
| | 00:06 | settings across multiple files.
| | 00:09 | So there are a couple of
different things that I can do here.
| | 00:11 | One technique that you can use is
you can select one image, hold down the
| | 00:15 | Command Key on a Mac, Ctrl key
on a PC and click on another.
| | 00:19 | Now in that particular case, if you go
ahead and flip on the switch for Auto Sync,
| | 00:22 | which is new to Lightroom 3,
you can then make an adjustment.
| | 00:26 | For example, I'm going to change the
Treatment of the color to Black & White.
| | 00:31 | Now here you're going to see that both
of these images have been updated or, for
| | 00:35 | example, I'm going to go
ahead and increase the Exposure.
| | 00:37 | You're going to see that incrementally
each of these images have been adjusted.
| | 00:42 | Now one of the things that happen
when you make adjustments here is that
| | 00:45 | they're all incremental.
| | 00:47 | Rather than making all of the
adjustments exactly the same, it takes a look at
| | 00:51 | where the file was and
increases it from that point.
| | 00:55 | That's why this image is brighter
than this image over here. All right.
| | 00:59 | Well, that's kind of interesting and
kind of helpful in certain situations where
| | 01:03 | you want incremental change.
| | 01:05 | But in my case what I
really want is global change.
| | 01:09 | I want all of the images to look the same.
| | 01:11 | So I'm going to press Command+Z on a
Mac, Ctrl+Z on a PC, and that will undo
| | 01:16 | these different steps that I have
applied here, so that I can go back to where I
| | 01:19 | just had this nice
treatment here on the first image.
| | 01:22 | So another technique that I could use
would be to select one image, hold down
| | 01:27 | the Shift key, select another image.
| | 01:29 | In this case, I'm selecting contiguous
files, and then I'm going to go ahead and
| | 01:33 | click on Sync Settings.
| | 01:35 | This will open up the
Synchronize Settings dialog.
| | 01:38 | Now here it's saying what do you want
to synchronize, what type of adjustments?
| | 01:42 | In this case, I can leave everything turned on.
| | 01:45 | So I'll Check All and then
go ahead and Synchronize.
| | 01:48 | Now what it's going to do then as I
scroll through these images is process all
| | 01:52 | these images in the same exact way. All right.
| | 01:55 | Well, now that they're at the same
particular setting, I can then tap into Auto
| | 01:59 | Sync a little bit more effectively.
| | 02:01 | In other words, if I go ahead now and
increase the Contrast what we're going to
| | 02:05 | see is that it's going to make an
incremental change but it's going to make it
| | 02:09 | the same across the board. Or let's do
something a little bit more visual so you
| | 02:13 | can actually see it.
| | 02:14 | When I convert to black-and-white and
then scroll through the images, they're all
| | 02:17 | going to have that same exact look. All right.
| | 02:19 | Well let's undo that and go
back to the color photographs.
| | 02:22 | Well, one of the things that you may
have noticed is that we have a limited
| | 02:26 | number of controls here.
| | 02:27 | Well, you can access a few more
controls by holding down the Option key on a
| | 02:32 | Mac, the Alt key on a PC.
| | 02:34 | What it does is it
changes Clarity into Sharpening.
| | 02:38 | So then if you hold down the Option
key on a Mac, Alt key on a PC and then
| | 02:41 | increase the Sharpening amount, if
you let go and click, it will increase
| | 02:45 | the overall Clarity.
| | 02:47 | Now same thing is true with
Vibrance and also of course Saturation.
| | 02:50 | So I'll go ahead and just increase
that a little bit as well. All right.
| | 02:53 | Well now these images are really come
into life. Let's scroll through them.
| | 02:57 | We can see that they're much
different than when they started.
| | 02:59 | So one of the things that you're
discovering here is that the Quick Develop
| | 03:02 | panel is actually quite powerful.
Yet that being said, it's so limited compared
| | 03:08 | to what we can do in the Develop module.
| | 03:10 | So for the most part, you're going to
spend most of your time doing creative
| | 03:14 | things inside of the Develop module.
| | 03:16 | The one time where at least I find
Quick Develop helpful is when I need to make
| | 03:20 | small incremental changes across multiple files.
| | 03:23 | Nonetheless, it's helpful to
know how Quick Develop works.
| | 03:26 | Yet for the most part, I recommend
you do most of your creative work inside
| | 03:30 | of the Develop module.
| | Collapse this transcript |
| Making incremental adjustments| 00:00 | I've previously mentioned this idea
that Quick Develop makes incremental
| | 00:03 | changes and that sometimes in certain
situations these types of incremental
| | 00:08 | changes can really be helpful.
| | 00:10 | Let's dig a little bit into that concept.
| | 00:12 | Well, currently I have this photograph,
and if I go ahead and navigate to my
| | 00:15 | Exposure controls here, if I click on this
option, it will increase this a third of a stop.
| | 00:20 | If I click on the two-arrow option,
it's going to increase it a full stop.
| | 00:24 | Let's go ahead and reset that for a moment.
| | 00:26 | But let's say that I print this photograph out
| | 00:28 | and I realize that the calibration
of my monitor was off or something was
| | 00:31 | happening whereas the image
was printing really, really dark.
| | 00:34 | Like I felt like it was almost a whole
stop underexposed when the print finally
| | 00:39 | came out of the printer.
| | 00:40 | Well in that particular case, what I
would need to do would be to increase the
| | 00:44 | processing by a full stop.
| | 00:45 | And let's say I did a test
print on that and it looked good.
| | 00:48 | Well, then what I'd want to do is
I'd want to select multiple images.
| | 00:52 | And I'm going to go ahead and do
that, very different types of images.
| | 00:56 | And I'll press the N key
in order to compare these.
| | 00:58 | You can see that the light is very different.
| | 01:00 | But let's say that all of these
when printed were a stop under.
| | 01:04 | What I could do next then was turn on Auto Sync.
| | 01:08 | Now with Auto Sync turned on, I'm going
to go to my Exposure controls and click
| | 01:12 | on this to increase it one stop.
| | 01:14 | Now this image is a little bit brighter,
yet you can see that it took each image
| | 01:19 | wherever it was, and then added
one stop of brightness to it.
| | 01:23 | So in this particular case, in this make-
believe scenario, ideally, all three of
| | 01:28 | these images would then print correctly.
| | 01:31 | So again, there is a little bit of a
give-and-take here, but hopefully this
| | 01:34 | illustrates the idea.
| | 01:36 | When you have different images that
were shot in different ways, but when
| | 01:39 | you need to apply incremental changes,
you can do so pretty easily with the
| | 01:43 | Quick Develop panel.
| | Collapse this transcript |
| Applying white balance and auto tone adjustments| 00:00 | Here we were going to take a look at another
scenario where Quick Develop may be helpful.
| | 00:04 | We are going to be working on
this file you can find inside of the
| | 00:06 | white_balance folder.
| | 00:07 | With this image, I picked the dandelion
in my front yard and then I set it on my
| | 00:11 | stove and I turned on the little stove
light and I lit it that way and I put
| | 00:16 | a green card behind it.
| | 00:18 | A light in this case is really
yellow. It doesn't look very interesting.
| | 00:21 | It doesn't make the color snap or pop.
| | 00:24 | Yet I have a vision for this that if
I can remove that yellow perhaps the
| | 00:27 | image will look better.
| | 00:28 | So what we are going to do here is we
are going to go to our White Balance
| | 00:31 | option and I am going to
go ahead and select Auto.
| | 00:35 | What it's going to do is to try to
analyze the image, find something that it
| | 00:38 | think should be neutral like white,
black or gray and then modify the overall
| | 00:43 | color temperature and in this particular case,
| | 00:45 | that looks really good.
| | 00:47 | Now, if I want to push that further,
I could of course expand this and then go
| | 00:50 | ahead and cool this off even a little bit more.
| | 00:53 | Now another thing that I could do to
this image will be to apply Auto Tone.
| | 00:57 | What that's going to do for me
is give me really nice contrast.
| | 01:00 | So here we can see we have a
completely different image, much more engaging.
| | 01:05 | I'll go ahead and increase the Clarity
a bit in order to make it a little bit
| | 01:08 | more visually appealing.
| | 01:10 | Hold down the Option key on a Mac,
Alt key on a PC to change the Clarity to
| | 01:13 | Sharpening, and then I'll increase
the Sharpening as well. All right!
| | 01:16 | Well, in order to view the before and
after, I am going to navigate to the
| | 01:20 | Develop module and once in the Develop
module, there is a great shortcut for the
| | 01:25 | before and after for an image and
that shortcut in the Backslash key.
| | 01:30 | I think of that as going back in time.
| | 01:32 | So when I press Backslash,
| | 01:34 | here is the before where we
started, and there is the after.
| | 01:38 | So navigating in back to a Library
module with Quick Develop as you can see,
| | 01:42 | sometimes the Auto White Balance,
and the Auto Tone can be a really nice
| | 01:46 | starting point for some of your photographs.
| | Collapse this transcript |
|
|
8. The Library Module: Organizing ImagesIntroducing flags, stars, and labels| 00:00 | Once we have imported our photographs
in the Lightroom, the next most common
| | 00:03 | step is to begin to evaluate the
images, and to begin to determine which
| | 00:08 | images are the keepers and which are
the images that I am going to delete and
| | 00:11 | get rid of, or ignore.
| | 00:13 | What I want to do here is take a look at
some workflow strategies that will help
| | 00:17 | us begin to take advantage of using
the flags, the stars, and the labels.
| | 00:22 | Now, because these are pretty important
to our overall workflow, I'm going to pull up a
| | 00:26 | slide and share with you a few of
these shortcuts in regards to using these.
| | 00:29 | Now, for flag, it's going to be PUX;
| | 00:33 | P for pick, U for unpick or
unflag, and then X for reject.
| | 00:37 | You'll want to write these shortcuts down
because these are shortcuts that you will
| | 00:41 | be using quite often.
| | 00:43 | Now, for our stars, that's going to be 0-5.
| | 00:47 | So if I press 1, I'd have one-
star rating; 2, a two-star.
| | 00:50 | If you press 0, what it
does is remove any star rating;
| | 00:53 | whatever you have previously applied would
take it back to the default of just no stars.
| | 00:58 | Now, for adding labels, all you need
to do is simply press 6-9.
| | 01:02 | All right! Well, let's jump back to Lightroom, and
let's talk a little bit about workflow.
| | 01:07 | Now, a lot of times what we were
doing here initially is we want to get
| | 01:10 | familiar with the files.
| | 01:11 | So you may start to click through
them by pressing the right arrow key, and
| | 01:15 | one of the things that you are noticing here
is that I am seeing the images really quickly.
| | 01:19 | What some people do by mistake is they
start to evaluate their photographs and
| | 01:24 | then add these flags or stars or labels,
and they start to do this inside of
| | 01:28 | the Develop module.
| | 01:29 | Now, if you look closely at the bottom
of the screen here, when I go to a new
| | 01:32 | image, it says Loading and currently,
these are small little JPG files so that
| | 01:37 | they could be included.
| | 01:39 | If there are hi-res RAW file, that
Loading message would take much more time.
| | 01:44 | So what's the tip here?
| | 01:45 | When you are evaluating your
photographs, make sure to do this in the Library
| | 01:50 | module because what the Library module
is doing is it's showing you the preview
| | 01:54 | that's already been rendered.
| | 01:56 | Remember, we talked about importing
when we define a particular preview size,
| | 02:00 | and we chose Standard, and we could
define the dimensions etcetera? Well, this
| | 02:04 | is the preview that we we're
seeing here in the Library module.
| | 02:07 | In other words, if you want to quickly
look at your photographs, you want to
| | 02:11 | have a perspective of your images and
evaluate them, you want to do all this
| | 02:14 | work in the Library module. All right!
| | 02:16 | Well, now that we are in the Library
module, another thing that you may need to
| | 02:19 | do is just scroll through
the entire set of photographs.
| | 02:23 | It's helpful to get a feel for the
whole shoot from start to finish.
| | 02:26 | Now, you can, of course, scroll with
this scroll bar here, or you can hover
| | 02:31 | over the filmstrip.
| | 02:33 | If you have a three-button mouse, you
can use that scroll wheel to scroll to
| | 02:36 | the left or the right.
| | 02:38 | Another way that you can take advantage
of a three-button mouse is if you are in
| | 02:42 | the Grid View mode by pressing the G key,
again, you can use the scroll wheel to
| | 02:47 | scroll up and to scroll down.
| | 02:49 | A lot of times what I recommend is
you just get familiar with the set of
| | 02:53 | images so that you can kind build in
your mind beginning, middle, and end, so
| | 02:57 | that you don't get to the end and say,
"oh my gosh is that all that I have?" or "I
| | 03:00 | feel like I missed something."
| | 03:02 | But in this case, it will help you
determine, or evaluate, which images are best.
| | 03:07 | Now, this is a real overview.
Let's say we want to dig deeper.
| | 03:11 | We will select one of the images, pressing
the E key to go to the Loop View mode or
| | 03:15 | let's say, for example, we select
even better perhaps a Horizontal image.
| | 03:20 | In this case, I am not
seeing a lot of the photograph,
| | 03:23 | so what I might want to do is
minimize my interface. And I could do that by
| | 03:27 | pressing the Tab key.
| | 03:28 | Now I have a little bit more space,
and you can see when I press Tab
| | 03:31 | it toggles on and off the
right and left-hand panels.
| | 03:35 | So a lot of times what I'd like to do
is to evaluate the images in a view that
| | 03:39 | looks a little bit like this.
| | 03:40 | I may even decide to hide the
top area up here by pressing F5.
| | 03:47 | Again, I just have more space
dedicated to view the actual image.
| | 03:51 | The last thing that I might do here
would be to change the size of my thumbnails.
| | 03:55 | You can do that by hovering over the
dividing line between the filmstrip and the
| | 03:59 | toolbar, and you can either increase
your thumbnail size, or if you want smaller
| | 04:04 | thumbnails, you can go ahead
and decrease that size as well.
| | 04:07 | For a lot of people, this may
be a little bit of an overkill.
| | 04:10 | So let's say they just want to
take the interface back to normal.
| | 04:13 | Well, press Shift+Tab once, press it again,
and it will bring everything back to normal.
| | 04:19 | What I have discovered is that some
people really like to have the interface
| | 04:22 | visible and rather than minimizing
certain areas of it, they'll just press the L
| | 04:27 | key once to perhaps dim the lights.
| | 04:29 | When you do that, you can
still access everything;
| | 04:31 | you can still click through the images
using your arrow keys, but it will just
| | 04:35 | help you focusing on the
task at hand. All right!
| | 04:37 | I'll press the L key a couple of times
and bring this back to the Normal view.
| | 04:42 | What I am going to do next is move over
to the first image in the set, which is
| | 04:46 | beach_family_01.jpg, and now what I
want to do is actually start to add my
| | 04:51 | flags, stars, and labels.
| | 04:53 | I want to do this in a way where
we can actually talk about workflow.
| | 04:56 | So I am going to go ahead and
cover this in the next movie.
| | Collapse this transcript |
| Working with flags, stars, and labels| 00:00 | All right, well, let's take a look at how we
can start to use flags, stars, and labels.
| | 00:04 | I want to start off with stars here.
| | 00:06 | I am on my first image in the set.
| | 00:08 | I'll go ahead and give this one a one
-star rating by pressing the 1 key.
| | 00:12 | Then what I am going to do is press
the right arrow key in order to move
| | 00:16 | forward in the photographs.
| | 00:17 | And when I get to these three photos, I
notice that they are very similar, yet different.
| | 00:22 | So I'll press the back arrow key to go
back and forth between these photographs
| | 00:26 | until I find the one that I like, and
I'll press 2 to add a two-star rating.
| | 00:30 | Now sometimes you'll find that you'll
click pretty quickly with this right arrow
| | 00:34 | key as you move through these
photographs and give them some star ratings.
| | 00:38 | All right, well, as I move forward
through these photographs, one of the things
| | 00:41 | that you are noticing is I am
pressing the right arrow key, and then I am
| | 00:45 | giving this a star rating.
| | 00:46 | Now, a lot of times I give it a star
rating and then I advance to the next image.
| | 00:51 | Well, in this particular case, as I
move to this photograph, I realize that
| | 00:55 | this one is good, but it's not great, and I
think I don't even want to keep this image.
| | 01:00 | It's not a keeper at all.
| | 01:01 | So what I am going to do here is I am
going to take advantage of using a certain
| | 01:05 | flag setting which is called Reject.
| | 01:08 | It's the X key, which allows
you to apply that as a shortcut.
| | 01:11 | Well, now that this one has been rejected,
| | 01:13 | you'll notice that it's a little bit grayed out.
| | 01:16 | And the nice thing about using this flag
is it allows us, or gives us the ability,
| | 01:21 | to delete this particular
photograph really quickly.
| | 01:24 | All right, well, I am going to keep
moving forward, but keep in mind that we'll
| | 01:27 | jump back to that Reject in a moment.
| | 01:30 | All right, well, one-star rating
here and again, I am moving forward.
| | 01:33 | One of the ways that I might want to speed
up my workflow is by using this shortcut.
| | 01:37 | If you press the Caps Lock key, what
that will do is turn on Auto Advance,
| | 01:42 | whether I am using flags, stars, or labels.
| | 01:45 | So now if I press the 1 key, it adds a one-
star rating and advances to the next image.
| | 01:50 | Well, this next image, I don't want
any star rating so I press 0, and it does
| | 01:55 | nothing, or applies a 0 rating, and
moves to the next image where I can add a 1
| | 02:00 | or so on and so forth.
| | 02:02 | Here you get the just, right?
| | 02:03 | It gives me ability to
have these different criteria.
| | 02:06 | All right, well, what about labels?
| | 02:08 | Well, there are times, let's say, when
you really like a particular photograph,
| | 02:13 | and you say that this image maybe
is something for your portfolio.
| | 02:18 | Let's go back to this two-star image here.
| | 02:20 | Well, in this case, let's say that I
have defined this particular image as one
| | 02:24 | that perhaps I want to use in portfolio,
online or post on a blog or something.
| | 02:29 | I've decided that the red label is
my label for marking those images as a
| | 02:35 | certain type of a keeper, whether to
post on a blog or portfolio or whatever the
| | 02:40 | criteria is; it doesn't matter.
| | 02:41 | Well, in that case, I am going to
press the 6 key, and that will add that
| | 02:45 | label and move forward.
| | 02:47 | Now, if you don't like this Auto
Advance feature, all you need to do is press
| | 02:51 | Caps Lock again, and then in that
particular scenario, you can add a star rating
| | 02:55 | by pressing the 1 key.
| | 02:57 | You can add a label by pressing the 6
key or any key between 6-9; stars 0-5.
| | 03:03 | Then you could also add a flag by
pressing P for pick, U for unpick or removing
| | 03:08 | flag or unflag, and then also X for reject.
| | 03:13 | So the whole point here is that you
can indeed add multiple ratings, but what
| | 03:17 | you would need to do would be to
turn off that Auto Advance feature.
| | 03:20 | All right, well, let's take a
look at just a few more images.
| | 03:23 | I am going to go ahead and define
this one as a reject, and then just a
| | 03:25 | couple of more here in order to go through
that process and add a few more star ratings.
| | 03:31 | I am going to do that by
simply clicking on a number.
| | 03:34 | Now, when I get to this image, one of the
things I notice is that while I like this one,
| | 03:40 | I like the second one even more.
| | 03:42 | I gave it a one-star rating,
but I want to increase the rating.
| | 03:45 | This image, let's say, it's kind of grown on me.
| | 03:47 | You know that happens with
some of your photographs?
| | 03:49 | What you can do is you can press
the bracket key, right bracket key
| | 03:53 | increases the rating;
| | 03:54 | left bracket key decreases.
| | 03:57 | All right, well I'll just go ahead and
make my way through just a couple more
| | 04:00 | images, adding some star ratings here.
| | 04:03 | I think that's pretty good.
| | 04:06 | I'll scroll to the end to see if there
are any others that we want to use here.
| | 04:09 | Sure, we'll save this one at a two-star rating.
| | 04:12 | All right, well, I've made
my way through my photographs.
| | 04:15 | As I scroll back, we are going to see
that some are rejected, some have a star
| | 04:19 | rating, some have a rating
and a label and even a flag.
| | 04:24 | What about these reject photos?
| | 04:25 | Why did we do that?
| | 04:26 | Well, there is an amazing shortcut that
we can take advantage of, in regards to
| | 04:31 | that Reject flag there.
| | 04:34 | What it does is it gives us the ability
to quickly delete those images that we
| | 04:38 | just absolutely know we don't want to
work with, and that we actually want to
| | 04:42 | delete completely or remove from our Library.
| | 04:45 | Here is the shortcut.
| | 04:46 | You want to jot this one down.
| | 04:48 | On a Mac, if you press Command+Delete,
what that will do is it will show you all
| | 04:53 | of the images where you have applied
this reject flag, and then it'll ask you,
| | 04:56 | hey, what do you want to do?
| | 04:57 | You have two options;
| | 04:59 | you can either say, you know what, I
want to keep them, but I don't want them as
| | 05:03 | part of my Lightroom Library.
| | 05:04 | That would be the option for Remove,
or let's say you think you know what, I
| | 05:09 | don't even want to have these photos ever again.
| | 05:11 | I want them to be completely gone,
removed from Lightroom and removed or deleted
| | 05:15 | from the hard drive.
| | 05:16 | In that case, you would choose Delete.
| | 05:19 | This is really helpful because as
you are editing, what you are going to
| | 05:22 | discover is you are going to come
across images where the composition is just
| | 05:25 | horrible, or the focus is off, or
the flash didn't fire or whatever,
| | 05:29 | those images that you know you just
need to get rid of so that you don't
| | 05:32 | increase your overall file size on your hard
drive and whatnot; you can use that shortcut.
| | 05:37 | You press the X key to add that
reject flag and then really quickly, hit
| | 05:41 | Command+Delete, if you are on a Mac.
| | 05:42 | All right, well, because this is a demo,
I am not going to go ahead and delete
| | 05:46 | or remove those files;
| | 05:48 | I'll simply hit Cancel to go
back to my regular, unfiltered view.
| | 05:52 | One of the things that I am hoping to
do here in this movie is just to get you
| | 05:56 | to begin to think about how you
can use flags, stars, and labels.
| | 06:00 | The trick with all of this, of course,
is coming up with a system that's
| | 06:04 | consistent, and that makes
sense in your overall workflow.
| | 06:07 | In other words, some people
only use stars; that's fine.
| | 06:11 | Some people only use flags; that's fine.
| | 06:13 | And others, well, they'll use
labels while other people will use a
| | 06:17 | combination of all three.
| | 06:19 | Again, what's most important is
consistency so that as you work through
| | 06:23 | different sets of photographs, and
as you begin to filter based on these
| | 06:27 | different criteria, that filtering is
really consistent so that you can find what
| | 06:32 | you are actually looking for.
| | Collapse this transcript |
| Adding images to a Quick Collection| 00:00 | Another organizational feature that you
may want to take advantage of inside of
| | 00:03 | the Library module is called Quick Collections.
| | 00:07 | One of the things that you can do, as
you are working through your images, is you
| | 00:10 | can add your images to the Quick
Collection by pressing the B key.
| | 00:14 | So I am going to go ahead and press
the B key, and you'll notice that in my
| | 00:17 | Catalog panel, I now have one
image inside of a Quick Collection.
| | 00:22 | Well, why would I actually
want to create a quick collection?
| | 00:25 | Well, let's say in this particular
case that I have photographed this family,
| | 00:28 | one of the things that I am going to need to
do is to give them an entire set of photographs.
| | 00:33 | But I decide that before I actually give
them all the images, I am just going to
| | 00:37 | pick maybe two or three images
that I can e-mail them quickly.
| | 00:41 | So in that case, I am going to add these
images to this little Quick Collection.
| | 00:45 | So, I'll go head and add a couple of
others to the Quick Collection here.
| | 00:47 | I'll click on an image. Press the B key.
| | 00:50 | What I am doing is I am just looking
for images that I think are kind of fun,
| | 00:54 | and perhaps images that I
think they are going to enjoy.
| | 00:57 | So I'll go ahead and scroll over and
find another image, and then let's say,
| | 01:01 | select one and press the B key.
| | 01:03 | Little bit different images yet
nonetheless could be kind of fun to e-mail them
| | 01:07 | to the client, in this case, the family.
| | 01:09 | Well, what we can do next is we can
then click on this option here to view the
| | 01:14 | Quick Collection, just these three images.
| | 01:17 | Now, what we could do with these images
is I could then export them from Lightroom.
| | 01:21 | We'll talk about exporting later
and then send them off to the client.
| | 01:26 | So what you can see is that Quick
Collections give you the ability to group your
| | 01:29 | images, as the name implies, really quickly.
| | 01:33 | Now, this is a temporary set. In other
words, if I were to close Lightroom and
| | 01:36 | reopen it, this Quick
Collection would be back to 0.
| | 01:40 | There wouldn't be any images inside of it.
| | 01:43 | So again, think of this as a way to
temporarily group or organize photographs.
| | 01:48 | Now, you may want to do this for a
number of different reasons, again, perhaps
| | 01:52 | just to evaluate certain images, or to
send them somewhere else, or perhaps to
| | 01:56 | organize them in a little
bit more of a concrete way.
| | 01:59 | In other words, what you could do
is you could then convert this Quick
| | 02:02 | Collection into a regular collection.
| | 02:04 | Well, let's dig a little bit deeper
into the topic of collections, and let's do
| | 02:09 | that in the next movie.
| | Collapse this transcript |
| Integrating collections with your workflow| 00:00 | Currently, I am in the Library module,
and if I scroll down, you'll notice that
| | 00:03 | down here on the bottom, I have
what's called a Collections panel.
| | 00:07 | Now collections are really
fascinating because they give us the ability to
| | 00:11 | organize our photographs in a way that
isn't contingent upon file or folder location.
| | 00:17 | One of the things that's great about
Lightroom 3 is that collections have gotten
| | 00:21 | a little bit better.
| | 00:22 | New to Lightroom 3, we now have
collections inside of the Develop module as well.
| | 00:27 | You can see that same panel here.
| | 00:29 | So we can not only take advantage of
collections, but we can also do some
| | 00:32 | collections work inside of Develop as well.
| | 00:36 | We also have Collections in
Slideshow, Print, and Web modules.
| | 00:39 | But let's go ahead and take a look
at a collection workflow in regards to
| | 00:43 | working in the Library module.
| | 00:45 | Now, a lot of times what you'll do is
you'll create a main kind of collection set.
| | 00:50 | Think of this almost as the
big organizational structure.
| | 00:53 | So I am going to go ahead and do that,
and I am going to click on this Plus icon
| | 00:56 | and choose Create Collection Set.
| | 00:59 | What I am going to do is
name this Family Photography.
| | 01:02 | So let's say that I
photograph a lot of families.
| | 01:05 | I have one big set called Family Photography.
| | 01:07 | So all of my different shoots, or
collections, will then fall in this main set.
| | 01:12 | I'll go ahead and hit Create.
| | 01:14 | Now once I have done that, I almost have
this icon here which looks like a little box.
| | 01:19 | I then want to create a
collection from this particular shoot.
| | 01:23 | So what I am going to do is
navigate back to this beach_family folder.
| | 01:27 | I'll then select all the images, by
pressing Command+A on the Mac, Ctrl+A on a PC.
| | 01:33 | Scrolling back down to my Collections
here, what I'm going to do is click on the
| | 01:37 | Plus icon and create a
collection of all of these photographs.
| | 01:41 | I am going to put these in
the set: Family Photography.
| | 01:44 | Now a lot of times what you'll do is
you'll define a name perhaps by the
| | 01:48 | family name or whatnot.
| | 01:49 | To keep things a little bit general
here, what I am going to do is just
| | 01:52 | name this Beach - All.
| | 01:55 | And I want to include all the
selected photos, and if wanted, I could
| | 01:59 | make virtual copies.
| | 02:00 | In my case, I don't.
| | 02:02 | I simply want the photos here to
be included in this collection.
| | 02:05 | I'll go ahead and hit Create.
| | 02:07 | Well, now that I have done that, you
can see that all 44 photographs are
| | 02:11 | included in this particular folder.
| | 02:13 | Well, as I mentioned previously, I have
already added some stars and labels to these images.
| | 02:19 | And so what I want to do is I want to
take advantage of those in order to create
| | 02:24 | a collection based on the images that are rated.
| | 02:27 | So here is how we can start
to do some basic filtering.
| | 02:30 | If you navigate over to the right-hand side,
you'll notice that Filters are currently off.
| | 02:34 | Well, I can turn those on by clicking
on this pulldown menu and say show me all
| | 02:39 | of the images that are rated.
| | 02:41 | In this particular case, it's going to show
me all of the images that have a star rating.
| | 02:45 | So what I could do in this particular
case is I could create another collection
| | 02:50 | of just these photographs.
| | 02:52 | So I am going to go ahead and click on the
Plus icon and then choose Create Collection.
| | 02:57 | This time I am going to name this
Beach and I choose this Picks 1.
| | 03:02 | This will give me my first set of
selected photographs, include the selected
| | 03:07 | images, include them in this main set, Family
Photography, and I'll go ahead and click Create.
| | 03:12 | So now you can see that what I am doing is
I am starting to narrow down my selection.
| | 03:17 | Well, now that I have started to do
this, I could then say, well, you know
| | 03:21 | it might be really interesting just
to see the images that have a two-star
| | 03:25 | or a higher rating.
| | 03:26 | So in that case, I'll go ahead and
click on 2 stars here, so now it's filtering
| | 03:31 | based on this two-star or higher rating.
| | 03:34 | I'll go ahead and create yet another
collection, click on the Plus icon and
| | 03:38 | choose Create Collection.
| | 03:40 | In this case I am going to go
ahead and name this one Beach.
| | 03:42 | I am going to call this Final Picks.
| | 03:44 | This will then give me the images,
which I have defined as the final keepers,
| | 03:49 | the best of the best.
| | 03:51 | I'll include these selected photos
here and then go ahead and click Create.
| | 03:55 | So now here what you can see is that I
have this criteria where I have all of
| | 03:59 | the photographs in one collection.
| | 04:01 | And then I have also the final images and
I have the first set of picks in this way.
| | 04:06 | Well, if I want to turn off the filtering
or just see all the images, I can
| | 04:11 | click on this flip switch here, so
now I can see all of the photographs.
| | 04:15 | I can see my first group of images.
| | 04:17 | So these are the ones that I think are good,
and these are the ones that I think are great.
| | 04:23 | Now, the only problem with my
collection workflow so far is that this
| | 04:27 | structure isn't linear;
| | 04:29 | it's alphabetical, in other words,
Beach - All and then Beach - Final Picks
| | 04:33 | and Beach - Picks 1.
| | 04:36 | So let's say that what I want to do
is rename this particular collection.
| | 04:39 | Well, all that you need to do is
right-click and then choose Rename, and
| | 04:43 | here what I am going to do is I am
going to give this a little bit more of
| | 04:46 | an appropriate name.
| | 04:47 | I'll call this one Picks
2 and then choose Rename.
| | 04:51 | So here you can see I have a
little bit better workflow, right?
| | 04:53 | I have all of the images.
| | 04:54 | I have the ones that I think are good,
and then finally, I have the images
| | 04:58 | that I think are great.
| | 05:00 | So as you can imagine, collections are
going to become something that will be
| | 05:04 | really helpful for you as you start to
organize and evaluate your photographs, in
| | 05:09 | order to determine which
images are actually the best.
| | Collapse this transcript |
| Grouping images with collections| 00:00 | As I mentioned previously, collections
are really interesting, because they give
| | 00:04 | you the ability to group and organize
your photographs in a way that isn't
| | 00:08 | contingent upon file, or
folder location, or structure.
| | 00:12 | Let's take a look at another way where
we can use collections in order to group
| | 00:17 | photos in this particular context.
| | 00:19 | Well, in my general photos folder, one
of the things you'll notice is that I
| | 00:23 | have a subfolder titled frs.
| | 00:25 | Here I have some images of a couple of
different professional athletes, and I
| | 00:29 | decide that out of all of my
different photographs I want to create a
| | 00:33 | Collection, which just
contains photographs of athletes.
