IntroductionWelcome| 00:01 |
(MUSIC).
Hi, my name is Chris Orwig, and welcome to
| | 00:06 |
this course, which is the second course in
our series which focuses in on Lightroom.
| | 00:11 |
In this course, you'll learn everything
that you need to know in order to begin to
| | 00:15 |
use the Lightroom Library module to
manage, organize, and access your photographs.
| | 00:20 |
We'll look at how you can use flags,
stars, and labels in order to rate or rank
| | 00:24 |
your photographs.
I'll cover a few workflow techniques, like
| | 00:28 |
how we can organize our images into
collections.
| | 00:31 |
Or how we can use the Map module, which
allows us to organize or group our
| | 00:34 |
photographs based on GPS data.
We'll explore how we can work with our
| | 00:39 |
video files.
How we can view, edit, and publish those
| | 00:42 |
video files.
Here we'll look at how we can do things
| | 00:46 |
like add keywords or copyright information
to our photographs.
| | 00:50 |
We'll look at how we can select images and
export and publish them to a hard drive, a
| | 00:54 |
CD, or a DVD.
Or how we can email them directly from Lightroom.
| | 00:59 |
And we'll look at how we can upload
photographs from Lightroom to social media
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sites like Facebook and others.
So thanks for joining me, and let's begin.
| | 01:09 |
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| Using the exercise files| 00:00 |
If you're a premium member to the
Lynda.com online train library, you have
| | 00:03 |
access to the exercise files for this
course.
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Once you've download these exercise files,
go ahead and locate the folder ad double
| | 00:12 |
click it to open it up.
You will discover that our photographs and
| | 00:16 |
video files are organized into different
sub folders.
| | 00:19 |
What you'll want to do is import this
entire folder into lightroom.
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So that you can start to begin to work
with these images and video files.
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Now if you don't have access to the
exercise files.
| | 00:29 |
No big deal you can always simply follow
along, or of course you can always work on
| | 00:33 |
your own photographs as well.
Alright, let's begin.
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|
|
1. Rating, Ranking, and Labeling Your PhotographsWorking with flags, stars, and labels| 00:00 |
In this movie, we'll focus in on how we
can rate and rank our photographs using
| | 00:04 |
flags, stars, and color labels.
Because, you know, one of the things that
| | 00:09 |
happens to us often as photographers is
that we capture a lot of photographs.
| | 00:12 |
We'll often capture images which we really
like.
| | 00:15 |
We'll also capture images which we don't
really like.
| | 00:18 |
We'll create great photographs and we'll
create bad photographs.
| | 00:21 |
And this is something that we all do.
So we need some sort of a system, which
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allows us to rate and rank our
photographs.
| | 00:28 |
And in Lightroom we can do that by adding
flags, stars, and labels.
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Eventually we can take advantage of this
so that we can then filter and find the keepers.
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Let's similarly start to focus in on how
we can rate or rank our pictures.
| | 00:40 |
In the toolbar in order to show these
options right here, go ahead and click on
| | 00:43 |
this icon.
And turn on or click on the selection for
| | 00:46 |
flagging, rating, and color label.
After you've done that, you'll see these
| | 00:51 |
three fields here.
Now, here, you can see I have a photograph visible.
| | 00:54 |
This comes from the folder, Beach Family.
These are some pictures that I captured of
| | 00:58 |
some family/friends down at the beach.
And I just have a whole slew of pictures here.
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You can scroll through your photographs by
pressing your arrow keys.
| | 01:05 |
Here, I'll tape the right arrow key in
order to move through these pictures.
| | 01:08 |
In doing that you can see that I have some
pictures which are similar, and some that
| | 01:11 |
are a little bit different.
And what you might want to do is come
| | 01:15 |
across a photograph and perhaps you want
to rate or label or rank that picture.
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Let's look at how we can do that.
First, we have the option of flagging.
| | 01:23 |
Flagging is a way to sort of say hey this
image is a select photograph or this is
| | 01:26 |
one that I am picking.
This is one that I like.
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To add a flag just click on the flag icon
here.
| | 01:32 |
Notice that when I move off that image the
other image doesn't have any of these
| | 01:36 |
criteria attached to it.
When we move back, we can see that this
| | 01:40 |
image has this flag attached to it.
To remove a flag well, we can just click
| | 01:44 |
on this icon here.
We can also reject an image by clicking here.
| | 01:48 |
Now you may want to do that for those
photographs where your exposure is just
| | 01:51 |
completely off.
It's horrible.
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We'll talk more about rejecting our
pictures later.
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But here I just want to highlight that we
can do that by simply clicking on one of
| | 01:59 |
these icons.
Alright, well next we have some criteria
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which allow us to add star rating.
This is something that I use on almost
| | 02:06 |
every photograph that I have in my
Lightroom library.
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Here you can rate your images based on
zero to five star rating.
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Zero is obviously nothing, or you can
click on one star to say, you know what,
| | 02:17 |
this image is okay, but it isn't great.
Or maybe you want to elevate it a bit to
| | 02:21 |
three stars, well just click on the three
star rating there.
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In this way you can see that we have the
star rating now attached to this picture.
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Later we can take advantage of that.
And we can say hey Light Room, just show
| | 02:32 |
you the images which have a four star
rating.
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And that way you can quickly whittle those
down to the keeper.
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So you can really focus in on your best
photographs.
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Alright well next we have a system which
allows us to add color labels.
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Here you can see we have all of these
various colors.
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Now what I've found that most do is they
kind of have a system in their own mind.
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In other words, they say, you know what?
The red label, that's for those
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photographs that I want to print.
Or maybe that's the label that I want to
| | 02:57 |
use when I want to post something on my
blog or include it in my portfolio or
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whatever it is.
So let's just say for the sake of argument
| | 03:04 |
our red label is the label that we've
decided to add to photographs that we
| | 03:06 |
really want to make a print of.
So in this case, I want to add a red label
| | 03:11 |
to this photograph.
To do that, I'll just click on that little
| | 03:14 |
icon there.
To remove that label, again we can just
| | 03:16 |
click in order to add or remove this.
And as you see as we navigate away from
| | 03:20 |
the photograph and then come back, all of
this information, well it stays attached
| | 03:24 |
to this picture.
And here we're encountering one of the
| | 03:28 |
advantages of working with Lightroom,
because this allows us to really quickly
| | 03:31 |
and easily rate and rank our photographs.
And eventually, as I mentioned we can then
| | 03:36 |
take advantage of this, so we can really
focus in on the best pictures that we have
| | 03:39 |
in this set.
Alright well there you have it, there are
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a few techniques that we can use in order
to add flags, stars, and labels.
| | 03:46 |
Let's go ahead and continue to talk about
how we can work with these, and let's do
| | 03:49 |
that in the next movie.
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| Adding flags, stars, and labels more quickly| 00:00 |
Now that we know a little bit about how we
can rate or rank our photographs by using
| | 00:03 |
flags, stars, or color labels, what I
want to do here is talk about how we can
| | 00:07 |
speed up our work flow when we're adding
these different criteria.
| | 00:12 |
Because one of the things that you'll
discover is that this is something that
| | 00:14 |
you'll do quite frequently.
So in order to speed up our work flow when
| | 00:18 |
it comes to rating or ranking our
pictures, Lets take a look at a few
| | 00:20 |
techniques that we can use.
Now we already know that we can use the
| | 00:24 |
Arrow keys in order to scroll through
photographs.
| | 00:26 |
Here I'll go ahead and tap the Right Arrow
key in order to move forward through these pictures.
| | 00:30 |
Now whenever you come to a photograph that
you want to add a flag or star or color
| | 00:33 |
labeled to.
You obviously can go to this area on the
| | 00:36 |
toolbar and simply click on the icon.
Or you can also use some really valuable shortcuts.
| | 00:42 |
In order to highlight the shortcuts, I
want to jump to another slide where I have
| | 00:45 |
these shortcuts listed.
And here it is.
| | 00:47 |
You can see that for flagging we have
three shortcuts.
| | 00:50 |
I recommend that you write these down.
What I would do is on a scratch piece of
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paper write the word flag and then P, U
and X.
| | 00:57 |
You press the P key in order to flag an
image as a pick.
| | 01:00 |
Press the 'u' key in order to unpick, and
then the 'x' key allows you to reject a photograph.
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Next we have zero to five.
Press the three key to add a three-star
| | 01:09 |
rating, zero to remove all of the stars
altogether, or you can press any of the
| | 01:13 |
other numbers as well between one thru
'five.
| | 01:17 |
Next we have color labels.
Color labels work a little bit differently.
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If you press the six key, that will allow
you to add a red label, press the seven
| | 01:24 |
that will allow you to add a yellow label.
If you want to remove a label, we'll just
| | 01:29 |
tap the number key again, for example
press the seven key to add a yellow label,
| | 01:33 |
press the seven key again in order to
remove it.
| | 01:38 |
Now I wanted to highlight these short cuts
again because this is something that we'll
| | 01:41 |
be using quite often.
Well lets take a look at how this works in LightRoom.
| | 01:45 |
Well here I've come across a photograph
that I like.
| | 01:48 |
I want to add a flag to this one.
To do that I'll tap the P key to flag that
| | 01:51 |
as a pic.
Next I'll give this one a three star
| | 01:54 |
rating because the photograph is good.
It isn't great.
| | 01:57 |
Its not good enough for my portfolio, so
I'll go ahead and tap the three key to add
| | 02:00 |
that three star rating.
Then let's say that I want to print this
| | 02:04 |
picture and I've decided that the red
label is that label which signifies or
| | 02:07 |
which sort of sets those images apart
which I eventually want to print.
| | 02:12 |
To add that label here we'll just press
the six key.
| | 02:15 |
You can see how I added the flag, the star
and the color label.
| | 02:19 |
Now, to change any of those let's go back
to the beginning.
| | 02:22 |
Let's go back to the flags here.
You can unpick this by pressing the U key.
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So again, P for pick, U for unpick.
We can also determine that this one is a
| | 02:30 |
reject photograph.
To do that tap the X key and here you can
| | 02:33 |
see it's rejected.
To remove that just press the U key in
| | 02:37 |
order to remove any flag, really not
together.
| | 02:41 |
All right.
Well, what about the star rating here?
| | 02:43 |
Well here we can tap the zero key to
remove all the stars or you can press one
| | 02:46 |
for one star, two for two or three or
four.
| | 02:49 |
Here can change the star rating really
quickly.
| | 02:52 |
Last but not least we have some shortcuts
for those color labels, as I mentioned,
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that's six through nine.
When I tap the seven key, I get a yellow
| | 02:59 |
label, eight key I get a green label.
To remove any of the labels, just tap that
| | 03:04 |
number key again.
So, press eight once to add a green label,
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press it again in order to remove it.
Alright well let's go back and let's add
| | 03:12 |
the flag rating.
I'll press P to give this one a flag rating.
| | 03:15 |
Three stars and then tap the six key to
add that red lable and in this way you can
| | 03:19 |
quickly go through your photographs and
you can add these different criteria.
| | 03:24 |
Now you may be wondering well, what's
best.
| | 03:26 |
Should I use flag, should I use stars,
should I use colored labels?
| | 03:29 |
Well it really doesn't matter and what
I've encountered is that certain
| | 03:33 |
photographers love flags, others really
like stars and then others like colored labels.
| | 03:38 |
So again what you want to do is just pick
a system.
| | 03:41 |
Which is consistent and cohesive for you,
in other words you want to make sure
| | 03:44 |
you're always rating and ranking your
pictures in the same exact way.
| | 03:48 |
What I tend to do in my own workflow is
this, let me navigate to another
| | 03:51 |
photograph, this one here.
I like this photograph, I think the family
| | 03:55 |
will like this picture, so I'm going to
add a star rating to it.
| | 03:59 |
I tend to not use flags very often except
for the reject option which I'll talk
| | 04:02 |
about in a few minutes.
I tend to really focus in on stars and
| | 04:06 |
labels, and that's just my own preference.
What I tend to do is have a pretty low
| | 04:11 |
star rating.
Rather than over inflating the star
| | 04:13 |
rating, I like to keep that nice and low,
so I can then later Increase the star
| | 04:17 |
rating for those pictures that are really
phenomenal.
| | 04:21 |
So with this image, I might give it a two
or a three star rating.
| | 04:24 |
So here, I'll go ahead and add that two
stars.
| | 04:26 |
Then I do use this red label.
And what I like to do for the red label is
| | 04:30 |
to just say, you know what?
This image is not only a two or three star
| | 04:33 |
rated photograph.
But it has something that's a little bit
| | 04:36 |
extra in it.
And I may want to revisit that at another time.
| | 04:40 |
Perhaps this image might be good to use
when I print out some pictures for the client.
| | 04:44 |
Or maybe I might want to post this
photograph on a blog, or use it in one of courses.
| | 04:48 |
Or who knows what, but again, for me that
red label's at that little label, that
| | 04:51 |
little sticky note that I put on the
footer after to say hey.
| | 04:55 |
Go back to that picture, there may
something worthwhile to do at that one.
| | 04:58 |
So here I'll add that red color label.
And of course you can do that by clicking
| | 05:02 |
on those icons or just tapping the number
keys.
| | 05:05 |
That would be a two for the two star
rating, and then a six for the red label.
| | 05:09 |
| | Collapse this transcript |
| Using Auto Advance to speed up rating photos| 00:00 |
In this movie we'll build upon what we
already know about working with flags,
| | 00:03 |
stars, and color labels.
And in particular, we'll begin by taking a
| | 00:07 |
look at the Lightroom interface, where we
can navigate to in order to look up the
| | 00:11 |
shortcuts for flags, stars, and labels in
case we forget those.
| | 00:15 |
Next we'll take a few minutes and we'll
talk about how we can use auto advance in
| | 00:18 |
order to speed up the way that we rate or
rank or photographs.
| | 00:22 |
Because the reality of it is that often
we're going to need to work on a high
| | 00:24 |
volume of photographs.
And we may need to work quickly.
| | 00:28 |
Alright, well let's begin by taking a look
at the Lightroom interface by going to the
| | 00:31 |
Photo pull down menu.
And here what you can do is you can look
| | 00:35 |
up shortcuts for working with flags,
ratings, or color labels by navigating to
| | 00:38 |
this area.
If you forget the shortcut, say for color
| | 00:42 |
labels, well just go to that menu item.
And here you can see you can click on the
| | 00:45 |
menu item to add a color label.
Yet, more importantly, you can also look
| | 00:49 |
up the shortcut key for working with those
labels if you ever forget those shortcuts.
| | 00:54 |
We can do the same thing with rating.
You can see the shortcuts over here for
| | 00:58 |
star rating and also our shortcuts for
working with flags.
| | 01:01 |
All right.
Well after having reviewed where we can
| | 01:04 |
find those shortcut keys, next I want to
talk about another feature which is called
| | 01:07 |
auto advance.
Here I'm going to highlight three
| | 01:11 |
different ways that we can work with auto
advance, beginning with selecting this
| | 01:14 |
menu item here.
So go to the Photo pull-down menu.
| | 01:18 |
Then click on Auto Advance.
When you click on that menu item, at first
| | 01:22 |
it won't seem like anything happened at
all.
| | 01:25 |
And it won't until you add a flag or star
or a color label rating.
| | 01:29 |
In this case, this image is just okay.
So I'm going to give it a one-star rating.
| | 01:34 |
In doing that, you can either click in the
toolbar or tap the one key.
| | 01:38 |
This will add the one star rating to this
image and automatically advance to the next.
| | 01:42 |
Take a look at how this works.
Here I'll tap the one key, it adds that
| | 01:45 |
star rating and then jumps forward.
This one I like a little bit better, so
| | 01:50 |
I'll add a two star rating, it will add
the rating to the picture and then again
| | 01:53 |
automatically advance.
And in this way, it can allow you to work
| | 01:57 |
through a high volume of photographs
really quickly.
| | 02:00 |
Now you can always go back to those
pictures and you can change the rating.
| | 02:04 |
Yet know that as you change the rating, it
will continue to auto advance.
| | 02:08 |
So here, when I press the three star, by
clicking on this icon here, it moves
| | 02:12 |
forward to the next image.
If ever you want it to linger, or to stay
| | 02:16 |
on the photograph.
What you need to do is to navigate to the
| | 02:20 |
Photo pull down menu here.
And then select Auto Advance in order to
| | 02:23 |
disable or to turn off this particular
mode.
| | 02:27 |
So here, we'll click on this menu item.
Now, I'll change the star rating.
| | 02:30 |
And you can see that, as we change it,
it's still staying on this picture.
| | 02:34 |
Sometimes, you'll want to slow things
down, and just focus in on one image.
| | 02:38 |
Because you might not be exactly that sure
about the rating for that picture.
| | 02:43 |
This also works, of course, with flags or
color labels.
| | 02:46 |
Now there are a few other techniques that
you can use to enter into, and to exit
| | 02:49 |
auto advance.
Let me show you those as well.
| | 02:52 |
They involve using a few shortcut keys.
If you tap the caps lock key in order to
| | 02:55 |
turn on caps lock and then if you add a
flag, a star or a label, it will
| | 02:58 |
automatically advance.
Here, I'll tap the three key.
| | 03:02 |
Notice how it automatically moves forward.
I like this picture.
| | 03:05 |
This is three stars as well, so I tap the
three key.
| | 03:07 |
This one, not so much, so I'll press the
one key.
| | 03:11 |
Now, if ever you want to exit out of this,
we'll just press the caps lock key to turn
| | 03:14 |
that off, and now when I add a star
rating, for example this one I'll give two
| | 03:17 |
star ratings, just because it's okay, you
can see that I can linger on this photograph.
| | 03:23 |
Next, I'll move to the next image, simply
by using the arrow keys.
| | 03:27 |
Here, I'll press the arrow keys to move
forward.
| | 03:29 |
And I'll give this one two stars as well.