| | 00:37 | What I can do is I can go ahead and first
select a few athlete photographs, like these.
| | 00:41 | I'll press Command+A to Select All.
| | 00:44 | Next, I'm going to go ahead and click on
this Plus icon and here I'm going to do
| | 00:47 | is create just a simple Collection.
| | 00:49 | I'm going to Name this one Athletes.
| | 00:52 | I'll Include the selected photos.
| | 00:54 | In this case, I'm not going to
include these in any kind of a set,
| | 00:57 | although I could, but just to show you
something different, I won't. All right,
| | 01:00 | well, now I have this particular
Collection that I'm building now of Athletes.
| | 01:05 | Well, as I go through my Library, let's
say that I notice on one particular date
| | 01:09 | or one particular folder,
| | 01:11 | I have some other athletes.
| | 01:12 | Here we have some surfers.
| | 01:14 | We'll go ahead and select those
photos by clicking, and then holding on the
| | 01:18 | Shift key, and clicking again
to make a contiguous selection.
| | 01:22 | Then I'm going to drag these
into this Athletes collection here.
| | 01:26 | I'm going to go ahead and click through
another folder and again, I have another athlete.
| | 01:30 | I'll select those images, and drag
those to this Athletes collection.
| | 01:35 | So what you can see is that I can have
images, which are in different folders
| | 01:39 | and for that matter, on
different hard drives, if need be.
| | 01:43 | So here, if I click on Athletes, now
it's going to show me all of the athletes
| | 01:47 | that I have in my entire catalog, if
I had gone through all of my images.
| | 01:52 | In other words, one of my
colleagues, who is a nature photographer, Ralph
| | 01:56 | Clevenger, phenomenal photographer, a
really creative guy, someone who inspires
| | 02:00 | me in just immense ways,
| | 02:01 | well, he actually doesn't even use folders.
| | 02:04 | He actually ignores folders altogether.
| | 02:07 | And the way that he organizes
his images is by collections.
| | 02:11 | So for him, it doesn't matter when an image
was captured; rather, what matters is the subject.
| | 02:18 | So he has one collection which is titled Lions,
| | 02:21 | another one which is titled Frogs,
another one which is titled Humming Birds,
| | 02:25 | another one which is titled
Sunsets, and you get the gist.
| | 02:29 | So he uses these collections in
order to group all of his photographs,
| | 02:33 | so that when someone calls up Ralph and says
"Hey, I need a Great White Shark photograph,"
| | 02:38 | he doesn't have to dig
through all of his folders;
| | 02:40 | rather, he simply clicks on a
collection which is titled Great White Sharks,
| | 02:45 | and then he finds an image that he
think will work for that project and sends
| | 02:48 | if off to the client.
| | 02:50 | So as you can see, collections can be
helpful for not only evaluating your
| | 02:54 | photographs, but also for having a
different type of organizational structure,
| | 02:58 | whereas you can group photographs in a
way that isn't contingent or dependent
| | 03:03 | upon folder, or file location, or structure.
| | Collapse this transcript |
| Using Smart Collections| 00:00 | So far, we've taken a look at how
we can build our own collections.
| | 00:04 | Well, there is another feature inside
of Lightroom which takes advantages of
| | 00:07 | some predefined criteria, and
it's called Smart Collections.
| | 00:11 | Here you can see that I have
this Smart Collections Set.
| | 00:14 | Inside of this cet, I have a
few prebuilt Smart Collections.
| | 00:18 | One is based on a label rating, or a
star rating, or how frequently, or recently
| | 00:24 | the file was modified, if it's a
video file or not. You get the gist.
| | 00:28 | What Smart Collections do is they
allow you to create predefined criteria that
| | 00:34 | you can then sort or filter your photographs by.
| | 00:36 | For example, let's go ahead and create one.
| | 00:39 | We'll click on this Plus icon.
| | 00:40 | We're going to create Smart Collection.
| | 00:42 | We'll put the Smart Collection
inside of the Smart Collections Set.
| | 00:47 | What I want to do is I want to find all
of my images where the aperture is less
| | 00:51 | than or equal to f / 5.6.
| | 00:52 | I'll go ahead and click Create.
| | 00:56 | What that will do then is it
will build this Smart Collection.
| | 00:59 | It will just show me the images
that were shot at 5.6 or less.
| | 01:04 | Well, let's say that I decide okay, well,
that didn't narrow things down enough
| | 01:08 | for me, or I didn't really
like the way that that worked out.
| | 01:10 | What I need to do is I need to
redefine this Smart Collection.
| | 01:14 | The name isn't very good, right?
| | 01:16 | I forgot to rename the file.
| | 01:17 | Well, how can I edit this?
| | 01:19 | Well, all that you need to do is
double-click that Smart Collection.
| | 01:23 | That will open up the dialog, and here
what I'm going to do is define my F-stop.
| | 01:27 | I'm going to call this now f / 2.8. Type that
| | 01:31 | out correctly there.
| | 01:32 | Let's name this one f / 2/8, as well.
| | 01:36 | Again, I'm just trying to go
through the process of updating these.
| | 01:39 | So I've updated my Smart
Collection name, and then also the criteria.
| | 01:44 | Now when I click Save, one of the things
you're going to notice is this is going
| | 01:46 | to update what it's displaying here.
| | 01:49 | In this case, it's a much smaller number.
| | 01:52 | You're also noticing that I
typically shoot wide open, right?
| | 01:55 | I tend to really like low f-stops, and
I shoot in that particular way.
| | 02:00 | What about some other type of Collections,
perhaps something a little bit more usable.
| | 02:05 | If we click on the Plus icon here, we're
going to create another Smart Collection and
| | 02:09 | this time do it right.
| | 02:11 | What I want to do is include
this in my Smart Collections Set.
| | 02:15 | I'm going to name this one 1 Star.
| | 02:18 | Then from my pulldown menu here, what
I'm going to choose is the option which
| | 02:22 | allows me to define a rating.
| | 02:24 | The rating that I want is a one-star rating.
| | 02:27 | I want it to be exactly equal to a one star.
| | 02:30 | You can of course choose a
couple other options here.
| | 02:33 | You can say greater than, less
than, or greater than or equal to.
| | 02:37 | But the option I'm going to choose is
"is" because I just want to see the images
| | 02:42 | with the one-star rating.
| | 02:44 | What this is going to do is look at
my entire catalog, and just give me the
| | 02:49 | images where I have a one-star rating.
| | 02:51 | So as you can imagine, having
consistency in regards to your flags, your stars,
| | 02:56 | and your labels is really important,
so that you can then create some Smart
| | 03:00 | Collections, which will
help out your overall workflow.
| | 03:03 | All right, well, let's go
ahead and click Create here.
| | 03:06 | Again, what you're going to see is
it's going to build this particular
| | 03:08 | collection to show me that my entire
library of photographs only have 14 images
| | 03:14 | with the one-star rating.
| | 03:15 | Well, let's say that we go
back to one of our folders here.
| | 03:19 | I'm going to go back to this travel folder.
| | 03:22 | I decide that this image
deserves a 1 Star rating.
| | 03:25 | So I press the 1 key.
| | 03:27 | It now has the one-star rating.
| | 03:29 | Well, you'll notice that this
Smart Collection has been updated.
| | 03:33 | It now has 15 images in it.
| | 03:34 | Well, if I decide that - let's zoom in on it -
| | 03:37 | this image is better the one star.
| | 03:39 | I'm going to give it a two-star rating.
| | 03:40 | Well, then you're going to see that has
now been removed from the Smart Collection.
| | 03:45 | The whole point here is that Smart
Collections are incredibly dynamic
| | 03:50 | and incredibly strong.
| | 03:52 | So far what we've looked at is how
we can have perhaps one criteria.
| | 03:56 | Well, if I double-click this option,
| | 03:57 | I can say I want my images with
the one-star rating plus any other of
| | 04:02 | these features. It could be the Filename,
the Caption, the Keywords, a Camera et cetera.
| | 04:07 | So you can choose a number of
different criteria in order to create a Smart
| | 04:12 | Collection, which really taps into the
way that you shoot, and also the way that
| | 04:16 | you organize and process your photographs.
| | 04:19 | Well, in this particular case, I'll go
ahead and subtract that, and just save this out.
| | 04:23 | All right, well, one of the things that
you're going to want to do is begin to
| | 04:26 | experiment with Smart Collections.
| | 04:28 | Also, keep in mind that you can take
advantage of these here, and create these
| | 04:32 | here in the Library module, but you can
also do the same exact thing inside of
| | 04:37 | the Develop module as well.
| | Collapse this transcript |
| Sorting images| 00:00 | Another helpful feature, in
regards to organizing and accessing your
| | 00:03 | photographs, is Sorting.
| | 00:05 | By default, Lightroom will always sort
your photographs based on capture time.
| | 00:10 | That kind of makes sense, right?
| | 00:11 | The first image you shot, then the second,
and then third, and so on, and so forth.
| | 00:14 | You can change that really easily.
| | 00:17 | All you need to do is to navigate to the
toolbar, and here you can see I have Sort option.
| | 00:22 | If this option isn't visible, we'll
click on this little triangle here, where
| | 00:25 | you can turn this on and off.
| | 00:27 | I'll go ahead and deselect sorting, and
then reselect that, so I can see my options.
| | 00:32 | Well, currently, it's from
the first file to the last.
| | 00:35 | If I want to flip that, we'll
just click on the A to Z icon.
| | 00:39 | Now you can see this
image is in the last position.
| | 00:42 | If I scroll up top, what was last is now first.
| | 00:45 | So again, we can flip this around quite a bit.
| | 00:47 | We can also define a few other sort criteria.
| | 00:50 | If you click on this icon here,
you'll notice that we can select Added
| | 00:54 | Order, Edit Time, Rating.
| | 00:56 | What happens if we click Rating?
| | 00:57 | Well, you're going to see that images
with the highest rating first, and then
| | 01:01 | it's going to go down the line.
| | 01:03 | Couple other options: Labels,
File Names and also User Order.
| | 01:08 | Now User Order is really helpful,
because sometimes what will happen is let's
| | 01:12 | say you're scrolling through your images
and you decide that what you want to do
| | 01:16 | is create maybe a slideshow, or
you want to create a Web gallery.
| | 01:20 | The sequence of images needs to be reordered.
| | 01:23 | Well, all you need to do is click on one,
and then go ahead and click and drag that
| | 01:26 | to the new position, and here you're
going to see that that image with the red
| | 01:30 | label is now next door to the
other image with the red label.
| | 01:33 | So again, it's just as
simple as clicking and dragging.
| | 01:36 | You can also do that down here in the filmstrip.
| | 01:38 | Click on an image, and then
I'll go ahead and drag it over.
| | 01:41 | You can see that it repositioned it in the
filmstrip as well as in my Grid view up top.
| | 01:46 | Now you can also access
Sorting inside of your collections.
| | 01:51 | So let's go ahead and scroll
down to one of our collections.
| | 01:54 | Here we have Picks number 1.
| | 01:57 | In this particular folder, let's say that I want
to open up with this image. Well I'll click on it.
| | 02:02 | Then I'll change my Sorting
to good old User Order there.
| | 02:06 | Then I'm going to click and drag and
reposition that, so that image comes first.
| | 02:11 | Again, this type of sorting is
really helpful, especially if we're going
| | 02:14 | to create some kind of a slideshow, or a Web
gallery, and we want to create a particular flow.
| | 02:20 | Yet one of the problems with this is
it you'll notice that this particular
| | 02:24 | image is beach_family_43.
| | 02:28 | So while I'm reorganizing the sort
order inside of Lightroom, if I were to
| | 02:32 | export these files, this image would
actually still show up last, because this
| | 02:38 | image here, which is named beach_01,
by default, would show up first.
| | 02:43 | So what I actually need to
do is to rename my files.
| | 02:46 | In other words, I need to change my
sort order and then take a look at how we
| | 02:51 | can rename the files, so that this
sort order is a little bit more permanent.
| | 02:56 | Well, let's take a look at
renaming our files in the next movie.
| | Collapse this transcript |
| Renaming images| 00:00 | In the previous movie, I mentioned
that there are situations where it will be
| | 00:03 | helpful to rename your files.
| | 00:05 | And currently, I am inside of
this collection, Beach - Picks 1.
| | 00:09 | What I can do here is I
can select a single image,
| | 00:12 | if I want to rename just one
image, and then press the F2 key.
| | 00:17 | What the F2 key will do is it will give
me this Rename dialog here, where I can
| | 00:21 | choose a custom name.
| | 00:23 | So I could choose a new name here, and
then it will give me a preview of that
| | 00:27 | name and then click OK.
| | 00:29 | What about the scenarios where
you want to rename multiple images?
| | 00:33 | Well, all that you need to do is
those scenarios is go back and select the
| | 00:37 | images, and in this case I am
selecting images that have a custom sort order.
| | 00:42 | And what I'll do here is once again,
press F2, and I am going to name these files
| | 00:47 | family, and you can see
that will be named family-1.
| | 00:51 | So if I click OK, it's going to then
rename all of those files. Well, which image is first?
| | 00:57 | When I click on the first image,
we are going to see that that is
| | 01:00 | now called family-1.
| | 01:02 | So it's renaming these images
sequentially, based on my sort order.
| | 01:08 | So if I inverted this order, let's say I
click on this icon here, where now this
| | 01:12 | image is in the last place.
| | 01:14 | If I were to rename these files in
this case, well, this image would then
| | 01:18 | receive the first number, and this
image would receive the last number.
| | 01:22 | So as you can see, you can really take
advantage of this renaming, especially
| | 01:27 | when you need a custom order.
| | 01:29 | Well, let's bring this back to
normal, where we have this order.
| | 01:31 | This is now family-1, and then this
image is family-17. Because I've renamed
| | 01:37 | these images, if I were to export them,
and then, let's say, send them in an
| | 01:41 | e-mail, well the client would see the
first image first, and it would go through
| | 01:45 | the sequence of the other images.
Or if I were creating a slideshow, or a Web
| | 01:49 | gallery, it would then take advantage
of this more permanent name, and it will
| | 01:53 | create the order, or sequence of the
images based on their file name, rather
| | 01:57 | than the sort order that's built into Lightroom.
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| Stacking images| 00:00 | One of the things that most
photographers discover is that many times you will
| | 00:03 | have images that are kind of similar.
| | 00:06 | Like in this particular case, we have
these three photographs which are very
| | 00:09 | similar, and then following it we have
another set of images that are similar and
| | 00:13 | then following that, we have four more
images that are kind of similar, right?
| | 00:17 | Because we have shot these
in one particular context.
| | 00:20 | Well, what's kind of helpful, in
regards to Lightroom, is that we have the
| | 00:24 | ability to stack, or to combine these
images that are similar, whether it's
| | 00:28 | similar based on subject matter or
context or exposure or the way we process
| | 00:33 | them or if it's a virtual copy or not,
and we can do all of this with something
| | 00:37 | that's called stacking.
| | 00:39 | Let me show you what I mean.
| | 00:40 | I'll press the G key here
to go the Grid view mode.
| | 00:43 | What I am going to do then is I am
going to click on one of these images, in this
| | 00:47 | case this first image - I'll increase my
thumbnail size so you can see that - and
| | 00:51 | this image is very similar to these other two.
| | 00:54 | So I'll hold down the Command key on a
Mac, Ctrl key on a PC in order to select
| | 00:59 | those three photographs.
| | 01:00 | Well, next what I can do is I can
group these images into a stack.
| | 01:05 | There is a shortcut to do this, and on
a Mac the shortcut is Command+G; on a
| | 01:11 | PC the shortcut is Ctrl+G. So when I press
that it will then group those photographs.
| | 01:18 | So at first glance it may look like
those photographs have disappeared and in
| | 01:22 | fact they kind of have, right?
| | 01:24 | What we are seeing is just the first
image in the stack. In other words, it's
| | 01:28 | almost like taking cards and
putting them on top of each other.
| | 01:31 | You can see that there is a
new icon, these two handles here.
| | 01:34 | Well, let me decrease the size of the
thumbnail, so we can actually see this a
| | 01:38 | little bit more clearly.
| | 01:40 | So currently, I only have one
image showing in this particular stack.
| | 01:45 | What I can do is press the S key to
expand the stack, and there you can
| | 01:49 | see that now it showing me all of
these images. Press the S key again,
| | 01:52 | and it collapses the stack.
| | 01:54 | So let's take a look at
that in a couple more cases.
| | 01:57 | So I'll go ahead and click on this image,
and then hold down the Shift key and
| | 02:00 | click on the last image in this group here.
| | 02:03 | I am going to press
Command+G for group as stack.
| | 02:07 | And I am going to do this yet a few
more times; click and then Shift+Click and
| | 02:11 | then press Command+G for group. And
then one more time, click and then
| | 02:16 | Shift+Click, Command+G for group.
| | 02:17 | Well here you can see that I have all
of these different stacks, and what this
| | 02:22 | is doing is it's giving me the ability
to group these images in unique way, so
| | 02:27 | that if I know, you know what, I
really want to jump to that one scene right
| | 02:30 | here where it was the mom and the daughter,
and I want to start to work on those files.
| | 02:35 | Well, back in the Grid view what I
can then do is press the S key - that will
| | 02:40 | expand that - or press the S
key again, and it will collapse.
| | 02:45 | On the other hand, if I were on a
larger view, we'll go to the Loupe View,
| | 02:48 | press the E key, and you'll notice
now that when I press the S key, the
| | 02:52 | collapsing and expanding is happening
down here on the film strip, so I still
| | 02:57 | have access to that.
| | 02:58 | I'll press the S key again.
| | 02:59 | It collapses that particular stack.
| | 03:02 | Now if you are thinking, "Yeah that's
kind of interesting, and I could see that
| | 03:05 | being useful. Where could have find
some more information about stacking?"
| | 03:09 | if you want to go beyond the essentials,
what you can do is navigate to your
| | 03:12 | Photo pulldown menu, and there what you
can do is choose Stacking. And here you
| | 03:17 | will see that there are some more
options in regards to stacking that will take
| | 03:21 | you beyond the essentials.
| | 03:23 | Although that being said, I find, for the
most part, in regards to how I actually use
| | 03:27 | stacking, the one thing I need to
know is Command+G groups to stack and then
| | 03:32 | S toggles between expanding and
collapsing that stack, and just knowing those
| | 03:36 | two shortcuts and those two techniques
can really help you get quite a bit out
| | 03:41 | of this particular feature.
| | Collapse this transcript |
|
|
9. The Library Module: Working with MetadataAdding keywords| 00:00 | One of the things you here quite
often in photographic circles is that you
| | 00:03 | always need to keyword your photographs.
| | 00:06 | Now why is that that
people say that so frequently?
| | 00:09 | Well keywording is really, really
valuable because it allows you to tag your
| | 00:13 | image with the word, or a number of
words, and then to later search for a
| | 00:18 | particular photograph based on a keyword.
| | 00:21 | In other words, it gives you access to your
images in a really unique and powerful way.
| | 00:25 | Well, let's take a look at how we can
do some keywording in the Library module.
| | 00:30 | Well, first what we need to do
is open up the Keywording panel.
| | 00:33 | Now there are three ways to do this.
| | 00:35 | We can click on the word
Keywording to open and close that panel.
| | 00:39 | We can also use this really nice shortcut.
| | 00:41 | If you are on a Mac, it's Command.
| | 00:43 | If you are on a PC, it's Ctrl plus a number;
| | 00:46 | 0 for Histogram, 1 for Quick
Develop and 2 for Keywording.
| | 00:50 | So if you press Ctrl+2 on a PC,
Command+2 on a Mac, that will open and close
| | 00:56 | that particular panel.
| | 00:58 | One of the things you will notice here is
that I have the ability to add keywords.
| | 01:01 | You can see that field right here.
| | 01:03 | And that leads me to the third
shortcut, which is probably the strongest
| | 01:07 | shortcut, the one you want to jot down.
| | 01:09 | What you can do is, on a PC, press Ctrl+
K, on a Mac, press Command+K. That will
| | 01:15 | open up this Keywording panel and activate
this text field so that I can just start typing.
| | 01:21 | What I am going to do is
go ahead and add a keyword.
| | 01:23 | I am going to add the keyword AVP, for
Association of Volleyball Professionals,
| | 01:28 | and then press Enter or Return to apply that.
| | 01:30 | You will notice that it positions the
keyword in the front because it's listing
| | 01:35 | these alphabetically.
| | 01:36 | You'll also notice that it is giving
some Keyword Suggestions here, what I can
| | 01:41 | do then is I can go to this Keyword
Suggestions list, and I can grab one of
| | 01:45 | these keywords and then apply
it to that particular image.
| | 01:49 | Another thing that I can do is I can take
advantage of what are called Keyword Sets.
| | 01:53 | Here, I am currently viewing Recent Keywords.
| | 01:56 | I can also view other sets that are
precreated, or that I have created myself.
| | 02:00 | This Recent Keyword list, I could
then go ahead and select a keyword like
| | 02:04 | pro athelete, and you can
see it's added to this list.
| | 02:07 | So as you are discovering, Lightroom has
a few different ways to add keywords
| | 02:11 | which will build up your
overall effectiveness with keywording.
| | 02:15 | Let's go to another photograph of Brooke here.
| | 02:17 | In this particular image, I am going to
go ahead and type in avp once again, and
| | 02:21 | then press Enter or Return.
| | 02:23 | What it's going to do is it's going to
give me some suggested keywords based
| | 02:27 | on how I have keyworded previously, and
I can go ahead and type out some other
| | 02:31 | keywords here, press Enter or Return, and
then these Keyword Suggestions will be updated.
| | 02:37 | This particular version of Lightroom
that I am working on is a little bit buggy,
| | 02:40 | yet what will happen is this Keyword
Suggestion list, in your case, will become a
| | 02:44 | little bit more intelligent
every time you add keywords.
| | 02:48 | It will look at images, and it will
say, hey, how is this image captured?
| | 02:51 | What are the other keywords
with this particular file?
| | 02:54 | And then it will give you
very valuable suggestions.
| | 02:56 | All right, well, about these
recent keywords down below?
| | 02:59 | Let's go to one more image, and in
this particular case, I have these recent
| | 03:03 | keywords, and what might be nice is
that eventually I'll start to have Recent
| | 03:08 | Keywords that I want to use
quite often, like the top three here.
| | 03:11 | I want to apply these
three to this particular image.
| | 03:14 | Well, if you hold down the Option key
on a Mac, Alt key on a PC, it will reveal
| | 03:18 | a shortcut for you.
| | 03:20 | So now all that I have to do to apply
one of these keywords in this Keyword Set
| | 03:25 | is to go ahead and press that shortcut key:
Option on a Mac, Alt on a PC and then the number.
| | 03:31 | So I'll go ahead and press Option or
Alt+7, and what it's going to do is add
| | 03:35 | that Brooke Hanson keyword or Option+8
or Alt+8, and it's going to go ahead and
| | 03:39 | add that keyword there.
| | 03:41 | So what we can do at these Keyword
Sets is we can actually create our own.
| | 03:45 | So we can go ahead and choose Edit Set.
| | 03:47 | This will then open up
the Edit Keyword Set dialog.
| | 03:51 | Now here we could save this as a
particular preset, and what we could do is have
| | 03:55 | some different keywords in this location.
| | 03:58 | So I'll go ahead and type out some
keywords here that would make sense for
| | 04:01 | this set, frs - one of her sponsors, and
then I'll just leave these other ones blank here.
| | 04:08 | All right, well, I'll save this out
as a New Preset, and I'll call this one
| | 04:15 | volleyball, and I'll click Create.
| | 04:17 | Now that I have done that, what I can do then
is go ahead and navigate back to my Keyword Set.
| | 04:22 | Now when I select one of these Keyword
Sets, you are going to see that I have
| | 04:25 | different options here.
| | 04:27 | So again, going back to volleyball.
Now to add any of these keywords, I'll hold
| | 04:32 | down the Option Key on a Mac, Alt key
on a PC, and then I'll press one of those
| | 04:35 | numbers, and it will then
add that particular keyword.
| | 04:39 | It's also going to show me, by
highlighting in white, what keywords I have added.
| | 04:43 | So this is a nice little feature,
which would just be a good visual cue for
| | 04:46 | helping me know what type of
keywords I want to add to my photographs.
| | Collapse this transcript |
| Working with the keyword list| 00:00 | Another essential aspect to
keywording is working with the Keywording List.
| | 00:04 | To open that up, on a PC, press
Ctrl+3, on a Mac, press Command+3.
| | 00:10 | This will then open up this list, and
what this list will show us is what the
| | 00:14 | current keywords are that have been
applied to this image, and here we can see
| | 00:18 | those with these check boxes here.
| | 00:20 | Now if we wanted to add another
Keyword to this image, like in this
| | 00:24 | particular case to add this sponsor
name there, I'll go ahead and check off
| | 00:28 | that box in that way.
| | 00:30 | You'll notice that on the right-hand
side it will update this with how many
| | 00:33 | images actually have that particular keyword.
| | 00:36 | So what we can do is, as we scroll
through these, we can then click on this
| | 00:41 | little arrow, and let's say that I
want to see all of the images that are
| | 00:45 | keyworded with this particular name,
brooke hanson, so I'll click on that arrow.
| | 00:49 | Now when I do that, I have these three
photographs that I can scroll through and see those.
| | 00:54 | Now sometimes what will happen is your
Keywording List will get a little bit out
| | 00:58 | of control, and here you can see that my
Keywording List is pretty big
| | 01:03 | for such a small amount of images.
| | 01:05 | What can I do then to try to find something?
| | 01:08 | Let's say, for example, that I really
want to try and find a set of images based
| | 01:12 | on, again, the sponsor name frs.
| | 01:14 | Well, I can filter my keywords, so I'm
just typing in frs, and now it's just
| | 01:20 | showing me that particular keyword, and
if I click on this arrow, it's going to
| | 01:24 | show me the two images that
happen to have that particular keyword.
| | 01:29 | So, if you ever want to remove this
criteria, just click on the X there, and
| | 01:33 | that will remove that so you
can see all of the keywords.
| | 01:37 | Now occasionally what will happen is
you may have a keyword that you need to
| | 01:40 | modify, like this one
right here, the letter O.
| | 01:42 | If I go ahead and click on that,
what I'm going to see is it took me to a
| | 01:45 | photograph of the letter O --
| | 01:47 | although this keyword isn't very
descriptive. I might think it's a mistake.
| | 01:51 | What you can do is you can right-click,
and you can actually Edit this Keyword Tag.
| | 01:57 | So what might be a little bit more
appropriate is to say o - letter, and I'll go
| | 02:02 | ahead and click Edit.
| | 02:03 | Now you can see that that
particular Keyword Tag has been edited.
| | 02:07 | If we scroll back up, momentarily, to
Keywording, what we'll see here is that is
| | 02:11 | now been updated here as well,
and that says o - letter.
| | 02:16 | So in summary, some of the things you
can do with keywording is you can add
| | 02:20 | keywords by clicking on the check box.
| | 02:22 | You can remove them by clicking on that as well.
| | 02:25 | You can also find images with a
particular keyword by clicking on the arrow key,
| | 02:29 | and then you can also manage your
Keyword List by right-clicking and editing a
| | 02:34 | Keyword Tag. And then finally, as needed,
you can filter your keywords, so that
| | 02:39 | you don't have to scroll through
everything in search for one particular
| | 02:43 | keyword; rather, you can type it in so
that you can just view that particular
| | 02:47 | option, and then you can
work with that from there.
| | Collapse this transcript |
| Synchronizing keywords| 00:00 | The more you work with keywording, the
more you'll discover that you'll have
| | 00:03 | multiple images which will require
the same type of keywords. And in those
| | 00:09 | particular scenarios, what you can do
is you can take advantage of this feature
| | 00:13 | which is called Auto Sync.
| | 00:15 | All right, well, here you can see
that I have two photographs of this
| | 00:17 | athlete named Virgil.
| | 00:19 | He's a pitcher for the Pittsburgh
Pirates - amazing person, amazing athlete - and
| | 00:23 | what I want to do is I want to add
a keyword to both of these images.
| | 00:26 | So I'll click on one of the images, hold
down the Shift key and then click on another.
| | 00:31 | Now, when I do that, I have the ability
to turn on Auto Sync, and I can do that
| | 00:35 | by flipping the Sync switch
right here until it says Auto Sync.
| | 00:40 | Now, once I've done that, I can
then click here to add a keyword.
| | 00:44 | What I want to do is add a keyword of pro
baseball, and I'll press Enter or Return.
| | 00:49 | That keyword now has
been applied to both images.
| | 00:52 | All right, well what about those scenarios,
let's say, where we decide that we want
| | 00:57 | to add keywords to all of these photographs,
and the keyword we want to add is pro athlete?
| | 01:03 | So I'll go ahead and click on one image,
hold down the Shift key and click on another.
| | 01:08 | Now, there are different types of
keywords on each of these images.
| | 01:12 | If we see a little asterisk, that's
showing us that it's not applied to each and
| | 01:16 | every image, but one of the
images that we've selected.
| | 01:20 | All right, now with Auto Sync turned on,
I'm going to go ahead and type out pro
| | 01:24 | athlete. Press Enter or Return to apply that.
| | 01:28 | Now sometimes this may get a little bit
confusing, and let's say that you just
| | 01:31 | want to double check to make sure one
particular athlete's name is in a keyword
| | 01:36 | on one of these images.
| | 01:38 | What you can do is you can deselect
by pressing Shift+Command+D on a Mac,
| | 01:44 | Shift+Ctrl+D on a PC, so that
only one image is selected.
| | 01:49 | Now I can use my arrow keys, and with
the arrow keys I can scroll through these
| | 01:53 | and say, yes, okay, this is good.
| | 01:55 | These keywords all make sense.
| | 01:57 | All right, what about deleting keywords?
| | 02:00 | We can also do that: Command+A on a Mac,
Ctrl+A on a PC. And in this particular
| | 02:05 | case what I'm interested in doing is
removing these keywords which say lynda.com
| | 02:10 | and lightroom 3 - essentials.
| | 02:12 | So I'll go ahead and delete those,
press Enter or Return. Press Shift+Command+D
| | 02:16 | on a Mac, Shift+Ctrl+D on a PC, and as
we scroll through these, you'll see that
| | 02:21 | those keywords have been successfully
removed from all of these photographs.
| | Collapse this transcript |
| Keywording with the spray can| 00:00 | There is one more technique that you
can use to apply keywords, and I'm going
| | 00:03 | to showcase that here.
| | 00:05 | In the Library module, press the G
key to navigate to the Grid view.
| | 00:09 | Now in this particular case
my thumbnails are pretty small,
| | 00:13 | so I'm going to go ahead and press the
Plus icon, which will increase the size
| | 00:16 | of the thumbnails.
The Minus icon will decrease those.
| | 00:19 | All right, well, now that I can see all
my thumbnails a little bit more closely,
| | 00:24 | what I've realized is that there is
another keyword which I would like to apply
| | 00:28 | to these particular images.
| | 00:30 | All these images were captured at a
particular gym, which is named p3.
| | 00:34 | So what I'm going to do is I'm
going to click on the spray can.
| | 00:37 | Once you've done that you have some
settings here; I'm going to choose Keywords.
| | 00:41 | Now the keyword that I want to apply is
p3, which is the name of that particular
| | 00:45 | gym, and so then I'll go
ahead and hover over these images.
| | 00:50 | Once I hover over these, I can click and
assign a keyword to that particular image.
| | 00:55 | I can do that also simply by holding down
this button and then clicking and dragging.
| | 01:01 | You notice that now all of
these images are highlighted.
| | 01:03 | When I let go, it will then
apply, or add, those keywords to those
| | 01:07 | particular photographs.
| | 01:08 | All right, well, let's add the keywords
to all of the images, and then all of a
| | 01:12 | sudden let's say we realize, you
know what, well, this one was at p3, it was
| | 01:16 | actually outdoors, so it
wasn't technically in the gym.
| | 01:20 | In that case, I need to remove this keyword.
| | 01:22 | What you can do is you can use a great shortcut.
| | 01:26 | If you're on a Mac, that's the Option
key; if you're on a PC, that's the Alt
| | 01:29 | key. Hold that down.
| | 01:31 | It changes the spray can into this
eraser, so now I'll go ahead and click, and
| | 01:36 | then what it'll do is it'll
remove that particular keyword.
| | 01:39 | We can also click and do the same thing
and drag, and we can remove the keywords
| | 01:44 | from multiple images as well, as needed.
| | Collapse this transcript |
| Working with the Metadata panel| 00:00 | Here, I want to highlight a couple of
different ways that we can work with
| | 00:03 | the Metadata panel.
| | 00:05 | If you navigate to the Library module,
on the right you'll notice that we have a
| | 00:09 | panel dedicated to metadata.
| | 00:12 | Inside of this panel we'll find
metadata which is descriptive, and also we'll
| | 00:16 | find some areas where there are some
fields where we can add metadata, or in
| | 00:20 | other words where we can
create additive metadata.
| | 00:23 | One of the first things that you
want to do is you want to click on this
| | 00:25 | pulldown menu here, and as we do
that you'll notice there are a number
| | 00:29 | of different options.
| | 00:31 | We can view all the metadata, just the
EXIF info, and in this case, again, it's
| | 00:35 | just describing the metadata that comes
from the camera, the type of lens that
| | 00:39 | was used, the Exposure, et cetera.
| | 00:41 | We also have a new option inside of Lightroom 3,
which is to show the EXIF and the IPTC info.
| | 00:48 | Let's jump right now into the IPTC, so
that we can deconstruct what that is.
| | 00:52 | Over here you can see we can include
some contact information, some content,
| | 00:57 | a little bit about the image
and also status and copyright.
| | 01:00 | The great thing about this is that we
simply need to click into one of these
| | 01:04 | fields in order to add this information.
| | 01:06 | For example, this photograph
was captured in Santa Barbara.
| | 01:09 | So I'll go ahead and click in that field
for City, and I'll type out Santa Barbara.
| | 01:13 | Next thing that I want to do is I
decide that I want to add this City field to
| | 01:18 | a couple of images.
| | 01:19 | So, I'll press Enter, or
Return, to exit out of that field.
| | 01:23 | I'll then select one or more files.
To do that, hold down Command or Control and
| | 01:28 | then click on multiple images.
| | 01:30 | Now as I do that, I'm
going to turn on Auto Sync.
| | 01:33 | This will then give me the ability
to synchronize the metadata across all
| | 01:37 | three of these images.
| | 01:39 | You notice that once I turn on Auto
Sync, all of a sudden, the City field is
| | 01:43 | completely different.
| | 01:45 | Rather than reading Santa Barbara, it
gives me this message that it's mixed -
| | 01:49 | in other words, that there are different
cities for different images, or perhaps
| | 01:53 | that some images don't
have anything in that field.
| | 01:55 | So in this case, this then
tells me, okay, I've Auto Sync on.
| | 01:59 | I'm working on multiple files.
| | 02:01 | I'll now go ahead and just type out
that word "Santa Barbara" once again.
| | 02:04 | Now when I press Enter or Return,
this is going to then give me a warning
| | 02:08 | message, do you really want to do this?
| | 02:10 | Do you really want to apply the
metadata to all of these images?
| | 02:13 | And yes, we do, and so in this case,
we'll click Apply to Selected.
| | 02:16 | Now as we do that we can then click
through these different images here, and
| | 02:21 | you'll see that all of these
images have that particular field.
| | 02:24 | Let's turn off Auto Sync for a moment
and click off the images, and then click
| | 02:27 | back on, just again, so we can highlight,
and notice that they do indeed all have
| | 02:31 | that metadata that we've added to those files.
| | 02:34 | Now another option is to just view
the metadata for the image which is
| | 02:38 | targeted, and that warning
dialog told us how to do that.
| | 02:42 | If you just want to view the metadata
for one file, the targeted image, when you
| | 02:46 | have more than one selected, we'll
then go to metadata and here just choose
| | 02:51 | Show metadata for Target Photo Only. All right.
| | 02:54 | Let's keep looking at this menu over here.
| | 02:56 | The next option we have is IPTC
Extension, and this is a new feature inside of
| | 03:01 | Lightroom 3, and this is focusing on
those folks who are doing news or stock
| | 03:06 | type of photography. And if we select
this option, here we'll see that we have
| | 03:10 | fields related to description, artworks,
model, administration, rights and a few
| | 03:16 | other options as well.
| | 03:17 | Moving our way through this menu, the
next option we have is Large Caption.
| | 03:22 | This is where we have a large
area dedicated to a caption.
| | 03:25 | I'll go ahead and type out a
caption here: athlete doing a pushup.
| | 03:32 | So in this case you can see that you
can change the way the Metadata panel
| | 03:36 | looks, so you can focus in on different tasks.
| | 03:39 | We also have a couple of others;
| | 03:40 | we have one called Location, which
focuses in on some of these Location
| | 03:44 | attributes, and then we have another
one which is Minimal, just showing us the
| | 03:48 | barebones, and then finally, Quick
Describe, which gives us a bit of a
| | 03:52 | overview snapshot of some of the
different types of metadata that we can apply
| | 03:56 | to our images.
| | Collapse this transcript |
| Adding copyright metadata| 00:00 | Here I want to continue where we left
off in the last movie and continue to talk
| | 00:04 | about working with the Metadata panel.
| | 00:07 | In particular, I want to talk about a
few common things that we do with metadata.
| | 00:11 | One of them is add ratings to our photographs.
| | 00:13 | We also work with our copyright.
| | 00:15 | And then we create presets.
| | 00:17 | All right, well, let's go to the Metadata panel.
| | 00:19 | And in the Metadata panel, I'm
going to change the View to Minimal.
| | 00:23 | This will just give me this really
condensed view of the metadata that's been
| | 00:27 | added to this photograph.
| | 00:28 | Well, in this case, you
notice there is a Rating field.
| | 00:31 | I can change the star rating of this file
by simply pressing a number on the keyboard.
| | 00:36 | Here I'll press 4.
| | 00:38 | Now you notice that the rating
shows up as 4 in the metadata panel.
| | 00:42 | And this can be great way
to communicate with clients.
| | 00:45 | In this case, if I want to change it,
we'll simply click on one of the star
| | 00:48 | ratings, and then we can change it that way.
| | 00:50 | All right, well, what about the copyright?
| | 00:52 | Well, let's say that what I want to do is I
want to change the copyright to include a year.
| | 00:57 | So in this case, I'll click into the
Copyright field and go ahead and type
| | 01:00 | out "2010 chris orwig."
| | 01:03 | Well, now that I have that field, what
I want do is turn this into a preset, so
| | 01:08 | that I can use it with some other photographs.
| | 01:11 | In order to create a preset,
click on the Preset pulldown menu.
| | 01:14 | Then choose Edit Presets.
| | 01:16 | This will open up your
Edit Metadata Presets dialog.
| | 01:19 | One of the things that's great about
this is that the information, like the Star
| | 01:23 | Rating or the Caption, that's grayed out.
| | 01:26 | By default, that isn't being included.
| | 01:28 | If I want to include that in the Preset,
I would click on that check box there.
| | 01:32 | As you scroll through these different
options, you'll notice that you have a
| | 01:35 | wide range of options in regards to
the type of information that you can use
| | 01:39 | when building or creating presets.
| | 01:41 | Well, here in my case, the only thing
I want is this copyright information.
| | 01:45 | So I'm going to go ahead and type
out "2010 chris orwig" and copyright in.
| | 01:50 | Now that I've created this little
preset, I want to save this out.
| | 01:54 | To do that, we'll go to our Preset
pulldown menu, and I'll choose Save these
| | 01:58 | Current Settings, whatever
I've just done, as a New Preset.
| | 02:02 | Now I want to name this one.
| | 02:03 | So I'll go ahead and name
this one (c) 2010 chris orwig.
| | 02:08 | Next, I'll click on Create.
| | 02:10 | Now once I've done that, I simply need to
click Done in order to exit out of this dialog.
| | 02:15 | Now what's great about this is I can then
access this preset from this pulldown menu.
| | 02:20 | And here you can see it's
appending that to this particular file.
| | 02:23 | Well, currently, not much happened,
because I already had the copyright that way.
| | 02:27 | Well, if I want to apply this to
other files, I can click on an image say,
| | 02:31 | for example, this one,
| | 02:33 | and then, from my Preset pulldown menu,
select 2010 in order to update or change
| | 02:39 | the copyright information.
| | 02:40 | Now keep in mind, although I'm
showing you how to this with copyright
| | 02:43 | information, you can of course use this
technique with many different types of
| | 02:48 | metadata information.
| | Collapse this transcript |
|
|
10. The Library Module: Finding and Sorting with FiltersFiltering overview| 00:00 | One of the reasons why photographers
have become so fond of Lightroom is because
| | 00:04 | of the database catalog.
| | 00:06 | And when you import your images
into Lightroom, Lightroom keeps track
| | 00:09 | of everything for you.
| | 00:11 | You can then take advantage of this
catalog in order to filter and find and
| | 00:14 | locate and access your photographs.
| | 00:17 | And you can do this on a
number of different levels.
| | 00:20 | For example, currently, I'm
looking at this exercise_files folder.
| | 00:24 | And in my case, this is describing all of
the images that I have in this library.
| | 00:29 | Well, let's say that what I want to do is I
want to filter through all of these images.
| | 00:33 | And I want to find a few
images based on some criteria.
| | 00:36 | Well, what you can do is in the Library
Module, you can press the Backslash key.
| | 00:42 | That will then open up your Library Filters.
| | 00:45 | You have a couple of different filters here.
| | 00:47 | Let's take a look at Attribute.
| | 00:49 | When you click on Attribute, here
you can see that you have some options.
| | 00:52 | For example, you can choose a Star Rating.
| | 00:55 | Let's say that what I really want to do is
see all of the images with a two star rating.
| | 00:59 | I can also choose, if I want, equal to two
stars or a less than or a greater than
| | 01:04 | and equal to that rating.
| | 01:06 | So in this case, it's 2 stars or greater.
| | 01:09 | And let's add another criteria here.
| | 01:11 | How about with a red label?
| | 01:13 | So now I can see all of those
images with those particular criteria.
| | 01:17 | Well, I can also do this on a smaller scale.
| | 01:20 | I could go into a particular folder.
| | 01:23 | Let's say we go into a folder, like frs.
| | 01:26 | Now in this particular folder, I'm going
to turn off my star and my label rating.
| | 01:31 | Currently, I only have an image with three stars.
| | 01:33 | But in this folder, I could say, show me the
images that have a one star or greater rating,
| | 01:39 | and it's going to just show me that file.
| | 01:42 | Another way that we can filter our
photographs is by the way of collections.
| | 01:47 | So we could select a collection
| | 01:49 | and then again here say, hey!
| | 01:50 | Show me the images with two stars or greater,
| | 01:53 | and then show me those same
images that also have a red label.
| | 01:56 | In that case we can then select one of
them and see that yes, it has a 4 Star
| | 02:00 | Rating, a Red label.
| | 02:02 | We can also see that in the toolbar down below.
| | 02:05 | So whether you're in the Loupe View,
which you access by pressing the E key, or
| | 02:10 | in the Grid View, which you access by
pressing the G key, you can filter and
| | 02:15 | view your images in this way.
| | 02:17 | Now there are a couple of more
introductory things that I need to say here.
| | 02:21 | The other way that we can access this
is by going to some of the other modules.
| | 02:26 | Here I am inside of the Develop module,
| | 02:28 | yet you will notice that I'm still
filtering this particular collection, Athletes,
| | 02:33 | based on some criteria.
| | 02:35 | You can see the criteria
here, two star with a red label.
| | 02:39 | Well, to turn off the red label,
simply click on the icon there.
| | 02:42 | Well, let's say that we want to
turn off the filtering altogether.
| | 02:46 | Well, there is a great shortcut.
| | 02:48 | It's one of the shortcuts you got to write down.
| | 02:50 | On a Mac, it's Command+L; on a PC, it's
Ctrl+L. Think of L for Library Filter, and
| | 02:57 | that will toggle that on and off.
| | 02:59 | You can also flip this switch
here, if you forget that shortcut.
| | 03:03 | Let me go back to the Library module, so
that we can see this a little bit more clearly.
| | 03:07 | Again, I'm going to press Command
+L on the Mac, Ctrl+L on the PC.
| | 03:12 | And then I'll press that again.
| | 03:13 | And you can see that that's
turning that filter on and off.
| | 03:17 | Another way that you can do that is by
clicking on this contextual menu here.
| | 03:21 | And you can turn the filtering off, as well.
| | 03:24 | So I'll go ahead and turn it back
on with the shortcut: Command+L on a
| | 03:28 | Mac, Ctrl+L on a PC.
| | 03:30 | And then I can click on this menu and
choose Filters Off that way, as well.
| | 03:36 | So there are a couple of
different techniques that you can use,
| | 03:38 | although I really encourage, you
in this case, to learn the shortcut,
| | 03:42 | in particular that Command+L or Ctrl+
L shortcut, because it's one of those
| | 03:45 | shortcuts that you're going to use all the time.
| | Collapse this transcript |
| Locking library filter options| 00:00 | Now that we've covered some of
filtering essentials, let's go ahead and dig
| | 00:04 | a little bit deeper.
| | 00:05 | In the Library module, go ahead and
press the Backslash key to open up
| | 00:09 | our Library filters.
| | 00:12 | Now one of things that we've seen
so far is we can click on Attribute.
| | 00:15 | Now when you select a particular
attribute, whether a flag, a star rating or
| | 00:19 | a color label what typically happens is
that we define this in this particular area.
| | 00:24 | And then we go to a new folder.
| | 00:26 | Yet when we go to the new folder,
whatever filter we had previously applied has
| | 00:31 | now been, by default, removed.
| | 00:33 | And this actually isn't very helpful,
because typically what you do is you come
| | 00:37 | up with a way to add flags or stars
or labels that's really consistent.
| | 00:42 | We want to build off that consistency.
| | 00:44 | So new to Lightroom 3 is
this great little feature.
| | 00:48 | What you can do is you can choose any of
these Library filters, whatever they are:
| | 00:51 | text, metadata, attribute,
| | 00:53 | and then you can lock it down.
| | 00:55 | So I'm locking down a one star rating.
| | 00:58 | Now when I go to another folder, here's
what I'm going to see is that yes, this
| | 01:01 | image here has a one star rating or
more, in this case a rating of 3.
| | 01:06 | And so again, I can go to other places.
Even in this Loupe View mode, which you
| | 01:11 | can access by pressing the E key,
| | 01:12 | I can go back to beach_family.
| | 01:15 | And again, it's keeping in mind
whatever filtering I had previously applied
| | 01:20 | rather than, by default, turning that off.
| | 01:22 | All right, well, let's go back to
the Grid view mode momentarily to
| | 01:25 | just highlight this.
| | 01:27 | So again, whenever you're working with
your Library filters, be sure to click on
| | 01:31 | this icon here to lock things down in
order to improve your overall Library
| | 01:35 | Filter work and efficiency.
| | Collapse this transcript |
| Filtering based on text| 00:00 | Let's continue to further
deepen what we know about filtering.
| | 00:03 | And here in the Library Grid view mode,
I'll press the Backslash key in order to
| | 00:07 | open up the Filter options.
| | 00:10 | And then I'm going to click on Attribute.
| | 00:12 | New to Lightroom 3 is the ability not
only to search by flag, star or label or
| | 00:17 | the master or virtual copy version of
the image, we can also filter based on if
| | 00:23 | it's a photograph or a movie.
| | 00:25 | If you click on this icon here and then
turn off my rating momentarily, you can
| | 00:30 | see that what I've found is a
movie file. Double-click that
| | 00:33 | and there you will see
indeed it is a movie file.
| | 00:36 | And this is a nice way to be able to
find those particular types of files.
| | 00:40 | All right, well, I'll press the G
key to go back to the Grid view.
| | 00:43 | Then I'm going to turn off this Attribute.
| | 00:45 | Well, what about Text?
| | 00:47 | Let's say that what we want to do is we
want to search for a particular text criteria.
| | 00:51 | Well, there's a shortcut to
access this particular field.
| | 00:55 | And it's Command+F on a Mac, Ctrl+F on a PC.
| | 01:00 | In this particular case, I previously
searched for this name, Brooke, one of the athletes.
| | 01:05 | And what that did for me is it
showed those particular images.
| | 01:09 | I can also delete this by
pressing these check box here.
| | 01:12 | Now for Text, I'm currently
searching for Text and Attribute.
| | 01:17 | In this case, let's go ahead and search for
text, any searchable field that has Shaun.
| | 01:22 | And then I want to find a
Shaun image with two stars.
| | 01:26 | And here you can see it
found that particular image.
| | 01:29 | Now you can, of course, also just search for Text.
| | 01:32 | If you want to remove the Attribute
option, well then simply click on the
| | 01:36 | Attribute tab, and now it's just going to
show the images based on the Text search.
| | 01:41 | Now you can also modify your text search.
A couple of different options: Filename,
| | 01:45 | Copy Name, Title, so on and so forth.
| | 01:48 | And you can also define what it's looking for.
| | 01:50 | Does it contain this or doesn't contain, starts
with this, ends with this, so on and so forth.
| | 01:55 | So as you can see, this Text
search is actually quite powerful.
| | Collapse this transcript |
| Filtering by metadata| 00:00 | Another, great way to filter and
fine photographs is by way of metadata.
| | 00:04 | Let's go ahead and navigate to the
Library module and then press the Backslash
| | 00:09 | key in order to open up our Library filters.
| | 00:12 | Now, what we can do here is we can
click on this Metadata tab in order to open
| | 00:16 | up our Metadata options.
| | 00:18 | Again, clicking on that will
open and close these options.
| | 00:22 | Here you can see I have four columns.
What's happening is Lightroom is saying hey!
| | 00:26 | What files are you actually wanting to search.
| | 00:29 | In my case, I want to search the
files located in exercise_files.
| | 00:32 | It showed me that I have 259 images
here. Now if I click on one of these
| | 00:36 | criteria, what I can do is just show the
images that are this particular file type.
| | 00:41 | So what we can do with metadata
filtering is search or filter by descriptive
| | 00:46 | metadata, like this file type, or by
additive metadata, like things like labels or
| | 00:51 | other options as well like keywords.
| | 00:53 | Here you can see I have
couple of different columns.
| | 00:55 | I can look by these images
that are digital negative.
| | 00:58 | Let's say I just want to look at the
photographs that have portrait orientation.
| | 01:03 | Now that's really helpful, right?
| | 01:05 | Yet some of these other fields aren't really
helpful: the Copyright Status, Flash State.
| | 01:10 | So I want to change those columns.
| | 01:12 | Here's how you do that.
| | 01:13 | All you do is you click on the name
and then you choose some other type of
| | 01:17 | criteria that you thing might be helpful.
| | 01:19 | In this case, it is showing me the
different aperture settings of which these 34
| | 01:23 | images were captured.
| | 01:25 | So again, I have a few different settings here.
| | 01:27 | Now, if ever I remove one of the filter
options, for example, I look at All
| | 01:31 | File Types, you will notice that all
of this information is updated, as well.
| | 01:36 | So again, all the criteria is based on
what we selected in regards to our folder.
| | 01:41 | Well, for that matter, let's go down to
collection. If I click on collection,
| | 01:44 | you can again see here that
all of this information has been updated.
| | 01:48 | So it's contingent upon our folder or
collection that we have selected, and then
| | 01:53 | also the different criteria that we
have defined in this particular location.
| | 01:57 | We can, of course, do is to add this
information together, show me the images that were
| | 02:02 | captured at f 1, 2 and then show me the
photographs at that aperture which were
| | 02:06 | also captured in this portrait orientation.
| | 02:09 | And this last field, Flash State, isn't very
helpful, so I am going to go ahead and choose label.
| | 02:13 | And it's going to pick up the
labels that I have on these images.
| | 02:17 | I will go ahead and say just show
me the files with this red Label.
| | 02:20 | Now, some of you may be thinking, okay, yeah!
| | 02:22 | This is really is really interesting, but
what if I want to add more information?
| | 02:26 | What if I want to do some searches
or filtering it's a little bit deeper.
| | 02:29 | Well, all you need to do is to click
on this far right icon and then add a
| | 02:34 | column. And here we going to add a column,
and I am going to choose a column of
| | 02:38 | Metadata, and I am going to
choose the option of Keyword.
| | 02:41 | Now, when I do this, it's going to show me the
different keywords I have on these photographs.
| | 02:45 | Let's remove some of our labels and our
aspect ratio, and for that matter let's
| | 02:49 | remove our aperture as well.
| | 02:51 | So currently it's showing me all the
different keywords that I have on all of
| | 02:55 | these different files.
| | 02:56 | One other problems with this I
can't really read the full keyword here.
| | 03:01 | Well, a lot of times what you will need
to do in these scenarios is open up some
| | 03:05 | more space regards to your interface.
| | 03:07 | We are going to do this by way of a shortcut.
| | 03:10 | What you do is you press the Tab key, and
that will Show/Hide the panels on the right and left.
| | 03:15 | Now, here you can see that we can read all
of this information. Press the Tab again.
| | 03:19 | It will bring back our
left and right-hand panels,
| | 03:22 | although the Library Filtering options
are little bit more compressed. All right!
| | 03:26 | What about removing columns?
| | 03:28 | Well that's really simple as well.
| | 03:30 | Click on the icon in the far right and
then simply choose Remove this Column,
| | 03:33 | and that one is now gone. All right!
| | 03:35 | Well another thing that we can
actually do is we can actually combine our
| | 03:40 | filters together. For example, I am
going to go ahead and open up this
| | 03:44 | Text field as well.
| | 03:45 | Now, if I just click on Text, it's
going to remove my Metadata options.
| | 03:49 | What I want to have open
is both of these options.
| | 03:52 | Well here's a great shortcut for doing
that. On a Mac you hold down the Command
| | 03:56 | key; on a PC you hold down the Ctrl
key, and then you click on any of these
| | 04:01 | different filtering options.
| | 04:02 | Here you can see I have all of these
visible. Again, if you want to remove one
| | 04:06 | of these options, on a Mac hold down
Command, on a PC hold down Ctrl, and then
| | 04:11 | click on one of them.
| | 04:12 | So we can do here say, you know what,
show me all of the images that have this
| | 04:16 | searchable field, any of them, with the
name Shaun, and it's going to show me
| | 04:20 | these different files. And then from
there I say, you know what, I just want to
| | 04:23 | see the once that are captured in this
portrait orientation, and then from there
| | 04:27 | I could go even further and
dig into other criteria right?
| | 04:30 | And the nice thing about this is let's
say we want to see this name, this aspect
| | 04:36 | ratio, and then the two star rating.
| | 04:38 | If you go ahead and hold down the
Command key on the Mac, Ctrl key on the PC ad
| | 04:42 | click on one of these other filtering
options, you can then choose that option.
| | 04:46 | So now, I am filtering, or really kind
of searching for criteria, in these three
| | 04:51 | different areas: Text,
Attribute and also Metadata.
| | 04:56 | So one of things you are discovering is
that this particular type of filtering
| | 05:00 | is actually really quite powerful,
| | 05:03 | yet sometimes what will happen is you may
forget how to actually access this information.
| | 05:08 | If that ever happens, you can always
find this here by navigating to your
| | 05:11 | Library pulldown menu.
| | 05:14 | Here you can see are different types of
filtering. In particular we are focusing
| | 05:17 | in on Filter by Metadata.
| | 05:19 | We can enable or open or close that
particular option by disabling it.
| | 05:26 | That's the same thing as clicking on this here.
| | 05:29 | The reason I show that is
occasionally what happens is you may have this
| | 05:32 | filtering closed and you may
forget that Backslash shortcut.
| | 05:36 | So how do I access that?
| | 05:38 | In those cases, just navigate to the
Library pulldown menu and then choose any
| | 05:43 | of these filter options: Enable Filters,
Filter by Preset in this case, Filter
| | 05:47 | by Metadata, and I am going to Enable
Metadata Filter that. It will then start
| | 05:51 | that particular search.
| | 05:53 | Then if we want to pull up that
particular panel, all that you need to do is
| | 05:56 | navigate to your View pulldown
menu and there choose Show Filter Bar.
| | 06:00 | There is a little shortcut, and
here you can see that it's enabling my
| | 06:03 | metadata filtering, and now we
obviously have a better visual in regards to
| | 06:07 | how we can actually do this filtering
because we can see our Library filter
| | 06:11 | options right here.
| | Collapse this transcript |
| Filtering your photos using the Metadata panel| 00:00 | Here I want to take a look at how
we can use the Metadata panel in a
| | 00:03 | completely different way, and what I
want to do here is explore how we can
| | 00:08 | actually use this panel to filter
the images that we're viewing and then
| | 00:12 | eventually working on.
| | 00:13 | Well you notice that I'm
in this folder titled frs.
| | 00:16 | I'm also in the Library module, and
here what I'm going to do is open up
| | 00:21 | the Metadata panel.
| | 00:23 | Now in the Metadata panel, you'll
notice that there are certain fields with
| | 00:26 | arrows next to that field.
| | 00:28 | Well what we can do is we can take this
view to something say like EXIF, where
| | 00:32 | we've just seen all of this descriptive metadata,
and we can focus in on some of these fields.
| | 00:38 | For example, let's say that I want to see
the images that were captured at an ISO of 400.
| | 00:43 | Well if I click on this arrow, it will
show me this image, as well as all of the
| | 00:48 | other images in my Catalog
that were captured that way.
| | 00:52 | And what's fascinating about this is I
can choose different criteria. Say I want
| | 00:56 | to see the images captured with this
particular Lens, well again, click on that
| | 01:00 | arrow, and it will show me
that particular selection.
| | 01:03 | There are other fields, as well; for example,
like this one here, which shows me the File Path.
| | 01:08 | If I click on the arrow now, it will
then open up my Finder window, and it will
| | 01:12 | show me the actual
source files on my hard drive.
| | 01:15 | All right, well let's close this document
window and what I want to do next is open
| | 01:20 | up the Library Filters. To do
that, press the Backslash key.
| | 01:24 | Well here you can see that my Library
filter is now open, and I can filter based
| | 01:29 | on metadata, and so what's happening
here is as I click on these arrows, it's
| | 01:34 | then updating the filtering option.
| | 01:37 | Now you can see it's highlighting ISO 400.
| | 01:40 | Watch this again as I change this.
Here I'll change to the lens 24-70, and it's
| | 01:45 | going to show me all the photographs
in this catalog that were captured with
| | 01:49 | that particular lens.
| | 01:51 | So as you can see, you can use the
Metadata panel not only to learn about your
| | 01:55 | photographs or to add information to
them, but you can also take advantage of
| | 01:59 | the information that's already there,
and you can then use that to sort or
| | 02:03 | filter your photographs in
some pretty interesting ways.
| | Collapse this transcript |
| New filtering criteria in Lightroom 3| 00:00 | Here I want to simply highlight
two new filtering criteria, which can
| | 00:04 | really help us out.
| | 00:05 | So let's navigate to the Library module
and then press the Backslash key to open
| | 00:10 | up our Library filter options.
| | 00:13 | Next up we'll go ahead and click on
the Metadata button, and then what we're
| | 00:15 | going to do is click on one of the names
for one of these different columns. And
| | 00:19 | as we do that, say, for example, Date,
we'll see we have different options.
| | 00:23 | Well, in previous versions of Lightroom,
we were able to filter based on Lens.
| | 00:28 | Now this worked pretty well, except
for those situations where you had
| | 00:32 | different lenses made by different
manufacturers, or you had different focal
| | 00:36 | lengths, which had overlap.
| | 00:38 | So new to Lightroom 3 is a filtering
criteria which helps with all of those
| | 00:42 | issues, and here it is.
| | 00:44 | If we click on this, in order to view
the menu, you notice that right underneath
| | 00:48 | Lens is Focal Length.
| | 00:49 | What's fascinating about this is we can
then choose a particular and exact Focal
| | 00:54 | Length. For example, let's scroll down
and say, we want to see the images that
| | 00:58 | we captured exactly at 40 mm.
| | 01:01 | So when we click on that, we
then see those two photographs.
| | 01:04 | Now another one of these criteria
fields which really helps out has to do
| | 01:08 | with shooting video.
| | 01:10 | Here, I'm going to take this back to Date for
a moment, just to bring back all of my images.
| | 01:14 | Now a lot of times when we're looking
for video files, we have to scroll and
| | 01:18 | scroll in order to find those.
| | 01:19 | Well, here what we can do in the
Metadata panel is we can click on this option,
| | 01:24 | and then we can choose File Type.
| | 01:26 | Now we have a number of different
File Type options. Here I'll go ahead
| | 01:29 | and click on Video.
| | 01:31 | I'll then see that one video file
that I have in this particular Catalog.
| | 01:35 | And of course it's worth
highlighting that if we turn this option off, in
| | 01:38 | order to see all the types, by clicking on
All File Types, we can also go to Attribute.
| | 01:44 | Now when we're in Attribute, we have this
icon, which we've highlighted before, and
| | 01:48 | it's the third icon here which
looks like a vertical filmstrip.
| | 01:51 | Well if we click on that icon that will
also filter our entire catalog and just
| | 01:57 | show us the video files.