So the caps lock key allows us to enter
| | 03:34 |
into, and to exit out of auto advance.
Alright.
| | 03:37 |
Well, there's one more shortcut for you.
So stick with me.
| | 03:39 |
And this is the one that I use most
frequently.
| | 03:42 |
Another way to use auto advance is to
temporarily hold the Shift key.
| | 03:46 |
And then to press a shortcut to add a
flag, a star, or a label.
| | 03:50 |
For example, with this image, I think it's
okay.
| | 03:52 |
So I'll press Shift and then 2.
Notice how it automatically advances to
| | 03:56 |
the next photograph.
This one, I'll press Shift+3, and it moves forward.
| | 04:00 |
Well, with this photograph, I'm not sure.
So I'm letting go of the Shift key.
| | 04:04 |
And I'll add two stars by tapping the two
key.
| | 04:07 |
And actually after having lingered for a
moment.
| | 04:09 |
I realized this picture's actually kind of
cool, I like it.
| | 04:12 |
So, I'll give it three stars, so here I'll
press the three key.
| | 04:15 |
And so in this way you can take advantage
of really turning auto advance on and off temporarily.
| | 04:20 |
By adding the Shift key to those short
cuts that we learned.
| | 04:24 |
In other words, pressing the Shift key
then using the short cuts for the flags,
| | 04:27 |
the stars or the labels in order to
temporarily enter into auto advance.
| | 04:33 |
Alright, well there you have it.
A number of different ways that you can
| | 04:35 |
access and start to take advantage of auto
advance in order to speed up your
| | 04:39 |
workflow, as you start to rate and rank
your photographs.
| | 04:43 |
| | Collapse this transcript |
| Rating and ranking groups of photos| 00:00 |
In this brief movie I want to take a look
at how we can add flags, stars and color
| | 00:04 |
labels to multiple images at one time.
In the film strip below, you'll notice
| | 00:09 |
that we have four photographs here of our
family friend, this is one of the
| | 00:12 |
daughters in the family.
And what I want to do is add a two star
| | 00:15 |
rating to all of these pictures.
Well, in the library module in the loop
| | 00:20 |
view, if we click on the first image, then
hold down the Shift key and click on the
| | 00:23 |
last image in this set to select all of
those, we can then try to add a two-star rating.
| | 00:29 |
You can do so by clicking on this icon
here or by pressing the 2 key.
| | 00:33 |
Yet in doing this what you'll discover is
that only the first image in the set has
| | 00:37 |
the two-star rating.
These other images don't.
| | 00:41 |
Well to add the two-star rating or the
flag or color label for that matter to a
| | 00:44 |
group of photographs, you have to go to
the grid module.
| | 00:48 |
So press the G key to navigate to the grid
module.
| | 00:51 |
Here, if you don't have images selected go
ahead and click on the first.
| | 00:55 |
Again, hold down the Shift key and click
on the last.
| | 00:57 |
And then tap the 2 key on your keyboard in
order to set a two star rating to all of
| | 01:00 |
these photographs.
As I click through these pictures, you can
| | 01:03 |
now see that each of these images have a
two star rating.
| | 01:07 |
This also works with flags or color
labels.
| | 01:09 |
To illustrate, what I'll do is go ahead
and click off the photographs.
| | 01:12 |
Then, hold down the Cmd key on a Mac or
Ctrl key on Windows.
| | 01:17 |
In this way you can click on multiple
photographs.
| | 01:19 |
And here I'll go ahead and select these
three pictures.
| | 01:22 |
Next we'll add a two star rating or a
color label to this.
| | 01:25 |
I'll tap the two key or click on two
stars.
| | 01:28 |
I'll add a color label.
I'll also add a flag just for the fun of it.
| | 01:32 |
All right.
Well now when we click off of that, what
| | 01:34 |
we'll discover is that all three of these
images have that criteria attached to
| | 01:37 |
those files.
And so in this way, we're starting to see
| | 01:41 |
how we can work with multiple files at
once, which sometimes can be helpful when
| | 01:44 |
you have a group of photographs which you
want to rate or rank in a similar way.
| | 01:49 |
| | Collapse this transcript |
| Rating and ranking in the Grid and full-screen modes| 00:00 |
In this movie we'll be doing two different
things.
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We'll begin by taking a look at how we can
rate and rank our photographs here in the
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grid view of the library module.
We'll also explore how we can take
| | 00:10 |
advantage of those shortcuts which we've
learned, when we're viewing our images in
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full screen mode.
Well, let's begin with this grid view here
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in the library module.
Make sure you press the g key in order to
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access the grid view.
Now you'll notice here that my thumbnails
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are pretty minimal.
You remember how you can change what
| | 00:28 |
surrounds the thumbnails?
Well you press or tap the j key.
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When you do that you can then toggle
through these different views.
| | 00:36 |
What I want you to do is to press it until
you see an expanded view.
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Here we see more information surrounding
this little thumbnail.
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Next, I'm going to increase the thumbnail
size so we can really focus in on this.
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I'll go ahead and increase that, then
scroll down to that area so that we can
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actually see the thumbnail there.
Next, let's navigate down to the View pull
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down menu.
We you go to the View pull down menu, we
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can choose View Options.
When you click on that menu item, it will
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open up a dialog which we can then use to
customize this particular view of these thumbnails.
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So again, navigate to View.
Click on View Options.
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When you click on that, you have this
menu, go ahead and position it so you can
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focus in on the thumbnail that you're
working on.
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This way we can kind of see how this one
will look.
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Well here you can currently see that we
can show the grid extras.
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We're viewing this in the expanded cells.
We can also change it to compact by
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clicking on this option here.
But what I want to see is expanded.
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Now we can choose an option which allows
us to show, a rating in the footer, if we
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click on this criteria here.
We can also include a color label.
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If I drag this to the left we'll see if we
have an image, with a color label.
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This one over here has, a red label.
You can also decide to tint the entire
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cell with that color label, so we can see
the red in the background up here and also
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down below.
Let's go ahead and close this dialog and
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take a look at how we can start to work
with this.
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Well you'll notice that we have this
photograph right here in the small grid thumbnail.
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We can also change this by clicking on
this little icon right here.
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Which allows us to change the star rating.
This is just a handy way to be able to
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customize that, although the technique
that I prefer to use is to simply tap a
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number key between zero and five.
Here I'll tap the three key in order to
| | 02:15 |
add that three star rating.
Now, what about if we're in full screen mode?
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To access full screen mode, press the f
key.
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Now that we're in full screen mode, we can
also rate and rank our photographs, as
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long as we know those shortcuts.
So if we press the P key, we can add a flag.
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See it down there in the lower left hand
corner?
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Press the u key and you can remove the
flag.
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That will then fade or dissolve away, you
can see there.
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If we want to add a colored label, tap the
6 key, that will allow you to add that red
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label, or you can press the 7 key for
yellow label, or whatever it is.
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You can also change the star rating.
Here I'll press the four key in order to
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add a four star rating.
And the reason why that fades or dissolves
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away is because in full screen mode,
Lightroom kind of assumes that you really
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want to focus in on the image.
You don't want to see all of that other stuff.
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So in this case it allows us to still work
with this criteria.
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Or still rate and rank our photographs.
Yet we don't really focus in on that, we
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focus in on the pictures, and that is a
phenomenal thing to do, and that's one of
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the reasons why you really want to learn
those shortcuts.
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Well, when you're done with full screen
mode press the f key, that will bring you
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back to this view and often what you'll do
is you'll navigate back to this view and
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maybe after having turned on this expanded
view, where you can see all this information.
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You may want to get rid of that.
Because, sometimes, it's just too cluttered.
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At least for me.
So, tap the j key.
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That will allow you to go back to the
compact cells view, where it's much more minimal.
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If ever you want to customize either of
those views.
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Again, you navigate to the View pull down
menu.
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Choose View Options, and then you can
click on any of these criteria.
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I'm going to turn off the tinting.
Because I prefer to have that off.
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I just like to view and access the color
label here.
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Rather than having another color in the
interface.
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Because I find it kind of interferes with
the way I evaluate or review the photograph.
| | 04:04 |
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| Quickly delete rejected photos| 00:00 |
In this movie, we're going to navigate to
another folder of images.
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The photographs that we'll be working with
are located in the folder which is titled Travel.
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And here I want to highlight a really
important technique which allows you to
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delete or get rid of rejected images
really quickly.
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You know often what happens in digital
capture is that we shoot a lot of images,
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and as we're reviewing our photographs,
maybe we're adding flags, stars, or
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labels, and then we'll come across an
image which we don't like.
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An image that we want to delete and get
rid of.
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Here I want to show you a technique that
you can use in order to do that.
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With these photographs, I'm going to go
ahead and press the right Arrow key to
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scroll through these pictures until I
arrive at a photograph that I don't really like.
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This one right here.
Well here I'll press the X key.
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When you press the X key it allows you to
set an image as a rejected file.
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I'll go ahead and go through these
photographs and just do this with one or
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two more photographs that I don't like
very much in this set.
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How about this one here.
Well, now I rejected two images out of
| | 00:58 |
this set.
In order to quickly get rid of these
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photographs, we can press a shortcut key
combination.
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The shortcut key combination on a Mac is
Cmd+Delete.
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On Windows, that's Ctrl+Backspace.
What this will do is it will say that we
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can then just delete the files which have
this particular label.
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Which is the flag which defines those
images as the rejected photographs.
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And often we'll reject images where the
exposure is just completely off and we
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know we want to get rid of those.
Now when we press the shortcut, Cmd+Delete
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on a Mac, Ctrl+Backspace on Windows.
It will open the dialogue that you see here.
| | 01:35 |
This says, hey, do you want to delete
these two photos from the disk or just
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remove them from the Lightroom library or
catalog.
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Well, this really depends upon what you
want to do.
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If you want those files still to remain on
the hard drive but not to clutter up your
| | 01:49 |
Lightroom catalog, well then click on
Remove.
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If you want to delete them all together
and get rid of them forever, well then
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click on the Delete button.
Well, in my case I just want to remove
| | 02:00 |
these files because I don't like them very
much but they aren't that horrible.
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So I might want to revisit the files
later.
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So here I'll just click Remove.
In doing that, it will then remove those
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files from this folder, and from my
Lightroom catalog so I can just focus in
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on the images that I actually want to work
on.
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|
|
2. Filtering and Finding PhotographsFiltering by flag, stars, and labels| 00:00 |
Now that we've spent all this time talking
about how we can rate and rank our
| | 00:03 |
photographs, next it's time to take a look
at how we can filter and find the best
| | 00:07 |
photographs after we've applied flags,
stars, or color label ratings to our pictures.
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Well, we can do that by navigating to the
Library module, and it's easiest to begin
| | 00:17 |
in the grid view.
Here you'll notice the library filter bar
| | 00:21 |
is above.
If that isn't visible press the backslash
| | 00:24 |
key, you can press that key to toggle the
visibility of the library filter on and off.
| | 00:30 |
And what you want to do here in the
library filter is click on the option for attribute.
| | 00:35 |
When you do that, you'll see that you have
some attributes which you can search for,
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filter for.
The first one is flag, next we have stars,
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then we have color labels.
In this way, we can say, you know what,
| | 00:45 |
show me the images which have a two-star
rating or higher.
| | 00:48 |
And here, we can simply switch on this
icon here.
| | 00:51 |
If we want to change this two stars or
lower, simply click on the icon here and
| | 00:55 |
then choose this Rating is less than or
equal to two stars.
| | 00:59 |
And here that will show us a different set
of images.
| | 01:02 |
So again, we can customize that by simply
clicking there.
| | 01:05 |
Now here I have images which have a two
star or a higher rating.
| | 01:09 |
Well next I want to see those photographs
that have a two star rating, an also have
| | 01:12 |
a red color label.
To do that we can click on this icon right here.
| | 01:17 |
Now I'm seeing a much smaller or more
limited select group of images.
| | 01:23 |
In this way it can help us to try to find
those images which are the best, in a
| | 01:26 |
particular folder, or in many folders for
that matter.
| | 01:30 |
Now you also may have noticed that we have
some filtering options located here.
| | 01:35 |
Here you can see we've have the same exact
criteria.
| | 01:38 |
We can turn this on and off by clicking on
the little toggle switch.
| | 01:41 |
Click that on and off to see all the
photographs, or turn that criteria back on
| | 01:44 |
in order to see the pictures that are
filtered based on the criteria here.
| | 01:50 |
You can also change a criteria here as
well.
| | 01:52 |
Turn off the option for red label, now
we're only seeing the images which have a
| | 01:55 |
star or higher rating.
This way we can really quickly find those
| | 02:00 |
images and this will also work if we're in
the loop view.
| | 02:03 |
So here I'll go ahead and double click one
of the photographs.
| | 02:06 |
I'll just double click this one, the first
picture.
| | 02:09 |
And then next, I'm going to change the
criteria by clicking on the icon for the
| | 02:12 |
red label.
In doing that, you can see I'm now viewing
| | 02:15 |
a more select view down here in the film
strip below.
| | 02:18 |
Yet, I find it's easier to begin in the
Grid View so that you understand how that
| | 02:22 |
works, and then next, navigate to the Loop
View, and then continue to refine the way
| | 02:25 |
you're filtering your pictures.
If you click on this pulldown menu, you'll
| | 02:30 |
notice you have other options as well.
You can say, "you know what?
| | 02:33 |
Show me the images which have any kind of
a rating at all." By clicking on that,
| | 02:37 |
you'll notice that it will just show us
these images here which have one star or
| | 02:41 |
higher rating.
We can then further customize it by
| | 02:45 |
clicking on these stars so that we then
just view those photographs which meet
| | 02:48 |
that particular criteria.
If ever you want to change a criteria, it
| | 02:52 |
may be easier to go back to the Grid View.
So tap the g key, that will bring you back
| | 02:56 |
to the Grid View, and then here you can
see we have the access to these different criteria.
| | 03:01 |
In particular, we now have access to our
flags.
| | 03:05 |
So, for example, let's change our star
rating down to two stars.
| | 03:08 |
And let's also add the criteria of flag as
picked.
| | 03:12 |
And this way, you can see that we've now
added that to this area.
| | 03:15 |
And that shows up down below.
Previously, these options didn't show up
| | 03:19 |
down there.
We had to begin here in the grid view.
| | 03:23 |
Then we could access all of these options
down here in this area, because it turned
| | 03:26 |
that on.
Last but not least.
| | 03:28 |
Let me re-highlight or remind you of the
shortcut to turn the filtering on and off.
| | 03:34 |
That's cmd l on a Mac or ctrl l on
Windows.
| | 03:37 |
Press it once to turn the filerting on,
press it a second time in order to turn
| | 03:41 |
the filtering off.
| | 03:43 |
| | Collapse this transcript |
| Filtering by still photos, virtual copies, and video files| 00:00 |
Since we're on the topic of filtering, why
don't we talk about how we can filter
| | 00:04 |
based on different types of files that we
can work on here in Lightroom.
| | 00:09 |
You can see that I've navigated to the
main exercise files folder.
| | 00:13 |
Inside of this folder we have images.
We also have a few video files.
| | 00:17 |
Now I want to filter these out so that I'm
only seeing the video files.
| | 00:21 |
To do that, press the G key to navigate to
the grid view, then click on the attribute
| | 00:25 |
tab here.
Next we can go over to this area where it
| | 00:28 |
says kind.
An you can click on the last option which
| | 00:31 |
will allow us just to view the video files
which we have inside of our library.
| | 00:36 |
In order to turn that filtering off, we
can click on the icon once again.
| | 00:40 |
Then you'll notice that we have two other
icons.
| | 00:42 |
These icons allow us to view the master
photographs, or the virtual copies.
| | 00:47 |
Now, virtual copies are something that
we'll cover more in the part of our course
| | 00:50 |
where we dig into the develop module, yet
here, I simply want to highlight how we
| | 00:53 |
can make virtual copies.
And then sort and find those.
| | 00:57 |
So go ahead and click on any image, it's
doesn't really matter which one.
| | 01:01 |
Then Right+Click or Ctrl+Click and choose
Create Virtual Copy.
| | 01:04 |
When you do this what it will do is it
will create a duplicate version of your
| | 01:08 |
file without a very significant increase
in file size.
| | 01:12 |
And this will give you creative
flexibility for processing that virtual
| | 01:15 |
copy in different ways.
So go and click on that menu item, and
| | 01:18 |
here you can see we have the virtual copy.
Now if you just want to see the virtual
| | 01:22 |
copies, you can click on this icon, it has
a little corner, it looks like the corner
| | 01:25 |
is being turned there.
And it will just show you the virtual
| | 01:29 |
copies in a folder, or in your library, or
wherever.
| | 01:33 |
If you want to see just the master
photographs, you can click on this icon
| | 01:36 |
here, and you'll notice that it's now
hiding or removing from my view or
| | 01:39 |
filtering away from my view, those virtual
copies.
| | 01:43 |
So in this way you can see that we can
take advantage of these three icons in
| | 01:47 |
order to fiter or find certain tyeps of
files.
| | 01:51 |
| | Collapse this transcript |
| Filtering by text, metadata, and file type| 00:00 |
Another great way that you can filter and
find photographs is by taking advantage of
| | 00:04 |
the metadata library filter.