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|
|
11. The Library Module: Exporting ImagesExporting images| 00:00 | A common conceptual problem that
many of us encounter when we we're new to
| | 00:04 | Lightroom is okay well now
that we've imported our images,
| | 00:07 | and we've worked on them; how
do we how them out of Lightroom?
| | 00:11 | And what we need to do to get our
images out of Lightroom is export them.
| | 00:15 | We are going to take a look at that here.
| | 00:17 | And in this particular folder, surf_
sponsor, I have some photographs that were
| | 00:21 | taken of a pro surfer for his sponsor.
| | 00:24 | And I am just clicking
through these photographs.
| | 00:26 | And let's say that what I want to
do is I want to export these images.
| | 00:30 | And I want to export all of them, so
that I can send them to the client.
| | 00:33 | Because the client says, "Hey, these photographs
are great, we want to use these on our Web site."
| | 00:37 | So I need to export these
4 res DNG files as JPEGs.
| | 00:42 | Or they say, "Hey, we really
want to use these in a print ad.
| | 00:45 | We need to export these as really hi-
res TIFFs of hi-res JEPGs," whatever it is.
| | 00:50 | What I need to do first is
make a selection of the images.
| | 00:53 | So I'll go ahead and click on one, hold
down the Shift key and click on another
| | 00:57 | in order to make a contiguous selection.
| | 01:00 | If I don't want to select any of the images,
like this third one I don't really like,
| | 01:03 | on a Mac hold down the Command key, on
a PC hold down the Ctrl key, and click on
| | 01:08 | that particular image.
| | 01:10 | All right, well now that we have our
selection, we are going to navigate to File,
| | 01:14 | and we are going to choose Export.
| | 01:15 | You definitely want to write this
shortcut down. On a Mac, it's Shift+Command+E;
| | 01:21 | on a PC, it's Shift+Ctrl+E. And you want
to write this down because of course we
| | 01:25 | are going to be exporting all the time.
| | 01:27 | Well let's click on that option.
| | 01:29 | And it will open up our Export dialog.
| | 01:32 | Now this dialog has changed a
little bit inside of Lightroom 3.
| | 01:35 | And one of the first things you'll
notice is that we have this Export To option.
| | 01:40 | We can either export to a Hard Drive or
folder, or we can export to a CD or DVD.
| | 01:45 | In this case, it will then help us
expedite that process, where it'll copy the
| | 01:49 | images to a folder, and then it will
automatically bring up a dialog which
| | 01:52 | allows us to burn that CD or DVD.
| | 01:55 | Well in my case, I am just simply
going to export them to a hard drive,
| | 01:59 | because let's say what I really want to do is
create some JPEGs, e-mail these to the client.
| | 02:04 | So go ahead and choose Hard Drive.
| | 02:06 | And then let's take a look at a
few of our other options here.
| | 02:08 | We can define a location.
| | 02:10 | And I am going to put these in a subfolder.
| | 02:12 | And I'll name the folder cis, for
Channel Islands Surfboards, which is a
| | 02:16 | particular sponsor for which
these photographs were taken.
| | 02:19 | Now what I want to do in
regards to the Existing Files?
| | 02:21 | Well you can overwrite those files, chose a
new name, skip them or simply Ask what to do.
| | 02:26 | And Ask what to is
probably the safest option there.
| | 02:30 | We can rename the files.
| | 02:31 | We've seen this before, all
of our standard options here.
| | 02:34 | And in this case I am going to leave
that off. Just to use the default name.
| | 02:37 | File Settings, well, what de
we want to do in this case?
| | 02:40 | We can choose different types of formats.
| | 02:42 | If I choose DNG, you are going to
notice I have different options here.
| | 02:45 | Or in contrast, if I choose TIFF, or
for that matter Original, again I have
| | 02:50 | different options every
time I make a format selection.
| | 02:54 | Well in my case, I am going to choose JPEG,
| | 02:57 | so I want these to be small little JPEGs.
| | 02:59 | Color Space sRGB because
we are going to be online.
| | 03:02 | I am going to choose a Quality setting.
| | 03:04 | Most quality settings need to be
somewhere for the Web around 75 or so.
| | 03:09 | I am going to make these a little bit
high because what I want to do is size
| | 03:12 | these images a little bit larger than needed,
| | 03:15 | so that the client can then make the
final resizing decision based on their Web
| | 03:19 | site dimensions and how it's
going to be integrated into the site.
| | 03:23 | And that's almost always
typically a good idea, right?
| | 03:26 | You typically give files, in regards
to their dimensions or their quality or
| | 03:30 | their settings, to be a little
bit better than the client needs,
| | 03:34 | so they have some flexibility.
| | 03:35 | All right, well, scrolling down, what
about resizing? Here what I am going to
| | 03:39 | do is Resize to Fit.
| | 03:41 | And I am going to choose just the Long Edge.
| | 03:44 | In other words, whether they are
vertical or horizontal, I want them to be
| | 03:49 | let's say 1500 pixels wide or tall,
| | 03:52 | I don't want to enlarge these images.
| | 03:54 | Now, these dimensions for the Web work
really well because most images online
| | 03:59 | won't ever be larger than 1500
wide or tall. Resolution 72, great!
| | 04:05 | Output Sharpening, going to
Sharpen For Screen, Standard.
| | 04:08 | I don't need any Metadata,
so I'll minimize that.
| | 04:10 | I don't need a Watermark.
| | 04:12 | And then Post-Processing. After
Export I could Show in Finder, I could Do
| | 04:16 | nothing, or I could open these files in
Photoshop if I felt that was helpful.
| | 04:20 | So go ahead and select Show in Finder.
| | 04:22 | Now that I have dialed in all of these
settings, what I am going to want to do is save them,
| | 04:27 | because let's say I work
with this client quite a bit
| | 04:29 | and I know that I am going to be
exporting files to e-mail them all the time.
| | 04:34 | So in those scenarios, simply click Add.
| | 04:36 | And here I am going to type out the
client name and the dash Web because that's
| | 04:40 | these are going to be used for. Hit Create.
| | 04:42 | Here I have this little preset.
| | 04:44 | And the nice thing about this preset
is that if I choose another option, like
| | 04:48 | let's say DNG, I am going to
have all these settings dialed in.
| | 04:51 | When I go back to my User Preset, you'll
see that it'll show me my folder name,
| | 04:56 | my File Naming, my File Settings and
everything that we have defined in this
| | 05:00 | particular Export dialog.
| | 05:01 | So the nice thing about this dialog
is that it is incredibly easy to use.
| | 05:06 | Now that we've dialed everything in, all
that we need to do is to simply click Export.
| | 05:12 | And then Lightroom will show us the
progress of converting these DNGs to JPEGs.
| | 05:16 | Well, what we can do is while this is
happening is we consider that this is
| | 05:21 | happening in the background.
| | 05:23 | And that's one of the advantages of
Lightroom, because if you are processing
| | 05:26 | let's say 100 images,
| | 05:27 | well that's going to take a ton of time.
So what you can do is work on other
| | 05:31 | areas of your photographs in Lightroom
while that happens in the background.
| | 05:35 | All right, well the process has been completed.
| | 05:37 | And here you can see that I have these images.
| | 05:39 | I'll go ahead and just view them this way.
| | 05:41 | And they are all nice, relatively-small files.
| | 05:44 | And the nice thing about this is I
could then e-mail these to the client, and
| | 05:47 | then they could start to integrate
them into the marketing for which they
| | 05:50 | needed these photographs.
| | 05:52 | So exporting as you can see is
actually a really easy process.
| | 05:55 | And my only recommendation here is
that as you export more and more -
| | 05:59 | let's go ahead and navigate back to
Lightroom - that as you do this more
| | 06:03 | frequently, that you define more User Presets.
| | 06:07 | So that you do this by client name
also by output type, so that you have these
| | 06:12 | presets which you can then take
advantage of in order to speed up your
| | 06:16 | overall Export workflow.
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| Export quality and watermark options| 00:00 | Now that we know a little bit about
exporting our images from Lightroom, here I
| | 00:04 | want to focus in on two new
export features inside of Lightroom 3.
| | 00:08 | Go ahead and select an image.
| | 00:10 | And then navigate to the File
pulldown menu and choose Export.
| | 00:14 | This will open up our Export dialog.
| | 00:17 | Now we know that what we can do is we
can click on one of the presets that we've
| | 00:20 | already created, like this one here.
| | 00:22 | I'll go ahead and click on that option.
| | 00:24 | It will then update a number of my
different settings on the right-hand side.
| | 00:28 | Next up, I am going to scroll
down and focus in on File Settings.
| | 00:32 | So far, we've talked about and discussed
how we can change the over all quality
| | 00:36 | of our JPEG by modifying
this JPEG's slider here.
| | 00:39 | Well, there is also another way.
| | 00:41 | As you might have noticed, there was a check box
for limiting our file size to a particular size.
| | 00:46 | Well if we turn on this option,
it'll gray out this quality slider.
| | 00:51 | So what exactly is happening here?
| | 00:53 | Well, what we are doing is when we turn
on this option we are telling Lightroom:
| | 00:56 | I want to file that is 100K;
| | 00:59 | therefore, make the file 100K and
modify the quality so I can get the best
| | 01:03 | quality file as possible
at this particular size.
| | 01:07 | And of course we can click in here
and change this as well, if we want a
| | 01:11 | different file size.
| | 01:12 | All right, well, the next thing I want
to highlight is down near the bottom.
| | 01:16 | If you scroll down, you'll notice that
there is an option for watermarking your
| | 01:19 | photographs upon Export.
| | 01:21 | All that you need to do is to
simply click on this check box here.
| | 01:25 | Now in this case, I've
already created a watermark.
| | 01:27 | So I'll go ahead and simply choose one
of those, copyright chris orwig - big.
| | 01:31 | This one is a little bit larger.
| | 01:33 | And I will use that one and
include that here in this Export.
| | 01:37 | Now by doing that, I can have that
graphic on top of my image, embedded in the
| | 01:41 | file, so it can protect the image.
| | 01:43 | And this can be of particular
importance and particular help, especially if you
| | 01:48 | are sending your images
to your client to review.
| | 01:51 | You want to make sure you maintain the
copyright of those files so that they are
| | 01:54 | not used in anyway that isn't appropriate.
| | 01:56 | All right, well, that wraps up our
extra look at a couple new features inside
| | 02:01 | of the Export dialog.
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| Exporting movies| 00:00 | One of the advantages of using
Lightroom 3 is that it allows you to import and
| | 00:05 | export movie or video files;
| | 00:08 | yet one of the things that happens a
lot of times is that our movie or video
| | 00:11 | files are kind of tangled up
in our photographic library.
| | 00:15 | Well here is a trick which will help
you find these files really quickly.
| | 00:19 | Navigate to the Library module.
| | 00:21 | Next, press the Backslash
key to open up your filtering.
| | 00:25 | And then from there what we are
going to do is click on Attribute.
| | 00:28 | Now in the Attribute filter,
we want to go to the far right.
| | 00:31 | The first two icons here are for photographs.
| | 00:33 | The last icon, that's the one we are
looking for, show us just the video or movie files.
| | 00:38 | Great!
| | 00:39 | And find the file I am looking for.
| | 00:41 | I'll go ahead and double-click this
to take it to this Loupe view mode.
| | 00:44 | And here we can see this file, 8 second long
clip that I captured with my Canon 5D Mark II.
| | 00:51 | In this particular video, I was
interested in creating a short little clip,
| | 00:55 | which showcases this I recently
wrote titled the Visual Poetry.
| | 00:59 | And I wanted to do this in order to
include this video on the Web site for the
| | 01:04 | book, in order to promote the book.
| | 01:06 | Yet currently, this video is
part of my Lightroom Catalog.
| | 01:08 | It's stuck inside of Lightroom.
| | 01:10 | So how do I get it out of Lightroom?
| | 01:12 | Well it's actually pretty simple.
| | 01:14 | All that you need to do is to navigate
to your File pulldown menu, and then
| | 01:17 | form here we are going to choose Export.
| | 01:20 | Now of course you can press the
shortcut key as well: on a Mac Shift+Command+E,
| | 01:25 | on a PC Shift+Ctrl+E, or simply
just click on the option for Export.
| | 01:30 | Now in the Export dialog, this is a little
bit counter intuitive, so let's talk about it.
| | 01:35 | We first choose an Export Location.
| | 01:37 | In this case, I am choosing a folder.
| | 01:39 | I've titled this folder visual_poetry,
| | 01:41 | or I'll go ahead and abbreviate that vp for
visual_poetry, which is the name of the book.
| | 01:46 | Now I can also choose to rename the file.
| | 01:49 | And I am going to do that.
| | 01:50 | In this case, I am going to rename it so
it has a Filename plus a Sequence number.
| | 01:54 | So it's going to have a -1 next to it.
| | 01:57 | All right, well, about the File settings?
| | 01:59 | As you go through these different file
settings, you notice that you have this
| | 02:02 | option to include video files.
| | 02:04 | And one of the things that you may be
thinking is "Well, that's kind of strange," right?
| | 02:08 | It's a little bit counter-intuitive.
| | 02:10 | Yet all that you need to do, when
exporting video, is say Include Video Files.
| | 02:15 | It's not going to convert this
to a JPEG or convert it to a DNG;
| | 02:19 | rather, what it's going to do is ignore
all of your settings, your image sizing,
| | 02:23 | your metadata, your
sharpening, your watermark options.
| | 02:26 | It's going to ignore all of that, and
it just going to say hey I am going to
| | 02:29 | take this file as is and going
to copy it to a new location.
| | 02:33 | Well once we've dialed in all of these settings -
| | 02:35 | and again we can leave all of these
options turned off and by default they are here -
| | 02:40 | I am going to go ahead and show
this file in my Finder After Export.
| | 02:44 | And I am going to do that because there
is one more thing that we have to think
| | 02:47 | about when exporting movies.
| | 02:49 | All right, well, let's
go ahead and click Export.
| | 02:51 | Lightroom will show us the progress.
| | 02:53 | And then here what it's going to do is open
up this folder, which we can see, titled vp.
| | 02:58 | So now I have a new version of this video file.
| | 03:01 | Its vp-1, and it's 43 MB.
| | 03:05 | Now that's kind of interesting, and
we have to stop and think about that.
| | 03:08 | This video file is 8 seconds long.
| | 03:10 | Well what if the video file is
really long, and the file size is huge.
| | 03:16 | What's happening is its
actually duplicating the file.
| | 03:19 | It's taking the original file, leaving
it where it was, and giving us yet a new
| | 03:24 | version of the file.
| | 03:26 | And sometimes we may not want to have
a duplicate version of our video files
| | 03:30 | simply because of file size.
| | 03:33 | So let's dig into this even a
little bit more. Back to Lightroom.
| | 03:37 | In Lightroom, what we can do is we can
right-click on anything, image or video,
| | 03:42 | and then choose Show in Finder.
| | 03:43 | So I am going to go ahead and do that.
| | 03:45 | And now that I have these two Finder
windows open, let me resize them a little
| | 03:49 | bit so that we can see this just a touch better.
| | 03:52 | We can see that one of these versions
of file is saved in a folder titled vp,
| | 03:57 | another one is saved in
this folder titled movie.
| | 04:01 | Now this is the one that's part of my Library.
| | 04:03 | This was the original file.
| | 04:05 | This was the one that I exported.
| | 04:07 | Now they'll both be the same file
size, but the whole point is that when
| | 04:11 | exporting, Lightroom is
duplicating your movie file.
| | 04:15 | So if you don't want it to duplicate
your movie file, well all that you need to
| | 04:18 | do is right-click or Ctrl+
Click and choose Show in Finder.
| | 04:22 | And then you can find the movie
file and then work with it from there.
| | 04:25 | In other words, you could
drag this to a new location.
| | 04:27 | You could copy it to a new location.
| | 04:29 | You could start working on the file
from right in this location and begin to
| | 04:33 | edit it here, whatever makes
sense to your overall workflow.
| | 04:37 | But a quick word of caution.
| | 04:38 | If we do move this file, Lightroom
is going to be a little bit upset.
| | 04:42 | It's going to not really know where
that file is actually located, and things
| | 04:46 | will get a little bit confusing.
| | 04:48 | Yet in certain scenarios, it may be for
the better because you simply won't want
| | 04:52 | to have the duplicate amount of file size.
| | 04:55 | In most scenarios, what I think you'll
soon discover is you'll come up with a
| | 04:59 | particular workflow, which will
make most sense for you in regards to
| | 05:02 | handling your movie files.
| | 05:03 | Yet what I wanted to do here was
just show you that you have a couple of
| | 05:06 | different options when it comes to
exporting and working with movie files from
| | 05:11 | inside of Lightroom.
| | Collapse this transcript |
| External editing preferences and considerations| 00:00 | It's easy to forget that
Lightroom's full and formal name is Adobe
| | 00:04 | Photoshop Lightroom.
| | 00:06 | The reason I'm bringing that up here
is to reiterate this idea that Lightroom
| | 00:10 | and Photoshop work and
communicate really well together.
| | 00:14 | In fact, it's one of the reasons why
Lightroom has become so popular, because
| | 00:18 | you can have this really tight and
seamless workflow from Lightroom to
| | 00:22 | Photoshop, and back again.
| | 00:24 | Let's take a look at how we can
begin to set things up in order to have
| | 00:27 | this kind of a workflow.
| | 00:29 | Well, the first thing that we need to
do is to navigate to our Preferences.
| | 00:33 | On a Mac, you can navigate to
the Lightroom pulldown menu;
| | 00:36 | on a PC, you can find these same
preferences inside of the Edit pulldown menu,
| | 00:40 | and then go ahead and click
on the option for Preferences.
| | 00:43 | In this Preferences dialog, we need to
go ahead and choose External Editing.
| | 00:49 | The first thing you'll notice
here is we have a few options.
| | 00:52 | The first options that we can dial in
have to do with the way that we'll edit
| | 00:55 | our photographs in Photoshop most frequently.
| | 00:58 | Then we can also define an
Additional External Editor, and we can also
| | 01:03 | change the file name.
| | 01:04 | Here, you can see we have a few
different options, the same options we've
| | 01:07 | seen in other places.
| | 01:08 | All right, well, let's talk about the
first set of External Editing options.
| | 01:12 | Now, these options are the ones that
we're going to want to dial in, in order to
| | 01:16 | take advantage of the strength of Lightroom.
| | 01:18 | In other words, we want a really large
file, really large color space, a lot of
| | 01:23 | bit depth, so that our images will
look their absolute best, so that we won't
| | 01:27 | get banding or have any
problems with the photographs.
| | 01:29 | Well, what do we need to do then?
| | 01:31 | In that case, we need a File Format.
| | 01:33 | TIFF is stronger than PSD.
| | 01:35 | Color Space, ProPhoto in the correct
context is the best, so we want that Color Space.
| | 01:39 | Bit Depth, well, we want 16 versus 8.
Again, we have more information to work
| | 01:43 | with, and then Resolution we'll
leave as is and Compression as is.
| | 01:48 | All right, well, now that we've
defined this setting, which is our go-to
| | 01:50 | setting - most frequently, we'll
work on our files in this context -
| | 01:54 | what about this Additional External Editor?
| | 01:56 | Well, the way that I typically use this
is I define the application as Photoshop.
| | 02:02 | So, I'll go ahead and click Choose.
| | 02:04 | I'm going to scroll down to Photoshop,
and you can choose the most recent
| | 02:07 | version of Photoshop you have,
and then click Choose. All right.
| | 02:11 | It says, hey, you've already
used this once. That's fine.
| | 02:14 | I'll go ahead and use it anyway.
| | 02:15 | Now that's the application
I'm going to be working with.
| | 02:18 | What about my File Format?
| | 02:19 | Well, TIFF is a really strong file format.
| | 02:22 | I'll leave that as is, but for my
Color Space, I know that in certain
| | 02:27 | situations, let's say, I want to go to
this sRGB color space, because I want
| | 02:31 | smaller files, and these files, let's
say, they are eventually going to go online
| | 02:36 | or on my Web site, or something like that.
| | 02:38 | So, I'll choose this small, little color space.
| | 02:41 | Bit Depth, 8 bits per
channel, Resolution, I go to 72.
| | 02:44 | All right, well, I have defined these
two settings. How then can we start to
| | 02:49 | take advantage of these preferences?
| | 02:51 | Well, let's go ahead and take a look
at how we can do that in the next movie.
| | Collapse this transcript |
| Editing preferences| 00:00 | Now that we've dialed in our preferences,
what we want to do is take a look at
| | 00:03 | how we can take advantage of
these two different settings.
| | 00:06 | We have our typical settings, and then
also this Additional External Editor.
| | 00:11 | So, let's close the Preferences dialog,
and back in Lightroom, we're going to
| | 00:15 | navigate to the Photo pulldown menu.
| | 00:17 | What you're going to notice here is
we have the option to choose Edit In.
| | 00:21 | Now, this is for the first set of settings,
and then here is the Additional Editor.
| | 00:26 | Now, one of the things that happens is
it's a little bit awkward to know, okay,
| | 00:28 | well, which one should I select,
because they both look pretty similar.
| | 00:32 | Now, if you want more distinction, what you
can do is navigate back to our Preferences.
| | 00:37 | On a Mac, you go to the Lightroom pulldown menu;
| | 00:39 | on a PC, that's the Edit
pulldown menu, and choose Preferences.
| | 00:43 | What you may want to do here is for
your Additional External Editor, you may
| | 00:47 | want to save this as a preset.
| | 00:49 | I'm going to go ahead and click on
Save Current Settings as a New Preset.
| | 00:54 | Here, I'm going to name this as a preset in
a way that makes sense based on my options.
| | 00:58 | What these options will do is
they'll help me remember how I defined this
| | 01:03 | particular Additional External Editor.
| | 01:06 | I'll click Create here.
| | 01:07 | We can see that we can access that
from this pulldown menu in this way.
| | 01:10 | All right, well, let's close Preferences.
| | 01:13 | Now, back in Lightroom. When you now
go to the Photo pulldown menu and choose
| | 01:18 | Edit In, we now have our top two options as is.
| | 01:22 | These are the typical ones.
| | 01:23 | This is the Additional External Editor.
| | 01:25 | Then we also have these
different presets that I can create.
| | 01:29 | Sometimes it's helpful to have these,
because again, these words trigger my
| | 01:33 | memory and say, oh, yeah,
that's what I was thinking.
| | 01:36 | What about actually working
on these files in Photoshop?
| | 01:39 | We can use the shortcut, or we can use the long cut.
| | 01:42 | The long cut for now, let's
take a look at it. Edit In.
| | 01:44 | I'm going to edit this photo in
Photoshop CS4, or on a Mac, it's Command+E; on a
| | 01:49 | PC that's Ctrl+E. I'm
going to select that option.
| | 01:53 | It will then open up the
image inside of Photoshop.
| | 01:56 | What I want to do is open up these
two different images and then make a
| | 01:59 | couple of comparisons.
| | 02:01 | So, this is the real big file,
the biggest file that we have here.
| | 02:05 | Let's go back to Lightroom.
| | 02:06 | Now, in the Photo pulldown menu,
we're going to go back there, Edit In. In
| | 02:10 | this case, we can either choose
Edit In > Adobe Photoshop CS4, or use a
| | 02:15 | shortcut or use a preset.
| | 02:16 | These two are identical.
| | 02:19 | All right, so I'll go ahead and click on
that option, and I'll edit it this way.
| | 02:23 | Once this image is open inside of
Photoshop, it's saying, hey, you know what,
| | 02:27 | this image is in this sRGB color space.
| | 02:30 | Currently, Photoshop is dialed
in or set up to work in ProPhoto.
| | 02:34 | What do you want to do?
| | 02:36 | Well, I want to use my sRGB.
| | 02:37 | So, I'll go ahead and leave the default option,
use the embedded profile, and I'll click OK.
| | 02:42 | All right, well, now I have two files
that are open, and let's take a look
| | 02:45 | at these two files.
| | 02:47 | Let's try to compare them a little bit.
| | 02:48 | Here you can see that this one is
currently in sRGB, and this one is ProPhoto.
| | 02:53 | Now, you can change what is displayed
at the bottom of the screen here, by
| | 02:57 | clicking on this triangle,
and then choosing Show.
| | 03:00 | So, let's go ahead and go to Document Sizes.
| | 03:02 | In this case, this one is 48 MGs.
| | 03:05 | Let's compare that over here.
| | 03:06 | We're going to show our Document Sizes.
| | 03:09 | This one is 97 MGs.
| | 03:11 | This is the one in 16-bit.
| | 03:13 | This is the one in 8-bit.
| | 03:15 | You can also see that by going to the
Image pulldown menu, and choosing mode,
| | 03:19 | and you can see this is
an 8-bit per channel image.
| | 03:22 | In contrast, the other one, going to
the Image pulldown menu > Mode, this one is
| | 03:27 | a 16-bit per channel photograph.
| | 03:30 | So, what we can see here is that
these images are definitely different.
| | 03:34 | Now the dimensions are identical.
| | 03:37 | I just want to point that out briefly.
| | 03:38 | If I go to Image and select Image Size,
we can see this one is about 5,000
| | 03:43 | pixels wide, about 3 tall.
| | 03:46 | Let's hit Cancel, look at
the other smaller photograph.
| | 03:49 | We go to Image and Image Size,
again, 5,000 wide, about 3,000 tall.
| | 03:55 | The whole point here is that what's
happening when we're editing in Photoshop
| | 03:59 | is it's taking the full, huge file, but
if we can apply a few different things,
| | 04:03 | in this case we looked at how we
could apply a different resolution, so we
| | 04:07 | changed the Resolution.
| | 04:08 | We also took a look at how we could apply
different bit depth and then also color space.
| | 04:13 | So, there are times when you may want
to have a couple of different options
| | 04:17 | dialed in, so that you have flexibility.
| | 04:19 | Now, what options you actually use
in this Additional External Editor are
| | 04:24 | completely dependent on your own
preference, basically how you work.
| | 04:27 | You may find that that's a little bit
overkill, that really, all you're going to
| | 04:30 | do is simply work to
Photoshop with the highest settings.
| | 04:34 | Although, in other situations, you
may discover, you know what, the highest
| | 04:38 | settings where I'm generating this file,
like we can see over here, that's just gigantic,
| | 04:42 | well that's just overkill for my own workflow.
| | 04:45 | So, for in those situations perhaps,
our Additional Editor will be at 8 bits
| | 04:49 | versus 16, or whatever it is in order
to work a little bit more effectively.
| | 04:53 | All right, well, now that we've
been introduced to our External Editing
| | 04:56 | Preferences, and now that we've
started to take a look at how this will work
| | 05:00 | in small ways, let's dig a little bit
deeper into this topic, and let's do
| | 05:04 | that in the next movie.
| | Collapse this transcript |
| Editing photos in Photoshop| 00:00 | An essential Lightroom workflow is
really to import the photograph, work on the
| | 00:04 | image, apply some
processing settings and whatnot;
| | 00:07 | then go ahead and add a little bit of
style in order to really finish the image
| | 00:11 | off inside of Photoshop.
| | 00:12 | So, we think about starting in Lightroom,
and then finishing inside of Photoshop.
| | 00:17 | Well, what that looks like is
let's say we process this image.
| | 00:20 | We're ready to apply a little bit of style or
a creative effect or to finish the photo off;
| | 00:25 | we want to open it up in Photoshop.
| | 00:26 | In order to do that, we press
Command+E on a Mac, or Ctrl+E on a PC.
| | 00:32 | This will, by default, open up
the file inside of Photoshop.
| | 00:36 | Now, once inside of Photoshop, what I
want to do is simulate a little bit of
| | 00:39 | a Photoshop workflow.
| | 00:40 | I'm not necessarily going
to teach Photoshop here.
| | 00:43 | If you feel like you don't know how to
use Photoshop very well, I've created a
| | 00:47 | number of different training titles on
Photoshop, so you can dig into those.
| | 00:50 | Yet demoing a potential
workflow might be something like this.
| | 00:54 | We decide to copy the Background layer.
| | 00:56 | So, I click and drag it to the New layer icon.
| | 00:58 | Then I go up to my Filter pulldown
menu and I notice, gosh, interesting, some
| | 01:03 | of my filters are grayed out, in particular,
the filter I want to use, Lighting Effects.
| | 01:08 | Now, why is that?
| | 01:09 | Well, the reason these are grayed out
is because this image is 16 Bits/Channel,
| | 01:14 | so I need to convert it to 8 Bits/Channel.
| | 01:16 | Now that being said, you don't always
have to convert to 8 Bits/Channel on every
| | 01:21 | image, but in certain
scenarios like here, you may need to.
| | 01:24 | So, I wanted to show that in
regards to it an essentials workflow.
| | 01:28 | So, what I'll do is I'll navigate to
my Image pulldown menu, and I'll select
| | 01:32 | mode, and then convert to 8 Bits/Channel.
| | 01:36 | No big deal, right?
| | 01:37 | Once I've done that, I now
navigate to my Filter pulldown menu.
| | 01:41 | Notice that I have all of these
different options, Render, and I'll
| | 01:44 | choose Lighting Effects.
| | 01:45 | This is a really
interesting filter that we can apply.
| | 01:48 | It allows us to add a light source here,
in this case, an Omni light source.
| | 01:52 | I'm just going to bring that
down a little bit and click OK.
| | 01:54 | All right, well once I have applied
that filter, we can see the effect - here
| | 01:58 | is my before, and then here is my after -
really, just redirecting where the light is.
| | 02:03 | I'll lower the Opacity a bit, too.
| | 02:04 | We get a subtle effect, but
something that we can only really do, in this
| | 02:08 | particular way, in Photoshop.
| | 02:10 | Now again, I realize I'm just
scratching the surface with Photoshop.
| | 02:13 | Keep in mind, the sky is the limit, in
regards to style and color and effect and
| | 02:18 | finishing off your photographs.
| | 02:20 | Let's just do one more thing here.
| | 02:22 | Let's say we want to work with color bBalance.
| | 02:24 | So we click on that icon, we add some
reds, and then we go ahead and add some
| | 02:27 | yellows, and we like this particular look.
| | 02:30 | Here's our overall before, and then after.
| | 02:32 | At this juncture, we're going to save the
file: Command+S on a Mac, Ctrl+S on a PC.
| | 02:39 | Once the file has been saved, we'll go
ahead and close this document, and then
| | 02:42 | we'll navigate back to Lightroom. All right.
| | 02:45 | We're back in Lightroom.
| | 02:46 | You can see we have the DNG file, but
we also have this new file, which is a
| | 02:50 | TIFF file that we created and
worked on inside of Photoshop.
| | 02:54 | Now if you're not seeing these two
files right next to each other, maybe an
| | 02:58 | issue that has to do with sorting.
| | 03:00 | You can turn on your sorting options by
clicking on this Triangle icon, and then
| | 03:04 | selecting this here, Sorting, so that
you can see those options, and then you
| | 03:08 | can sort a number of different ways.
| | 03:10 | In this case, File Name is allowing
these images to be right next door to each
| | 03:13 | other, which is really nice.
| | 03:15 | All right, well, now that I have this
"stylized" or "finished" image, where I've
| | 03:19 | done some work in Photoshop, which was
unique to Photoshop, let's say that I
| | 03:23 | decide, you know what, I really want to
modify one of the layers that I created.
| | 03:28 | Well, how can we then
reopen that layer document?
| | 03:32 | Well, all that we need to do
is to press the same shortcut.
| | 03:35 | It's Command+E on a Mac, Ctrl+E on a PC.
| | 03:38 | Now, the first two
options aren't desirable for us.
| | 03:41 | Those won't give us the layers.
| | 03:42 | But in this essentials workflow,
where we're finishing or styling our
| | 03:46 | photographs in Photoshop, we
want to choose Edit Original.
| | 03:49 | This will show all of the different layers
and whatnot, and we'll go ahead and click Edit.
| | 03:53 | You'll see in Photoshop that once the
file is opened, we now have access to our
| | 03:57 | layers, and here I could say, well,
let's say I want to do a different color
| | 04:00 | treatment or whatnot.
| | 04:01 | In this case, I'm not going to do that,
but you see that we can make changes here.
| | 04:05 | We would make those changes, save the
file by pressing Command+S on a Mac,
| | 04:09 | Ctrl+S on a PC, and then close the file
once again and head back to Lightroom.
| | 04:15 | So again, you can kind of get a feel
for that rhythm of the workflow, right?
| | 04:18 | In Lightroom, you do all of your
organizational work, metadata, keywords,
| | 04:22 | filtering and whatnot.
| | 04:23 | You do some develop process settings,
got a little contrast or color or tone,
| | 04:27 | whatever you need to do.
| | 04:28 | Then you bring that image into Photoshop,
in order to add some creative effects,
| | 04:33 | or a little bit of style, or some filters,
or really to kind of finish the image
| | 04:37 | off in a unique way.
| | 04:39 | Then once you're done with Photoshop,
you come back to Lightroom, and this new
| | 04:43 | image will be saved in
that same folder location.
| | 04:47 | It'll live right next door to that
original RAW file, and then you have access
| | 04:51 | to that new file as well, if
you need to reedit that one.
| | 04:55 | So, as you can see, this overall
essentials workflow is really seamless and
| | 04:58 | fluid as you work between
Lightroom and Photoshop, and then back to
| | 05:02 | Lightroom, once again.
| | Collapse this transcript |
| Opening an image as a Smart Object in Photoshop| 00:00 | If you've used Photoshop previously,
you may be familiar with the term
| | 00:03 | Smart Object, and what a Smart Object
is is it's something that gives you a
| | 00:07 | lot of flexibility.
| | 00:09 | One of the things that you can do is
you can take advantage of Smart Objects
| | 00:12 | from right inside of Lightroom.
| | 00:14 | So, let's say that we want to
process this image inside of Photoshop.
| | 00:18 | So, what we've seen previously is that
we can navigate to our Photo pulldown
| | 00:21 | menu, choose Edit In, and then
select Edit in Photoshop CS4.
| | 00:26 | Let me go ahead and select that option,
so that we can compare what Edit In
| | 00:30 | looks like and how that functions
compared to something else, which is
| | 00:33 | called Smart Object.
| | 00:35 | All right, well, now that I have this
file visible, I'm going to go ahead and
| | 00:37 | decrease the size of that window.
| | 00:39 | I'm going to go back to Lightroom.
| | 00:41 | Back here in Lightroom, this time I'm
going to navigate to my Photo pulldown
| | 00:44 | menu, choose Edit In, and this time
I'm going to open up as a Smart Object
| | 00:49 | inside of Photoshop.
| | 00:50 | This, again, will take the raw data.
| | 00:53 | It will then access that and
open that up inside of Photoshop.
| | 00:57 | Now one of the things that's
interesting in regards to working with this
| | 00:59 | document is that we'll have a
couple of different changes here.
| | 01:03 | So, what this document allows us
to do - This is the Smart Object.
| | 01:06 | This is the regular Edit In - is that the icon
is a little bit different in our Layers panel.
| | 01:12 | Let me compare. Clicking over to the other photograph,
we see that this is just a regular, flat layer.
| | 01:17 | We can't do anything else in regards to
working on this image, in regards to raw processing.
| | 01:23 | In contrast, let's take a look at the
Smart Object, and make this one a little
| | 01:27 | bit bigger, so we can see what we're working on.
| | 01:29 | If we double-click this icon, this
will then open up Adobe Camera Raw.
| | 01:34 | Here what we can do is we can
dial in anything that we want.
| | 01:37 | We can do all of our normal raw
workflow, and again, I'm just going to apply
| | 01:41 | a few settings here.
| | 01:42 | Here is our before, and then after.
| | 01:45 | Okay, I'll go ahead and click OK.
| | 01:47 | Now, once I've done that, it's going to
prepare and then save that file out with
| | 01:51 | all of that information.
| | 01:53 | So, in other words, this document has a
connection to the original raw data, so
| | 01:58 | that I can continue to take advantage
of raw processing, or Adobe Camera Raw.
| | 02:04 | So, once I've done those things, all
that I would need to do would be to save
| | 02:07 | this file, Command+S on a Mac, Ctrl+S
on a PC, and then go ahead and close
| | 02:13 | this file out. And I'm going to also
close this other one, because we don't
| | 02:16 | need it anymore. And I'm going to
jump back to Lightroom. And I'm going to
| | 02:20 | click on Don't Save here. All right.
| | 02:21 | We're back in Lightroom.
| | 02:23 | Here you can see that I have that raw
file, just a DNG document, and then I
| | 02:28 | have the one that's a new TIFF file,
yet this one has that Smart Object
| | 02:33 | integrated, or embedded into it.
| | 02:34 | Now, one of the things that I do want
to point out is that while Smart Objects
| | 02:38 | are phenomenal, because they
give you a ton of flexibility,
| | 02:41 | one of the downsides is that they
increase your overall file size.
| | 02:45 | So, it's not the end of the world, but
it's just something that you need to consider.
| | 02:48 | So, when you're making your Edit In
decisions, just consider that this one is
| | 02:53 | going to be a little bit more effective
in regards to your overall workflow, but
| | 02:57 | you do need to be more decisive here,
meaning make all your raw adjustments,
| | 03:00 | make sure they're good,
and then go to Photoshop.
| | 03:03 | The other option, which is Open as a
Smart Object, well, this one gives you more
| | 03:07 | flexibility, although it may slow you
down just a touch, because it's going to
| | 03:11 | increase the file size and whatnot.
| | 03:14 | So again, you're going to want to make
the selection which makes sense to your
| | 03:17 | own context, in your own workflow.
So now you at least know a little bit about
| | 03:22 | both of these options, so that you can
then make the correct choice when you're
| | 03:26 | determining how you want to edit
your images inside of Photoshop.
| | Collapse this transcript |
| Including multiple images in Photoshop as layers| 00:00 | One of the ways that you can start to
expand the strength of Lightroom is by
| | 00:04 | tapping into how you can edit multiple
photos inside of Photoshop. Let me explain.
| | 00:10 | Well, here in this people folder, I have
these two photographs of lynda and Bruce.
| | 00:14 | I'm in the Library module.
| | 00:16 | What I'm going to do is press the N key.
| | 00:18 | The N key is the shortcut key for Survey mode.
| | 00:21 | When I look at these two images side-by-
side, I decide this would really make a
| | 00:25 | nice diptych to have these two images together.
| | 00:28 | So, what you can do is if you press the
G key to go back to the Grid View mode,
| | 00:32 | you can select the two files by
holding down the Command key on a Mac, or the
| | 00:36 | Ctrl key on a PC, and then
by clicking on multiple files.
| | 00:41 | The next step is kind of interesting.
| | 00:43 | What we'll do is Ctrl+Click or
right-click, and then choose Edit In.
| | 00:48 | We're going to open these
files as layers in Photoshop.
| | 00:52 | What this will allow us to do is to
open up these two files in one document
| | 00:57 | inside of Photoshop.
| | 00:59 | All right, well, let's see how it worked.
| | 01:00 | Well, again, here we have
one layer, and then another.
| | 01:04 | What I can do in Photoshop now is I
can take advantage of many of Photoshop's
| | 01:08 | strengths in order to create
something kind of interesting.
| | 01:11 | What I want to do is I'm going to use
my Move tool here, and I'll reposition
| | 01:15 | this image, and then navigate to the
Image pulldown menu, and choose Reveal All.
| | 01:20 | It will then extend the canvas, so I
have these two images side-by-side.
| | 01:24 | Now, what I'm trying to do here is just
to get you to begin to think about how
| | 01:28 | you can open up multiple files in
one layer document in Photoshop.
| | 01:33 | Now at this point, we did this to create an
image side-by-side or two different images.
| | 01:37 | But there are so many other ways where
you can use this technique, whether for
| | 01:41 | combining for exposures, or having
compositions that you want to create, or
| | 01:45 | let's say you want exposure
for the sky and the foreground.
| | 01:48 | Well, you can then open up both of
those files in one layer document, and
| | 01:52 | then be off and running.
| | 01:53 | So, as you can see, this
feature has real potential.
| | 01:56 | Now once you've made these adjustments,
all you need to do is save - Command+S on
| | 02:00 | a Mac, Ctrl+S on a PC -
and then close the document.
| | 02:04 | Now when you go back to Lightroom,
that new image will be part of this
| | 02:07 | whole Lightroom library.
| | 02:09 | So again, it's a real seamless workflow
from Lightroom to Photoshop, and back to
| | 02:13 | Lightroom once again.
| | Collapse this transcript |
| Merging multiple images in Photoshop| 00:00 | Let's begin to think even further about
how we can combine multiple photographs,
| | 00:04 | in order to create one
image inside of Photoshop.
| | 00:08 | Here I'm in this kids folder.
| | 00:10 | If I zoom in by pressing the E key,
we'll notice that I have a photograph of my
| | 00:14 | daughter and some of her friends.
| | 00:15 | There are two images here.
| | 00:17 | One image gets part of the group;
| | 00:19 | another image gets another part of the group.
| | 00:21 | The problem was that my
composition wasn't very good.
| | 00:23 | Yet, what I want to do is
combine these images together.
| | 00:27 | Let's press the G key.
| | 00:28 | Go to the Grid View.
| | 00:29 | Next, hold down the Command key on a
Mac, Ctrl key on a PC, and click on both
| | 00:34 | images, or for that matter,
however many images you're going to use.
| | 00:37 | Then you already know the technique
which is to right-click or Ctrl-Click.
| | 00:42 | Here, we're going to choose Edit In.
| | 00:44 | What we want to do is we want
to open as layers in Photoshop.
| | 00:48 | This will then open up both of these
images in a single document in Photoshop.
| | 00:52 | All right, well, now that we're in this
single document, what we're going to do
| | 00:55 | is select both layers.
| | 00:56 | Hold down the Shift key,
and click on the other layer.
| | 00:59 | Now they're both
selected or targeted from there.
| | 01:03 | We're going to tap into
one of Photoshop's strengths.
| | 01:05 | We can do this by going to the Edit
pulldown menu, and selecting Auto-Align layers.
| | 01:11 | What this will do is if we use Auto
Projection, is it will have Photoshop take a
| | 01:16 | look at the images, analyze them, bend
and warp and change the images, so that
| | 01:20 | these images line up.
| | 01:23 | Here you can see it's a pretty good job.
| | 01:25 | So, we can see kind of our before and after.
| | 01:27 | Yet one of the problems is is
that my daughter Annika here was
| | 01:30 | completely chopped off.
| | 01:32 | So, we now need to take advantage
of yet another feature, which enables
| | 01:35 | Photoshop to blend multiple images together.
| | 01:39 | You can find it in the Edit pulldown menu.
| | 01:41 | Here we're going to select Auto-Blend layers.
| | 01:45 | In this case, we're going for a Blend
Method of Panorama. We'll click OK.
| | 01:49 | Now, what this will do is, again,
Photoshop will analyze the image, and say,
| | 01:53 | hey, how can I bring these two files together?
| | 01:56 | It did a pretty good job.
| | 01:58 | Now, if there is anything that I want to
change, I can make those changes really easily.
| | 02:02 | Let's say I click in one of the masks,
like the top layer mask, grab my Brush tool.
| | 02:08 | In this case, what I want to
do is I'm painting with white.
| | 02:10 | I'm painting on the mask to change this,
so I can change this little expression
| | 02:14 | here of one of my
daughter's friends named Grace.
| | 02:18 | I've brought that in pretty easily, right?
| | 02:21 | It worked out pretty well, because it first
aligned, and then blended the images together.
| | 02:26 | The last step, of course, would be to
grab the Crop tool, and then to create a
| | 02:29 | crop that makes sense for
this particular photograph.
| | 02:32 | I'll go ahead and do that.
| | 02:34 | Press Enter or Return to apply that crop.
| | 02:36 | Well, now, I have all of these kids together.
| | 02:39 | It's a much more compelling photograph.
| | 02:41 | You may be thinking, okay, that's
great, but I don't photograph kids.
| | 02:45 | Well, keep in mind, what I'm
trying to show you is technique.
| | 02:49 | This technique is applicable and usable
in so many different scenarios, whether
| | 02:53 | you're shooting architecture, or whether
you have multiple exposures or multiple
| | 02:57 | depths of field, or
sharpness, or whatever it is.
| | 03:00 | Again, it's the concept that's important here.
| | 03:03 | All right, well, once we've finished
our work in Photoshop, we press Command+S
| | 03:06 | on a Mac, Ctrl+S on a PC to save the file.
| | 03:09 | Then to close the file, we go
ahead and click on the Close icon.
| | 03:13 | This image is now integrated into the library.
| | 03:16 | You can see that we have this image here.
| | 03:18 | Well, now that we have this new merged
file, we can continue to process this image.
| | 03:23 | For example, if we want to convert it
to black and white, we could do so, or we
| | 03:27 | could make any type of adjustment
that we are interested in applying to this
| | 03:30 | new photograph that we
created out of two separate images.
| | Collapse this transcript |
| Creating a panorama| 00:00 | Apart from more creative image
combinations, there are other situations where
| | 00:04 | we may want to bring multiple images
together in order to create a different composition
| | 00:09 | that's a little bit more functional.
| | 00:10 | Like in this particular case, here we
have some photographs that were taken by
| | 00:14 | one of my colleagues, Ralph Clevenger.
| | 00:16 | What I'm going to do is go ahead
and select all of these images.
| | 00:19 | I'll do so by pressing Command+A
on a Mac, Ctrl+A on a PC.
| | 00:23 | I'm currently in the Library module.
| | 00:26 | Well, here, if I press the N key, what I can
do is I can survey all of these photographs.
| | 00:32 | Here you can see it's this nice set of
images of Mount McKinley up in Alaska.
| | 00:36 | What I'm interested in doing is
creating a pano out of these photographs.
| | 00:40 | So, I'll press the G key
to go to the Grid view mode.
| | 00:43 | Next, I'll Ctrl+Click or right-click over
the selected files, and then choose Edit In.
| | 00:48 | This time, we're going to select
Merge to Panorama in Photoshop.
| | 00:52 | Now, once we make this selection, what
it's going to do is it's going to open up
| | 00:56 | all of these images inside of
Photoshop, inside of the Photomerge dialog.
| | 01:01 | In this case, we're going
to select the layout of Auto.
| | 01:04 | Use these files that were selected
and blend the images together, and
| | 01:08 | then simply click OK.
| | 01:09 | Now one of the things that's happened
in the most recent release of Photoshop
| | 01:13 | CS5 is that panoramas have gotten a ton better.
| | 01:16 | For that matter, in the last few
versions of Photoshop, this panorama
| | 01:19 | functionality has become much stronger.
| | 01:22 | But even here, one of the things
that we can see is that we now have this
| | 01:25 | pretty strong image.
| | 01:27 | All that we would need to do to finish
this image off would be to apply a crop.
| | 01:30 | We'll go ahead and do that
quickly with the Crop tool.
| | 01:34 | Double-click or press Enter or Return,
and then save the file out, Command+S on
| | 01:38 | a Mac, Ctrl+S on a PC.
| | 01:41 | Then finally close this open document.
| | 01:44 | This new pano has been
brought into this particular folder.
| | 01:48 | We now have complete access to this file.
| | 01:50 | If we need to do anything further,
for example, I need to crop the image a
| | 01:53 | little bit, my crop wasn't perfect, or
if I need to process this file in the
| | 01:57 | Develop module, I can do all of those
things with this new document that I
| | 02:01 | created inside of Photoshop.
| | 02:03 | So, what you're discovering here is
that Photoshop and Lightroom really
| | 02:06 | communicate, and really work well together.
| | 02:09 | So, what you want to do is start to
experiment with how you can open up multiple
| | 02:13 | files from Lightroom, and then take
advantage of the strength of Photoshop, and
| | 02:17 | then make your way back to
Lightroom in order to finish things off.
| | Collapse this transcript |
| Working with a CMYK photo| 00:00 | New to Lightroom 3 is the ability to
import and actually work on CMYK files, and
| | 00:05 | this is a welcome new feature,
because in the previous versions we couldn't
| | 00:09 | really access CMYK, or even organize
or recognize these files, and this is
| | 00:13 | helpful, because many of us
convert our files to CMYK.
| | 00:17 | In this movie we're going to dig into
working with CMYK files, because Lightroom
| | 00:21 | can't actually make CMYK adjustments.
| | 00:24 | So we need to get a handle on how this
actually works, and whether or not you use
| | 00:28 | CMYK, you're going to find in this movie
some helpful tips that will clarify how
| | 00:33 | you begin to work between Photoshop and
Lightroom, in regards to editing layer
| | 00:38 | documents in Photoshop.
| | 00:39 | All right, well, here we
have this layered CMYK file.
| | 00:42 | I want to edit this one in Photoshop, so
I press Command+E on a Mac, Ctrl+E on a
| | 00:46 | PC and select Edit Original.
| | 00:48 | We've seen this before,
right? We'll click Edit.
| | 00:50 | This will open up the layered doc in Photoshop.
| | 00:53 | Let's zoom in a little bit on it, and
here we can see the before and then the
| | 00:57 | after, and this image has been
retouched in one of my other training titles on
| | 01:01 | portrait retouching.
| | 01:03 | You can see that this file is a CMYK document.
| | 01:06 | Well, let's say that we come back to Photoshop;
| | 01:08 | we want to make some more
adjustments here in the CMYK space.
| | 01:12 | In this case I click on Hue/
Saturation, and I decide that I want to change
| | 01:16 | the color of the dress.
| | 01:17 | I grab the Target Adjustment tool, sample one
of these colors and then make an adjustment.
| | 01:23 | Now if the adjustment isn't perfect,
what we can do is zoom in, grab the
| | 01:27 | eyedropper with the plus icon and then
just get a little bit more of the color there.
| | 01:31 | Now the point here isn't to teach how
to make this adjustment, but rather, to
| | 01:36 | illustrate that what we're doing now
is an adjustment in the CMYK space.
| | 01:42 | Once we've made this adjustment, we'll
save - on a Mac that's Command+S, on a PC
| | 01:47 | that's Ctrl+S - and then we're
going to close the document.
| | 01:50 | Now back in Lightroom, what we're going
to see is this change that we've made.
| | 01:53 | Let's say that in Lightroom we decide,
you know what, I really want to change
| | 01:56 | the background color.
| | 01:57 | So we go to the Develop module.
| | 01:59 | We open up our HSL panel.
| | 02:02 | Again, the intent here isn't to teach
workflow, but to get us to begin to think
| | 02:07 | about some of the considerations we need
to have when working with files between
| | 02:11 | Lightroom and Photoshop.
| | 02:13 | I'm in the Hue options and I click on
the Adjustment tool, and I'm going to go
| | 02:16 | ahead and click and drag down
to change the background color.
| | 02:19 | All right, well, I've made changes in two
different places, in Lightroom and in Photoshop.
| | 02:25 | At this juncture, let's go back to
Library module just to get out of that
| | 02:29 | Develop mode, what's going to happen
when we edit this file inside of Photoshop?
| | 02:34 | Inside of Lightroom, we
haven't made any CMYK changes;
| | 02:38 | rather, it's almost like we had the
CMYK file and then on top of that file we
| | 02:43 | actually layered an adjustment, which
is in this Lightroom RGB type of a space.
| | 02:48 | So you can't do CMYK work in Lightroom, but we
can modify a CMYK image, kind of interesting.
| | 02:54 | All right, well, let's take a look at what
will happen when we edit this file in Photoshop.
| | 02:59 | If I press Command+E on a Mac,
Ctrl+E on PC, I have a few options.
| | 03:04 | Now the bottom two options don't allow me to
see any adjustments made inside of Lightroom.
| | 03:10 | So if I Edit the original - let's try
that one - what we're going to see is the
| | 03:14 | background color as it was created
inside of Photoshop, and yes, we have this
| | 03:19 | little layer adjustment here.
| | 03:21 | Okay, well interesting.
| | 03:22 | Let's close that and go back to Lightroom.
| | 03:25 | Back in Lightroom, Command+
E on a Mac, Ctrl+E on a PC.
| | 03:29 | What about these two
options where we can edit a copy?
| | 03:32 | We can edit one as a copy
without any Lightroom adjustments.
| | 03:35 | Again, it's similar to editing the
original, except we're duplicating the file.
| | 03:39 | In other words it just says, hey, give
me another version of the file, anything
| | 03:43 | I've done in Lightroom ignore,
pretend it doesn't exist.
| | 03:46 | All right, well, what about the third option?
| | 03:48 | Here we can choose to edit a
copy with the Lightroom adjustments.
| | 03:52 | So in this case, when I click Edit,
what I'm going to see is that I have a new
| | 03:56 | document with this different
background color that was changed inside of
| | 03:59 | Lightroom, but in this particular
case the image has been flattened.
| | 04:04 | I no longer have access to
all of those other layers.
| | 04:08 | You'll also notice, if I expand this a
little bit, that this is in this RGB color space.
| | 04:13 | In other words, it took something that was CMYK,
| | 04:17 | it then converted it to this Lightroom type
of space, which is very similar to Pro Photo.
| | 04:22 | It's an RGB type of a space, and
then it applied all of the different
| | 04:26 | adjustments, flattened the
file and opened up the new document.
| | 04:30 | So a couple of points here.
| | 04:31 | Let's close this file for a
moment and head back to Lightroom.
| | 04:35 | One of the things that we're
beginning to see is that we can at least
| | 04:39 | recognize CMYK files.
| | 04:41 | We can edit those files in Photoshop;
| | 04:43 | work on all the layers, make changes as needed.
| | 04:46 | Yet when we start to process these CMYK
files inside of Lightroom, we're going
| | 04:50 | to lose some flexibility.
| | 04:52 | In other words, we're going to lose all
of our layers, and we're going to also
| | 04:55 | lose that CMYK space.
| | 04:57 | The image will, by default,
be converted to a new space.
| | 05:01 | All right, well, let's see if we can
make this process a little bit more clear.
| | 05:04 | For starters, we talked about
having a CMYK file in Lightroom.
| | 05:08 | That's something that we can do, and
then from there we progressed to editing
| | 05:12 | the original file from Lightroom, we open it
up in Photoshop, and we made a color change.
| | 05:17 | We made some kind of change in the CMYK
color space, and then finally we brought
| | 05:21 | this image back to Lightroom, where
we made yet another type of change.
| | 05:26 | Well, how can we think about these changes?
| | 05:28 | Well, the first two kind of
respected the CMYK color space.
| | 05:32 | Lightroom didn't really change anything.
| | 05:34 | It recognized the file.
| | 05:35 | We then edited the file in Photoshop,
again in the CMYK space, but once we went
| | 05:40 | back to Lightroom, we made another
type of change, this Lightroom space which
| | 05:45 | some call Lightroom RGB.
| | 05:47 | It's close to Pro Photo.
| | 05:49 | What happened is is that new color
space trumped, or took over, or replaced what
| | 05:54 | was previously CMYK.
| | 05:56 | So then once we had this image, which
has been processed this way, we took a
| | 06:01 | look at how we could then open this
up from Lightroom into Photoshop in a
| | 06:05 | couple of different ways.
| | 06:07 | We had our three options, edit as a copy
with adjustments, or just a copy, or original.
| | 06:12 | So what we could do is if we edit this
as a copy with adjustments, when we open
| | 06:16 | this up we're going to see this file -
it's going to be flat - with all of the
| | 06:20 | adjustments that we've made.
| | 06:21 | In other words, Lightroom kind of
trumps all and takes over flattens the file,
| | 06:25 | and it's now in this sRGB type of a space.
| | 06:28 | On the other hand, if we had chosen
Edit as a copy, what that would do
| | 06:32 | is duplicate the file.
| | 06:33 | It wouldn't show us anything we've done
in Lightroom, and it would stay in CMYK,
| | 06:37 | And then the other option was edit
the original, and again - wouldn't show
| | 06:41 | anything we've done in Lightroom,
would simply open up the file, and we'd see
| | 06:44 | all of those different Photoshop layers
that we've created, and again the file
| | 06:48 | would remain in the CMYK color space.
| | 06:50 | All right, well, in closing, I hope
that this movie and these extra little
| | 06:54 | slides will help make this topic a
little bit more clear for you, as you
| | 06:58 | progress deeper into learning how to
work between Photoshop and Lightroom.
| | Collapse this transcript |
|
|
12. The Library Module: Publishing ServicesSetting up Flickr services| 00:00 | One of the great new features inside
of Lightroom 3 is the ability to upload
| | 00:04 | your photographs to different
locations, like Flickr, or some of the other
| | 00:08 | popular photosharing sites.
| | 00:10 | You can do this by way of
the Publish Services panel.
| | 00:13 | You can find this in the Library module.
| | 00:15 | This is actually a really strong
feature, because it allows us to quickly and
| | 00:19 | seamlessly and
efficiently get our work out there.
| | 00:22 | So here what we're going to do is take
a look at how we can set up this default
| | 00:25 | plug-in, which allows us to
publish our photographs to Flickr.
| | 00:28 | So, I've opened up the Publish Services
panel, and I'll go ahead and navigate to
| | 00:32 | where I see Flickr there,
and then click on Set Up.
| | 00:35 | This will open up the
Lightroom Publishing Manager dialog.
| | 00:39 | Now, the first thing that I want to do
is give this a name, and this is just a
| | 00:42 | name for myself, so I
can recognize this service.
| | 00:44 | I'll call this co - flickr.
| | 00:47 | Now, for my Flickr Account, I need to
go ahead and log in, so I'll click on Log
| | 00:51 | In, and I'm going to authorize this.
| | 00:53 | This will then open up my browser, and
it will say, hey, you've arrived at this
| | 00:57 | page, because you asked
Lightroom to connect here.
| | 00:59 | Do you want to do this? Heck yeah!
| | 01:00 | We'll click Next.
| | 01:02 | Now, it asked if you want to allow
Lightroom to authorize the ability to upload
| | 01:07 | and access your photographs. Yes, we'll do that.
| | 01:09 | I'll go ahead and click OK. I'll authorize it.
| | 01:12 | Now, once I've done this, I
can navigate back to Lightroom.
| | 01:16 | Back inside of Lightroom, I'll click
Done here, and it's going to show me
| | 01:19 | that I'm logged in.
| | 01:20 | Well, now that I've created this
connectivity with Flickr, I wanted to define
| | 01:24 | a few settings here.
| | 01:25 | Now, one of the first options I have has
to do with the title of the photographs.
| | 01:29 | Now, I can, by default, leave these
titles blank, and then add them through the
| | 01:34 | Flickr interface, or I have a few other options.
| | 01:37 | I can add a Filename, an IPTC Title.
| | 01:40 | Now, if I choose Filename, I'm going
to want to be careful to select a good
| | 01:44 | naming convention down below.
| | 01:45 | I want to keep things really simple
here, and I'm going to leave this blank.
| | 01:49 | Now, when I'm updating photos, I
definitely want to replace the existing titles,
| | 01:54 | if I am going to have a custom file name.
| | 01:56 | If I'm not, I'm going to go
ahead and leave the existing title.
| | 01:59 | So, it depends on where
you want to do your renaming.
| | 02:01 | Do you want to do in Lightroom,
or do you want to do it on Flickr?
| | 02:05 | Well, both techniques have pros and cons;
| | 02:07 | you want to simply pick
which one works best for you.
| | 02:10 | All right, what about file settings?
| | 02:12 | Well, here you can see that we can
choose different file settings, as far as
| | 02:15 | the overall quality, and I'll go ahead and
lower this JPEG quality down just a bit here.
| | 02:19 | All right, well, what about Image Sizing?
| | 02:21 | What I can do is resize my photographs
to fit inside of a certain dimension.
| | 02:25 | Here you can see we have Width & Height,
or simply, we can choose Long Edge.
| | 02:30 | I tend to like that, so I say in the
longest side, vertically or horizontally.
| | 02:34 | How wide or tall do I want my images to be?
| | 02:37 | I'll choose something relatively small.
| | 02:40 | Now, this depends on the type of
images you're uploading, and how big you
| | 02:43 | actually want to have those images.
| | 02:45 | In this particular case, I'm
going to choose a relatively small size.
| | 02:49 | Output Sharpening, well, I'm going to
sharpen for Screen, and I'm going to
| | 02:52 | choose a Standard amount.
| | 02:53 | Now, I'm going to minimize my embedded metadata.
| | 02:57 | I don't need a Watermark on these.
| | 02:59 | I also have some privacy options.
| | 03:01 | This helps if I just want to show
these photos to friends and family. Or if
| | 03:05 | they're public images, I can
choose that option as well.
| | 03:08 | Well, in this particular case, I
have dialed in all of these settings.
| | 03:12 | The only thing I'd want to do is just
go back and make sure that these are all
| | 03:16 | good, and then simply click Save.
| | 03:19 | Now, once I've clicked Save, what's
going to happen is this Flickr icon is going
| | 03:22 | to change and show me that it's now co - flickr.
| | 03:25 | This is my account here, and it
opened up what's called a Photostream.
| | 03:29 | What a Photostream is is it allows us
to upload our photographs to Flickr, and
| | 03:33 | also to download some
different things from Flickr, as well.
| | 03:37 | All right, well, now that we've set
up our connection of Flickr, let's go
| | 03:40 | ahead and take a look at how we can
upload some photos, and let's do that in
| | 03:43 | the next movie.
| | Collapse this transcript |
| Uploading photos to Flickr| 00:00 | Now that we've set up our Flickr
connection, we're ready to upload a few
| | 00:03 | different photographs.
| | 00:05 | All that we need to do is to select the
photographs and then make our way down
| | 00:10 | to the Publish Services panel.
| | 00:12 | Here, we can either select the file
from the Filmstrip below and drag and drop
| | 00:16 | it into the Photostream, or we can go
to our Grid view mode, and then make a
| | 00:21 | selection of an image, select that
thumbnail, and then drag and drop that image
| | 00:25 | into the Photostream.
| | 00:26 | Now at first glance,
nothing has really happened.
| | 00:30 | In order to make something happen, what
we have to do is click on the Photostream.
| | 00:34 | Now, here it will tell me that I
have some new photos to publish.
| | 00:38 | In this case, if I publish them now,
these will be published to my main
| | 00:42 | Photostream in a way that isn't quite
organized; rather, these will just be the
| | 00:46 | most recent photos in the set. Okay.
| | 00:48 | Well, that sounds fine, initially.
| | 00:50 | Let's go ahead and publish these,
either by clicking the Publish button down
| | 00:54 | below, or the Publish button up top.
| | 00:57 | All right, well, now that I do that,
Lightroom will give me some progress.
| | 01:01 | It says, hey, it's updating my
Photostream, and once this has been complete, the
| | 01:06 | interface will change a little bit,
where it will show me which particular
| | 01:09 | photographs have been published.
| | 01:12 | And now it's telling me that these
two photos are now live on Flickr.
| | 01:16 | They have been published.
| | 01:17 | So, what I'm going to do is I'm going
to navigate down to my Web browser, and
| | 01:21 | I'm going to open that up, and I'm
going to refresh the view of my Photostream.
| | 01:26 | What I'll see is that at the top of my
Photostream, I now have these two images.
| | 01:31 | Now, one of the things that's happened with
these two files is that they're just at the top.
| | 01:35 | They are not really organized.
| | 01:37 | They're not part of a set of
photos, like if we scroll down;
| | 01:40 | we have a nice little set of a group of images.
| | 01:43 | So, in this particular case, how
could I export from Lightroom and make my
| | 01:48 | images as part of a little group or set.
| | 01:50 | One of the things that I would need to
do would be to go back to my Photostream
| | 01:54 | and then delete these photos.
| | 01:56 | I'll go ahead and delete them one at a time,
so they have now been removed from Flickr.
| | 02:02 | Let's go back to Lightroom.
| | 02:03 | Back in Lightroom, if I want to create
a set, or a group, or almost like a little
| | 02:07 | folder of images on Flickr, what I'm
going to do is click on this Plus icon, and
| | 02:12 | then choose Create Photoset.
| | 02:15 | If you're familiar with Collections,
photosets work a lot like Collections.
| | 02:19 | We will go ahead and create a little
collection, and I'm just going to call this
| | 02:22 | surfer. No need to include the selected photos.
| | 02:25 | I'll add them manually, and I'll hit Create.
| | 02:28 | This will then create another
little connection there for me.
| | 02:32 | In this case, I'll select these
photos, and I'm going to drag these into
| | 02:35 | this new location here.
| | 02:37 | You notice that I can drag them from
this location, or I can go into the folder
| | 02:41 | and select the files, or I can go
into the Collection and select the files.
| | 02:46 | Basically, I can make a selection of
the photos from anywhere with inside of
| | 02:49 | this Library Module.
| | 02:50 | Well, now that I have these two
photos here, I'll click on this particular
| | 02:54 | Photoset and publish these out
by clicking on the Publish button.
[00:02:58797]
Now again, Lightroom will give me some
progress, and say hey, we're updating
| | 03:02 | this particular set, and we're going to
process and upload these files and show
| | 03:06 | you once they've been published.
| | 03:08 | Once these photos have been published, I
can go ahead and make my way back to my
| | 03:13 | Web browser, and then
refresh this view once again.
| | 03:17 | What we're going to see is that
while these two photos will be in the top
| | 03:19 | position in my Photostream,
| | 03:22 | I also have them grouped or
organized in a particular way.
| | 03:25 | And this is really nice, because a lot
of times we photograph different things,
| | 03:29 | and this can give the user, or
the community, a way to access these
| | 03:33 | particular photographs.
| | Collapse this transcript |
| Working with comments| 00:00 | In my particular case, I have
what's called a Flickr Pro Account.
| | 00:03 | What that means is I have a little bit more
functionality and storage space, et cetera.
| | 00:08 | What it means in regards to Lightroom
is that I can actually interact with some
| | 00:12 | of the comments that are posted on Flickr.
| | 00:14 | For example, if I go ahead and add a
comment to this particular image here, what
| | 00:18 | I'm going to do is add a
comment, which says, Wow!
| | 00:21 | It's kind of funny comment on my own
photograph, but I'll go ahead and do that,
| | 00:25 | and I'll post that comment,
| | 00:26 | Well, once I've made a comment like that, what
I can do is I can navigate back to Lightroom.
| | 00:30 | Over on the right-hand side, if I
select one of these images, you can see that
| | 00:36 | there aren't any current comments
that have been downloaded into Lightroom.
| | 00:40 | In order to refresh this, I'll click
on the little Refresh icon, and it will
| | 00:45 | bring that comment, as well as the
Favorite Count, into this particular panel.
| | 00:49 | Now to add another comment, I'm
going to go ahead and say really cool!
| | 00:54 | Then I'll refresh this one more time.
| | 00:56 | In that case, what it's going to
do is actually upload that comment.
| | 01:00 | So, let's take a look at that,
back on Flickr. Here we go.
| | 01:03 | In Flickr, we are going to refresh our
view of this particular photograph, and
| | 01:08 | we'll see that we have two comments
that have now been added to that image.
| | 01:12 | So, one of things that you're
starting to discover is that you can start to
| | 01:15 | really get things out there and
dialogue and interact with the community.
| | 01:19 | I also want you to keep in mind that
while I'm doing this with Flickr, and with
| | 01:23 | my Flickr Pro Account, eventually,
we're going to start to see some other
| | 01:27 | features come up where we're going to
be able to upload our images, and our
| | 01:30 | clients are going to be able to add
some comments, and we'll have a bit of an
| | 01:34 | online dialog with them in regards
to which images are keepers or not.
| | 01:38 | In this current context, I'm obviously
showing Flickr, yet we'll soon discover
| | 01:42 | that there will be more and more
services and plug-ins that will allow us to
| | 01:46 | extend Lightrooms reach even further.
| | Collapse this transcript |
| Publishing to a folder| 00:00 | So far, we've taken a look at how we can
use the Publish Services in order to get
| | 00:04 | our photos online, or in order
to share them and upload them.
| | 00:08 | Well, there's some other functionality
built into this panel which is actually
| | 00:11 | kind of interesting.
| | 00:13 | What we can do is we can also publish a
particular folder on a hard drive, and
| | 00:18 | we can do this in order to be able to
keep track of what images we're exporting,
| | 00:22 | or say delivering to a client.
| | 00:23 | For example, currently I'm
working from this folder.
| | 00:27 | It's titled beach_family,
| | 00:30 | some great family photos of some
friends of mine, and what I want to do is I
| | 00:35 | want to deliver them some images, so
they can take the photos to their lab
| | 00:38 | and make some prints.
| | 00:40 | Let's just say these are
all just big, RAW files.
| | 00:42 | So, what I'm going to do is I'm going
to navigate to my Publish Services panel,
| | 00:47 | and I'm going to click on the Plus icon here
and choose Hard Drive and then Edit Settings.
| | 00:52 | This will open up the
Lightroom Publishing Manager.
| | 00:54 | I want to create a new folder here.
| | 00:56 | So, I'll add one connection.
| | 00:57 | It's going to be a service of hard drive.
| | 00:59 | I'm going to give this one a name,
co - family. I'll click Create.
| | 01:04 | I then need to describe this, and I'm
going to give it a Description name of
| | 01:07 | something that makes sense to me.
| | 01:09 | A lot of times, this would be the client name;
| | 01:11 | here I'll keep it kind of
generic, just co - family.
| | 01:15 | I'm going to put all of
these images in a subfolder
| | 01:17 | I'm titling family, and
then let's make our way down.
| | 01:20 | We can apply some File
Naming options, if desired;
| | 01:23 | we can apply some file settings here.
| | 01:25 | In this case, if I wanted the client
to be able to print these at their local
| | 01:29 | lab, I would choose JPEG, sRGB,
real high quality JPEG there.
| | 01:34 | All right, well, what about the Image Sizing?
| | 01:36 | In this case, I'm not
going to resize the images.
| | 01:38 | I'll just give them huge, full, hi-res
JPEG files so that they can do what they
| | 01:42 | want with the images.
| | 01:44 | Then we can define some Output
Sharpening, in this case, I want for our paper
| | 01:47 | type, a particular amount Standard.
| | 01:50 | Metadata will just minimize that, and
then Watermarking, no need for watermarking.
| | 01:55 | So again, these options
are pretty straightforward.
| | 01:58 | But one of the nice things about this
particular view, as you can see some of
| | 02:01 | the options that we've defined in.