Let's take a look at how this works, and
| | 00:09 |
click on the Exercise Files folder so
we're looking at all of these different
| | 00:12 |
photographs and video files, then click on
the Metadata button.
| | 00:16 |
This will open up these various columns
here.
| | 00:19 |
These columns are customizable, and what
we can do is click on the criteria in
| | 00:22 |
these columns in order to filter and find
certain pictures.
| | 00:26 |
We can select or make selections based on
the color label, the lens, the camera.
| | 00:31 |
And a number of other options as well.
Let me show you how this works.
| | 00:34 |
If I want to view the image which was
captured with the 300 millimeter f2.8
| | 00:37 |
lens, we can click on this field here.
And it will show us the image which was
| | 00:42 |
captured with that lens.
To view photographs which were captured
| | 00:45 |
with another lens we'll just click on the
criteria here.
| | 00:48 |
We can see some images which I captured
with a 16 to 35 millimeter lens.
| | 00:52 |
Now if we want to see both, hold on the
Cmd key on a Mac or Ctrl key on Windows
| | 00:55 |
and here we can click on those options and
see both of these fields here are now
| | 00:59 |
filtering all of the photographs.
To turn off an option, we'll just click
| | 01:05 |
and that will then remove that.
Or go back to the top here, where it has
| | 01:09 |
the all option.
Now you can change the criteria that we
| | 01:12 |
have here.
For example, rather than date, we could
| | 01:14 |
choose something else.
We could choose ISO speed.
| | 01:17 |
In doing that we can see what ISO was used
to capture these various photographs.
| | 01:22 |
In this case let's say I want to see a
photograph which was captured with ISO 200.
| | 01:26 |
We'll just click on that option and it
will change our filtering criteria.
| | 01:30 |
Now you can combine the criteria across
multiple columns as well.
| | 01:34 |
If we want to see if there were any images
which were captured using this ISO setting
| | 01:38 |
with this particular camera, we'll just
hold down the Cmd key on a Mac or Ctrl key
| | 01:42 |
on Windows and then click on the other
criteria.
| | 01:46 |
Notice how it's updating all of these
fields as we make further selections,
| | 01:50 |
holding down Cmd or Ctrl until it's just
showing us this subset of pictures based
| | 01:54 |
on the filtering criteria that we have in
these areas.
| | 01:59 |
You know, you can also add other columns,
as well.
| | 02:01 |
If you click on the icon in the far-right
of any of these columns, one of the
| | 02:05 |
options is to add the column.
Or you can remove it.
| | 02:09 |
If you add it, what you'll see is you'll
have another column.
| | 02:12 |
And here we can choose more criteria that
we want to filter based on.
| | 02:16 |
In this case lets go to file type.
Here it's showing me that the files that I
| | 02:19 |
have access to are JPEGs.
Well rather than just looking at the
| | 02:22 |
JPEGs, I want to go back to where I'm
seeing all of the photographs.
| | 02:26 |
And I want to see what type of files I
have here in the library.
| | 02:28 |
I have digital negatives, I have JPEGs,
Photoshop document, raw files, TIFF files,
| | 02:33 |
et cetera.
In this way you can simply click on these
| | 02:36 |
menu items in order to view the images
which are that particular type of file.
| | 02:42 |
Alright, well there you have it.
There's how you can start to take
| | 02:44 |
advantage of the metadata library filter.
And I also want to mention that I was
| | 02:49 |
showing you a number of different options
here so that you can start to see how
| | 02:52 |
exhaustive this really is.
And how you can choose so many different
| | 02:57 |
types of criteria in order to filter and
find your photographs using the metadata
| | 03:01 |
library filter.
| | 03:03 |
| | Collapse this transcript |
| Sorting photos| 00:00 |
When it comes to rating, ranking,
filtering, and finding your photographs,
| | 00:03 |
another feature which may come in handy
allows you to sort your pictures in some
| | 00:07 |
unique ways.
In this particular folder of images I have
| | 00:12 |
images which are rated or ranked
differently.
| | 00:14 |
And what I want to do is be able to sort
these images so that I can start to sort
| | 00:18 |
them, so that the better photographs are
near the top.
| | 00:21 |
So here, let's go ahead and tap the J key.
When you tap the J key, what it will allow
| | 00:25 |
you to do is to change your view here.
We now have the expanded view, in this
| | 00:29 |
case I have these options which show me
the star rating.
| | 00:33 |
We have one photograph with the 4 star,
another one with the 2, others with 3 star ratings.
| | 00:38 |
I want the higher star rated photographs
to be near the top, to change this click
| | 00:42 |
on this menu item here in the toolbar.
Now if your toolbar isn't visible, tap the
| | 00:48 |
T key, that allows you to show and hide
that.
| | 00:51 |
Then click on this icon.
And I want to choose the option for Sorting.
| | 00:55 |
In turning this on, you can Sort by a
number of different criteria.
| | 00:58 |
You can Sort based Capture Time, by Edit
Count, or you can also use some of the
| | 01:02 |
criteria which we've added like Rating.
Here we'll go ahead and click Rating.
| | 01:08 |
In doing that you can now see that the 4
star image is in position number 1, then
| | 01:11 |
we have the 3 star rated photographs, then
2 and then so on and so forth down the line.
| | 01:17 |
We can also flip flop this, if we want the
1 star images to be near the top, well you
| | 01:21 |
can just click on this icon here and that
will then reverse that sorting function.
| | 01:27 |
You can see that the photographs with a
higher star rating are now located near
| | 01:30 |
the bottom.
And then the photographs with the lower
| | 01:33 |
star rating are near the top.
And as you click on this menu, you can see
| | 01:36 |
you have a number of different criteria
options.
| | 01:39 |
You can always just choose File Name if
you want to sort them that way as well.
| | 01:43 |
You can also access the Sorting feature by
navigating to your View pull-down menu.
| | 01:48 |
If you go down to the Sort option here,
you can see that you'll have the same
| | 01:51 |
criteria that we located there in the
toolbar.
| | 01:54 |
And here I just wanted to highlight that
you have two different ways that you can
| | 01:58 |
access the same exact tool.
You can either navigate to View, Sort, and
| | 02:02 |
then choose the option.
Or perhaps an even better way is to work
| | 02:06 |
with this feature here in the toolbar,
which you can access by clicking on this
| | 02:09 |
menu item and then turning it on and off
by clicking on the options here in this
| | 02:13 |
pull-down menu.
And you want to turn that on and then
| | 02:18 |
select how you want to sort your images.
In this case, we'll sort based on Rating,
| | 02:22 |
and then we'll go ahead and flip flop that
so that the highest star rated photograph
| | 02:26 |
is in position number 1.
| | 02:29 |
| | Collapse this transcript |
| Stacking photos into groups| 00:00 |
Another way that you can organize your
photographs in the library module is by
| | 00:04 |
grouping multiple images together in to
what's called a stack.
| | 00:08 |
Let's take a look at how we can do this.
You can see that I'm viewing these images
| | 00:12 |
in the grid view and the last three
photographs in this particular folder are
| | 00:15 |
all very similar.
And what you may want to do is stack
| | 00:19 |
together similar pictures.
To do that click on one.
| | 00:23 |
Then hold down the Shift key, and then
click on the last image in the set.
| | 00:27 |
Next you can group these into a stack by
navigating to the Photo pull down menu.
| | 00:31 |
Here we're navigating to Stacking.
Then you want to choose Group Into Stack.
| | 00:36 |
There's a shortcut there.
It's Cmd+G on a Mac or Ctrl+G on Windows.
| | 00:40 |
And think of that as G for group.
When you click on this menu item, what it
| | 00:45 |
will do is it will collapse those images
into a stack.
| | 00:49 |
Almost like you have a stack of cards, so
that you only see the top card, and that's
| | 00:53 |
covering the cards underneath.
Well to expand the stack, just click on
| | 00:57 |
this little icon right here, that will
expand it, click again in order to collapse.
| | 01:02 |
You can also expand or collapse the stacks
by pressing the S key.
| | 01:07 |
Press the S key once in order to expand
it, press the S key again, in order to
| | 01:10 |
collapse that.
If ever you want to get rid of the stack,
| | 01:14 |
well just navigate back to the Photo
pull-down menu, choose Stacking, what you
| | 01:18 |
can do is select the option which is
Unstack.
| | 01:22 |
That will then remove that stacking
feature from these photographs.
| | 01:26 |
And here we've looked at how we could
stack together images which are located
| | 01:29 |
next to each other.
You can also stack together other
| | 01:32 |
photographs as well.
So here I'll go ahead and click on this
| | 01:35 |
picture, hold down the Cmd key on a Mac or
Ctrl key on Windows, and then click on a
| | 01:38 |
few other images as well.
In doing this, you can see that I have
| | 01:43 |
different photographs which are selected.
To stack these photographs together, we'll
| | 01:48 |
use the exact same process.
Here, I'll go ahead and select Photo, and
| | 01:52 |
then Stacking, and then Group Into Stack.
When we select this you'll notice that it
| | 01:56 |
will rearrange our pictures there a little
bit because that has reorganized them into
| | 01:59 |
a stack.
To expand this, press the S key or click
| | 02:03 |
on this icon.
We can now see all of these photographs
| | 02:06 |
which are part of this stack here.
If ever you want to add an image to a
| | 02:09 |
stack, let's say you forgot to add these
two here, well you can just click on a
| | 02:12 |
photograph and then drag that into that
stack.
| | 02:17 |
And that will then become part of it.
So now here you can see the stack contains
| | 02:20 |
all of these photographs.
So if we collapse this you can see it's
| | 02:24 |
now one big stack which contains a lot of
pictures.
| | 02:28 |
You can also remove a single image from a
stack.
| | 02:31 |
To do that, navigate to the Photo pull
down menu, choose Stacking and then select
| | 02:35 |
Remove from Stack.
What that will do is remove just one of
| | 02:39 |
those photographs, in this case this
picture here.
| | 02:41 |
Alright, well there you have it.
That wraps up our conversation about how
| | 02:45 |
we can work with stacks which allow us to
group images together here in the library module.
| | 02:51 |
| | Collapse this transcript |
|
|
3. Organizing with CollectionsWhat is a collection?| 00:00 |
In this chapter we'll focus in on how we
can take advantage of a phenomenal feature
| | 00:04 |
in Lightroom which allows us to organize
our images into what are called Collections.
| | 00:10 |
In the Library module, we'll encounter
different types of Collections.
| | 00:13 |
In the Catalog panel, we have what are
called Quick Collections, then in the
| | 00:17 |
Collections panel we can work with Smart
Collections or Ordinary Collections as well.
| | 00:22 |
Now you may be wondering, well what are
Collections and why do they matter?
| | 00:26 |
Well in a sense Collections are kind of
like Folders.
| | 00:30 |
But they're even better.
If we navigate to the Folders panel in
| | 00:32 |
order to expand this, we can see that we
have various Folders.
| | 00:36 |
Now these particular Folders, they
actually reside on the hard drive as well.
| | 00:41 |
They're part of Lightroom, but they're
also part of the hard drive.
| | 00:44 |
Well Collections are like Folders, but
even better.
| | 00:47 |
In order to understand how Collections
work, what I want to do is walk through a
| | 00:50 |
few slides so that we can start to answer
those questions.
| | 00:53 |
Well, what is a Collection, and why do
these matter?
| | 00:56 |
And the first step towards understanding a
Collection is to talk about what a
| | 00:59 |
Collection isn't.
A Collection is not a Folder.
| | 01:04 |
As I mentioned previously, a Folder
resides in a physical location on a hard drive.
| | 01:09 |
And in a Folder, we can have Sub-folders
and also images.
| | 01:12 |
And in a sense, a Folder is chained, or
locked down, to a particular location.
| | 01:17 |
In contrast, Lightroom allows us to create
what are called Collections.
| | 01:22 |
And Collections are unique to Lightroom,
and also, they're virtual.
| | 01:27 |
What Collections give us a flexibility of
doing is really breaking that connection
| | 01:30 |
between where an image resides in a Folder
and where that Folder lives on a certain
| | 01:34 |
hard drive.
Now what this means is that we can have
| | 01:38 |
three Folders of images, for example.
And we can select an image from each Folder.
| | 01:43 |
And all of those images, well, they can be
part of one Collection.
| | 01:47 |
Or for that matter, we can have multiple
hard drives.
| | 01:50 |
And we can select images from each and
every one of those hard drives.
| | 01:53 |
And we can combine those into what are
called a Collection.
| | 01:57 |
And in a sense, what a Collection is, is
it's like a Folder, but it's just much stronger.
| | 02:03 |
Because it gives us more flexibility.
Collections also allow us to reorder our
| | 02:06 |
images and just to group images together
in some really unique and fascinating
| | 02:10 |
ways, and that's one of the reasons why
many people say Collections are king.
| | 02:17 |
Once you start to realize what you can do
with Collections, you'll be using them all
| | 02:21 |
the time.
All right.
| | 02:22 |
Well, now that we've been introduced to
the concept of Collections.
| | 02:26 |
Let's go ahead and make this abstract
concept a little bit more concrete and
| | 02:29 |
let's do that by taking a look at how we
can use Collections and let's do that in
| | 02:32 |
the next movie.
| | 02:35 |
| | Collapse this transcript |
| Creating a collection to group images together| 00:00 |
Let's take a look at how we can create
collect sets and collections in order to
| | 00:04 |
begin to see how me might integrate
collections into our work flows.
| | 00:09 |
Alright well lets begin by navigating to
the Collections panel.
| | 00:12 |
Here we'll click on the plus icon and
we're going to choose the menu item that
| | 00:16 |
says create a collection set.
You can kind of think of this like the
| | 00:21 |
main, or over arching folder.
Like the larger folder.
| | 00:24 |
And then you'll have smaller collections
inside of it.
| | 00:27 |
So go ahead and click on that menu item to
create a collection set.
| | 00:31 |
And lets give this one a name.
And I'm going to name this one People-Photographs.
| | 00:35 |
Next we'll go ahead and click Create.
In doing that, essentially what we've done
| | 00:40 |
is we've just created, sort of an empty
box.
| | 00:43 |
There's nothing inside of it.
Well now I want to create some collections
| | 00:47 |
inside of this collection set.
To do that, what you'll often do is select
| | 00:51 |
one or more photographs, and then create a
collection.
| | 00:54 |
So let's go ahead an take a look at how we
can do that.
| | 00:56 |
You know, in the People's folder, you'll
notice that we have some portraits which
| | 01:00 |
are located in Portraits one, two, three,
and four.
| | 01:03 |
I want to create a collection which allows
me to combine together all of these images
| | 01:07 |
which reside, or live, in different
folders.
| | 01:10 |
And often that's why you'll create
collections, to group images together
| | 01:14 |
which don't live in the same location.
Well, to do that, we'll go ahead and click
| | 01:19 |
on Portraits one.
Now, here, when we click on Portraits one,
| | 01:22 |
we can see these six photographs.
Well, I want to add all of these pictures together.
| | 01:27 |
To do that, hold down the Command key on a
Mac, or Control key on windows.
| | 01:31 |
And you can click on multiple folders in
order to view the contents of all of those folders.
| | 01:36 |
And this doesn't necessarily relate to
collections.
| | 01:38 |
But this was just a trick to be able to
view all of these contents in these four folders.
| | 01:44 |
Well now that we can see all those
contents, let’s select the images by
| | 01:47 |
pressing Cmd+A on Mac or Ctrl+A on
Windows.
| | 01:51 |
After you’ve selected one or more
photograph, the next step is to click on
| | 01:54 |
the plus icon.
When you click on the plus icon located to
| | 01:58 |
the right of the Collections panel, you
want to choose create collection.
| | 02:03 |
This will open up the Create Collection
dialog.
| | 02:06 |
Here, let's go ahead and give this one a
name.
| | 02:07 |
We'll name this one Portraits.
We want to include this inside of the
| | 02:11 |
collections set, or the big box as I like
to think of it, people photographs.
| | 02:16 |
Include these selected photographs.
No need for virtual copies, and no need to
| | 02:19 |
set this as a target collection.
We'll talk more about that later.
| | 02:24 |
Let's go ahead and simply click the create
button.
| | 02:27 |
In doing this, this will create a
collection here for us which now contains
| | 02:30 |
all 14 of these images.
So now we can simply see and work on these
| | 02:35 |
images by clicking on this particular
collection.
| | 02:38 |
And what's great about this is we can
actually add photographs to this
| | 02:41 |
collection as well.
If we navigate back to the People folder,
| | 02:45 |
perhaps we'll come across a photograph
like this one here.
| | 02:48 |
If we want to include this pictures inside
of this collection set, we can just drag
| | 02:52 |
and drop it into that set.
And then it will become part of that group
| | 02:56 |
or that collection.
Now when we click on the Portraits
| | 02:59 |
collection, we'll see that we have all of
these pictures.
| | 03:02 |
And you know what, this collection is
called Portraits.
| | 03:05 |
And this image really isn't a portrait, so
I want to get rid of it.
| | 03:09 |
But I don't want to delete it from the
main folder.
| | 03:11 |
Well, when you're inside of a collection.
If you press delete or back space, it will
| | 03:15 |
simply remove the image from the
collection.
| | 03:19 |
You'll notice that, back here in the
folder.
| | 03:20 |
Well, this image, it still lives there.
It's still alive.
| | 03:23 |
It's just no longer a part of this
collection.
| | 03:25 |
Or, in a sense, this virtual folder.
Let's look at how we can add other
| | 03:29 |
photographs as well.
We'll click on the Steven folder.
| | 03:32 |
An to add these pictures into our
collection, we can click on one photograph
| | 03:36 |
an drag an drop it here, or you can hold
down the Cmd key on a Mac or Ctrl key on
| | 03:39 |
Windows, and click on multiple
photographs, and then drag an drop those
| | 03:43 |
into this collection.