Well, that's one of the reasons why sometimes
| | 02:05 | I like to collapse my panels, because
it gives me an overview of some of the
| | 02:09 | settings that we've defined.
| | 02:11 | Now, the point here isn't to talk about
what settings I've defined, yet I had to
| | 02:16 | choose something; rather, the point is
you can define whatever you want for
| | 02:20 | whatever scenario you're publishing for.
| | 02:23 | Yet, in this case, we're pretending
that we're going to publish these, so the
| | 02:26 | client can make some prints.
| | 02:27 | Well, let's go ahead and click Save.
| | 02:30 | Well, once we've done that, you'll notice
that we now have this little connection.
| | 02:34 | All that I need to do now is to
make a selection of some photos.
| | 02:38 | I can do that by clicking and Shift+
Clicking, and then to drag those photos into
| | 02:42 | this Publish Services folder.
| | 02:44 | So, if I click on that folder, here
you're going to see that I have some
| | 02:47 | new photos to publish.
| | 02:48 | Well, if I then click the Publish
button, either up top or down below, it's
| | 02:53 | going to show me the
progress of this publishing.
| | 02:56 | What Lightroom is doing here is
a little bit more like exporting.
| | 03:00 | So, why not just use the
Export dialog, you may be thinking.
| | 03:03 | Well, in this case, it
keeps track of what I've done.
| | 03:06 | In other words, it's showing me that hey,
you've published these photos already.
| | 03:11 | Let's take a look at what
those actually look like.
| | 03:13 | So, if I navigate over to my Finder, I
can see that this particular folder on
| | 03:17 | my desktop is called family, and here it's
created all of these different JPEG files for me.
| | 03:23 | This is really nice, right?
| | 03:24 | So, I have all these JPEG files.
| | 03:27 | Let's go back to Lightroom.
| | 03:29 | Let's say that we realize that for this client,
we haven't delivered them all of the images.
| | 03:34 | We want to give them everything.
| | 03:36 | So, if I go back to this particular
folder, beach_family, I'm now going to press
| | 03:40 | Command+A to select all, and
that's the shortcut on a Mac.
| | 03:45 | On a PC, that's Ctrl+A. Again, no
images are selected, press Command+A on a
| | 03:50 | Mac, Ctrl+A on a PC.
| | 03:51 | We can see that now all of
these images have been selected.
| | 03:55 | Back down to Publish Services.
| | 03:57 | I'm going to drag these into this folder here.
| | 03:59 | What it's going to tell me is that I
have all of these photos to publish.
| | 04:02 | You notice that it's telling me that
I only have 24 photos to publish, yet
| | 04:07 | the total number is 44.
| | 04:10 | So, what's happening here?
| | 04:11 | Well, there is a little bit
of a built-in memory, right?
| | 04:14 | Because you notice that it has
already published these photos down here.
| | 04:18 | So again, it remembers what I've
already done; it keeps track of that for me.
| | 04:23 | So, when I click Publish, what's going
to happen is it's just going to export
| | 04:26 | these images that I haven't yet exported,
and then include those in that folder.
| | 04:31 | So, if we go back here, we'll now see that we
have all of the images inside of this folder.
| | 04:36 | They're all saved nicely, so that
the client could then print them.
| | 04:39 | Now, the one thing I do have to
point out is that these are demo files.
| | 04:43 | So, these aren't full-res RAW
files; these are small JPEG files.
| | 04:47 | So, if this were a real scenario, I
would've wanted to have started with the
| | 04:51 | full, big, huge RAW file and then
exported them down to a smaller JPEG.
| | 04:57 | Yet in order to be able to keep our
file sizes a little bit smaller for this
| | 05:01 | training title, I've just
included the JPEGs here.
| | 05:04 | Yet the whole point is that
what you can do is take files.
| | 05:07 | You can then keep track of how
you're exporting them with these
| | 05:10 | different Publish Services.
| | 05:13 | This can be really helpful, especially
if you have clients that you're exporting
| | 05:17 | files to quite regularly.
| | 05:18 | In other words, rather than having to
go through the whole Export dialog, you
| | 05:23 | can define those settings.
| | 05:24 | Then from there, all that you need to
do is simply drag an image to a folder,
| | 05:28 | and then hit Publish, and then the
image will be exported and saved to the
| | 05:31 | particular location, and with all of
the particular settings that you've
| | 05:35 | already previously defined.
| | Collapse this transcript |
| Creative tip: Visual poetry| 00:00 | Hey, welcome to another creative photo tip.
| | 00:04 | You know, this last year I had the
privilege of writing this book, 'Visual
| | 00:07 | Poetry,' and it's all about
creating compelling photographs.
| | 00:10 | And one of the premises of the book was this:
| | 00:13 | It as that what a novelist says in
20,000 words, a poet says in 20, and after
| | 00:19 | we read a poem sometimes we not only have
more information, but we have more experience.
| | 00:24 | And there's something about
poetry which fascinates me.
| | 00:27 | It's about reducing and
simplifying, but it's more than that.
| | 00:30 | It's about reducing, simplifying and deepening.
| | 00:34 | So here is my thought for you
in regards to your photography.
| | 00:37 | Perhaps you're using too many words,
perhaps you're telling too much of the story.
| | 00:41 | If you want to create powerful and
intriguing photographs, maybe you need to tell less.
| | 00:46 | And sometimes by telling less,
you can actually say more.
| | Collapse this transcript |
|
|
13. The Develop Module: IntroductionDevelop module overview| 00:00 | The Develop module is really where the
art and craft of photography, inside of
| | 00:04 | Lightroom, takes place, especially now
as we're capturing our images more and
| | 00:08 | more frequently in this RAW format.
| | 00:10 | Because as you know, those RAW files
are just a bit dull, and so it's the Develop
| | 00:15 | module where we're going to go in order to
really bring our images to life. And you know what,
| | 00:19 | you're going to spend the majority of
your time in Lightroom inside of the
| | 00:23 | Develop module, working with
these panels over here on the right.
| | 00:26 | Now because of this, and that would
be worthwhile to take a few minutes to
| | 00:30 | talk about a few shortcuts that you
can use in order to navigate in these
| | 00:34 | panels and in this module.
| | 00:35 | So in order to do that, I want to pull
up a slide, and I want to highlight a few
| | 00:39 | navigation shortcuts here for you.
| | 00:41 | One of the things you'll notice is that we
have a number of different panels on the right:
| | 00:45 | Histogram all the way
down to Camera Calibration.
| | 00:47 | Well, there is a great shortcut that we
can use to open and close these different
| | 00:51 | individual panels, and here is what it is.
| | 00:53 | On a Mac, if you Command, on Windows
if you press Ctrl and then zero, that
| | 00:59 | will toggle open or close the first panel,
and then the rest of the panels are as follows.
| | 01:04 | Here, you can see Basic is 1. Tone Curve is 2.
| | 01:07 | What I want to do is zoom in on this
in order to make this even a little
| | 01:10 | bit more clear here.
| | 01:12 | Now once we remove all of the other
information, you can see that what we're
| | 01:15 | going to do is press Command on a Mac,
Ctrl on Windows and then 0-8, or however
| | 01:20 | many panels we've on the right-
hand side in whatever module we're in.
| | 01:24 | We're going to press the shortcut.
| | 01:25 | That shortcut will then toggle
open or close that particular panel.
| | 01:31 | Now because navigating to the
panels is so significant, so important, I
| | 01:34 | recommend you pause this movie,
| | 01:36 | you take a minute and you jot down
these different numbers and which panel
| | 01:40 | they're associated with, so that you
can start to learn these shortcuts.
| | 01:44 | All right, well, let me show you how we
can actually work with these shortcuts
| | 01:47 | inside of Lightroom.
| | 01:48 | Here I'll navigate back to Lightroom.
And let's say that what I want to do with
| | 01:52 | this image is I want to first
convert this to black and white.
| | 01:55 | There are a couple of different ways
that I can do this, but one way that I like
| | 01:59 | to convert to black and
white is to use a B&W panel here.
| | 02:02 | And if I want to use a shortcut to open
up that panel, all that I need to do is
| | 02:07 | to press Command on a Mac, Ctrl
on Windows and then the number 3.
| | 02:11 | That will then open up this panel, and
here I'll click on B&W, and now that I've
| | 02:15 | chosen B&W I can modify these sliders
in order to create a different type of a
| | 02:19 | black and white conversion, perhaps
a little bit more brightness there.
| | 02:23 | Well now that I've completed this black
and white conversion, I want to go back
| | 02:26 | to the Basic panel, and I want to work there.
| | 02:29 | Press Command or Ctrl and the number 1.
| | 02:32 | I'll go ahead and do that now.
| | 02:34 | Here you can see it opened up my Basic
panel, and in this I'll add a little bit
| | 02:38 | more Fill Light and
perhaps a little bit of Contrast.
| | 02:40 | All right, well, so far, so good.
| | 02:42 | Yet, one of the problems that you may
be noticing is that I now have a panel
| | 02:46 | which is open and visible,
but it's way down here.
| | 02:49 | Well, you can of course grab the scrollbar and
scroll down, or you can hover over this area.
| | 02:55 | And if you have a three button mouse
you simply can use that scroll wheel, and
| | 02:59 | you can scroll down and then make any
other changes that you want to make in
| | 03:02 | regards to this particular panel.
| | 03:04 | All right, well, what about closing panels?
| | 03:06 | Well, you can also close
panels by using the same shortcut.
| | 03:10 | So here I'll press Command on a Mac,
Ctrl on Windows and then 3, and you see
| | 03:14 | that that will toggle that
Black & White panel closed.
| | 03:17 | What about the Basic panel?
| | 03:19 | Same thing, again: Command+1 or Ctrl+1,
and we can open or close our panel.
| | 03:23 | Now you might be thinking, gosh!
| | 03:25 | Isn't there an even better way to
work with these panels? And there is.
| | 03:29 | What we can do is we can change our
view to Solo mode and what Solo mode allows
| | 03:34 | us to do is to just have one panel open at once.
| | 03:37 | Let me show you what I mean.
| | 03:38 | Well, here we're going to go ahead
and open up Tone Curve and Basic.
| | 03:41 | We have two panels visible.
| | 03:43 | Now that's kind of hard, because
I'm going to have to scroll a lot.
| | 03:45 | It's not going to really make a lot
of sense in regards to navigation, or
| | 03:49 | working in this module.
| | 03:50 | So what you can do is hold down Option
on a Mac, Alt on Windows, and then click
| | 03:55 | on this little Triangle icon, any of
the Triangle icons for any of the panels.
| | 04:00 | Click it once, and what you'll see is
that when you click on that, it will change
| | 04:04 | to an icon which is made out of dots.
| | 04:06 | Well now what happen is it will only
allow you to have one panel open at a time.
| | 04:11 | For example, if I either click to open
a panel, say like Tone Curve, it will
| | 04:16 | then close whatever else is open, and
just open that panel that I clicked on, or
| | 04:21 | I can also use my shortcut keys.
| | 04:24 | Let's say, for example, that I want
to add a bit of vignette to this image.
| | 04:27 | So here, I'll go ahead and
press Command+6 or Ctrl+6.
| | 04:31 | That goes to my Lens Corrections panel.
| | 04:34 | Now here I can use these Lens
Vignetting Controls, and I can try to darken up
| | 04:38 | those corners a bit in order to
create this Lens Vignette Effect.
| | 04:41 | It's a subtle, little effect,
but I kind of like that.
| | 04:43 | Well now that I'm all the way down here
in Lens Corrections, what I want to do
| | 04:47 | is go back to my Basic panel.
| | 04:49 | Now you know that there are a
couple of ways to do this, right?
| | 04:52 | We can either scroll with the
scroll bar. We could do that.
| | 04:55 | We could hover over one of the panels
and then use a scroll wheel, if you've
| | 04:58 | a three button mouse, or we could use one
of these new shortcuts that we've learned.
| | 05:03 | For example, the shortcut for the
Basic panel is Command+1 or Ctrl+1.
| | 05:06 | Now that we're here we could make a
few other adjustments in order to make
| | 05:10 | this image even better.
| | 05:11 | All right, well, as you can see, these
shortcuts are actually quite helpful.
| | 05:16 | At first they may be a little bit
confusing, but eventually you'll start to
| | 05:19 | integrate them into your workflow.
| | 05:21 | They will help you speed up your
workflow, and ultimately they will help you
| | 05:24 | come up with some creative results in regards
to how you process and develop your photographs.
| | 05:29 | Well, because these shortcuts are so
valuable, I want to pull up that slide one
| | 05:33 | more time just to highlight this,
| | 05:35 | that what we can do is to
navigate to these different panels.
| | 05:37 | You press Command on a Mac, Ctrl on
Windows and then one of these numbers,
| | 05:42 | zero all the way through 8.
| | Collapse this transcript |
| Working with legacy Lightroom files| 00:00 | If I had to distill the main difference
between the Library module and the Develop
| | 00:04 | module, I would say it this way.
| | 00:06 | The Library module is about
organization, where the Develop module is about the
| | 00:11 | art and craft of image-making.
| | 00:13 | Therefore, when we navigate to the
Develop module, we're going to see a few
| | 00:16 | different things in regards to
how we process our photographs.
| | 00:19 | And one of the things that you
may notice is that you may see this
| | 00:22 | little warning icon.
| | 00:24 | What it's doing is it's telling us
that this image has been processed with a
| | 00:28 | previous version of Lightroom.
| | 00:30 | Now here's the good news.
| | 00:31 | The way that this works is you can
take your older files that have been
| | 00:35 | processed in Lightroom 1 or
Lightroom 2, and you can have continuity.
| | 00:38 | In other words, you don't
need to reprocess your images;
| | 00:42 | it will recognize all of
those different settings.
| | 00:44 | What you can do then is create a print,
or upload to a Web gallery, or whatever.
| | 00:48 | On the other hand, if you want to
take advantage of the new strengths of
| | 00:51 | Lightroom, the new demosaicing algorithm,
the new sharpening and noise reduction
| | 00:55 | techniques that it applies to your photographs -
| | 00:58 | in other words, if you kind of want to
get up with the times, what you can do is
| | 01:01 | you can update a photograph,
either one at a time or multiple.
| | 01:06 | Well here, if I want to update one image,
I'll go ahead and click on this icon.
| | 01:10 | It will open up this dialog,
which basically says, hey!
| | 01:13 | There is some new stuff in Lightroom 3.
| | 01:15 | What you can do is you can update
this image, and you can also review the
| | 01:19 | changes to see if you really like it.
| | 01:21 | You can also select to update all
photos in the filmstrip that may have been
| | 01:26 | processed in the previous version of Lightroom.
| | 01:29 | Or you can, of course, just do
one at a time by clicking Update.
| | 01:32 | What I'm going to do here is click
Cancel so that I can show you one more
| | 01:35 | technique for accessing how
you can update your photographs.
| | 01:39 | You can also navigate to your Settings
pulldown menu, and here you can see that
| | 01:43 | you can update to the current process,
which is 2010, or from the Process menu
| | 01:49 | you can select which version, in
other words, the most current version.
| | 01:53 | Now as I do that, it will go ahead and
process the image, and I now have this new file.
| | 01:58 | Well, if I Undo that, by pressing
Command+Z on a Mac or Ctrl+Z on a PC, I can
| | 02:04 | always take that back, as long as I do that
right after I've gone through that process.
| | 02:10 | Let's take a look at one more thing
here before we wrap up this conversation.
| | 02:14 | Again, by clicking on this icon here, I
can review my changes via Before and After.
| | 02:20 | I'll click Update, and then this Before
and After View is actually really quite nice.
| | 02:25 | There are a couple of different ways
that we can look at this: side by side, and
| | 02:29 | we could zoom in on one image in order
to see how the different noise reduction
| | 02:32 | and sharpening settings actually work,
see how the shadow detail works, and see
| | 02:36 | what the image looks like with the
different profiles that we may have in
| | 02:40 | Lightroom 3 versus Lightroom 2.
| | 02:42 | We can also do a different view, in
this case, we can do a Split View and
| | 02:46 | sometimes that's helpful.
| | 02:47 | Again, zooming in or zooming out
to get a feel for the overall image.
| | 02:51 | So we can take advantage of some of
these comparative views, or these Before and
| | 02:55 | After views in order to
evaluate if this actually looks good.
| | 02:59 | Another way to look at these
views is by pressing the Y key.
| | 03:02 | The Y key turns these on and off, and
I love that shortcut, because it's a
| | 03:07 | shortcut that makes sense. Why did I do this?
| | 03:09 | Is this really a good move?
| | 03:11 | And so once you've evaluated this and
said, yeah, you know that looks fine.
| | 03:14 | I'll go ahead and press Y to undo that view.
| | 03:17 | So now the image has been successfully
updated, and my images are so to speak
| | 03:21 | "caught up with the times."
| | 03:23 | And the other good thing about this
process is that it hopefully gives you a little
| | 03:26 | bit of reassurance in regards to moving forward.
| | 03:30 | In other words, when Lightroom 4 or 5
or 6 come out, we can kind of be assured
| | 03:35 | that we can have continuity with the
past, or there will be and continue to be
| | 03:39 | some pretty seamless ways to update
our photographs as needed, and as the
| | 03:43 | technology evolves and grows.
| | Collapse this transcript |
| Comparing the before and after| 00:00 | Because the changes that we'll make
in the Develop module will be really
| | 00:03 | significant, it becomes essential that
we really know how to compare the before
| | 00:07 | and after of a particular photograph.
| | 00:09 | And here you can see I've this
wonderful photograph of my daughter, Annika.
| | 00:12 | She is riding in a little wagon as
we were walking out to see some horses.
| | 00:17 | What I want to do is I
want to access this photo.
| | 00:20 | It's in the 02_General_Photos folder,
subfolder kids, and I want to bring this
| | 00:25 | photo to the Develop module.
| | 00:27 | To do that, press the D key, for Develop.
| | 00:30 | Now well, we haven't talked about the
Develop module controls, what you do know
| | 00:34 | is that you can simply drag
these sliders to make changes.
| | 00:37 | So I'm going to go ahead and just make a
few changes here, just to have something
| | 00:40 | that's visually different.
| | 00:42 | All right, well, now that I've made these
changes, I need to determine if they're better.
| | 00:47 | So there are a couple of shortcuts
that we can use in order to access our
| | 00:50 | before and after views.
| | 00:52 | The Backslash key is really easy to remember,
because you think of going back in time;
| | 00:57 | that will take you to before,
press again, it will take you to after.
| | 01:01 | Well, what about a little
bit more of a comparative view?
| | 01:04 | Well, you can press the Y key, and what
the Y key will do, as in this particular
| | 01:08 | case, is it will show us this Split view.
| | 01:11 | Now the split isn't just right,
| | 01:13 | you can always click on the image to
zoom in, and here I can see I am zooming
| | 01:16 | to a different rate.
| | 01:17 | I can zoom out a little bit too, so
it's a little bit better, and I can pan
| | 01:20 | around in order to see my before and after.
| | 01:23 | We can also change the Split.
| | 01:26 | If you press Option+Y, you notice that
I'm changing it from a vertical split
| | 01:31 | to a horizontal split.
| | 01:33 | So that's Option on a Mac or Alt
on a PC plus the Y key, in order to
| | 01:37 | alternate that view.
| | 01:39 | I'll go ahead and press Y to take that
back, and then Y one more time to remove
| | 01:43 | that particular view.
| | 01:45 | Another way that you can view your
images is by pressing Shift+Y. Now a lot of
| | 01:50 | times when you do this, you may not
have enough screen real estate to actually
| | 01:54 | make the comparison.
| | 01:55 | So what you'll want to do is press the
Tab key. That will hide your panels on
| | 01:59 | the left and right.
| | 02:00 | So you can really look at that Before
and After, and for that matter you can zoom
| | 02:04 | in here in order to
evaluate which image works better.
| | 02:07 | In this case, I can really focus in on
the important aspect of the photograph.
| | 02:11 | Now if you ever forget any of these
shortcuts, you can always access them in the
| | 02:16 | toolbar by way of this icon here, and
here you can see we have the different
| | 02:20 | before and after views.
| | 02:22 | You can also access them by going to
the View pulldown menu and here we'll
| | 02:27 | select Before and After.
| | 02:28 | You can see the different views that
we have and their respective shortcuts.
| | Collapse this transcript |
| Resetting images to their default settings| 00:00 | One of the nice things about the
Develop module is it's going to expand your
| | 00:03 | creativity in some wonderful ways.
| | 00:06 | Yet, one of the things that can't
happen is that we can start to process our
| | 00:09 | images and could make some mistakes.
| | 00:11 | So, let's say that I decide I
really want to make this nice and warm.
| | 00:14 | I want to add some vibrance, and I
want to add some saturation, and I want to
| | 00:17 | add some fill light,
| | 00:18 | and all of a sudden, the image
just looks absolutely horrible.
| | 00:22 | Now I'm exaggerating for the intent of
this particular movie, yet you get the idea.
| | 00:27 | Sometimes if you undo
something, it's not enough.
| | 00:30 | You need to undo multiple things.
| | 00:32 | With these different sliders, what
you can do is you can double-click
| | 00:36 | the Triangle icon, and then it'll take
that back to it's original or default setting.
| | 00:41 | So, I'm just going to go ahead and do that.
| | 00:43 | You can see that slowly, I'm bringing things
back to a little bit more of a normal state.
| | 00:47 | Then I can go back and increase this as needed.
| | 00:51 | Another way that's really nice for resetting
is by holding down the Option or the Alt key.
| | 00:57 | If you press that key, you'll notice
that it changes some of our options. Rather
| | 01:01 | than Tone, it says Reset Tone.
| | 01:03 | If I then click, it'll reset
that to the default settings.
| | 01:07 | Again, to make this a little bit more of
an exaggeration, I overexpose the image.
| | 01:12 | Hold down the Option or Alt
key and then click on that.
| | 01:14 | It resets that back to the normal setting.
| | 01:17 | All right, well, how else can we reset?
| | 01:19 | Another way that's really nice is
let's say you make some changes, and as I
| | 01:23 | mentioned before, sometimes these get
out of hands for one reason or another,
| | 01:27 | and you realize that it would be nice to
just take the image back to its original state.
| | 01:32 | I mean, you want to
reset everything you've done.
| | 01:34 | You want to reset the crop.
| | 01:36 | You want to reset anything if done
with your Adjustment brush, anything that
| | 01:39 | you've done with panels. You just
need to take it all the way back.
| | 01:42 | Well, in those situations,
there is a great shortcut.
| | 01:46 | That's one of the shortcut's you want to
write down because it comes in handy in
| | 01:49 | certain situations, and here it is.
| | 01:52 | On a Mac, it's Shift+Command+R. On a PC,
that's Shift+Ctrl+R, and that's the
| | 01:58 | shortcut for a reset everything back to normal.
| | 02:01 | Now, you can also find
that from your Settings menu.
| | 02:04 | So if you ever forget the shortcut,
just think I've applied all these settings,
| | 02:09 | how do I undo everything?
| | 02:10 | Well, in that particular case, go to
Settings and here, you can simply click
| | 02:15 | on Reset All Settings, or you can remind
yourself of what that shortcut actually is:
| | 02:20 | Shift+Command+R on a Mac, Shift+Ctrl+R on a PC.
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| Using the Develop module presets| 00:00 | One of the best ways to take advantage
of the Lightroom's strengths, and to speed
| | 00:04 | up your overall workflow, is to use Presets.
| | 00:07 | And in the Develop module, what you can
do is open up the Preset panel on the left.
| | 00:11 | You'll see a huge list of presets,
everything from Black & White to
| | 00:17 | Creative Color, and beyond.
| | 00:18 | Well, in order to take advantage of
these presets, typically what you want to do
| | 00:23 | is open up the Navigator panel.
| | 00:25 | Now, with the Navigator panel open,
we have our preview of this image of my
| | 00:29 | daughter and all her
friends on their soccer team.
| | 00:31 | And what we can then do is
hover over the different presets.
| | 00:35 | If we think that one looks
interesting, simply click on it.
| | 00:38 | It'll then be applied to the photograph.
| | 00:40 | One of the things that I find helpful
is that if you find this Navigator window
| | 00:44 | is too small, you can always hover over
the edge of these panels and then click
| | 00:49 | and drag in order to
dedicate more space to the preview.
| | 00:52 | Now here, as I hover over the different
presets, I can determine if these look
| | 00:57 | good, and then click on this in
order to have an even larger view.
| | 01:00 | And what are the fun things about presets
| | 01:02 | is, of course, that you can do normal
things like black & white conversation or
| | 01:06 | sepia toning, or of course, you can experiment.
| | 01:09 | Here, I'm simply going to scroll down
to some of the color creative options.
| | 01:13 | And as I hover over these or roll
over these options, I'm going to look for
| | 01:16 | something that's a little bit different.
| | 01:18 | With this photograph, I'm finding
that I like Color Creative - Old Polar.
| | 01:22 | Let's see how this looks.
| | 01:23 | Here, I'll go ahead and click on
this option, and then I'm going to hover
| | 01:26 | over this dividing line to make that panel
smaller, so I can really focus in on the image.
| | 01:31 | Well, here I have something
completely different, some really intriguing
| | 01:35 | color and contrast.
| | 01:37 | Now, one of the tricks, of course, is to
try to determine if this is any good.
| | 01:41 | Because we've selected so many different
presets, it's hard to visually remember
| | 01:46 | where was the image originally?
| | 01:48 | Well, in order to view them before
and after, you remember the shortcut, right?
| | 01:52 | It's the Backslash key.
| | 01:54 | When we press the Backslash key,
there's before, without any preset, and
| | 01:57 | then there's after.
| | 01:58 | Now, in this case, with this view, I decide, you
know what, that looks amazing. I love the color.
| | 02:03 | I love the contrast.
| | 02:04 | It's a really fun expression
of this particular photograph.
| | 02:08 | Now, in wrapping up our conversation about
Presets, I want you to keep this in mind.
| | 02:12 | One, Presets help you speed up your workflow.
| | 02:14 | Two, they help you to become more creative.
| | 02:17 | Three, a lot of times what you want to
do is think about presets as a starting
| | 02:22 | point, because sometimes what can
happen is certain presets can become really
| | 02:26 | popular and eventually, someone will
look at your photograph and say, oh!
| | 02:30 | You used that old polar effect, huh?
| | 02:32 | And you never want someone to know what you did.
| | 02:35 | You want to hide your tracks.
| | 02:36 | You want to disguise your
postproduction work so that rather than focusing on
| | 02:40 | the postproduction work,
they're focusing on the image.
| | 02:43 | So again, experiment. Play.
See how this can speed up your workflow.
| | 02:47 | But also, take some time to think
about how you can use these as starting
| | 02:51 | points, from which you can then
further and more deeply modify your image.
| | 02:55 | In order to do that, all that you need
to do is to select the preset and then go
| | 03:00 | ahead and open up your panels.
| | 03:01 | Once you're there, you can modify some
of these different settings and change
| | 03:05 | the overall balance, in order to
change the way the image looks and appears.