An in this way, when we click on the
| | 03:49 |
collection portraits we'll now see all 20
of these photographs, which reside in this
| | 03:53 |
various folders above.
And so what collections allow us to do is
| | 03:57 |
your seeing they allow us to create these
groups of images.
| | 04:02 |
And often you can create these groups or
these subgroups of your photographs.
| | 04:05 |
In order to group together important
pictures.
| | 04:08 |
Perhaps you have a collection which is
called portfolio.
| | 04:10 |
Or maybe you have a collection which is
title landscapes, or people or portraits
| | 04:13 |
or whatever it is.
And this allows us to have various folders.
| | 04:18 |
And then to also group these images in all
of these various folders together In a way
| | 04:22 |
which makes a bit more sense and by having
collections what it gives us is this extra
| | 04:26 |
layer of flexibility, so that we can then,
group and organize our photographs as you
| | 04:30 |
can see here.
| | 04:34 |
| | Collapse this transcript |
| Creating targeted collections| 00:00 |
Now that we know a little bit about
collections, here I want to talk about how
| | 00:03 |
we can work with what are called targeted
collections.
| | 00:07 |
Go ahead and click into the folder, which
is titled Portraits 3.
| | 00:10 |
And what I want to do is create a
collection, which we'll then group
| | 00:13 |
together all of the photographs that I've
captured at weddings.
| | 00:16 |
To do that, let's go ahead and select this
first picture here, then click on the plus
| | 00:20 |
icon to create the collection, or you can
also use a great shortcut key.
| | 00:26 |
On a Mac, press Cmd+N, on Windows press
Ctrl+N.
| | 00:29 |
Think of N as in New, and think of this as
the new way to group or organize your
| | 00:33 |
images together.
This is kind of like that new and improved folder.
| | 00:38 |
Well let's go ahead and name this new
collection Wedding.
| | 00:41 |
I want this one to be part of my
collection set People Photographs.
| | 00:45 |
So any People Photograph that I captured
at a wedding, I can then organize into
| | 00:49 |
this area.
Then next let's include the selected photo
| | 00:53 |
here that we have and set this one as the
target collection.
| | 00:57 |
After you've dialed in those settings, go
ahead and click Create.
| | 01:01 |
In doing this you can see that it's now
created a new collection for us but you'll
| | 01:04 |
notice, there's a new icon located right
next to this collection.
| | 01:08 |
This little plus icon shows us that this
collection is a targeted collection.
| | 01:13 |
What's great about that is we can then
easily add photographs to this collection
| | 01:17 |
by way of a shortcut.
Let me show you what I mean.
| | 01:20 |
If we navigate to this wedding folder
here, you'll notice that I have some
| | 01:23 |
photographs which I captured at a wedding.
Well I want to include these pictures in
| | 01:27 |
that collection.
To do so, you can tap the B key.
| | 01:31 |
Here when you tap the B key and have an
image selected, it will automatically add
| | 01:34 |
that to the collection.
Press the Right Arrow key to navigate to
| | 01:38 |
another image, then press the B key.
The Right Arrow key, the B key, and go
| | 01:42 |
ahead and do that with all of those
photographs.
| | 02:09 |
You'll notice a little plus icon bounced
or jumped over here to this collection.
| | 02:14 |
Well, now that that is the targeted
collection.
| | 02:16 |
I can then navigate to another folder.
In this folder, I have some portraits, and
| | 02:20 |
so I want to add this image to the
portraits collection.
| | 02:24 |
To do that, just press the shortcut key
which you just learned.
| | 02:27 |
It's the B key.
When you press the B key, you can see how
| | 02:30 |
you can then add these photographs really
quickly to your collections, because often
| | 02:34 |
all of the dragging and dropping.
Well that can work if you have a few photographs.
| | 02:39 |
But if you have a high volume of pictures
and if you're quickly scrolling through
| | 02:42 |
those photographs, it's a nice way to be
able to simply tap that B key in order to
| | 02:45 |
tuck those images away into a particular
collection.
| | 02:49 |
| | Collapse this transcript |
| Using Quick Collections| 00:00 |
Next, I want to talk about how you can
work with Quick Collections in order to
| | 00:03 |
quickly and easily group some images
together.
| | 00:06 |
Now if you've selected a collection to be
your target collection, what you need to
| | 00:10 |
do first is to turn that off.
So here, you can do that by right clicking
| | 00:15 |
or Control clicking on the collection that
was targeted, and simply choose this menu
| | 00:19 |
item so that none of your collections are
targeted.
| | 00:22 |
By default, when you don't have a
collection which is targeted, the
| | 00:25 |
collection which is the target collection
is your quick collection.
| | 00:30 |
Here, what you can do is you can add
images to this collection either in the
| | 00:33 |
grid view or in any of the other views for
that matter.
| | 00:37 |
So, let's go ahead and add this image to
this collection by pressing the B key.
| | 00:41 |
Next, let's double-click this in order to
view this in this loop view, then we can
| | 00:44 |
press our right-arrow key.
Then, quickly move through these photographs.
| | 00:49 |
I like this one.
I'll tap the B key to add it to the collection.
| | 00:53 |
Again, I'll just press the right-arrow key
until I make my way to another photograph
| | 00:56 |
that I like: this one here.
And I'll tap the B key again.
| | 01:00 |
If we click on the name or the word here
quick collection, you can see we've now
| | 01:03 |
added these three images to this
collection.
| | 01:06 |
The thing to keep in mind that with quick
collections, this is temporary.
| | 01:11 |
What we need to do is now do something
with these photographs, because the next
| | 01:14 |
time that we open up White Room, these
details here, or these three images, will
| | 01:18 |
not be remembered as part of this quick
collection.
| | 01:22 |
This is more something that you do kind of
temporarily.
| | 01:25 |
It would be almost like if you had a stack
of prints and if you set three of those
| | 01:28 |
aside, well then you need to do something
with those three images which you set off
| | 01:31 |
to the side.
What you might want to do is create a more
| | 01:35 |
permanent collection with these
photographs.
| | 01:38 |
Let's go ahead and do that.
Press Cmd + A on a Mac in order to select
| | 01:41 |
all of those, press Ctrl + A on Windows.
Next let's create a new collection, either
| | 01:47 |
by way of a shortcut or by simply
scrolling down and clicking on the plus
| | 01:50 |
icon and choosing create collection.
If you prefer to use the shortcut, that
| | 01:56 |
short cut is Cmd+N on a mac or Ctrl+n on
windows.
| | 02:01 |
I'll go ahead and name this one Jared,
because that's the name of the person in
| | 02:04 |
these photographs.
I want to include this inside of our
| | 02:07 |
collection set, people photographs.
Include the selected photos, and then
| | 02:11 |
click Create.
In doing this, we now have a more
| | 02:14 |
permanent collection of these pictures
which we've selected.
| | 02:17 |
Next, let's scroll back to that area where
we can view the quick collection.
| | 02:22 |
If you want to remove images from a quick
collection, what you can do is right-click
| | 02:25 |
or Ctrl+click on it.
In doing that, you can choose this option
| | 02:30 |
which allows you to clear the quick
collection away.
| | 02:33 |
Let's go ahead and do that so we now have
an empty quick collection which we can
| | 02:36 |
then use again in order to group other
photographs together, as well.
| | 02:41 |
| | Collapse this transcript |
| Using Smart Collections| 00:00 |
Like most software applications, Lightroom
provides us multiple ways in order to
| | 00:04 |
accomplish similar tasks and that's
definitely the case with smart collections.
| | 00:10 |
In order to understand how smart
collections work I find it's helpful to
| | 00:13 |
first begin with a similar task of using
the library filtering options, because
| | 00:16 |
those are very similar to how smart
collections actually function.
| | 00:21 |
So go ahead and press the g key.
And click on the Exercise files folder.
| | 00:25 |
So that we're viewing all of these images
in these folders and subfolders.
| | 00:30 |
Next, I'm going to go ahead and close this
particular folders panel so that we can
| | 00:33 |
really focus in on the task at hand.
And at first, that task will be to focus
| | 00:37 |
in on library filtering.
Well here in library filtering, we can
| | 00:41 |
click on the attribute option.
Here we can filter our images based on
| | 00:45 |
flags, stars, labels, or kind.
For example, if we want to see the images
| | 00:50 |
which have a rating of two stars or
higher, we can click on this option, and
| | 00:53 |
it will show us those photographs.
If we want two stars plus a color label,
| | 00:58 |
well, we can click on both of those
criteria, and then see a select view of
| | 01:01 |
our images.
And we can turn on and off these filtering
| | 01:06 |
criteria by simply clicking here.
We can also filter our images by
| | 01:10 |
navigating to the Metadata area.
In the meta data area we have so many
| | 01:15 |
different options.
One option is to view the images, which
| | 01:18 |
have a red label.
When we do that we can see these eight
| | 01:22 |
photographs out of all of our photographs
are the ones which have this particular label.
| | 01:27 |
Well in a similar way we can start to work
with our smart collections in order to
| | 01:31 |
filter and view certain photographs.
In the collections panel if you open up
| | 01:36 |
smart collections you'll encounter some
prebuilt smart collections and these are
| | 01:39 |
collections which look out for certain
criteria.
| | 01:43 |
For example, if we click on the option for
color red we'll see all of the images
| | 01:47 |
which have a red label attached to them.
If we want to create one of our own smart
| | 01:52 |
collection, click on the plus icon and
create smart collection.
| | 01:57 |
This will open up our create smart
collection dialogue.
| | 01:59 |
Let's go ahead and give this one a name.
I'm going to name this two star, or higher.
| | 02:04 |
So we'll go ahead and name this two star
plus.
| | 02:06 |
Include this inside of the collection set,
smart collections.
| | 02:10 |
We want this to work on rating.
If you click on this menu, you'll notice
| | 02:14 |
you have a number of different criteria.
That you can filter based on label color,
| | 02:19 |
source, camera information, etc.
Well here let's keep things simple and
| | 02:23 |
just look for those photographs which have
a two star rating or higher.
| | 02:27 |
So from this pull down menu we'll choose
is greater than or equal to two stars,
| | 02:31 |
click right there.
Next, we'll go ahead and click create, in
| | 02:35 |
doing that it will then create a new
collection for us.
| | 02:39 |
This is showing us all of our photographs
which have a two star rating to them.
| | 02:43 |
Well next let's say we want to create a
collection which is a little bit more
| | 02:46 |
complicated, to do that again click on the
Plus icon, and choose Create Smart Collection.
| | 02:52 |
Here I want to go ahead and choose two
star, so I'll name this Two Star, plus a
| | 02:56 |
red label, so let's add that to our name,
two star plus red.
| | 03:01 |
We'll have a rating, which is equal or
greater than two, two stars.
| | 03:06 |
And then click on the plus icon.
Here we can add another field, or more criteria.
| | 03:10 |
We'll choose label color.
I want the label color to be red, so I
| | 03:14 |
just want to view the images which have
two stars and also that red label.
| | 03:19 |
Then click Create.
In doing that, that will then create this
| | 03:23 |
particular smart collection.
Well, when I create that smart collection,
| | 03:27 |
I was working too fast, and I neglected to
put the smart collection inside of the
| | 03:30 |
smart collection set.
Take a look at that here.
| | 03:33 |
Notice how it lives outside of that set.
Well to reposition a collection you can
| | 03:38 |
always just click and drag and drop that
into that area, and then it will be
| | 03:41 |
relocated right here.
You can also rename collections as well.
| | 03:46 |
This is true wether they're regular
collections or smart collections.
| | 03:50 |
To do that just right click or Ctrl+click
on the collection name and then select
| | 03:53 |
Rename, and here you can choose to rename
your collection in this way.
| | 03:58 |
You could sometimes as you start to work
with collections you might make mistakes
| | 04:02 |
that may be helpful to know how to do.
All right.
| | 04:05 |
There you have a technique that you can
use which allows you to quickly and easily
| | 04:09 |
find certain photographs based on built in
criteria.
| | 04:13 |
Now before we wrap up our conversation
about this, I do want to point out that
| | 04:16 |
these collections, or these smart
collections, they are dynamic.
| | 04:21 |
Let's open up the folders panel for a
moment.
| | 04:23 |
And here, what I want to do is navigate to
another folder.
| | 04:25 |
I'll navigate to this folder, Steven.
And I'll click on an image, and then tap
| | 04:29 |
the six key.
Or click on the icon to add a red label to
| | 04:32 |
a few photographs here.
And in doing this, what we'll encounter is
| | 04:37 |
that, when we add the red label to these
pictures.
| | 04:40 |
If we scroll down to our smart collection.
Well, this smart collection will now be bigger.
| | 04:45 |
We can look at the images which have that
red label by clicking on this smart
| | 04:49 |
collection option here, and you can see
that these photographs now contain or are
| | 04:53 |
part of the smart collection.
If we view one of these images like this
| | 04:58 |
one, I'll double click it, and we realize
you know what I don't particularly likely
| | 05:02 |
this label, what we can do is we can
change the label.
| | 05:06 |
So when we're in the grid view you can see
that this particular image it has this red
| | 05:10 |
label attached to it.
Here I'll go ahead and click to remove that.
| | 05:14 |
It's going to then remove this image from
the smart collection.
| | 05:18 |
That's why these collections are called
smart, because they are always constantly
| | 05:22 |
evaluating your photographs with certain
types of logic.
| | 05:25 |
If those pictures meet that logic well
they will then show up in those smart collections.
| | 05:31 |
| | Collapse this transcript |
|
|
4. Managing Images with the Map ModuleOverview of the new Map module| 00:00 |
So far in this chapter, we've been
focusing in on how we can manage and
| | 00:03 |
organize our photographs using the library
module.
| | 00:07 |
And next what I want to do in this chapter
is continue that conversation and talk
| | 00:10 |
about how we can do some similar things by
working with what's called the map module.
| | 00:15 |
The map module allows us to group images
together based on geographic or GPS information.
| | 00:22 |
So let's go ahead and take a look at how
we can begin to work with the map module.
| | 00:26 |
To navigate to this module, click on the
Map button, which is located right here.
| | 00:30 |
When you click on that, it will take you
to the module, and it will show you a
| | 00:33 |
google map version of the world.
And in this case, you can see it's focused
| | 00:38 |
in on the town where I live, which is
Santa Barbara, California.
| | 00:41 |
Now, you can change the view of the map by
clicking on this icon right here.
| | 00:46 |
You'll notice we have a number of
different options.
| | 00:48 |
You can click through those.
There also are some really handy
| | 00:51 |
shortcuts, which you can use.
On a Mac, press Cmd + 1-6.
| | 00:54 |
On Windows, press Ctrl + 1-6, and this
will allow you to change or select the
| | 00:58 |
view that you want to work with.
After you've found the view that you
| | 01:03 |
want to work with, what you can then do is
take a look at your photographs.
| | 01:06 |
Now, we'll begin by looking at photographs
which have GPS information embedded in the photographs.
| | 01:12 |
Then in the next movie, we'll talk about
how we can create our own map locations
| | 01:15 |
and group our images based on where they
were captured.
| | 01:19 |
Well here on this map, I want to zoom in a
little bit.
| | 01:22 |
To do that, you can either double-click on
the map, or you can click on this icon
| | 01:24 |
right here.
In zooming into this area, we can see that
| | 01:28 |
we have these seven photographs.
If we hover over this, you can see these
| | 01:32 |
are pictures that I captured of my
daughter Elsie using my iPhone.
| | 01:36 |
And here we can click through these
photographs.
| | 01:39 |
Now if we want to filter our view of all
of our photographs below and just see the
| | 01:42 |
images which are visible on this map area
that we're working on, we can use the
| | 01:46 |
location filter.
When you click on Visible On Map, that
| | 01:51 |
will then filter and just show you the
pictures which are visible in this view of
| | 01:55 |
the map.
If you move that area around, what will
| | 01:59 |
update or show the other images which
you've captured in other areas, as well.
| | 02:04 |
If you want to turn off the filtering, you
can of course, click on the None button,
| | 02:07 |
which will then turn off that filtering
option.
| | 02:10 |
So that you can view all of your
photographs below in the film strip.
| | 02:14 |
Alright, well now that we've been
introduced to the map module and we've
| | 02:17 |
seen how we can have images which have GPS
information embedded in the metadata,
| | 02:21 |
which Lightroom will automatically pick up
on and save in this particular location.
| | 02:27 |
Let's also talk about how we can create
our own locations.
| | 02:31 |
Especially for those situations with most
of our cameras which don't have embedded
| | 02:35 |
GPS information as part of the xf, or the
metadata information.
| | 02:39 |
So let's take a look at how we can add
some of our own locations, and add images
| | 02:42 |
to those locations.
And let's do that in the next movie.
| | 02:46 |
| | Collapse this transcript |
| Tagging images with locations| 00:00 |
Now that we know a little bit about the
Map module, next let's take a look at how
| | 00:03 |
we can add specific photographs to certain
locations on the Map.
| | 00:09 |
In order to do that, typically what you
want to do is select a folder or maybe a
| | 00:12 |
collection of images, and here I've
selected the folder Travel.
| | 00:16 |
Next, we'll navigate to the Map module by
clicking on the Map module button picker
| | 00:20 |
which located right here.
Well this first image was captured in
| | 00:24 |
Santa Barbara California.
If Santa Barbara isn't visible, you can
| | 00:27 |
actually do a search.