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| Using Snapshot and History| 00:00 | Another helpful way to get the most
out of the Develop module is by using the
| | 00:04 | Snapshots and History panels,
which are located on the left.
| | 00:09 | On the left over here, I've opened up
these panels so that we can see as we make
| | 00:13 | some progress with how to work with these.
| | 00:16 | Now I'm going to jump ahead a little bit,
and I'm going to do that in order to
| | 00:19 | illustrate how we can work
with History and Snapshots.
| | 00:22 | So, for example, one of the things that
I'm going to do is I'm going to grab my
| | 00:25 | Crop tool by clicking on this icon here,
and then I'm going to click on one of
| | 00:29 | these corner points to crop the image.
| | 00:32 | Again, we'll talk more about cropping later,
but for now I'll press Enter or Return.
| | 00:37 | And let's say that what I want to
do is evaluate this particular crop.
| | 00:41 | What I could do is take a snapshot of
this particular stage of the processing.
| | 00:47 | In other words, I can take kind of a
quick picture of this, and I can do this
| | 00:51 | by way of shortcut.
| | 00:52 | It's Command+N on a Mac, Ctrl+N on a PC,
and I'm going to name this crop - 1.
| | 00:57 | I'll go ahead and hit Create.
| | 01:00 | Now if you don't like using shortcuts, you
can also do this by way of a pulldown menu.
| | 01:05 | If you navigate to your Develop
pulldown menu, you'll see that you have an
| | 01:08 | option here for New Snapshot;
| | 01:10 | you'll also discover that
shortcut there, in case you forget it.
| | 01:13 | All right, well, now that I've done that, I
decide I also want to try a different crop.
| | 01:18 | So I grab my Crop tool here, and
I'm going to make this even tighter.
| | 01:22 | So it's a little bit closer
in on these two girls here,
| | 01:24 | my daughter and one of her best friends,
and then I'll apply that, and again
| | 01:28 | I'm going to take a snapshot, Command+N on a Mac,
Ctrl+N on a PC, and I'll call this one crop - 2.
| | 01:35 | Next, I decide I want to process this image.
| | 01:38 | I want to warm it up, give it a
little bit more life and vitality and some
| | 01:41 | contrast and just make this one a
little bit more visually interesting and just
| | 01:46 | apply a few settings.
| | 01:47 | Well, in this particular case, I'm going
to take one more snapshot, Command+N on
| | 01:52 | a Mac, Ctrl+N on a PC.
| | 01:54 | I'm just going to call this color 1.
| | 01:57 | You can name these however it seems fit
to what type of processing you're doing.
| | 02:01 | I decide I want to convert to Black &
White and then increase my Contrast,
| | 02:05 | increase my Blacks and modify
the image a little bit this way.
| | 02:10 | So now I have a new treatment.
| | 02:11 | We'll I'll go ahead and take one more snapshot.
| | 02:14 | I'll call this one bw 1.
| | 02:15 | All right, well, now that I have all
of these different Snapshots, I can take
| | 02:21 | advantage of them in some really unique ways.
| | 02:23 | What I can do is I can hover over the
different options, and you can see that
| | 02:27 | it's giving me a different preview here.
| | 02:30 | So I can choose color 1.
| | 02:31 | It's going to take it to that
particular state in the file.
| | 02:34 | I can choose crop - 2, or I can choose crop - 1.
| | 02:38 | So I have a number of different
options as I click through these, and you can
| | 02:41 | see how the image is updated as I
click on these different Snapshots.
| | 02:46 | So this can be really helpful in determining
do I want black-and-white or do I want color.
| | 02:51 | I can click between my two Snapshots.
| | 02:53 | Do I want this particular crop,
or do I want this particular crop?
| | 02:58 | So again, Snapshots help me with that.
| | 02:59 | All right, well, what about History?
| | 03:01 | Well, History is kind of interesting, as well.
| | 03:03 | Here you can see all the
different Snapshots selections I made.
| | 03:07 | I can also go back to a further era in
time where I say, you know what, I really
| | 03:11 | want to go back to some of the work I
did in regards to adding Fill Light.
| | 03:15 | I could then click on that option.
| | 03:17 | It's going take the image back to that
particular state in the overall History,
| | 03:22 | or for that matter, I can go back to
the crop that I applied here and then see
| | 03:26 | how I modified it a little bit more,
and step through these different History
| | 03:30 | states as I made them.
| | 03:32 | Another way to step backwards is by
pressing the Command+Z key on a Mac.
| | 03:37 | That's Ctrl+Z on a PC. And here you can
see it's going through these different
| | 03:41 | steps that I've taken.
| | 03:42 | Now this is a little bit more linear.
| | 03:45 | In other words, whatever I've done, it just
steps back in the exact order of how I've done it.
| | 03:51 | It doesn't necessarily follow the
order of this dialog; rather, it follows how
| | 03:57 | I've actually clicked, or
worked on the photograph.
| | 03:59 | All right, so as you can see, there are
three things that we can take advantage of here.
| | 04:03 | We can take advantage of Snapshots,
which allow us to lock in our settings that
| | 04:08 | we've applied to our photographs.
| | 04:10 | We can also take advantage of History,
which allows us to step back in time in
| | 04:14 | regards to how we've processed a photograph.
| | 04:16 | Now, if ever we want to get rid of
History, what we can do is we can click on
| | 04:20 | this little X here, we can clear all
of our History steps, and sometimes we
| | 04:25 | may want to do that so that we don't
have all the clutter of our History. And
| | 04:28 | in those situations we can still access these
different processing by clicking on our Snapshots.
| | 04:34 | So our History and Snapshots are related,
| | 04:36 | they're also obviously distinct.
| | 04:38 | The final thing I want to point out here
is while we can clear our History, we can
| | 04:41 | also clear the Snapshots and remove those as
well, if we find that they aren't relevant.
| | 04:46 | Let's say that we remove our History
and our Snapshots, and now we have this
| | 04:49 | image at this current state, and we
realize that it would be nice to reset the
| | 04:54 | image all the way back to the beginning.
| | 04:56 | Well, how can we do that?
| | 04:57 | We've seen that before right, but
I just want to reiterate it here.
| | 05:01 | We can navigate to our Settings
pulldown menu and choose Reset All Settings.
| | 05:05 | That will then take the image all
the way back to its original state from
| | 05:09 | whence we began.
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| Using the Histogram| 00:00 | In the 03_Demo_Files folder, you'll
find an image titled grayscale.psd.
| | 00:06 | Let's bring this grayscale into the
Develop module, and let's do this in order
| | 00:10 | to deconstruct to how we can start to
work with the Histogram. All right.
| | 00:14 | I'll press the D key, which will
then take me to the Develop module.
| | 00:18 | In the top right, we can see that our
first panel is the Histogram, and currently
| | 00:22 | I've created this grayscale inside of
Photoshop, and you can see that we have
| | 00:25 | information from left all
the way over here to right.
| | 00:29 | When I hover over the image, we can
see the different RGB values in regards
| | 00:33 | to their percentages, and they go from a
high percent all the way down to a low percent.
| | 00:38 | Well what we can do is we can take
advantage of this Histogram to actually begin
| | 00:43 | to evaluate photographs,
| | 00:45 | in other words to see if we have good
information and also to process our photographs.
| | 00:50 | Here's how it works. If you look as I hover over, you
notice that I have my blacks, and I can then
| | 00:55 | click and drag to the left or the
right to change the amount of the blacks.
| | 00:59 | As I move to the right, I can work on
the fill light, and you can see where it's
| | 01:02 | affecting the Histogram.
| | 01:04 | Now primarily, it's going to affect
this targeted area, of course though all
| | 01:09 | adjustments affect other areas as well.
| | 01:12 | Exposure, that's a pretty big adjustment.
| | 01:14 | We can see that's moving everything to
the right, and then finally over here
| | 01:18 | on the right, we have what's called Recovery.
We're trying to recover some of our highlights there.
| | 01:22 | The other thing that's important, in regards
to the Histogram, is using these indicators,
| | 01:26 | which show us clipping.
| | 01:27 | If we click on the triangles, you can
see that it's going to show us in this
| | 01:31 | highlight color here of any clipping.
| | 01:34 | So let's add some clipping here.
| | 01:35 | Let's make some "bad adjustments," and you
can see that I've quite a bit of clipping.
| | 01:40 | Another way to turn on and off this
clipping is by pressing the J key.
| | 01:45 | That turns out warning indicator on and off.
| | 01:48 | Now if you're wondering well what
exactly is clipping? What it is is it's
| | 01:52 | showing us that there's
some kind of loss of detail.
| | 01:54 | In other words, the image
hasn't been processed very well.
| | 01:58 | By way of the Histogram, there's no
detail in the whites or there's no detail on
| | 02:02 | the blacks and so it is just complete,
100% black, which isn't going to print
| | 02:06 | very well, or isn't going to reproduce very well.
| | 02:09 | All right, well, now that we've examined this a
little bit, let's take a look at a photograph.
| | 02:13 | I'll press the G key to
go to the Grid view mode.
| | 02:16 | I'll go to my General_Photos, and then
I'll select the folder, let's say kids,
| | 02:20 | and here what I'm going to do is
select the photograph of my daughter Sophia,
| | 02:24 | then press the D key to
go into the Develop module.
| | 02:27 | And one of the things that I may
want to do, as I start to work with the
| | 02:30 | Histogram, is to press the J key.
| | 02:32 | The J key will show me right off the
bat if there's any clipping, and it's
| | 02:36 | showing me that there's some subtle
clipping in some of these drop shadows.
| | 02:40 | Now that's fine if that goes to pure Black.
| | 02:42 | That's not going to really be a problem,
and one of the things that I noticed
| | 02:45 | though is that this
Histogram is leaning to the left.
| | 02:48 | It's a little bit on the dark side.
| | 02:50 | So I'm going to go ahead and navigate
over to the lower area the Histogram, and
| | 02:53 | click and drag over to the right to
bring in a little bit of Fill Light.
| | 02:57 | I'm going to also increase my
Exposure a little bit, as well.
| | 03:00 | Now as I did that, you'll notice that
some of the clipping indicator from my
| | 03:04 | shadows has been removed.
| | 03:06 | Well if I want to bring back some of
the blacks, I can do that by clicking and
| | 03:09 | bringing those back. And a lot of times
what you're going to do is you're going
| | 03:12 | to make an adjustment in one area and
then also make an adjustment in another.
| | 03:17 | Now you may be thinking, okay
well this is kind of awkward;
| | 03:20 | can't we make these adjustments in another way?
| | 03:23 | Well, of course we can.
| | 03:24 | We can go to the Basic panel, and here
you can see we have an Exposure slider.
| | 03:28 | When I hover over this slider, it's
highlighting that same exposure area in my Histogram.
| | 03:34 | Yet one of the things that I wanted to
do was to begin with the Histogram, so
| | 03:38 | that we can build up how we use this tool.
| | 03:40 | So that's not just something we look at,
but rather something that we realize is
| | 03:44 | actually pretty active and dynamic, and
so that this little tool can help us, as
| | 03:49 | we dig deeper into processing our
photographs, so that they look even more
| | 03:53 | compelling and so that
they're even more reproducible,
| | 03:56 | in other words, so that they not
only look good onscreen, so that we have
| | 04:00 | appropriate detail on the different
areas of the photograph, so that we can
| | 04:04 | create really high-quality prints.
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| Working with collections| 00:00 | One of the biggest strengths
of Lightroom is collections.
| | 00:03 | What collections allow you do is to
group images together in a way that is not
| | 00:08 | contingent, or is not dependent,
on folder or a file location.
| | 00:12 | In other words, you can take images,
which are located on different hard drives,
| | 00:15 | or different folders or different
locations, and you can group them together.
| | 00:20 | In the previous version of Lightroom,
you were only able to do this in
| | 00:23 | the Library module.
| | 00:25 | We can see, in the Library module, if we
scroll down, we have a Collections panel.
| | 00:28 | Well, new to Lightroom 3 is that we also
have collections inside of the Develop module.
| | 00:34 | What we're going to do is go
ahead and create a collection here.
| | 00:36 | What I'm going to do is click on the
Plus icon and create a collection set.
| | 00:40 | I'm just going to call
this collection set Sports.
| | 00:43 | You can think of a
collection set kind of as a box.
| | 00:45 | That's what the icon is:
| | 00:47 | a box with different
separating folders inside of it.
| | 00:50 | So, if I want to create a collection
inside of this, I'll click on the Plus
| | 00:54 | icon, and say Create Collection.
| | 00:56 | Here, I'm going to create a collection related to
surfing in this set of Sports. I'll hit Create.
| | 01:02 | Well currently, there aren't any images
in this collection, so what I'll do is
| | 01:05 | I'll press the G key to go back to the
Grid view mode in the Library module.
| | 01:10 | Now here, I'm going to
open up my Collections panel.
| | 01:13 | You'll notice that it recognized the
collection I created in a different module.
| | 01:18 | This is really helpful because
sometimes we'll be in the Develop, we'll work
| | 01:21 | with Collections, where we can
continue our work in Library, and then bounce
| | 01:25 | back, and so on and so forth.
| | 01:27 | So, here what I'm going to do is go to
my outdoors folder, and I have a couple of
| | 01:31 | images here where someone is surfing.
| | 01:34 | So, I'll grab those images, drag
and drop them to this collection.
| | 01:38 | I'm going to go to this surf_sponsor folder.
| | 01:40 | This guy is a professional surfer, a
really, really good surfer with tons of
| | 01:44 | style. And I'll drag those to that folder.
| | 01:46 | Then I'll go to my surfers folder, and
again, a few more surfers here that I
| | 01:50 | want to include in this mix.
| | 01:52 | Now, as I do this, one of things that
I'm trying to point out here is that I've
| | 01:56 | grabbed images from different folder locations;
| | 02:00 | yet, when I click on this collection
which is titled surf, I now have this group
| | 02:05 | or this set of images.
| | 02:07 | Typically, the way that you organize your
folders, at least in my case, is by date.
| | 02:12 | So in my own folder library, I have the
date and then the name of the shoot.
| | 02:15 | Now, that isn't always relevant because
sometimes I have different subjects in
| | 02:20 | different folders, but I can use
collections to create some order out of the
| | 02:24 | chaos, so to speak, to begin to
create these groups or sets of photographs.
| | 02:29 | And also, just for the record, one
of the things that distinguishes pro
| | 02:32 | photographers from amateurs or
enthusiasts or hobbyists is pro photographers are
| | 02:36 | able to create really solid sets of
images, not just one image or two images,
| | 02:41 | but this collection that has this
thread, this continuity throughout it.
| | 02:45 | So, not only are collections good
organizationally; they're really good creatively.
| | 02:50 | What some of my student photographers do
is they create collections based on the
| | 02:54 | different things they want to shoot.
| | 02:56 | They're always dragging their photos
into them in order to create a strong
| | 02:59 | portfolio set of a
particular type of photograph.
| | 03:02 | Well, whatever your use here, one of
things you can see is that you can take
| | 03:05 | full advantage of collections
inside of the Develop module.
| | 03:09 | The last thing to point out here is you can
also take advantage of how you sort these images.
| | 03:14 | In other words, in the toolbar, if
you click on the Triangle icon, you can
| | 03:17 | turn on and off sorting.
| | 03:19 | You want to turn that on, and
here we have some other options.
| | 03:23 | We can sort based on their ratings, or seeing
the images with a higher star rating first.
| | 03:27 | We can also sort by their file name or
their label, or we can choose User Order.
| | 03:33 | Sometimes, this is helpful.
| | 03:34 | Let's say we want to put two
different images side-by-side.
| | 03:37 | We can do that and start to relocate
files, and have a user order, which could
| | 03:42 | then help if we're going to use this
collection in a couple of different ways,
| | 03:45 | say a slideshow or a Web gallery.
| | 03:48 | Currently, what I'm doing is I'm
doing my sorting in the Library module.
| | 03:52 | Well, if I press the D key to go to the
Develop module, what's going to happen
| | 03:55 | is it's going to remember, or recognize,
whatever sort order I had previously.
| | 04:00 | Again, sometimes this is helpful, so we
can start to process images in a certain
| | 04:05 | way, or bring images together or whatnot.
| | 04:07 | So, what you're going to start to see
is as you work with Collections inside
| | 04:11 | of the Develop module, you can create
and modify these collections here, but
| | 04:16 | you are going to tend to jump back
and forth between the Library and the
| | 04:19 | Develop module so that you can get the
most out of this new feature inside of
| | 04:23 | Lightroom 3.
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| Introducing virtual copies| 00:00 | One of my all-time favorite features
inside of Lightroom is called virtual copies.
| | 00:06 | What virtual copies does is it taps into
how we actually raw-process our photographs.
| | 00:11 | So, let's go ahead and revisit this
topic of raw-processing really quickly, and
| | 00:15 | then jump into the topic of virtual copies.
| | 00:17 | Well, if we have a photograph, and
we're working inside of Lightroom, we know
| | 00:21 | that this particular image
has pixels. It has data.
| | 00:24 | There's something physically there.
| | 00:26 | Well, Lightroom doesn't change
the physicality of the pixels.
| | 00:29 | Nothing happens to them;
| | 00:31 | it's nondestructive.
| | 00:33 | Yet, what it does is it modifies some settings.
| | 00:36 | The settings are this small, little text
file, which say hey, display this image
| | 00:40 | a certain way, or apply this amount of
sharpening or this amount of contrast.
| | 00:44 | So what virtual copies does is it
taps into this overall workflow.
| | 00:49 | In other words, if you create a virtual
copy of an image, here's what happens.
| | 00:53 | You're just creating a small little file,
a small little set of settings which
| | 00:57 | say hey, I want to display this image this way.
| | 01:00 | So, in other words, there is no
drastic increase in file size.
| | 01:03 | In fact, the file size is so small,
it's not even really significant.
| | 01:07 | The way that these setting files
are accessed and used is so nimble and
| | 01:10 | lightweight and quick that it adds a lot of
fluidity, not to mention a ton of creativity.
| | 01:16 | You can push this even further.
| | 01:17 | You can say, well, let's
create another virtual copy.
| | 01:20 | Again, you're just creating the small,
little settings file, and you modify
| | 01:24 | your settings in Lightroom, and then
have yet another iteration, or another
| | 01:28 | version of the image.
| | 01:30 | So, this iterative approach, in other
words, this approach where you can have
| | 01:33 | one image, and then apply settings and
have a different image, and another one,
| | 01:37 | can really be helpful.
| | 01:38 | Let's say if you need to compare noise
or contrast between two photographs, or
| | 01:43 | let's say you just want to get
creative and have a couple of different
| | 01:45 | versions of a file.
| | 01:47 | So, virtual copies allow us to do
this in some really profound ways.
| | 01:51 | Now there's a shortcut to
creating a virtual copy, and this is an
| | 01:55 | essential shortcut.
| | 01:56 | So, I want to pull it up here, and I
definitely recommend you write this one down.
| | 02:00 | On a Mac, the shortcut is Command.
| | 02:02 | On a PC, it's Ctrl, and then plus
one character, and the character is
| | 02:06 | the Apostrophe key.
| | 02:08 | So again, it's Command+Apostrophe or Ctrl+
Apostrophe in order to create a virtual copy.
| | 02:14 | All right, well, now that we've been
introduced the topic of virtual copies,
| | 02:18 | let's go ahead and take a look at how
we can start to work with them in the
| | 02:21 | next movie.
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| Creating virtual copies| 00:00 | Here, I've selected this file, we
can find in the 02_General_Photos
| | 00:03 | folder, subfolder outdoors.
| | 00:05 | Let's take this image to the
Develop module by pressing the D key.
| | 00:09 | Now that we're here, what I want to do
is continue to talk about virtual copies.
| | 00:14 | What I'm interested in doing is
having a couple of different versions, or
| | 00:17 | iterations of this photograph.
| | 00:19 | We've already learned the
shortcut to do this, right?
| | 00:21 | It's Command+Apostrophe on a Mac.
| | 00:23 | That's Ctrl+Apostrophe on a PC.
| | 00:26 | So, I'll go ahead and press that shortcut.
| | 00:28 | Now, when I do that, down below
you'll notice that I now have two
| | 00:31 | different photographs.
| | 00:33 | With the second photograph, I'm
going to go ahead and choose one of these
| | 00:35 | black-and-white conversions
and apply one of my presets.
| | 00:39 | Now, here I have a completely
different version of the photograph.
| | 00:43 | Let's say that I decide it would be kind of
fun to have a sepia tone version of this image.
| | 00:47 | Well again, I'll press Command+
Apostrophe on a Mac, Ctrl+Apostrophe on a PC, and
| | 00:52 | then I'll apply a different preset.
| | 00:54 | Now, virtual copies doesn't require
that you use presets, yet it's a simple
| | 00:59 | way to illustrate how you can see that you
can have different versions of photographs.
| | 01:03 | You can, of course, go
into your different panels.
| | 01:05 | For example, I'll go into my Basic
panel, and I'll add some contrast or
| | 01:09 | change my exposure.
| | 01:11 | Let's say I create another virtual copy.
| | 01:13 | I'll press Command+Apostrophe on
a Mac, Ctrl+Apostrophe on a PC.
| | 01:16 | Here, I'll make the exposure a little
bit brighter, the clacks a little bit
| | 01:19 | stronger, the recovery, also I'll
bring up, and so on and so forth.
| | 01:24 | So again, I have yet another
version of this particular image.
| | 01:29 | Now the nice thing about this, if I
decide that I don't like one of these
| | 01:32 | versions, well it's no big deal.
| | 01:34 | I can delete it, and I can delete
this a number of different ways.
| | 01:37 | Perhaps, the simplest way
is to press the Delete key.
| | 01:41 | When I do that, this dialog shows up,
which says hey, do you want to remove the
| | 01:45 | selected virtual copy? Yeah, definitely.
| | 01:47 | I'm going to go ahead and remove that.
| | 01:49 | That's how it works
inside of the Develop module.
| | 01:52 | All right, well, what about the Library module?
| | 01:54 | Well, over here in the Library module,
if we Press the G key, we can go to
| | 01:57 | this Grid view mode.
| | 01:58 | You notice that these are all part of a stack.
| | 02:00 | We can see the stack lines on
the far left and the far right.
| | 02:04 | Here, when I press the Delete key, it
will ask me again, do I want to remove
| | 02:07 | the selected photo? Sure.
| | 02:08 | I can remove it from my library.
| | 02:11 | I can also right-click or Ctrl+
Click and select Delete Photo.
| | 02:15 | What this will do again is say hey, do
you want to remove this from your library?
| | 02:18 | Yes, I do.
| | 02:20 | So, what remove is doing is
essentially deleting the file, because the file
| | 02:24 | doesn't really exist.
| | 02:26 | So, the language, in regards to virtual
copies, is remove versus delete, as you can see here.
| | 02:31 | Yet going back, we can see that I now
have these different iterations, which I
| | 02:34 | can click through, and then I can
continue to process these as needed in the
| | 02:38 | Develop module, and take advantage of
these different options that I've created
| | 02:42 | via this new feature titled virtual copy.
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| Introducing the Develop module tool strip| 00:00 | By way of introduction, another
integral aspect to the Develop module is
| | 00:04 | called the Toolstrip.
| | 00:05 | The Toolstrip is located
just underneath the Histogram.
| | 00:09 | While we will cover these tools in
subsequent movies, I thought it would be helpful
| | 00:13 | to introduce you to the tools
and to some of their shortcuts.
| | 00:16 | All right, well, the first tool that we're
going to meet in the set is the Crop tool.
| | 00:20 | The shortcut key is the R key.
| | 00:22 | So, you press the R key to activate the
Crop tool, and here you can see I have a
| | 00:26 | number of different options.
| | 00:27 | I can click and drag one of these
corner points, and even rotate this image.
| | 00:32 | Then to apply this, all that I need
to do is to press Enter, or Return, or to
| | 00:37 | double-click inside of the crop area.
| | 00:39 | Now, if want to reset the crop, all
that I need to do is to press a shortcut.
| | 00:44 | The shortcut to reset the crop on a
Mac is Command+Option+R; on a PC the same
| | 00:50 | shortcut, that's Ctrl+Alt+R. All right.
| | 00:52 | I'll press that to reset the crop.
| | 00:55 | All right, well, the next tool that we'll
encounter is called the Spot Healing tool.
| | 00:59 | You can access this with a new shortcut
inside of Lightroom 3. It's the Q key.
| | 01:04 | So, once I press the Q key,
again, I have a few options.
| | 01:08 | What I can do here is I can click
over a certain area, and here you can see
| | 01:12 | that what it's doing is it's taking
white, and it's placing that on top of
| | 01:15 | something else, and it will become even
more illustrative if you see this over
| | 01:19 | the Toolstrip there.
| | 01:21 | Now, this isn't a good enhancement in
this particular case, but you can imagine.
| | 01:25 | Let's say that the K was something
that was a little bit distracting.
| | 01:29 | I could then go ahead and modify this
a little bit, and I could retouch that
| | 01:33 | little K out of the picture.
| | 01:35 | Now, what I'm going to do here is
reset this, to remove that altogether.
| | 01:39 | We'll talk more about that tool later.
| | 01:41 | The next tool in this set is
called the Graduated filter.
| | 01:44 | Press the M key to access this tool.
| | 01:46 | We can do some really interesting things here.
| | 01:49 | In this case, I'm going to decrease my
exposure, and then click and drag on the image.
| | 01:53 | You can see that it goes from
darker to lighter in a graduated way.
| | 01:57 | What we can do in this is we can use
this tool to darkened skies or brighten
| | 02:01 | foregrounds, or for that matter, we
can even add different color effects in
| | 02:05 | this particular tool.
| | 02:07 | All right, well, I will go
ahead and click Reset here as well.
| | 02:09 | The last tool we're going to take a
look at is called the Adjustment brush.
| | 02:13 | You can access this tool by pressing the K key.
| | 02:16 | The Adjustment brush is actually
pretty strong, and we'll spend some time
| | 02:20 | talking about this, because we're
going to use this tool quite often, but for
| | 02:24 | now you can see I have an exposure of -
2.59 stops here, and when I click and
| | 02:29 | paint, what I can do is I
can start to darken things.
| | 02:32 | Now, there's not a lot to darken with
this image, but nonetheless, you can
| | 02:36 | see that I have indeed darkened the
Toolstrip there by painting in this particular area.
| | 02:41 | Okay, once again, I'll go ahead and
reset that to take it back to normal.
| | 02:45 | As I mentioned in the beginning of
this movie, we will definitely be covering
| | 02:48 | these tools in more detail later, but
for now, at least for becoming familiar
| | 02:52 | with the Develop module interface, and
also with what's called the Toolstrip and
| | 02:57 | some of the Toolstrip shortcuts.
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|
|
14. The Develop Module: Basic ControlsUnderstanding white balance and color temperature| 00:00 | Before we get into Lightroom and talk
about how we can white balance or color
| | 00:04 | correct our photographs, I thought it
would be helpful to step back for a moment
| | 00:08 | and talk a little bit about color temperature.
| | 00:11 | Now here we can see we have different
color temperatures from warm to cool, and
| | 00:15 | we can have warm colors like a sunset,
or really cool colors, like we have at
| | 00:20 | dusk or night, and of course, we
have other situations in between.
| | 00:23 | Open shade, overcast, clear day,
morning and afternoon light.
| | 00:28 | And so what white balance has to
do with is how we deal with these
| | 00:32 | different situations.
| | 00:34 | For example, if we capture an image in
open shade it's going to have a blue cast.
| | 00:39 | So what we'll need to do is then color
correct for that in order to make the
| | 00:44 | image look neutral or for that matter,
in order to enhance the image a little bit,
| | 00:48 | and to change the
overall color temperature.
| | 00:51 | Now color temperature is
also affected by light sources.
| | 00:55 | For example, on one side of the
spectrum we could have on-camera flash, which
| | 00:59 | typically emits about 6500 Kelvin,
and that's a really cool tone.
| | 01:04 | Or on the other side of the spectrum
we could have something which is lit by
| | 01:07 | candles, really warm tones
down here about 1800 Kelvin.
| | 01:11 | And we have a number of different
situations between, whether it's studio lights
| | 01:15 | at about 5500 Kelvin or tungsten
lighting, which is at about 3200 Kelvin.
| | 01:21 | So the whole point here is that color
temperature varies based on the different
| | 01:26 | light sources or the context that we're in.
| | 01:29 | So how does that relate to Lightroom?
| | 01:31 | Well in Lightroom one of the things
that we'll discover in the Basic panel is
| | 01:34 | that we have a number of different ways
to control or to work with or to correct
| | 01:39 | or to enhance color temperature.
| | 01:41 | For starters, we have White Balance,
currently, As Shot, or I can choose Auto,
| | 01:45 | which will attempt to auto
correct the situation. Or Daylight.
| | 01:50 | You'll notice that my color Temperature
and Tint will change as I make different
| | 01:54 | selections from this pulldown menu.
| | 01:57 | And what this can do for us is if we
know how our photograph was captured,
| | 02:00 | we can choose one of these options in order to
color correct or white balance our photographs.
| | 02:05 | All right, well what
about the other controls here?
| | 02:08 | We can also simply click and drag the sliders.
| | 02:11 | Temperature, we can either make this
more cool or warm, or Tint for that
| | 02:15 | matter, green or magenta.
| | 02:17 | We can also select the White Balance tool.
| | 02:20 | You can select it by clicking on
the icon or by pressing the W key.
| | 02:25 | Now if you have the Navigator panel
open when you hover over an area of your
| | 02:30 | image, you'll see a potential color
correction option, if I were to click on
| | 02:35 | this area of my photograph.
| | 02:37 | And what you want to do is click on
something that you think should be neutral.
| | 02:42 | In this case, I'm guessing the shirt
was probably black, so when I click on
| | 02:46 | that area it then makes that spot neutral
and then color corrects the image accordingly.
| | 02:51 | All right, well now that we know a
little bit about color Temperature and a
| | 02:56 | little bit about how white balance
works inside of Lightroom, let's go ahead
| | 03:00 | and dig a little bit deeper and take a
look at a few examples in regards to how
| | 03:04 | we can apply this knowledge to some
of our images, and we'll do that in the next few movies.
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| Correcting white balance with a ColorChecker| 00:00 | One of the best ways to achieve
correct color is of course to include
| | 00:05 | something neutral in your photographs
in the particular lighting situation
| | 00:08 | where you're shooting.
| | 00:10 | And that's what I did here with this photograph.
| | 00:12 | Here I'm photographing Chris Lieto,
who was a three-time Ironman Champion,
| | 00:17 | and what I did was I included this
little color checker chart so that I could
| | 00:20 | white balance or color correct the different
photographs that we captured in this context.
| | 00:25 | And here I have a couple of
the outtakes and sample photos.
| | 00:28 | Well what we want to do then is we're
going to zoom in on this color checker
| | 00:32 | chart, and I'm going to zoom in
on this so that we can see this.
| | 00:35 | And Chris just got off a bike ride.
| | 00:37 | We went into the studio and he is
holding this little color checker chart that
| | 00:41 | was put together by X-Rite. It's the Passport.
| | 00:44 | Phenomenal color checker chart.
| | 00:46 | And so I'm going to select the White
Balance tool by pressing the W key.
| | 00:51 | Now when I do that, I have a few options.
| | 00:53 | I have Auto Dismiss, and what
that means is that if I click it will
| | 00:58 | automatically deactivate or put the
White Balance tool back in its spot.
| | 01:03 | I don't want to do that just yet,
so I'm going to turn that option off.
| | 01:06 | Show Loupe will show me the image
in more detail as I hover over it.
| | 01:11 | I'll leave that on.
| | 01:12 | You can also change the Scale here,
and you can see as I hover over different
| | 01:16 | things I now have a little bit more detail,
and I can see some detail as I hover over this.
| | 01:21 | Well, what I click on is something that
I think should be neutral and I know by
| | 01:26 | this card all of these different
swatches here should be neutral.
| | 01:30 | As I hover over them, it's going to
show me an update of what would happen if I
| | 01:34 | did click on this area of the image.
| | 01:36 | Now if I look at my RGB values,
which are located under this little loop,
| | 01:42 | you'll notice that the red and green
are pretty close, but then the blue is
| | 01:46 | high, showing me that I have a blue shift.
| | 01:49 | And so if I click now, which I'm going
to go ahead and do, we'll now notice that
| | 01:53 | these three values are much closer together.
| | 01:56 | They're almost exactly the same and
what you want to do is you want to click on
| | 02:01 | something other than pure white.
| | 02:03 | So in this case I now have nice neutral color.
| | 02:06 | Let's zoom out a little bit so we can
see the photograph, and then what I'm
| | 02:10 | going to do is press the Backslash
key to look at the before and after.
| | 02:14 | So here's my before and then there's my after.
| | 02:17 | The image is looking much
nicer. It's now neutral.
| | 02:20 | From this point, if I want to make
any subjective adjustments, I can do so.
| | 02:26 | But first, the task at hand is to
color correct these other photographs.
| | 02:30 | So I'm going to click Done, because I'm
done with my White Balance tool and then
| | 02:35 | look at the other photographs.
| | 02:36 | Well here we can see that these have a
subtle or slight blue temperature color cast.
| | 02:41 | So I want to correct those.
| | 02:42 | Well because this image is now correct,
all that I need to do is to click on
| | 02:47 | one image, hold down the Shift key, click on the
other images and then click on the Sync button.
| | 02:54 | I'll choose Check None and
I'm going to White Balance.
| | 02:58 | I simply want to synchronize the white
balance across these three images, click
| | 03:02 | Synchronize, and then we'll see that
all three of these files have now been
| | 03:06 | updated and all three of these
files are now completely color correct.