So here I'll go ahead and search for Santa Barbara.
| | 00:31 |
And I'll type that out, comma ca and then
press Enter or Return.
| | 00:35 |
This will zoom out and show me Santa
Barbara.
| | 00:37 |
From here what I can do is click and drag
around.
| | 00:40 |
And I want to zoom into a certain area
where this image was captured.
| | 00:44 |
So, I'll pan over to this area here, and
then I'll double click to zoom in.
| | 00:48 |
And I'll keep double clicking until I can
get close enough to really identify the
| | 00:51 |
exact location where I captured this
image.
| | 00:55 |
It's right here, right at this little surf
spot, which is called Campus Point.
| | 00:59 |
Next, we can select an image like this one
here and then just Drag and Drop.
| | 01:04 |
In doing that, we can add this image to
this particular location.
| | 01:08 |
This information will now be part of the
metadata for this particular file.
| | 01:12 |
We can add other images, as well.
While I'm zoomed in here, I'm going to go
| | 01:16 |
ahead and click and drag to the right.
Because there's another photograph that I
| | 01:19 |
captured not too far away from here, so
I'll go ahead and drag over just a little
| | 01:22 |
bit, and then I'll find that photograph.
And then drag and drop that one to this
| | 01:27 |
location right here.
And doing this you can see that you can
| | 01:31 |
add single images to certain locations.
Now if we press the minus icon to zoom out
| | 01:35 |
we'll be able to see both of these
photographs.
| | 01:38 |
And in this way you can see that we now
have both of these images or both of these
| | 01:42 |
tagged with this various locations.
To view those images, to filter the view I
| | 01:47 |
should say and to see those in the films
that are below, just click on Visible On Map.
| | 01:52 |
If we want to see all of the images that,
which are tagged we can then click on this
| | 01:55 |
item here.
And what it will do is it will highlight
| | 01:58 |
the photographs inside of this field here
which have GPS information as you can see
| | 02:02 |
here with these pictures.
All right, let's go ahead and click none.
| | 02:07 |
So far we looked at how we can add a
single image to a certain area but what
| | 02:11 |
about a group of photographs.
Like these pictures here, they were all
| | 02:16 |
captured in Sayulita, Mexico.
Well, I want to add all of these images to
| | 02:20 |
one area.
To do that again, click into the Search
| | 02:23 |
field, and then go ahead and type out the
search.
| | 02:26 |
It's Sayulita, which is Sayulita, Mexico,
and then press Enter or Return.
| | 02:33 |
This will then zoom us into this town here
in Mexico and I want to add a group of
| | 02:38 |
images to this area.
To do that click on the first image, hold
| | 02:43 |
down the Shift key, then click on the last
image in the set.
| | 02:48 |
And then drag and drop those photographs
to the area.
| | 02:51 |
In this case in this town, where all of
these images were captured.
| | 02:54 |
Then if we click on this little area, we
can see that these are the photographs
| | 02:57 |
that were captured in that location.
And in this way, you can start to see how
| | 03:01 |
having this information that can help you
to manage and organize your photographs.
| | 03:06 |
And sometimes you may use this information
just for the fun of it, or just to
| | 03:09 |
remember a certain location.
Other times it might be helpful to know
| | 03:13 |
exactly where you captured a photograph so
you can then, revisit that location and
| | 03:17 |
capture other images there as well.
| | 03:20 |
| | Collapse this transcript |
| Creating saved locations| 00:00 |
Next I want to take a look at how we can
create what or called saved locations in
| | 00:04 |
the map module.
Save locations are helpful, because they
| | 00:07 |
allow you to save locations for your
files.
| | 00:10 |
And then add your images to larger more
general areas.
| | 00:14 |
So here we are in the exercise files
folders.
| | 00:17 |
And I have some images which I captured in
one of my other training courses.
| | 00:20 |
These images were all captured on the
Brooklyn Bridge.
| | 00:23 |
It was a course on portraiture and I
want to add these images to a saved
| | 00:26 |
location which is the Brooklyn Bridge.
To do that, let's navigate to the map module.
| | 00:32 |
Here on the map module we first need to do
a search for our location, so go ahead and
| | 00:36 |
do a search for the Brooklyn Bridge, New
York.
| | 00:39 |
This will then take us to that area, and
we'll zoom in a little bit on that.
| | 00:43 |
And let's create our first saved location.
To do that, click on the plus icon right
| | 00:48 |
here, and let's name this one the Brooklyn
Bridge.
| | 00:52 |
An then we'll go ahead and, press Create.
In doing that, that will then allow us to
| | 00:56 |
create this area here.
And the radius of this circle is the area
| | 01:00 |
which we can save out as our location.
This is actually saving a bit of Manhattan
| | 01:05 |
and also Brooklyn.
I only want it to be the Brooklyn Bridge.
| | 01:09 |
So, position the cursor over that little
circle on the outer edge and make this
| | 01:12 |
smaller, or position the cursor over the
center circle and click and drag this
| | 01:16 |
around so that it's just covering up the
area that you want to work on.
| | 01:21 |
In this case, the area which is the
bridge.
| | 01:24 |
Now these photographs were captured in
different spots on the bridge.
| | 01:27 |
The first three, I'll select, click on
one, hold down the Shift key and click on
| | 01:30 |
another, and then drag and drop to this
area here.
| | 01:34 |
Now because I dragged and dropped inside
of this, or because the circle encompasses
| | 01:38 |
those images, they're now part of my saved
location.
| | 01:43 |
Next, we'll work on the other photographs.
Click on one, hold down the Shift key,
| | 01:46 |
then click on another, then drag and drop,
and that will then save those to this part
| | 01:50 |
of the bridge here where those were
captured.
| | 01:54 |
And again, they're all part of this save
location.
| | 01:57 |
Now, if ever you move this save location
off to another area, for example, if
| | 02:00 |
you're working with this.
And you go ahead and click and drag this a
| | 02:04 |
little bit off to the side.
You can see how these images are no longer
| | 02:07 |
part of the save location.
To bring that back just relocate that.
| | 02:11 |
Just make sure that that circle is
covering up those added images there.
| | 02:15 |
And this will then be part of this
location.
| | 02:18 |
And the advantage of having a save
location is that you can then quickly
| | 02:21 |
access those images.
If you capture more images in this area,
| | 02:25 |
well then you can just click on the save
location arrow icon, and it will quickly
| | 02:29 |
jump to that location here in the map
module.
| | 02:33 |
All right?
Well, let's create one more save location.
| | 02:36 |
To do that, we'll go ahead and scroll all
the way to the left here, to view some
| | 02:40 |
images at the top of our image pile here,
so to speak.
| | 02:44 |
These two photographs were captured in a
town which is called Independence.
| | 02:48 |
Or I should say outside of that town.
In a valley which is called Onion Valley,
| | 02:52 |
on the eastern Sierras.
So here let's go ahead and do a search for
| | 02:57 |
Independence, California.
This'll then take us to that location.
| | 03:01 |
To zoom in, I'm going to double-click.
In double-clicking this will allow us to
| | 03:05 |
quickly zoom in to this spot here.
And as this is zooming in, one of the
| | 03:09 |
things that I'm noticing is it actually
didn't get that location quite right.
| | 03:13 |
The location is a little bit more overe
here.
| | 03:15 |
So I'm going to go ahead and double click
in, until I can get to Independence.
| | 03:19 |
Well, here you can see, we have
Independence.
| | 03:22 |
In this case, what we're going to do is
add these images to Onion Valley.
| | 03:26 |
So here, I'll go ahead and zoom into Onion
Valley.
| | 03:28 |
It's quite a name for a beautiful
location, or quite a funny name, I should say.
| | 03:32 |
It's an amazing spot.
This was a snow camping trip.
| | 03:35 |
Here I want to create a new location so
I'll click on the plus icon and name this
| | 03:38 |
one Onion Valley.
Next click Create.
| | 03:43 |
And again, when you're working with these
it doesn't really matter where you're
| | 03:46 |
creating these.
Again I'm just choosing some for demo purposes.
| | 03:49 |
So obviously select or search for
locations which are relevant to your photograph.
| | 03:54 |
Next, this image was captured right about
here.
| | 03:57 |
So I'll go ahead and drag and drop that
one to that spot.
| | 04:00 |
And this photograph was captured a little
bit higher up here in the Sierras, right
| | 04:03 |
about here.
Well now I have these two images which are
| | 04:06 |
part of this saved location.
So again, the great thing about this is we
| | 04:11 |
can then navigate to these saved
locations.
| | 04:14 |
If we want to go back to New York.
We'll just click on this little arrow icon.
| | 04:17 |
And what that will do is take us back to
this saved location.
| | 04:20 |
So we can then find those images view and
access those, or do whatever we need to do.
| | 04:25 |
We could also add other images to these
saved locations, and by doing this you can
| | 04:29 |
recall or remember where you captured
certain files.
| | 04:33 |
And it also gives you just yet another
unique way to manage or group or organize
| | 04:37 |
your images together.
| | 04:40 |
| | Collapse this transcript |
|
|
5. Processing Images in the Library ModuleUsing Quick Develop| 00:00 |
In this movie, we'll talk about how we can
begin to work with the quick develop panel
| | 00:04 |
here in the library module.
We'll be working with this folder of images.
| | 00:08 |
It's titled wedding.
We'll start off with this picture, which
| | 00:11 |
is wedding-5.
This is a photograph that I captured at a wedding.
| | 00:15 |
And this is the raw file as it appeared
straight out of the camera.
| | 00:18 |
And if we want to modify the way the image
looks in the library module, we can
| | 00:21 |
navigate to the quick develop panel go
ahead and click on its name.
| | 00:26 |
We have a few different controls that we
can use which allow us to change the color
| | 00:29 |
the exposure the contrast etc.
Let's start off here at the top.
| | 00:34 |
The first option allows us to work with
presets.
| | 00:37 |
Now, I'll talk more about presets in a
subsequent movie.
| | 00:39 |
So for now, let's go ahead and skip ahead
to white balance.
| | 00:43 |
White balance allows us to control the
overall color of the image.
| | 00:46 |
And we can change the color in the
photograph by clicking on this pull down
| | 00:49 |
menu here.
Here, you'll notice we have a number of
| | 00:52 |
different options.
You know each different type of light or
| | 00:55 |
each different light source, it creates a
different color.
| | 00:58 |
That's why if you chose an option, say for
example, like cloudy, what it will do is
| | 01:02 |
actually warm up the image because when
it's cloudy typically the color
| | 01:05 |
temperature is a bit cooler.
So here you can select one of these options.
| | 01:11 |
Let's go ahead and try out cloudy.
What you will see is here it will warm up
| | 01:14 |
the image pretty significantly.
Now if ever you want to reset the white
| | 01:18 |
balance to the default setting, well
that's easy to do.
| | 01:21 |
Just click on this pull down menu.
And then select As Shot.
| | 01:24 |
In doing it, it will take this back to the
default color for the photograph.
| | 01:28 |
If you want to further customize the
color, you can work with the temperature
| | 01:31 |
and tint controls.
Notice that there are two different buttons.
| | 01:35 |
There's a button with one arrow, and then
a button with two arrows.
| | 01:38 |
Now, the button with two arrows allows us
to make adjustments more dramatically.
| | 01:42 |
The buttons with one arrow, well, that
allows us to make adjustments in smaller increments.
| | 01:47 |
Let me show you what I mean.
Well, a temperature, if we click on the
| | 01:50 |
buttons to the right, this will allow us
to warm up the image.
| | 01:53 |
And here you can see it's making pretty
dramatic changes to the photograph.
| | 01:56 |
If we click on the buttons on the left,
well we can then cool off the overall
| | 01:59 |
color temperature, and in doing this we're
making pretty big leaps, pretty strong
| | 02:03 |
changes to the overall color.
If we want to make smaller, more subtle
| | 02:08 |
adjustments we can click on the buttons
that just have one arrow.
| | 02:12 |
In this case you can see I'm just subtly
nudging the color temperature, making it a
| | 02:16 |
little bit warmer each time I click.
All right, well, what about tint?
| | 02:21 |
We'll click on the buttons on the right.
The image will become more magenta.
| | 02:24 |
Click on the buttons on the left and the
image will become more green.
| | 02:28 |
And here you can see how we can make some
pretty interesting and dramatic
| | 02:30 |
adjustments to the overall color.
And in this case, I'm just clicking away
| | 02:34 |
in order to demonstrate how these controls
work.
| | 02:37 |
And I've gotten to a point where the image
looks horrible.
| | 02:40 |
So what I want to do is reset everything
to the default settings.
| | 02:44 |
To do that in quick develop, it's really
easy.
| | 02:45 |
Just go down to the bottom of the panel,
and click on reset all.
| | 02:49 |
And that will then reset all of those
settings to their default settings.
| | 02:52 |
Alright, well, next, we have an area which
allows us to work with tone.
| | 02:55 |
You'll notice that there's a button which
is called autotone.
| | 02:59 |
With certain images, autotone will work
incredibly well.
| | 03:02 |
With other images like with this one here,
I don't think the results will work out
| | 03:05 |
very well.
We can click on this in order to see the results.
| | 03:09 |
And here, it did correct the overall
exposure, so that the sky wasn't as over-exposed.
| | 03:14 |
But the subject of this image, which was
back lit by the sun, is now under-exposed.
| | 03:19 |
So, I don't really like this.
So here, I'll go ahead and click on reset
| | 03:22 |
in order to reset that to the default
settings.
| | 03:26 |
That being said, autotone in certain
situations does work well, you'll just
| | 03:29 |
want to experiment a little bit with it.
Next, we have some controls which allow us
| | 03:34 |
to affect exposure or clarity or vibrance,
or, if we want access to more controls,
| | 03:37 |
click on this little arrow icon and what
we'll encounter is that we have all of the
| | 03:41 |
same exact controls that we'll discover in
the develop module.
| | 03:46 |
In the develop module though, we have
sliders which allow us to really make
| | 03:50 |
specific adjustments.
Here in quick development we simply have
| | 03:53 |
these buttons.
So if you want to increase exposure we can
| | 03:56 |
click on one of those buttons.
If we want to recover highlights we can
| | 03:59 |
click on one of the buttons to the left.
In this case the buttons to the left
| | 04:03 |
reduce, all of the buttons to the right
increase the value for whatever it is that
| | 04:06 |
we want to adjust.
Now you may be wondering, well, why is it
| | 04:10 |
that one would want tp work in quick
develop versus the develop module?
| | 04:14 |
Because a develop module allows you to
work with more precision.
| | 04:17 |
Well you may want to work here just to
subtly modify an image, or there are some
| | 04:20 |
other situations as well that we'll talk
about in one of the later movies.
| | 04:24 |
Yet for the most part you'll want to do
most of your work in the develop module
| | 04:28 |
rather than in quick develop.
That being said, there may be situations
| | 04:32 |
where you just want to nudge things around
a little bit and you can do that by
| | 04:35 |
accessing these quick develop controls
here.
| | 04:38 |
| | Collapse this transcript |
| Synchronizing settings| 00:00 |
One of the reasons why you might want to
use Quick Develop is in order to modify
| | 00:03 |
one photograph and then apply those
settings to other photographs as well.
| | 00:09 |
So here, let's take a look at how we can
synchronize settings across multiple
| | 00:12 |
files, we'll look at a couple of different
ways that we can do that.
| | 00:15 |
And I also want to highight how we can
start to work with presets.
| | 00:19 |
Let's begin with this picture here.
With this picture I want to increase the
| | 00:22 |
color temperature, I also want to add some
clarity and vibrance to it so we'll begin
| | 00:25 |
by clicking on the single buttons for
temperature.
| | 00:29 |
Here we'll click a few times, maybe once
or twice.
| | 00:32 |
I think once is actually good enough, then
we'll increase the clarity, go ahead and
| | 00:35 |
click on that a few times and click on
Vibrance a couple of times as well.
| | 00:39 |
After we've made those adjustments, here
what I also want to do is work on
| | 00:42 |
saturation and sharpness.
To access those controls, rather than
| | 00:46 |
clicking on this icon here to show all of
the options, what you can do is leave this
| | 00:49 |
in the collapsed view, then hold down the
Option key on a Mac or alt on Windows.
| | 00:56 |
Notice how it changes clarity to
sharpening and vibrance to saturation when
| | 00:59 |
you press down that key.
Again that's Option on a Mac, or Alt on Windows.
| | 01:03 |
Well now when you hold down that key and
then click on these arrows a few times you
| | 01:07 |
can sharpen the image or you can add some
color saturation.
| | 01:11 |
Alright great, so far so good.
We've processed this image.
| | 01:15 |
Next, I want to synchronize these settings
to a few other photographs.
| | 01:18 |
To do that, hold down Cmd on a Mac and
Ctrl on Windows, and then click on the
| | 01:22 |
other images you want to work on in the
filmstrip.
| | 01:26 |
Here, I'm going to apply these settings to
these two other images which were captured
| | 01:29 |
in a similar setting and a similar
lighting situation.
| | 01:33 |
Next, I'll click on Synced settings and
this will open up our Synchronized
| | 01:36 |
settings dialog.
Now, you can choose to synchronize
| | 01:39 |
specific areas like the Color Treatment or
the White Balance or you can synchronize everything.
| | 01:44 |
That's what I want to do.
So click on Check All and then click on
| | 01:46 |
the Synchronize button.
This will then synchronize these settings
| | 01:50 |
across these three photographs.
And in this way, obviously, we can quickly
| | 01:54 |
process multiple images at once.
Well, another way that you might want to
| | 01:58 |
work with synchronize is, perhaps, what
you might want to do is use what's called auto-sync.
| | 02:03 |
If you flip this little toggle switch
right here, what it will do is it will
| | 02:06 |
enter into auto sync.
So if we make an adjustment, for example,
| | 02:10 |
with color temperature.