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| Using the White Balance tool| 00:00 | Let's continue to take a look at how we
can use the White Balance tool in order
| | 00:04 | to color correct our photographs.
| | 00:06 | In certain situations we won't have the
luxury of being able to include a color
| | 00:11 | checker chart in our photographs.
| | 00:13 | In those situations what do we do?
| | 00:15 | Like with this particular portrait
of my good friends Travis and Holly.
| | 00:19 | This image was taken after a
day of skiing the backcountry.
| | 00:22 | It was a phenomenal day.
| | 00:24 | I didn't have a color checker chart with me.
| | 00:25 | The sun had set, but what I did know is
that this is a cool time of day right?
| | 00:30 | There are really cool tones here.
| | 00:32 | While the image looks warm and inviting,
I have to begin to think and notice
| | 00:37 | color temperature in more distinct ways.
| | 00:40 | And because of that I know that
this image needs to be color corrected.
| | 00:43 | And so what I'm going to do is press the
W key to select the White Balance tool.
| | 00:48 | Now typically when you're using this I
choose Auto Dismiss, because I'm pretty
| | 00:52 | confident about how this tool works.
| | 00:55 | If you're not too sure how this works,
it may be a good idea to turn this off so
| | 00:58 | that you can select multiple areas.
| | 01:00 | Let me show you what I mean.
| | 01:01 | Well I click this off, and let's say
as I hover over the image I decide, well
| | 01:05 | what if I click on the snow in the background?
| | 01:08 | Well if I click on that, nothing
happens. So here I'm clicking.
| | 01:11 | There's not enough information here in
the snow for me to color correct the image.
| | 01:15 | It's too white, and you can
see that in my RGB values.
| | 01:20 | So in this case, had I turned on Auto
Dismiss and clicked on the snow, well it
| | 01:25 | would then deactivate the tool,
and I would be out of luck.
| | 01:28 | So let's go ahead and reselect the tool
and now turn Auto Dismiss off and then
| | 01:33 | hover over the image.
| | 01:35 | One of the things that I do know is
that this jacket was black and so I'm going
| | 01:39 | to click on that as a nice sample area.
| | 01:42 | All right, now that's a
beautiful, warm and inviting image.
| | 01:46 | Let's take a look at the before and after.
| | 01:48 | Here is our before, what we thought was
kind of warm, and then here's the after the
| | 01:52 | color correct photograph.
| | 01:55 | So one of the things that we're going
to do is as we make these changes we can
| | 01:58 | click in different areas and make our
way through our photographs in order to
| | 02:02 | click on things that we think should be neutral.
| | 02:05 | Now sometimes what we'll find is that
we won't get it exactly right and we may
| | 02:10 | find that perhaps let's say
this is a little bit too warm.
| | 02:12 | Well in those situations no big deal,
all we're going to do is modify our
| | 02:16 | slider, so we have this nice
kind of warm and cool tone together.
| | 02:20 | So actually begin to work with this
White Balance tool, keep in mind that
| | 02:25 | sometimes you're going to nail it.
| | 02:26 | You're going to get it right from the
get-go, other times you may need to go
| | 02:30 | in and make some subjective edits in
order to further enhance the overall
| | 02:34 | color temperature.
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| Creative uses of white balance| 00:00 | Getting good at color correction is about
more than learning how to move a slider
| | 00:04 | inside of Lightroom.
| | 00:05 | It's about learning how to see color,
and it's also about learning how to be
| | 00:09 | creative with color.
| | 00:11 | Well let's take a look at this
particular photograph and here you can see that
| | 00:14 | the light is kind of interesting.
| | 00:16 | This image was captured at noon.
| | 00:18 | I went to a park with my daughter Annika, and
the light was really harsh and really bright.
| | 00:23 | It was really white almost everywhere.
| | 00:26 | So I knew that I wasn't going to
be able to get many good portraits.
| | 00:29 | But she said she wanted to go on the
swing set and I noticed that part of the
| | 00:32 | swing set created the shadow and here
we can see we have this nice cool tone
| | 00:37 | inside of this shadow, and that's a lot of
time the color that we'll see inside of shadows.
| | 00:42 | So learning how to color correct a lot
of times is learning how to see color,
| | 00:48 | and as you create your own photographs
sometimes it's a good idea to capture
| | 00:51 | clues from that color
temperature in your environment.
| | 00:54 | Well in this context seeing that shadow,
I was pushing Annika on the swing and
| | 01:00 | all that I need to do to find good
light was to push her into that shadow.
| | 01:04 | The background is really bright,
and it's a really beautiful picture.
| | 01:07 | I'm holding her an arms length away,
yet when I open this image up in Lightroom
| | 01:12 | I think, okay yeah grea.t
That captured the moment. That's really fun.
| | 01:16 | But also I'm remembering that blue that
I saw and I'm remembering that and I'm
| | 01:20 | saying, okay I need to warm this image up.
| | 01:22 | Now how can I do that?
| | 01:24 | I don't really have
anything here that's neutral.
| | 01:27 | Well in these situations, I'm
going to remember the context.
| | 01:30 | I'm going to simply warm up
the temperature subjectively.
| | 01:33 | Now this is just a complete subjective,
creative adjustment, but let's look at
| | 01:37 | here is our before and there is our after.
| | 01:41 | By removing that blue cast the image
now comes to life in a completely new way.
| | 01:46 | So if you want to get really good of
photography and if you want to get really
| | 01:50 | good at color correction, start to
notice light and color and even take pictures
| | 01:55 | like this, take pictures of your
surrounding, so you can begin to identify
| | 01:59 | different colors or color shifts or
begin to identify what happens with
| | 02:03 | reflective color and how color
bounces around off different objects.
| | 02:07 | Then when you come back to Lightroom
make some adjustments that are subjective
| | 02:11 | but are based on what you observed.
| | 02:13 | The other side of the equation is that
sometimes what you do is you capture a
| | 02:17 | photograph like this.
| | 02:19 | There is a dandelion in my front yard
I picked it, set it on the stove, and I
| | 02:23 | turned on the little light, that are
lights up your stovetop and I put a book
| | 02:26 | behind it and took the photo.
| | 02:28 | And when I open it up in
Lightroom the image was really yellow.
| | 02:31 | Now the dandelion was yellow, and
the light source was yellow, and so it
| | 02:35 | doesn't look very good.
| | 02:37 | But what I'm going to do is create color,
so I press the W key to select the
| | 02:41 | White Balance tool, and I'm going to
force something that was yellow to be
| | 02:45 | white, so I click on this
portion of the dandelion.
| | 02:49 | Now this juncture, I all of sudden
have these really interesting colors.
| | 02:53 | All I need to do is maybe add a little
contrast, increase my blacks, my fill
| | 02:57 | light, maybe a little bit exposure and
again I have this color treatment that
| | 03:01 | I couldn't have come up with really any other way.
| | 03:04 | Here's our before and then is our after.
| | 03:07 | So why am I showing you these two examples?
| | 03:09 | Well what I'm hoping to do here is to
get you to begin to think about how color
| | 03:13 | correction sometimes is really scientific.
| | 03:16 | You have a color checker chart and
you're color checking things and you want
| | 03:19 | your numbers to be exactly perfect.
| | 03:21 | Other times, you're going to need
to make some intuitive or subjective
| | 03:25 | adjustments and sometimes if you have a
little bit of knowledge about the scene
| | 03:29 | or the scenario or the light source, you
can make some adjustments that may be a
| | 03:34 | little bit better than others.
| | 03:35 | And then finally there's times when
you're going to be using these controls and
| | 03:39 | these sliders simply for creative
purposes, simply to create color that you
| | 03:44 | couldn't have created any other way.
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| Demystifying the tone controls| 00:00 | In order to get a better handle on how
the tonal controls work in the Develop
| | 00:03 | module, let's use one of our demo files.
| | 00:06 | We'll be using this file
you can find in the 03_Demo_files folder.
| | 00:10 | It's titled grayscale.psd.
| | 00:12 | To open this image up in the
Develop module press the D key.
| | 00:16 | Next what we want to do here is we
actually want to open up our Basic panel.
| | 00:20 | To do that by way of shortcut, we press
Command+1 on a Mac, or Ctrl+1 on a PC.
| | 00:27 | You can of course always simply click on
the title of the panel to open and close it.
| | 00:31 | Now one of the things that we're
going to notice here is that we have this
| | 00:34 | nice full grayscale.
| | 00:35 | When we hover over on Histogram it's
going to highlight the respective field,
| | 00:39 | in this case Blacks.
| | 00:41 | So if we increase our Blacks either by
clicking and dragging the slider here
| | 00:45 | or by hovering over the Histogram and
clicking and dragging to the left or to the right,
| | 00:50 | what we can do then is increase the
overall density of the photograph and you
| | 00:53 | can see that's making more
of the image complete black.
| | 00:57 | All right, well what are
some of the other options?
| | 00:59 | We also have Fill Light.
| | 01:01 | What Fill Light is going to do is act
kind of like a balance card, and it's
| | 01:04 | going to try to balance
light into this range here.
| | 01:07 | Now it's not going to tap all the way
into the shadows unless we go really far.
| | 01:11 | Well we still have some pure black in the image.
| | 01:13 | One of the things that I found is that
the Fill Light and the Blacks controls
| | 01:17 | really travel together.
| | 01:19 | In other words, when you add Fill Light,
you tend to then give a little bit of a
| | 01:22 | push back with the Blacks and you
can kind of see how that's working.
| | 01:25 | So a little bit more Fill Light, a little
more Blacks, what that will do is it will
| | 01:30 | equalize things a little bit so
that this doesn't look too surreal.
| | 01:34 | One of the sliders you have to be
really careful of in regards to that is
| | 01:37 | the Fill Light slider.
| | 01:38 | Because it can just look a little bit
unnatural if you go too high with that.
| | 01:42 | All right well what about some
of these other tone controls here?
| | 01:45 | The Recovery slider, that
one is really interesting.
| | 01:47 | When you hover over the Histogram you
see that that's really dealing with this
| | 01:50 | top 5% of the Histogram.
| | 01:53 | What it's going to try to do whether we
adjust it in the Histogram or here with
| | 01:56 | this slider, it's going to try to
bring back some detail in this area.
| | 02:00 | You can see that before and then the
after there, bringing in some detail in to
| | 02:04 | these brighter tones.
| | 02:06 | So if an image is overexposed, this
Recovery slider can really target those
| | 02:10 | super hot or super overexposed
areas and try to bring back some detail.
| | 02:14 | Now that means that if it's too far
overexposed, you won't be able to recover
| | 02:18 | anything, but there are times when
this control just works miracles.
| | 02:22 | All right, what about the Exposure slider?
| | 02:24 | I like to think of this as
the sledgehammer of the tools.
| | 02:27 | I mean it does the most
damage or can be the most good.
| | 02:31 | Mean, if I decrease this,
the image becomes really dark;
| | 02:34 | if I increase it, it becomes really bright.
| | 02:36 | It is really drastic.
| | 02:38 | So I just say that, because you want to be
a little bit cautious with these movements.
| | 02:41 | Nothing you have to be worried about it,
but just know that you have quite a bit
| | 02:44 | of an effect on the image.
| | 02:46 | In contrast, Brightness
is a little bit different.
| | 02:49 | Watch as I slide Brightness all the
way to the right or all the way to left.
| | 02:53 | You notice that's changing something
in the similar way to Exposure, but
| | 02:57 | Exposure is a little bit stronger, a
little bit harder, a little bit more intense.
| | 03:02 | And you'll see this more even with images.
| | 03:04 | So what Brightness tries to do is it
tries to target more of the middle area
| | 03:09 | tones, in other words the
tones in this range in here.
| | 03:12 | All right, well what about Contrast?
| | 03:15 | Well contrast is going
to make the whites whiter;
| | 03:17 | it's going to make the blacks blacker.
| | 03:19 | So as I increase Contrast, I have
more white and I have more black.
| | 03:23 | It doesn't affect the midtones as much.
| | 03:25 | In other hand, if I remove Contrast you
can see that it's boosting this middle
| | 03:29 | area a little bit more.
| | 03:31 | All right well now that we know a
little bit about our tone controls,
| | 03:34 | let's apply what we know to one of
our photographs and let's do that in
| | 03:38 | the next movie.
| | Collapse this transcript |
| Using the tone controls| 00:00 | In an ideal world, we'll get our
exposure correct on camera all of the time.
| | 00:05 | But in reality, that doesn't always happen.
| | 00:07 | Like with this image, the exposure
isn't very good and we can see that in the
| | 00:10 | shadows, in the blacks.
| | 00:12 | There's a lot of area that's really
blocked up and so what I want to do is I
| | 00:14 | want to improve this and I want to
improve it so that I can reproduce it a
| | 00:19 | little bit more easily and readily.
| | 00:21 | Because all of this black detail here
which is lost just isn't going to work
| | 00:25 | out if I want to print the image.
| | 00:27 | So what I'm going to do is I'm going to
go ahead and turn on what are called the
| | 00:30 | clipping indicators.
| | 00:32 | You can do that by pressing the J key.
| | 00:35 | This will show me if I have any kind
of a loss of detail, either with my
| | 00:38 | shadows or my highlights.
| | 00:40 | Looking at the Histogram we can
see yeah, we have a lot of clipping
| | 00:43 | happening here in the Blacks.
| | 00:44 | The highlights? Well these are okay right?
| | 00:46 | Well with this indicator turned on, I'm
going to go ahead and decrease my Blacks amount.
| | 00:51 | Okay well that made the
Blacks much better already.
| | 00:52 | It gave me a little bit of a
gap over here on the Histogram.
| | 00:56 | Well increase my Fill Light as well we can see
that that's even moving over a little bit more.
| | 01:01 | Now at this particular juncture
something else we might want to do is
| | 01:04 | to increase our overall Exposure a bit and
then also add a little bit of Brightness.
| | 01:08 | Now a lot of times when we do this one
of the things that we may want to then do
| | 01:12 | is work on Contrast.
| | 01:14 | Watch the Histogram as I modify this,
as I increase this to the right,
| | 01:18 | it pushes everything out.
| | 01:20 | As I decrease it, it pushes
everything back towards the middle.
| | 01:23 | So sometimes what happens is as we find
a good exposure we need to add a little
| | 01:27 | bit of Contrast and then go back perhaps
to add a little bit more Fill Light.
| | 01:31 | It's a lot of give and take between
all of these controls until we find
| | 01:35 | particular tone settings
which really work for an image.
| | 01:38 | The last thing I want to point out
here is as we change the overall tone of a
| | 01:42 | photograph, it may affect the
way we see color temperature.
| | 01:46 | Like with this image I think that it
would be nice just to warm it up just a bit
| | 01:49 | there, so we have a little bit more
warmth in the image now that it's brighter.
| | 01:53 | All right well I'm going to press
the J key to turn off those clipping
| | 01:57 | indicators and what I want to do
is look at the before and after.
| | 02:00 | We're going to do that by
pressing the Backslash key.
| | 02:04 | So when I press the Backslash key.
Here is the before and then with just a few
| | 02:07 | small adjustments here is the
after, a much stronger photograph.
| | 02:11 | All right well, how can we
take this perhaps even further?
| | 02:14 | One of the things that we can
do is we can drag our sliders.
| | 02:18 | While holding down the Option key if
you're on a Mac, the Alt key while you're
| | 02:21 | on a PC ,and what that will do is it
will show you any kind of a clipping here
| | 02:26 | and here as it gets black, and we can
see different colors from the channels
| | 02:30 | representing the different channels.
| | 02:32 | We can see which areas are being clipped.
| | 02:34 | If I let go of the Option or the Alt
key we now have that view of the image.
| | 02:38 | Now this is really helpful when
we're dragging our sliders around.
| | 02:42 | Like let's say Exposure. Again hold
down the Option key on a Mac, Alt key on a
| | 02:45 | PC, click on my slider and drag to the
right, so I can increase the exposure up
| | 02:50 | until right about here, one full stop
where I start losing detail, and then I'll
| | 02:55 | drop it down to find the sweet spot.
| | 02:57 | Let go of the Option or the Alt key
and here I can see the photograph.
| | 03:01 | So we can use this view in
order to dial in our controls.
| | 03:05 | Now my Blacks controls is still bad so
let's pretend we need to correct that
| | 03:09 | because we didn't realize
that there was a problem there.
| | 03:11 | Well hold down the Option key on a Mac, Alt
key on a PC, and then click on that slider.
| | 03:16 | Okay, there is definitely some clipping,
so I'm just going to decrease that,
| | 03:19 | until I see some clipping which I think
is a little bit more reasonable just in
| | 03:22 | some of the smaller areas,
and now the image is good to go.
| | 03:26 | So we can access these clipping
indicators either by holding down our Option or
| | 03:30 | Alt key or by pressing the J key to
turn on the clipping indicators in the
| | 03:35 | Histogram or if we press the J key
again it turn that off, we could also
| | 03:39 | simply click on these triangles here
and that will turn those on or click
| | 03:43 | again to turn those off.
| | Collapse this transcript |
| Recovering detail in highlights| 00:00 | As we get into a rhythm of working in
the Develop module, a lot of times what
| | 00:04 | happens is we start to make some changes.
| | 00:06 | Let's say we increase the overall Color
Temperature, we increase our Exposure,
| | 00:09 | our Fill Light, perhaps some Black,
some Contrast, and perhaps we say, yeah this
| | 00:13 | image is looking a lot better.
| | 00:15 | But then we will remember that it's
always a good idea to turn on those
| | 00:18 | clipping indicators.
| | 00:20 | We can do so by pressing the J key.
| | 00:22 | Now when I do that, I realize that gosh!
| | 00:24 | I have a lot of loss of detail
on the front of this truck here.
| | 00:27 | So I need to bring some of that detail back.
| | 00:31 | Let's press the J key
again to turn off that indicator.
| | 00:34 | Here is a nice technique that you can
use when needing to recover detail.
| | 00:38 | We know that this Recovery slider will
really focus in on that top 5 or 10% of
| | 00:42 | the Histogram, the area up
here where we have some problems.
| | 00:46 | So what we can do is hold down the
Option key on a Mac, Alt key on a PC and then
| | 00:50 | click on this triangle icon.
| | 00:52 | Again, it's highlighting, showing me
where I have some clipping, where I
| | 00:56 | have some problems.
| | 00:57 | So now all that I need to do is to
increase this Recovery slider until I see all
| | 01:01 | of those problem areas corrected, in
this case right about there, and then I let
| | 01:05 | go of it and I now have a
new view of the photograph.
| | 01:08 | Again, we can look at our before and
after here, so I'm not seeing anything as I
| | 01:12 | dragged this slider.
| | 01:13 | Now on the Histogram yeah, I'm seeing
that being corrected up there and if I
| | 01:17 | make a real drastic change,
I might see something.
| | 01:19 | But the actual needed change, which is
right around here about twenty something,
| | 01:23 | I can't even tell the difference. So again
here that shortcuts going to be really essential.
| | 01:29 | If you're on a Mac what you do is
you press and hold the Option key and
| | 01:33 | then click and drag.
| | 01:34 | If you're on a PC what you do is press
and hold the Alt key and then click and
| | 01:37 | drag that Recovery slider in order to
find the sweet spot for the recovery.
| | 01:42 | Now keep in mind that once you've
done that, let's say you go back and
| | 01:45 | increase the Exposure.
| | 01:46 | Well you then need to go back to
Recovery slider, all right. I'll click that
| | 01:50 | again and here you can see
we have all kinds of problems.
| | 01:53 | So at this particular scenario you may
decide, you know what the problem really
| | 01:56 | isn't going to be solved
by Recovery, so if I do this,
| | 01:58 | it's just going to look weird.
| | 02:00 | The problem really is with my overall Exposure.
| | 02:03 | Again, hold down the Option key on a
Mac, Alt key on a PC and then click and
| | 02:06 | drag that down until you find a
nice spot for your overall Exposure.
| | 02:10 | What you're going to do is kind of go
back and forth between these controls,
| | 02:13 | until you find something that not only
visually looks good, because we have to
| | 02:17 | get beyond that right?
| | 02:18 | We want it to look good
on monitor, but even more.
| | 02:20 | The image needs to be able
to be reproduced really well.
| | 02:23 | So that we can use these techniques
in order to create images that are much
| | 02:27 | stronger on all fronts.
| | Collapse this transcript |
| Working with vibrance and saturation| 00:00 | In order to dig a little bit deeper
into Vibrance and Saturation, let's work
| | 00:04 | with this file titled color.psd.
| | 00:07 | You can find it in the 03_Demo_Files folder.
| | 00:10 | I'll press the D key to
navigate to the Develop module.
| | 00:13 | Now here you can see I have my Basic
panel open and I have a couple of controls
| | 00:17 | that help me affect color.
| | 00:18 | Now Saturation we're pretty familiar with, right?
| | 00:20 | If we lower Saturation, we remove color.
| | 00:23 | If we increase the Saturation, we add color.
| | 00:26 | But what's interesting is
how it removes or adds color.
| | 00:30 | In other words, it works in a linear fashion.
| | 00:32 | Now what it does is it says wherever
this color is at, either increase from
| | 00:36 | that point or decrease.
| | 00:38 | So it takes different colors to your
images and increases or decreases them in
| | 00:42 | the real linear step-by-step fashion.
| | 00:44 | Well how then does that compare to Vibrance?
| | 00:47 | Well Vibrance is interesting
because it makes nonlinear adjustments.
| | 00:52 | In other words, in this current image
I have some weak colors over here, right?
| | 00:56 | If I increase my Vibrance what it's going to
do is it's going to favor the weaker colors.
| | 01:02 | And you notice that now the image almost
has an equal tonality across the board.
| | 01:07 | Now it's not perfect, but
what it did is it said, hey!
| | 01:09 | I'm going to help the little guys over here.
| | 01:11 | I'm going to boost those.
| | 01:12 | Now these colors that are already
pretty saturated, I'm not going to
| | 01:15 | modify those very much.
| | 01:17 | On the other hand, if I decrease the
Vibrance, what we're going to see is again
| | 01:21 | it's going to work on the weaker colors.
| | 01:23 | So remove the weaker colors over here, but
the stronger colors it didn't affect this much.
| | 01:29 | So Vibrance really likes to
analyze an image, and this is helpful.
| | 01:32 | For example, let's say of
a photograph of a person.
| | 01:35 | If you increase the Vibrance you can
increase the overall color variety and tone
| | 01:40 | without over saturating the
skin or something like that.
| | 01:44 | All right well now that we've
seen how this works a little bit,
| | 01:46 | let's apply this to a photograph.
| | 01:48 | I'm going to press the G key to go
back to the Grid View mode, and I will
| | 01:51 | click on this folder titled sayulita,
where I have some really colorful images
| | 01:55 | that I captured down in mainland
Mexico in this town of Sayulita.
| | 01:58 | I'm going to select this image here,
which is a photograph of a garage wall,
| | 02:03 | and it's been painted.
| | 02:04 | It has this neat painting on it.
| | 02:06 | I'll press the D key to
go to the Develop module.
| | 02:08 | Now I wan to deconstruct how
Saturation and Vibrance work with this image.
| | 02:13 | Well Saturation we know right?
Decrease, remove color; increase, add color.
| | 02:17 | Yeah, when I add color here it just
looks a little bit too surreal and a
| | 02:21 | little bit too punchy and isn't that
interesting, and that happens a lot with Saturation.
| | 02:26 | Well let's compare this with Vibrance.
| | 02:29 | Vibrance on the other hand, when we
increase this, what we're going to start to
| | 02:32 | see is that we have more color variety.
| | 02:35 | We don't just have more color;
we have more variety in the color.
| | 02:40 | So it's giving us more blues
then what are there before.
| | 02:42 | I'm going to press the
Backslash key, so we can see this.
| | 02:45 | Here is our before and then after,
again more colors there in the image.
| | 02:49 | If I decrease Vibrance, it's
going to affect the weaker colors
| | 02:52 | more significantly.
| | 02:54 | It even lost some of the
stronger colors in the image.
| | 02:57 | Now at this juncture, if I wanted to,
I could increase the saturation.
| | 03:00 | And here what I have is a little bit
more of a muted image where I have those
| | 03:04 | reds from the stronger colors, but then
all the other colors have become muted.
| | 03:07 | Other interesting things that we can do
here is this, double-click the triangle
| | 03:11 | icons to reset these amounts.
| | 03:13 | Sometimes what you can do is you can
actually desaturate a little bit in order
| | 03:18 | to make your colors a little bit more subtle.
| | 03:20 | But then increase the overall color
variety by increasing your Vibrance slider.
| | 03:25 | This can give you some really
distinct and unique looks that are realistic,
| | 03:30 | rather than oversaturated.
| | 03:32 | Because we've all seen those
oversaturated images that are just too over the top.
| | 03:36 | Let's take a look at our before and after.
| | 03:38 | I'll do that by pressing the Backslash key.
| | 03:41 | So here's before and here's after.
| | 03:43 | It's subtle yet significant.
| | 03:45 | So one of the things you're going to want to
start to do is to play with these controls.
| | 03:49 | And here currently I'm using some demo
files where color isn't that significant.
| | 03:53 | We're making some adjustments that are
simply just kind of fun and these images
| | 03:57 | already have a ton of color inside of them.
| | 04:00 | So what about those scenarios,
where we're working on little bit more
| | 04:03 | realistic photographs?
| | 04:04 | How can we use Vibrance and
Saturation in those situations?
| | 04:08 | Well let's take a look
at that in the next movie.
| | Collapse this transcript |
| Making color adjustments with the Vibrance and Saturation sliders| 00:00 | Let's take a look at a couple of
different scenarios where we can make some
| | 00:03 | subtle yet nonetheless significant
color adjustments to our photographs using
| | 00:07 | Vibrance and Saturation.
| | 00:09 | All right well here we're going to
work on this file. It's inside of the misc
| | 00:13 | folder, and its number 3.
| | 00:14 | So if we press the D key to go to the
Develop module, what we can do is we can
| | 00:18 | start to look at the image.
| | 00:20 | One of the things that I notice is,
well I like the photograph, the colors, the
| | 00:23 | greens and also the purple
Wisteria flowers in the background.
| | 00:27 | I feel like it's not quite warm enough.
| | 00:29 | So I'm just going to go ahead and warm
this up just a couple of points here.
| | 00:32 | Now as I do that, one of the things I
notice is it makes this purple color lose
| | 00:37 | a little bit of its purple, right,
because I've added a little bit of yellow.
| | 00:40 | Let's zoom in even further so we can see this.
| | 00:43 | So in that case what I want
to do is increase my Vibrance.
| | 00:46 | Now I'm going to exaggerate this.
| | 00:47 | It's going to look bad
initially, but just stick with me.
| | 00:49 | So as I increase this, you can see
that I'm able to bring back a lot of that
| | 00:54 | purple and also a ton of the green.
| | 00:56 | I brought back too much, I'm aware.
| | 00:58 | But what I'm going to do is again try
to find a sweet spot where I can get some
| | 01:01 | of those nice purple colors there.
| | 01:03 | I'm going to desaturate it touch so
this image isn't oversaturated, and I'm
| | 01:08 | just visually looking at my monitor trying
to find a nice sweet spot for this photograph.
| | 01:12 | All right well if I press the Backslash
key now, we're going to see here's the
| | 01:16 | before and there's the after.
| | 01:18 | We've warmed the image up, but in addition to
warming it up, we added some nice subtle color.
| | 01:23 | To see the before and the after of the
color what I can do is reset the Presence here.
| | 01:28 | On a Mac you can do that by holding on
the Option key, on a PC, hold down the
| | 01:33 | Alt key, then you click on Reset Presence,
and now here you can see without the Presence.
| | 01:38 | So here is with the Presence,
and then here it is without.
| | 01:42 | So subtle yet significant. Definitely helps
out a little bit regards to these colors.
| | 01:47 | All right well what about
a photograph of a person?
| | 01:49 | Let's press the G key to
go back to the Grid view.
| | 01:53 | Let's click on this folder frs
and select one of these images here.
| | 01:56 | I'll go ahead and select this one and
what I'm going to do is take this to
| | 02:00 | the Develop module.
| | 02:01 | I'll press the D key to go to Develop and I
want to look at this in a one to one view.
| | 02:05 | Now one of the things that I noticed
here is that I like the shallow depth of
| | 02:09 | field and even the color and whatnot,
but I want to see if I can bring out some
| | 02:13 | of the colors that are a little bit more faint.
| | 02:16 | In this case again I'm going to
exaggerate for a moment, but as I increase
| | 02:19 | Vibrance, we can see that it's bringing
our lot more of the colors in the eyes.
| | 02:23 | It's also bringing out colors in the
garment, some stuff in the background as well.
| | 02:26 | So again here, we're going
to try similar technique.
| | 02:28 | We'll increase that Vibrance and
actually even just doing that I think
| | 02:32 | it's going to be nice.
| | 02:33 | Here's our before and then after, and
you can see that it's brought out some of
| | 02:37 | those other colors that
were a little bit further back.
| | 02:39 | You also notice that the face has a
little bit more red and yellow in it and so
| | 02:43 | it's kind of interesting.
| | 02:44 | Again, maybe just desaturate just a
couple points there, say increase my
| | 02:48 | Vibrance, and then of course we can
modify color Temperature as needed.
| | 02:52 | So here is our before and then our after.
| | 02:56 | So one of the things I'm trying to get
you to think about in this movie is how
| | 03:00 | you can use these controls in subtle ways.
| | 03:03 | Now a lot of people won't even
necessarily notice the difference.
| | 03:06 | But let's zoom in even further and I'll
go to a two to one zoom here and look
| | 03:10 | at the eyes and the face for a moment
and here is our before and then our after.
| | 03:16 | Again, its subtle, but we could see some
significant changes with the color here
| | 03:19 | and then this skin tone
just looks a little bit better.
| | 03:22 | So again what I'm trying to reiterate
here is that these changes are subtle but
| | 03:26 | many times very significant.
| | 03:28 | It's going to work
differently on every different image.
| | 03:31 | Sometimes increasing Vibrance is going
to be a real problem and you're going
| | 03:35 | to noise to your photographs and it will
exaggerate some of the color noise in the background.
| | 03:40 | Other times, like with this image, I
think it does a pretty nice job of bringing
| | 03:43 | out some different colors.
| | 03:45 | Keep in mind that you want to try this
on a number of different types of images.
| | 03:49 | For example, fall leaves if you
increase the Vibrance they look amazing, right,
| | 03:53 | because you have so many
different colors in there.
| | 03:55 | So you want to experiment and you also
want to keep in mind that a lot of times
| | 03:59 | the way that you're going to use these
Vibrance and Saturation controls is with
| | 04:03 | pretty subtle or pretty incremental
adjustments, meaning it's really rare that
| | 04:07 | you increase it all the way
one way or all the way another.
| | 04:10 | That's more the exception than the rule.
| | 04:13 | Now at the Saturation slider, yeah sure
you can desaturate, but it is very rare
| | 04:17 | that you're going to
increase the Saturation very high.
| | 04:19 | So again it's smaller movements a
little bit more around the middle, trying
| | 04:23 | to find the sweet spot for your
photographs so that the colors look Vibrant
| | 04:26 | and alive.
| | Collapse this transcript |
| Creative uses of vibrance and saturation| 00:00 | Just to get your creative juices flowing,
it got to be fun to take a look at a
| | 00:03 | couple more images where we look at the
relationship between color Temperature
| | 00:08 | and Vibrance and Saturation.
| | 00:10 | All right, well let's work on
this file here titled sunrise.
| | 00:12 | Press the D key to go to the Develop module.
| | 00:15 | What we can do is we know that we
can increase the Vibrance in order to
| | 00:18 | have more color variety.
| | 00:20 | What happens with this particular image
is that while that's interesting on the
| | 00:23 | ocean, it is kind of overdoing the sun a bit.
| | 00:26 | As we start to analyze a photograph,
we realize there is some blues here.
| | 00:30 | If you can ever combine blue and
yellow or orange together, it looks phenomenal.
| | 00:35 | So with our Color Temperature slider,
all that I am going to do is swing this
| | 00:38 | over a bit. And now we have a
much more interesting photograph,
| | 00:41 | again as a result of
this Vibrance increase here.
| | 00:44 | So here is without it. Here is with it.
| | 00:46 | The ocean looks a little bit more
interesting and even a touch of Saturation.
| | 00:50 | Here's our before and then our after.
| | 00:53 | So we can start to bring out colors in a
unique way by using these sliders together.
| | 00:59 | Let's take a look at one more example.
| | 01:01 | I will press the G key to
go to the Grid View mode.
| | 01:04 | Then I am going to select
the miscellaneous folder here.
| | 01:07 | What I want to do is I want to click
on one of these photographs that was
| | 01:10 | captured when there was a
fire in the town where I live.
| | 01:13 | I am going to work on this last
photograph, which is of these two birds flying
| | 01:16 | with these huge smoke clouds.
| | 01:17 | It was quite stunning and even shocking.
| | 01:19 | Well, what I want to do is I want to
bring up some colors in this image.
| | 01:22 | So I will press the D key to go the
Develop module and obviously what I'm doing
| | 01:27 | here is trying to get you to
be a little bit more creative.
| | 01:30 | So what I can of course do is increase my
Vibrance and I will have more color variety.
| | 01:35 | As I do that, one of things that I may
notice, or you may notice, i yeah there
| | 01:38 | is a little bit of blue in here.
| | 01:41 | Okay, well again it is that same idea.
| | 01:43 | Well, what if I work with my Color
Temperature and I bring out some of those blues?
| | 01:47 |
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