Here, I'll click on the double arrow icon.
| | 02:13 |
That will affect all three of these
photographs.
| | 02:16 |
And when I'm working on multiple pictures,
sometimes, what I like to do is to have
| | 02:19 |
them visible.
One easy way to do that is to press the
| | 02:23 |
End key or to click on this icon which
allows us to enter into Survey mode.
| | 02:28 |
If you need more space for your images you
could always collapse part of the
| | 02:31 |
lightroom interface right.
Here, let's click on the triangle icon
| | 02:34 |
which closes the panels on the left.
When we click on this, it will open up
| | 02:38 |
more space for our photographs.
So now, with Auto Sync turned on as we
| | 02:41 |
make adjustments here, I'll go ahead and
warm these images up.
| | 02:45 |
You can see how it's effecting all of the
photographs and this works with clicking
| | 02:48 |
on the different buttons which we have
here.
| | 02:50 |
It also works with our Presets.
So again, with Auto Sync turned on, what I
| | 02:55 |
want to do is convert these images to
black and white with a certain saved preset.
| | 02:59 |
To access the Presets, click on the Preset
pull-down menu.
| | 03:03 |
Here, we have a number of different
Lightroom Black and White filter presets.
| | 03:08 |
Here, I'll choose one which is a Red
filter.
| | 03:10 |
And in doing that, it's going to apply a
certain type of a black and white conversion.
| | 03:14 |
Well, now that we have that we can see
that we have three images which are black
| | 03:17 |
and white.
If we want to further modify this, we
| | 03:19 |
could increase the clarity or, of course,
we could change the overall exposure if we
| | 03:21 |
want to darken these images up.
And again, this will be applying these
| | 03:25 |
adjustments to all of the photographs
which we've selected here.
| | 03:30 |
After you've worked on those images, what
you may want to do is bring back the panel.
| | 03:34 |
To do so, click on the triangle icon
again.
| | 03:36 |
That will bring back the panels on the
left.
| | 03:38 |
You also may want to exit survey mode.
One easy way to do that is to tap the E
| | 03:43 |
key, which will bring you back into what's
called the Loop View mode of the photograph.
| | 03:49 |
All right, well, there you have it, a
couple of different techniques that you
| | 03:52 |
can use when it comes to working with
Quick Develop in Synchronized settings
| | 03:55 |
across multiple files.
| | 03:57 |
| | Collapse this transcript |
| Making incremental adjustments to images| 00:00 |
In this movie, I want to explain the main
reason why people use quick develop here
| | 00:04 |
in the library module as opposed to
working in the develop module.
| | 00:08 |
And it has to do with working with auto
sync.
| | 00:11 |
When you process multiple images in the
library module, it does something very
| | 00:15 |
different than the Develop module.
In the Develop module, if you select
| | 00:19 |
multiple images and make an adjustment
well it makes an absolute adjustment.
| | 00:23 |
So if you increase exposure say by one
stop, well both images will have the same
| | 00:26 |
exact exposure.
Yet in the library module, it does so
| | 00:31 |
incrementally, relative to the exposure,
or whatever setting it is for that matter,
| | 00:35 |
of that actual image.
Let me try to make this concept a bit more
| | 00:39 |
concrete by showing you what I mean.
Here, with this image I'm going to
| | 00:43 |
decrease the exposure and I'm going to do
this for demo purposes.
| | 00:46 |
Then next, let's select two images.
We'll select the first two here.
| | 00:50 |
Hold down the Cmd key on a Mac, Ctrl key
on Windows to select those two.
| | 00:54 |
Then press the N key or click on this icon
which allows us to enter into survey mode.
| | 00:59 |
And just for a moment, let's focus in on
exposure.
| | 01:02 |
You know, one of the things that can
happen is you can shoot, perhaps at a
| | 01:05 |
wedding or wherever it is.
And you can be shooting in different
| | 01:08 |
lighting scenarios, and your camera
settings.
| | 01:11 |
Perhaps maybe you accidentally set them so
that the exposure was overexposing all of
| | 01:15 |
those images regardless of the lighting
that you were in.
| | 01:19 |
So, what you need to do is then take that
exposure down incrementally in all of the photograms.
| | 01:25 |
Well, you can do that here with auto sync,
you select multiple images, turn auto sync on.
| | 01:30 |
Now, watch what happens when I click on
this exposure value.
| | 01:33 |
Here when I click on one of the arrow
icons to the right, what it will do is it
| | 01:37 |
will increment these relative to the
exposure of the image.
| | 01:41 |
It's almost like this image is on step
five, and this image is on step one.
| | 01:46 |
Then, when I click this button, well, this
image goes up to step six.
| | 01:49 |
And this image goes up to step two.
And it's like they're climbing up these steps.
| | 01:54 |
In contrast, in the Develop module, if we
had two images which look different.
| | 01:59 |
And if we modify the exposure, and I'm
just making this up, this whole step analogy.
| | 02:04 |
We modified it to say step 8, well both
images would go to that particular area or exposure.
| | 02:09 |
In other words, it would make an absolute
adjustment.
| | 02:12 |
Well here, the library module allows us to
make relative, incremental adjustments.
| | 02:17 |
In this way, it kind of respects the
original exposure or whatever setting it
| | 02:21 |
is that we're working on.
It then allows us to quickly solve those
| | 02:24 |
issues where we have variation in our
photographs.
| | 02:28 |
And where we want to make incremental
changes to two or more photographs.
| | 02:32 |
| | Collapse this transcript |
|
|
6. Viewing and Editing VideosPlaying video in Lightroom| 00:00 |
In the next few chapters we'll talk about
how we can start to work with our video
| | 00:03 |
files here inside of LightRoom.
You know, most of our cameras these days
| | 00:07 |
allow us to capture still images and video
files.
| | 00:11 |
And fortunately in LightRoom we can now
import and work with these video files, in
| | 00:14 |
similar ways to working with our still
images.
| | 00:17 |
Yet we can do even more.
Alright, well here you can see I've
| | 00:21 |
selected the video folder.
I'm in the library module and I press the
| | 00:25 |
G key, in order to view these video clips
in the grid view.
| | 00:29 |
You'll notice there's a little overlay,
which shows you the duration of the clip,
| | 00:32 |
and when you position the cursor over the
clip, you can actually scrub back and
| | 00:36 |
forth across it.
Now, it's kind of difficult to see these
| | 00:39 |
clips because they're so small.
In order to increase their size, in the
| | 00:43 |
toolbar in this area, if you click on this
triangle icon, you can choose the option
| | 00:47 |
for thumbnail size.
Then, just drag the slider to the right to
| | 00:51 |
increase the size.
Now, when you have a larger size, now you
| | 00:54 |
can see how you can scrub back and forth
to get a preview of this clip.
| | 00:58 |
Now that being said, you may notice that
that preview's a little bit pixelated.
| | 01:01 |
It's not quite clear.
Well, to have an even better preview, and
| | 01:05 |
to play this back so you can really
evaluate the clip, you want to navigate to
| | 01:08 |
the Loop view.
To do so, press the E key or click on this
| | 01:12 |
icon right here, which allows you to view
a larger preview.
| | 01:16 |
And you'll also notice that there's now a
playback component.
| | 01:19 |
This playback component allows us to scrub
or to play this clip.
| | 01:23 |
Now this is a clip that I captured simply
by leaning my SLR camera against a pole.
| | 01:28 |
And it's looking up at this sculpture,
which moves.
| | 01:30 |
It's located right next to the beach.
And it's just kind of a fun, short little clip.
| | 01:35 |
To evaluate this, what we want to do is
either press the Space Bar key or click on
| | 01:39 |
the Play button in order to play it.
There is some audio that the camera is recording.
| | 01:44 |
Eventually I'm not going to use that, yet
still here, let's go ahead and play and
| | 01:47 |
listen to this clip just for a moment.
Tap the Space Bar key or click on this
| | 01:52 |
triangle icon.
I'll go ahead and do that and be quiet so
| | 01:55 |
that we can watch and listen.
To this clip.
| | 01:57 |
Here goes.
All right, well now that we've seen a
| | 02:00 |
portion of this clip, another way that you
can view or navigate through the clip is
| | 02:04 |
to use this little scrubber right here.
If you click on this what you can do is
| | 02:11 |
you can click and drag to the left or the
right.
| | 02:16 |
(SOUND) In order to scrub forward or
backward through the clip.
| | 02:19 |
If you want an even larger view of the
video clip, just simply click Shift Tab.
| | 02:24 |
When you do that it will minimize the rest
of the LightRoom interface so that you can
| | 02:27 |
view and evaluate the clip in a larger
way.
| | 02:31 |
Press Shift Tab again to bring back the
rest of the interface.
| | 02:34 |
So that then you have a smaller view yet
you have access to all of your panels and controls.
| | 02:39 |
| | Collapse this transcript |
| Trimming a video| 00:00 |
Almost all of the video files that you'll
work with here in Lightroom, will need to
| | 00:03 |
be trimmed.
So, let's take a look at how we can do
| | 00:06 |
that in the Library module.
We'll be working with this file here, so
| | 00:09 |
let's take this to the Loop view.
To do that, press the E key.
| | 00:13 |
Here in the Loop view, we have this
playback component and in the clips that
| | 00:16 |
we'll be working on in this movie, these
were captured of my daughters playing at
| | 00:19 |
the ocean, down at a beach near where we
live.
| | 00:22 |
And what I want to do, is trim away some
of the content that I don't want.
| | 00:26 |
So, here I'm going to play just a few
seconds of this.
| | 00:29 |
We can see my daughter Sophie, there,
jumping in the waves, and then next we'll
| | 00:32 |
see my daughter UNKNOWN trying to ride one
of the waves, with her body board.
| | 00:36 |
So here I'll go ahead and be quiet, so
that we can play and watch a brief section
| | 00:39 |
of this clip.
Here goes.
| | 00:41 |
(SOUND) Alright, well there you have it
some fun down at a local beach and I
| | 00:47 |
captured this video clip with my iPhone, I
was just having some fun.
| | 00:56 |
Yet still, what I want to do, is trim
this, so that I can use a shorter segment
| | 01:00 |
of this particular clip.
To do that, we want to click on the gear icon.
| | 01:05 |
When you click on the gear icon, it will
open up this view which allows us to trim
| | 01:08 |
the content that we have here.
Now, often what you'll want to do, is
| | 01:12 |
minimize the rest of the Lightroom
interface, so you can really focus in on
| | 01:15 |
the task of trimming or editing this clip.
To do that, press Shift Tab, that will
| | 01:21 |
then minimize the rest of the interface
and if you want to get really precise, you
| | 01:24 |
can hover over either edge of the playback
component, notice how the cursor changes,
| | 01:28 |
then click and drag.
In doing this, you can find exactly where
| | 01:33 |
you want this clip to start.
Well next what we want to do, is decide
| | 01:37 |
what we want to work with here.
And what I want to work with, is just when
| | 01:40 |
my daughter Annie here, is catching this
wave.
| | 01:43 |
So, go ahead and scrub back to where this
particular segment begins.
| | 01:46 |
(SOUND) Alright, well now that I found the
spot, say where I want the clip to begin,
| | 01:50 |
next we hover our cursor over this little
icon right here, and click and drag.
| | 01:57 |
In doing that, that will bring this up to
this area where the clip will now begin.
| | 02:01 |
Anything which is grayed out in a sense,
that will be trimmed away.
| | 02:05 |
Yet it's still there, if you make a
mistake you can always go ahead and move
| | 02:08 |
that back, in order to change that area.
Now, next we need to find the end point.
| | 02:13 |
So, again I will scrub to the right.
Alright, that's a pretty fun ending spot.
| | 02:21 |
So, again I'llclick and drag this icon
over to the left, and so here now, I have
| | 02:25 |
a much shorter clip because we've trimmed
off the beginning and also the end of this file.
| | 02:30 |
All right, let's take a look at this, with
one more file.
| | 02:33 |
To do that we'll press Shift Tab, that
will bring up the rest of the interface.
| | 02:37 |
Then I'll click into another clip that I
have here, this one's a little bit longer.
| | 02:41 |
Again, I want to minimize the interface.
Do you remember the shortcut to do that?
| | 02:45 |
It's Shift Tab.
You want to find your beginning point, and
| | 02:48 |
often what you can do, is you can actually
just hover over this and click and drag to
| | 02:51 |
the right.
In doing that, you can find exactly the
| | 02:54 |
right spot.
So here I'll go ahead and click and drag
| | 02:57 |
to the right just a little bit.
Alright, now there I found the beginning
| | 03:01 |
spot, I'll scrub over, down to here, and
then I'll go ahead and click and drag this
| | 03:05 |
to the left, to trim that.
Now I have a clip that was about 50
| | 03:09 |
seconds, now it's only six seconds.
To bring back the rest of the interface,
| | 03:15 |
press Shift Tab, that will then, bring
back the rest of our light room interface
| | 03:18 |
and here we can see we've taken a long
video clip, we just focused in on one
| | 03:21 |
small area and often what we'll need to do
is exactly what we've done here with our
| | 03:25 |
video files.
In order to get to the good content
| | 03:31 |
because frequently when it comes to
capturing video files, you want to shoot a
| | 03:34 |
little bit before you need it and also,
after you.
| | 03:38 |
This will give you the ability to add
transitions and also to select the part of
| | 03:42 |
the video file which will work best for
your project.
| | 03:46 |
| | Collapse this transcript |
| Editing the color and tone of a video| 00:00 |
In this movie, I want to build upon what
we already know about working with our
| | 00:03 |
video files.
And here we're going to do a few things.
| | 00:06 |
We'll begin by talking about how we can
trim this clip.
| | 00:09 |
Then next we'll take a look at how we can
modify the color and tone of our video
| | 00:12 |
files and then last but not least, we'll
explore how we can work with virtual
| | 00:15 |
copies and presets which will allow us
even more creative flexibility.
| | 00:21 |
When it comes to processing in changing
the look of our video files.
| | 00:25 |
Now, this particular clip is one that I
captured.
| | 00:27 |
It's a short video portrait of a world
famous surfer.
| | 00:29 |
His name is Rob Machado.
And what I want to do first is trim the clip.
| | 00:33 |
To do that, we already know that we can
click on the gear icon here.
| | 00:37 |
And then hover over the edge of the
playback component.
| | 00:40 |
And when you click and drag that, after
hovering over the edge, you can then see
| | 00:43 |
all of the details of the clip a little
bit better.
| | 00:46 |
Now, here, I'll drag this over to the
right till I can find a good starting point.
| | 00:50 |
To make sure that's a good starting point,
what we want to do is drag the playhead
| | 00:53 |
needle to the left.
There is some audio in this short video
| | 00:56 |
clip here, so I'll go ahead and be quiet
and just drag this to the left.
| | 01:01 |
(SOUND) Alright that's a decent starting
point.
| | 01:03 |
We can also click and drag to push this
around a little bit if we want to get it
| | 01:07 |
exactly at the right spot.
To give you a feel for this brief little
| | 01:10 |
clip here I'll go ahead and press the play
button and be quiet so that we can watch this.
| | 01:15 |
Just so you get a feel for the look of
this particular file.
| | 01:18 |
Here it goes.
Alright.
| | 01:25 |
Well, next what I want to do is I want to
customize or change the overall color of this.
| | 01:29 |
To do that, let's go ahead and minimize
this graphic.
| | 01:32 |
We can do so by clicking on the gear icon.
That will then minimize it so we can focus
| | 01:35 |
on the look that we have here.
Now if you navigate to the Quick Develop panel.
| | 01:40 |
If that isn't open, go ahead and click on
that to expand it.
| | 01:43 |
With so many different options that we can
use here.
| | 01:45 |
Now we can simply choose a white balance
option or we can always use our various controls.
| | 01:49 |
Let's go ahead and modify the temperature.
To do that, I'll click on the double
| | 01:52 |
button here, and I'll make this cooler
which in turn will remove some of that
| | 01:56 |
yellow shift that we have In this clip.
To make more subtle adjustments, click on
| | 02:01 |
the button which just has one arrow.
And, in this case, again, I'm just going
| | 02:04 |
to customize this to change the overall
look and feel of this particular clip.
| | 02:08 |
Now, the great thing about this, is it
isn't just applying this to a single frame.
| | 02:12 |
If we scrub this back or forth, let me go
ahead and do that, you can see how this is
| | 02:17 |
being applied to the entire video file.
So, again.
| | 02:22 |
It's being applied everywhere, and this is
true with whatever controls we work with.
| | 02:26 |
If we expand our tone controls, you'll
notice that a few are grayed out.
| | 02:30 |
Well, that's because we can do a lot with
our video files, we just can't do everything.
| | 02:35 |
We can do more with our still images than
we can with video clips, yet still, we can
| | 02:38 |
do quite a bit here.
You can increase the contrast, increase
| | 02:42 |
the exposure, or again whatever it is that
we want to do.
| | 02:45 |
Alright well in this case let's say that
we like the look of this particular clip
| | 02:49 |
but we kind of want to get creative.
you might want to apply say a black and
| | 02:53 |
white conversion as well.
Well to do that, the easiest way to have
| | 02:57 |
some cretive flexibility with video files
or images Is to right click or control
| | 03:00 |
click on the thumbnail that we have here
in the film strip.
| | 03:05 |
When you right click or control click,
this opens up a contextual menu.
| | 03:09 |
In the middle of the menu, select the
option which it reads create virtual copy.
| | 03:14 |
What a virtual copy is is another version
of your video or of your still image which
| | 03:17 |
doesn't take up a lot of file size, so
that you can then process this in a
| | 03:20 |
different way, and just have another
version of what you're working on.
| | 03:26 |
In this case what I want to do is scrub
down the line here a little bit.
| | 03:30 |
(SOUND) Look for a spot where we capture a
bit of this video portrait here and we can
| | 03:33 |
see the subject.
And I want to convert this to black and white.
| | 03:36 |
To do so, we'll make our way back to the
top area of Quick Develop.
| | 03:40 |
If you click on this triangle icon it will
expand what we have here.
| | 03:44 |
We can change the treatment of this from
color to black and white.
| | 03:47 |
In doing that, it will convert this clip
to black and white.
| | 03:50 |
We could also do this, though, by using
our various presets.
| | 03:53 |
If we click on the preset pull down menu,
we could select one of these Lightroom
| | 03:56 |
black and white filter presets.
For example, say we could try the preset
| | 04:01 |
red filter.
This would give us another version of a
| | 04:03 |
black and white conversion.
Now, before I click okay here, let's talk
| | 04:07 |
about this dialogue.
What this dialogue says is that some of
| | 04:10 |
the developed settings are not supported
for video files.
| | 04:14 |
Again, remember we can do some things but
we can't do everything.
| | 04:17 |
Well, that's no big deal.
I'll go ahead and click don't show again.
| | 04:20 |
We don't necessarily need to see that.
Here we'll click okay and it will show us
| | 04:23 |
this particular conversion.
If we don't like this conversion, well, we
| | 04:27 |
can always customize it by using these
controls.
| | 04:30 |
Here we could darken this by clicking on
our whites here.
| | 04:33 |
And we could go ahead and change the
overall exposure.
| | 04:35 |
Or whatever it is that we want to do.
Sometimes what you'll do is start out with
| | 04:38 |
a preset.
Then they'll make fine-tune adjustments by
| | 04:41 |
using these controls Alright.
Well, there you have it.
| | 04:44 |
There are a few ways that we can start to
modify the look of our video files.
| | 04:48 |
And it all revolves around working with
the Quick Develop panel.
| | 04:52 |
And what we can do here is modify or
customize any of these different controls.
| | 04:56 |
And if we want to have some extra creative
flexibility as I talked about what you can
| | 05:00 |
do with still images or with video files
for that matter is right-click or
| | 05:03 |
control-click on the file, and then choose
'Create virtual copy'.
| | 05:08 |
When you have a virtual copy, it allows
you to then process this particular image
| | 05:11 |
or video file in another way, which just
gives you some creative options.
| | 05:15 |
Alright, well that wraps our look on how
we can customize our video files using QuickDevelop.
| | 05:21 |
| | Collapse this transcript |
| Setting the poster frame| 00:00 |
As I mentioned in a previous movie in this
chapter, almost all of our video files
| | 00:04 |
will need to be trimmed.
And often we'll have content at the
| | 00:08 |
beginning of the video clip, which isn't
necessarily representational of that
| | 00:12 |
particular clip.
And so what we might want to do is change
| | 00:15 |
what's called the poster frame.
Now the poster frame is a frame which is
| | 00:19 |
viewed here in the filmstrip below.
Or if we click on the icon for the grid
| | 00:22 |
view or press the G key.
That's the frame which we're seeing right here.
| | 00:27 |
Again if we want to customize that,
navigate to the Loop view.
| | 00:30 |
You can do so by clicking on the Loop icon
or by pressing the E key.
| | 00:34 |
Then scrub down the timeline until you
find an area that you think would serve
| | 00:37 |
well as the initial frame.
Here I'll go ahead and scrub to find that
| | 00:41 |
with this file here.
Next, once you've found that, click on
| | 00:44 |
this icon and choose Set Poster Frame.
You'll notice that that will then change
| | 00:49 |
this icon here.
Here I'll go ahead and click and drag to
| | 00:51 |
make this larger so you can see how it's
now starting off with the frame which I
| | 00:54 |
have selected above.
If we go to the Grid view, by pressing the
| | 00:57 |
G key or clicking on the Grid icon, you
can now see that it's showing us that
| | 01:00 |
particular frame there.
This is even more helpful when you have a
| | 01:04 |
clip like this and when you have a lot of
clips.
| | 01:08 |
In this particular clip here, we can't
really see what's happening.
| | 01:12 |
So what I want to do, is press the E key
or click on the Loop icon and scrub down
| | 01:15 |
til I have an area where I have some good
action.
| | 01:18 |
In this case, my daughter Annie here
smiling after she just caught the wave.
| | 01:23 |
By using this as the poster frame, it will
help me to more easily actually find this
| | 01:26 |
video file.
Because eventually, you'll have a lot of
| | 01:30 |
thumbnails and it will be really hard to
determine which video clips you want to
| | 01:33 |
work with.
And by determining or setting the poster
| | 01:36 |
frame, it can help you define those clips
much more easily.
| | 01:39 |
So again, scrub to the area.
Click on this icon, choose Set Poster Frame.
| | 01:44 |
That will then update the thumbnail which
we have in the film strip.
| | 01:48 |
It will also update the thumbnail which we
have here in the grid view inside of the
| | 01:51 |
library module.
| | 01:53 |
| | Collapse this transcript |
| Capturing a still image from a video| 00:00 |
Here I want to take a look at how we can
extract or capture frames from our video files.
| | 00:05 |
We'll begin by looking at, or working with
this particular clip here.
| | 00:08 |
What you want to do is you want to scrum
down until you find a place in the clip
| | 00:11 |
which you think will work well.
I'll go ahead and scrub around here until
| | 00:15 |
I find just the right spot.
Actually, I think that looks pretty good.
| | 00:18 |
I got a little bit lucky there.
This looks sharp.
| | 00:20 |
Well, we can turn this particular frame
into a still image really easily.
| | 00:25 |
To do so, just click on this icon here.
Then choose the top option, which is
| | 00:29 |
Capture Frame.
You' ll notice that when you do that, a
| | 00:32 |
still image will appear in the filmstrip
below.
| | 00:35 |
Now when you click on that still image.
You'll notice that this particular file,
| | 00:39 |
it will have all of the characteristics of
the video clip.
| | 00:42 |
The same color, and tone, and look and
feel.
| | 00:44 |
Yet it will be simply a still image.
Now what's great about this, is that we
| | 00:48 |
can then use these files in some pretty
creative ways.
| | 00:52 |
The resolution of course will be dependent
upon the way that, that file was captured.
| | 00:56 |
Well here, for example, if we click to
zoom on this.
| | 00:59 |
Here I'll go ahead and zoom in to a one to
one view.
| | 01:02 |
You can see that I have pretty good
detail, although it isn't completely tack sharp.
| | 01:06 |
Well that's because I was hand holding
this.
| | 01:08 |
Yet it's a pretty good file.
And we could even create a decent sized
| | 01:11 |
print of this image.
Now if you capture video clips, and
| | 01:15 |
they're a little bit more clean, for
example, like with this one here, what we
| | 01:18 |
can do is go ahead and scroll down (SOUND)
until we find a nice segment.
| | 01:22 |
I'll go ahead (SOUND) and do that quickly,
let's say right here in one of these moments.
| | 01:27 |
Next what you can do is click on this icon
and then choose Capture Frame.
| | 01:32 |
Again, this allows you to create a still
image out of that.
| | 01:34 |
In this case it's a JPEG file, as you can
see here from that particular moment.
| | 01:39 |
This allows us to start to think about
video in a completely different way.
| | 01:44 |
And you know sometimes we may just need to
have some still frames that we want to
| | 01:47 |
post on Facebook or a blog, or whatever it
is.
| | 01:50 |
In other situations we may want to work
with these images in the develop module in
| | 01:53 |
order to process them, and then to create
prints or to do something else.
| | 01:57 |
Either way what this allows us to do is to
expand the way that we start to work with
| | 02:01 |
our video files.
Because now, of course, we can work with
| | 02:05 |
those video files as videos but we can
also capture or extract single frames.
| | 02:11 |
| | Collapse this transcript |
|
|
7. Exporting and Publishing VideosExporting to a hard drive| 00:00 |
Once you're ready to export your video
file from Lightroom, the process is
| | 00:04 |
actually pretty easy.
All that you need to do is to select the file.
| | 00:08 |
In this case, I've clicked on this file
here.
| | 00:11 |
And then next click on the Export button,
which is located in the lower left-hand
| | 00:14 |
area of the library module.
Or you can also navigate to the File pull
| | 00:18 |
down menu, then select Export.
Either way, when you click on the button
| | 00:23 |
or this menu item, it will launch our
Export dialogue.
| | 00:26 |
Let's go ahead and take a look at some of
the settings that we want to consider
| | 00:29 |
here, beginning at top.
First, you want to define a location.
| | 00:33 |
You want to export this so you can burn it
to CD or DVD or just save it to a hard drive.
| | 00:38 |
In my case, I want to save this file to my
local hard drive.
| | 00:41 |
So I'll select that option there.
Then we can determine or define a location.
| | 00:45 |
Here I'll save this to the desktop, but I
want to put it in a subfolder, and I'll
| | 00:48 |
title that Subfolder Video.
Next, we have some options when it comes
| | 00:52 |
to file naming.
Here I'll choose a custom name.
| | 00:55 |
The name that I'm going to name this file
is Rob, because that's the name of the
| | 00:58 |
subject in this video clip.
Then our next area where we have some
| | 01:03 |
options is titled Video.
The most common video format that you'll
| | 01:07 |
be using is this h.264.
It allows you to compress the file in a
| | 01:11 |
really high quality way.
And there you can see you have some
| | 01:15 |
quality settings.
Now that being said, if you want to work
| | 01:18 |
with these video clips, say in a program
like Adobe Premier, what you can do is
| | 01:21 |
choose this DPX option, which allows you
to then have a higher quality file, which
| | 01:24 |
is suitable for working with in Premier or
After Effects.
| | 01:29 |
You can also of course, choose the
original, unedited file.
| | 01:32 |
Alright, well here I'm going to use h.264
and then I want to take my quality setting down.
| | 01:37 |
Notice that the quality is currently on
max and it's showing me the particular
| | 01:40 |
size and the frame rate.
And in this case, if we change this, it
| | 01:44 |
will then change my overall size or my
frame rate.
| | 01:47 |
As I drop the quality lower, you're
going to see how it's going to customize
| | 01:50 |
this, sometimes just reducing the overall
quality or sometimes also, reducing the dimensions.
| | 01:56 |
In this case, it's telling me that this
medium size is suitable for web sharing or
| | 01:59 |
higher end tablets.
Well that's what I want to do, so I'm
| | 02:03 |
going to choose this option here.
Alright, well next I'm going to go down to
| | 02:06 |
my final option, which is Post-Processing
here.
| | 02:10 |
And in this case, I'm going to choose to
Show this in the Finder after this export
| | 02:13 |
has been complete.
And the reason why this is our final
| | 02:17 |
option is because these other options here
aren't relevant to working with video files.
| | 02:22 |
In other words, we can't sharpen those
video files or other things as well.
| | 02:25 |
So in most cases, we'll skip these areas
and jump right down to post-processing.
| | 02:30 |
All right.
Well, after you've dialed in those
| | 02:32 |
settings, the next step is to simply click
Export.
| | 02:35 |
What will happen here, is that Lightroom
will go through the process of applying
| | 02:39 |
any settings that we've applied here
inside of Lightroom.
| | 02:43 |
For example, I customized the color and
the tone, and the contrast.
| | 02:46 |
It will then go through and take a look at
this file.
| | 02:48 |
It will export in this case a .mp4 file.
You can see this file here is now saved in
| | 02:53 |
this particular folder.
We can double-click this file if we want
| | 02:57 |
to play it back.
This will then open up the file in our
| | 02:59 |
default video player.
In this case, it will be Quicktime because
| | 03:03 |
I'm on a Mac.
I'm going to go ahead and view this a
| | 03:05 |
little bit smaller, so I'll click on the
View pull down menu and then select
| | 03:08 |
Decrease Size just so we can see this a
little bit better.
| | 03:12 |
Then I'll press Play so we can kick back
and watch this.
| | 03:15 |
Here goes.
We'll just watch a few seconds of it.
| | 03:18 |
(MUSIC).
All right.
| | 03:23 |
Well, there you have it.
There's how we can take one of our video
| | 03:26 |
files and then export it from Lightroom.
| | 03:29 |
| | Collapse this transcript |
| Publishing to a hard drive| 00:00 |
Another way that you can export your video
files out of Lightroom is by taking
| | 00:04 |
advantage of the Publish Services panel.
You'll find this panel on the left hand
| | 00:08 |
side of the Library Module.
Let's take a look at how we can publish or
| | 00:12 |
export some of our video files to a
particular folder.
| | 00:15 |
So here we'll go ahead and click to expand
the publish services folder.
| | 00:19 |
You'll notice that our first option is
hard drive.
| | 00:21 |
What you can do is click on this setup
here, this little button.
| | 00:24 |
When you click on that, it'll open up our
Lightroom publishing manager.
| | 00:28 |
You can think of publishing as similar to
export.
| | 00:31 |
Yet it's just exporting with a little bit
of built in memory, as you'll see here in
| | 00:35 |
just a moment.
This is helpful especially when you're
| | 00:38 |
working with a lot of different files.
So here let's go ahead and set up a
| | 00:42 |
particular location.
I'm going to name this location video and
| | 00:46 |
then -max.
This is going to be the area where I'll
| | 00:49 |
export and publish these video files where
I have a really high quality setting of maximum.
| | 00:54 |
Next we can define the location so I'll go
ahead and open up my export location.
| | 00:59 |
We'll export these to a specific folder.
In this case to the same folder that we
| | 01:03 |
used before.
I'll name this video.
| | 01:05 |
This will save these files to this
location.
| | 01:08 |
We'll leave the file name as it is.
For the video settings though, what I
| | 01:11 |
want to do is include the video files.
Format h.264, leave the quality setting on maximum.
| | 01:18 |
In doing this again, it's just going to
remember all of these values.
| | 01:21 |
As you'll just see here in a second.
Next, I'll go ahead and scroll down and
| | 01:24 |
see if there's anything else that we need
to do here, again all of these are more
| | 01:27 |
relevant to working with still images so
there's nothing to do with these fields.
| | 01:33 |
Next, what we need to do is to simply
click Save.
| | 01:35 |
Now when we do that, all that we've
essentially done is set up this particular
| | 01:39 |
publish area.
We've essentially just saved those export settings.
| | 01:44 |
Now, if we actually want to publish and
export a video file, you have to select it
| | 01:47 |
and then drag and drop it into that area.
So, we'll go ahead and do that by
| | 01:52 |
navigating to the Grid view.
Here in the Grid view, you can see I have
| | 01:55 |
this video clip.
I'll drag and drop this into this Publish
| | 01:58 |
Services, and currently, if I click on
this, you'll see that I have one video
| | 02:01 |
file that I need to publish.
Back to the Grid view.
| | 02:06 |
If we want to publish some more, what we
can then do is go back there.
| | 02:09 |
Or actually let's go back to our folder,
which is videos here.
| | 02:12 |
And I'll go ahead and select another video
file that I want to publish.
| | 02:15 |
This one here.
And I'll drag and drop that to this area.
| | 02:18 |
So just a way to sort of tuck away these
video files that you know you want to
| | 02:21 |
publish At one point.
Because exporting video files, especially
| | 02:25 |
if they're longer than five or eight
seconds, like mine here, will take a lot
| | 02:29 |
of time.
Often, what you'll want to do is have
| | 02:32 |
these published here by this publish
services in this sub-folder, so to speak.
| | 02:37 |
And then near the end of the day, or when
you have a break, go ahead and click on that.
| | 02:41 |
And then in order to publish these files
all that you need to do is to click on the
| | 02:44 |
publish button which is located in this
area.
| | 02:47 |
So here if I want to export these two
files with those settings.
| | 02:51 |
Based on the settings that we set up for
this particular field, we can then click
| | 02:54 |
on the publish button.
And what this will do is behind the scenes
| | 02:58 |
it will take these files.
Apply any settings which we've applied
| | 03:01 |
here in Lightroom.
And then create those video files so that
| | 03:04 |
we could then use them in other locations.
I should also point out while this is
| | 03:09 |
exporting, that we can have a number of
different publish services, so you can
| | 03:12 |
have multiple publish services.
In other words you can have different
| | 03:17 |
publish services so that you can publish
these to different folders on different
| | 03:19 |
hard drives as well.
Alright, well let's go ahead and wait for
| | 03:23 |
this process to be complete.
Then, once this is complete.
| | 03:26 |
What we'll do is we'll open up that finder
window in order to take a look at these files.
| | 03:31 |
Now that this process is complete, it's
telling us that these two video clips have
| | 03:35 |
been published.
This is great, because this is helpful.
| | 03:38 |
So that you don't republish those
unnecessarily.
| | 03:41 |
And then next, what I want to do is open
up the finder window.
| | 03:44 |
Where these file exist and here we can see
if we drag this down a little bit, we have
| | 03:47 |
the file which we created in the last
movie.
| | 03:50 |
Then we also have these two new movies
which we've created and which we've
| | 03:54 |
exported from this particular location by
taking advantage of setting up a publish
| | 03:58 |
services which publishes or exports these
files to a particular location on a hard drive.
| | 04:05 |
Now there also are some other publish
services as well for example we can
| | 04:09 |
publish video files to places like
Facebook as well.
| | 04:12 |
So let's take a look at how we can work
with the other Publish Service and let's
| | 04:15 |
do that in the next movie.
| | 04:18 |
| | Collapse this transcript |
| Publishing video to Facebook| 00:00 |
When you're interested in sharing your
still images or your video files in other
| | 00:04 |
areas, like Behance, Facebook, or Flicker,
you can take advantage of some of the
| | 00:07 |
published services which have some built
in connections to these particular places.
| | 00:14 |
For example, let's say with this video
file, if I want to share this on Facebook
| | 00:17 |
what you can do is simply navigate to the
publisher services panel.
| | 00:21 |
Go on that to expand it, and then click on
the Facebook area, and click on the option
| | 00:25 |
for setup.
This will open up our Lightroom Publishing Manager.
| | 00:30 |
And in this case what we need to do is to
go through then entire process unit here.
| | 00:34 |
I'll go ahead and name this one.
I'll just name this one CO-FB for Facebook.
| | 00:39 |
Next, I need to authorize this so I can
make the connection between Lightroom and Facebook.
| | 00:44 |
And so, then here we'll go ahead and click
on Authorize on Facebook.
| | 00:47 |
And then we'll click OK to agree to these
Terms of Services in order to be able to
| | 00:50 |
make the connection between Lightroom and
Facebook.
| | 00:54 |
And here I've already logged into the
account.
| | 00:56 |
So all that I need to do is click Connect.
Now once you click Connect, you can go
| | 01:00 |
ahead and close your web browser and
navigate back to Lightroom.
| | 01:03 |
And in this case, you'll notice that this
account is authorized.
| | 01:06 |
Then, what we can do is we can define the
location where we want to save the still
| | 01:09 |
image or, in this case, the video file.
I'll just leave this in this particular location.
| | 01:14 |
We can define the title based on IPTC
information or we can also just use the
| | 01:18 |
filename as well.
And we can change the filename.
| | 01:22 |
Here, I'll go ahead and change this to a
custom name, and I'll just name this one
| | 01:25 |
Rob, to create a little bit more of a
simple name.
| | 01:27 |
In regards to the video file, I want to
choose a quality setting which is a little
| | 01:31 |
bit lower.
I'll choose a quality setting of Medium,
| | 01:34 |
which will work well for Facebook.
After we have customized these various
| | 01:38 |
settings, all that we need to do is click
Save.
| | 01:41 |
And, again, remember that the publish
services are just a way to save these
| | 01:45 |
Export settings.
So if we navigate down to the publish
| | 01:48 |
services panel, you can see that we have
this particular folder, we have this
| | 01:51 |
particular location on Facebook where we
can save these files to.
| | 01:56 |
Here, I'll go to the Grid view, so I can
then select the thumbnail for the file
| | 01:59 |
that I want to publish there.
I'll copy that to that location and then
| | 02:02 |
I'll go ahead and click on that.
When you're ready to publish that up to
| | 02:06 |
the world wide web and to publish it on
Facebook, just click Publish.
| | 02:10 |
And what that will do is it will then
apply all of the settings, which we've
| | 02:13 |
applied to this file here in Lightroom.
It will also upload this file onto
| | 02:18 |
Facebook, so that you can then share it
with others via that particular site.
| | 02:23 |
Now, we can also do this with these other
sites as well, and the process is nearly
| | 02:26 |
identical, although the log in is just a
little bit different.
| | 02:31 |
So here let's go ahead and take a look at
how this will appear on Facebook.
| | 02:34 |
And, in this case, you can see that we
have this video file, which is now part of
| | 02:38 |
this particular post.
In this case, we could play this post back
| | 02:41 |
where others could watch this video file.
And you can see how this can be a really
| | 02:46 |
valuable way to take your images or your
video files and be able to get those out
| | 02:49 |
with the world, in this case, by focusing
in on how we can share them on Facebook.
| | 02:55 |
Now, also keep in mind, of course, that we
can share these files in other ways, as
| | 02:58 |
well, working with these various sites,
which are listed here.
| | 03:01 |
Or if you want to find more services you
can always click on this icon here in
| | 03:04 |
order to dig around a bit and define some
more services, where you can share your
| | 03:08 |
content, so that you can get it out there
and share it with the world.
| | 03:13 |
| | Collapse this transcript |
|
|
8. Working with the DNG File FormatWhy use DNG?| 00:00 |
There's a lot of excitement surrounding
Lightroom and how Lightroom is this tool
| | 00:03 |
that we can use in order to raw process
our photographs.
| | 00:07 |
There's also a lot of excitement about how
we can capture raw images when we're using
| | 00:11 |
digital cameras.
Yet sometimes all of this excitement can
| | 00:14 |
be a little bit confusing.
It can be a little bit hard to different
| | 00:18 |
between the hype and also the legitimate
excitement.
| | 00:22 |
And on top of that, when we're working in
RAW, we have these different file formats.
| | 00:27 |
And so what I want to do here is take a
couple of minutes just to deconstruct things.
| | 00:31 |
And I want to do this for a couple of
reasons.
| | 00:33 |
First off, so that we have a good working
understanding of these issues.
| | 00:37 |
And second, so that we can start to
understand what it means to work with
| | 00:40 |
digital negative files.
Okay, well, let's step back for a second
| | 00:44 |
and let's start at the beginning.
Really, if we go to the beginning, there's
| | 00:47 |
two different things we talk about when
we're talking about raw.
| | 00:50 |
The first is, raw capture, that's images
we capture with our cameras.
| | 00:55 |
We can set our cameras to capture images
in a certain format.
| | 00:59 |
The other topic is RAW processing, now
this has to do with software, whether
| | 01:03 |
we're using Adobe Camera RAW or we're
using Lightroom.
| | 01:07 |
So if we go to RAW Capture for a second,
what happens is If we have our camera set
| | 01:11 |
to JPEG, well, it captures the image, and
then it goes through this whole process,
| | 01:15 |
and then generates a JPEG.
In other words, we've lost some of the data.
| | 01:20 |
On the other hand, if we shoot in RAW, we
get the image just straight off the sensor.
| | 01:25 |
And because of this there, again is a lot
of this excitement about RAW.
| | 01:29 |
And you may have heard the common saying
that you should always be shooting the
| | 01:32 |
raw, that you shouldn't shoot in the buff
because you might get arrested.
| | 01:36 |
Raw captures really great because again we
just have all of this data to work with.
| | 01:41 |
All of the information straight off the
sensor without anything interpreting it,
| | 01:45 |
or messing it up, or modifying it.
All right, well what then about raw processing?
| | 01:51 |
Well, raw processing is all about taking
data, and then it's about applying some
| | 01:55 |
sort of set of instructions to that data.
Now, it's interesting about these
| | 02:00 |
instructions is they're just little lines
of text.
| | 02:04 |
They say I want this data be interpreted
in this particular way.
| | 02:07 |
When it comes to Light Room, what happens
is all of those instructions are put
| | 02:11 |
inside of the catalogue.
And the catalogue has all of this information.
| | 02:16 |
Now that information, or those
instructions, they allow us to display the
| | 02:19 |
actual pixels in a different way, like
this image here.
| | 02:23 |
And what's great about this is we can be
flexible.
| | 02:25 |
We can change our mind.
Display the image this way or display the
| | 02:28 |
image this way.
Now, when we're working with raw
| | 02:32 |
processing, we can work with all different
types of file formats.
| | 02:36 |
Whether raw files from the camera, DNG,
PSD, TIFF, JPEG, movie files and on and on.
| | 02:42 |
So what's interesting about raw processing
is it's non-destructive.
| | 02:47 |
In other words we can always change these
little instructions.
| | 02:50 |
This give us flexibility and speed.
There's no need to save the file in the
| | 02:55 |
traditional sense, because again all of
our work, all of our processing, well it's
| | 02:58 |
already just saved by default in these
little instruction files.
| | 03:03 |
And ultimately this helps us to be more
creative, because we can quickly Process
| | 03:08 |
out images in different ways.
This added flexibility really helps us
| | 03:13 |
create more compelling photographs.
All right, well let's jump back to a topic
| | 03:17 |
I just mentioned, which has to do with
this file format issue.
| | 03:21 |
As I mentioned, in Lightroom, we can raw
process RAW files, PSD, JPG, TIFF, movie
| | 03:26 |
files, DNG files But a lot of the hype and
a lot of the excitement is surrounding
| | 03:31 |
this whole concept of the DNG file.
Now why is that and what is that?
| | 03:38 |
What is the DNG?
Well the DNG file is something that Adobe
| | 03:42 |
came up with, it stands for digital
negative, and there are some really clear
| | 03:46 |
cut benefits for using this file format.
Let me walk you through those.
| | 03:52 |
For starters, if you have a DNG file, by
default, the DNG format has what's called
| | 03:57 |
lossless compression.
In other words, it has a smaller file size
| | 04:01 |
without losing any information.
And in a sense, what the DNG file format
| | 04:05 |
is, it's kind of like a container.
You can see this box around this image here.
| | 04:10 |
It's almost like that box which then holds
the image inside of it.
| | 04:14 |
And that box helps us create a little bit
of a smaller file size.
| | 04:18 |
You can also now change this lossy
compression.
| | 04:22 |
We'll talk a little more about that in one
of the subsequent movies.
| | 04:26 |
This allows us to create a smaller file
size and lost information, but some argue
| | 04:30 |
that this is better than say, jpeg
compression.
| | 04:33 |
So again, there's flexibility.
Of course we'll need to.
| | 04:37 |
Deconstruct these two issues a little
more, but for now just know by default,
| | 04:40 |
it's lossless.
What that means is lots of great
| | 04:44 |
information, smaller file size, and for
me, I'm all about that.
| | 04:48 |
The next thing to consider is this.
We can now turn on this option which is
| | 04:52 |
called Fast Load.
What Fast Load allows us to do in
| | 04:56 |
Lightroom is to view and work with these
files up to eight times faster in the
| | 05:00 |
Develop module.
Now this extra added bit of speed, again,
| | 05:04 |
is something that's really welcomed.
Smaller file size, work more quickly.
| | 05:10 |
It's kind of a no-brainer, right?
The othe advantage is that there aren't
| | 05:14 |
Sidecar XMP files.
Let me jump to another slide to explain this.
| | 05:18 |
If we're working with a DNG file, there
isn't another file associated with it even
| | 05:22 |
if we're saving the metadata to that file.
It's all inside of that container.
| | 05:28 |
On the other hand, if we have a RAW file
like this one here, or a JPEG, or TIFF, or
| | 05:31 |
whatever it is, well, it's going to need
to have some sort of a sidecar file.
| | 05:37 |
The sidecar file will be the set of
instructions.
| | 05:40 |
These are two separate or distinct files,
versus with DNG, well, there aren't any
| | 05:44 |
sidecar files at all.
Then the last issue is of archival confidence.
| | 05:51 |
A number of Lightroom users use the DNG
format simply because of this.
| | 05:56 |
This format is open source, meaning anyone
can access the information about it.
| | 06:01 |
And ideally, the hope is that this will
have more archival relevance.
| | 06:06 |
In other words lets say you shoot with a
particular camera, in a certain raw format
| | 06:09 |
and all of a sudden that camera company
stops supporting that format or maybe goes
| | 06:13 |
out of business, or who knows what.
Well then you could run into problems in
| | 06:18 |
the future.
The DNG format on the other hand well it's
| | 06:22 |
supported by Adobe and it's Open source.
So that information about the format.
| | 06:27 |
Well it can never be lost.
It's already out there and anyone can
| | 06:30 |
learn how to access that.
So in other words, people use this DNG
| | 06:33 |
format in the hopes that this will be an
archival type of format.
| | 06:38 |
So, again, in my own work flow, I've
adopted this DNG format completely.
| | 06:42 |
Because of these different reasons.
File size, speed.
| | 06:45 |
No other need for side car files.
And also for confidence of being able to
| | 06:49 |
access and work with these files in the
future.
| | 06:52 |
Now, in your own work flow, you're
going to need to make the decision about
| | 06:55 |
what file format works best for you.
Yet my hope with this movie is that it
| | 06:59 |
gives you a little bit of information.
For starters, it helps you kind of
| | 07:03 |
understand some of the issues surrounding
this whole idea of raw processing and raw capture.
| | 07:09 |
It also helps you start to see about some
of the benefits of DNG and why you may
| | 07:13 |
want to consider using that format.
Alright, well, I hope that this movie's
| | 07:17 |
been helpful.
And now that we have a little bit of a
| | 07:20 |
working understanding of Raw and also of
DNG.
| | 07:23 |
What I want to do in the next couple of
movies, is take a look at a couple of
| | 07:27 |
examples of how we can work with this DNG
format inside of Lightroom.
| | 07:32 |
| | Collapse this transcript |
| Using Fast Load DNG| 00:00 |
Now that we know a little bit about the
benefits of working with the DNG format,
| | 00:03 |
let's take a look at a few preferences.
And also a few techniques that we can use
| | 00:08 |
in order to convert our images to this
particular format.
| | 00:11 |
Now before you actually start to work with
DNG, one of the things you want to do is
| | 00:14 |
navigate to the preferences dialogue.
Here we'll navigate to Lightroom and then
| | 00:19 |
select Preferences.
In doing that, this will open up our
| | 00:22 |
Preferences dialog.
What you want to do is navigate to the
| | 00:25 |
area which is called Final Handling.
When you click on that tab, you have some
| | 00:30 |
options when you covert your images to DNG
upon import.
| | 00:35 |
Now here, what you want to do is typically
leave the default settings on as is.
| | 00:39 |
Yet let me talk through what our options
are here.
| | 00:41 |
In regards to extension, I typically like
to have lowercase extensions, so I choose
| | 00:45 |
the lowercase option.
Although both or either of those options
| | 00:49 |
will work well.
For compatibility, you want to double
| | 00:52 |
check to make sure that you're using the
bottom option here on this list.
| | 00:57 |
This will ensure that you're using the
latest and greatest version of Camera RAW.
| | 01:01 |
Next we have the ability to generate or
render what's called a JPEG preview, this
| | 01:05 |
allows us to see the file more quickly,
and again in most situations the default
| | 01:09 |
setting here of medium size will work
well.
| | 01:13 |
That being said, if you have a really high
resolution monitor you may want to
| | 01:17 |
generate a higher resolution JPEG preview,
yet in most situations for almost all of
| | 01:21 |
us the medium size JPEG preview will work
well.
| | 01:25 |
Next we have the ability to embed fast
load data.
| | 01:29 |
This allows us to view and to work with
our images much more quickly.
| | 01:33 |
So you almost always want to leave this
check box turned on.
| | 01:37 |
Now last, but not least, we have an option
which allows us to embed the original raw
| | 01:41 |
file inside of this quote DNG container.
That will then contain the DNG file, as
| | 01:47 |
well as the original file.
One of the reasons why you might want to
| | 01:51 |
do this is if you want to make sure to
have all of that original data if you're
| | 01:54 |
concerned of getting rid of that or
throwing it away.
| | 01:58 |
The down side of course is that it's
going to increase your overall final size
| | 02:01 |
very significantly.
So on my own workflow, I leave that
| | 02:05 |
check-box turned off.
Alright, well next what we will do is go
| | 02:09 |
ahead and click on the Import button after
having dialed in those settings.
| | 02:13 |
When we import our photographs into
Lightroom, we can choose the option which
| | 02:17 |
allows us to copy as DNG.
When we do that, it will take advantage of
| | 02:21 |
all of those preferences which we've just
defined.
| | 02:24 |
Now, I've already talked about how we can
import and copy as a DNG in another place,
| | 02:27 |
so I'm not going to go through that here.
Yet I simply wanted to highlight the
| | 02:32 |
connections between our preferences, and
also between this dialogue here.
| | 02:36 |
Well let's now go ahead and click Cancel
and take a look at another scenario.
| | 02:41 |
What about the scenario's with this image
here.
| | 02:43 |
This is a native RAW file.
This was the image as it appeared out of
| | 02:47 |
the camera and it's a .CR2 file.
Which is the type of file that my Canon
| | 02:52 |
camera creates.
Well, let's say that I want to convert
| | 02:55 |
this to the DNG format after the fact.
I didn't do this upon import, but now I
| | 02:59 |
want to do this in order to be able to
take advantage of DNG fast load, and the
| | 03:02 |
other things that are good about the DNG
format.
| | 03:07 |
To do that, we'll navigate to the library
pull down menu and then you can select the
| | 03:11 |
menu item which is convert photo to DNG.
Here we'll go ahead and click on that menu item.
| | 03:17 |
And this will launch our convert dialogue.
Now up top we have a few options.
| | 03:21 |
We can only convert the RAW files, and
that's typically what you'll want to do.
| | 03:25 |
You wont necessarily want to convert your
PSD, or TIFF, or JPEG files.
| | 03:30 |
Rather you most often will want to do this
just with the RAW files.
| | 03:33 |
Next you can choose to delete the original
files after successful conversion.
| | 03:38 |
This will help you to maintain a pretty
clean and organized library.
| | 03:42 |
By doing this you'll only have one version
of the file as part of your catalog.
| | 03:46 |
If you leave this option turned off what
will happen is you will have two versions
| | 03:50 |
of the file, one would be the native RAW
file.
| | 03:53 |
The second would be the DNG.
And again, that just tends to get pretty messy.
| | 03:58 |
So if you're going to convert to DNG, I
recommend you commit to the process.
| | 04:02 |
And you turn on this check box, which will
ensure that you'll delete those original files.
| | 04:06 |
So that you'll only have that DNG file.
Now that being said this decision is
| | 04:11 |
completely up to you, so you don't
necessarily have to do that, I'm just
| | 04:14 |
telling you what I do in my own workflow.
Alright well here we have some similar
| | 04:20 |
options that we've seen before.
File extension, I like lowercase,
| | 04:23 |
compatibility, choose the latest and
greatest version of Camera RAW.
| | 04:28 |
JPEG preview medium size, then here we
want to embed fast load data so we can
| | 04:31 |
work more quickly with our files.
We'll talk about lossy compression in the
| | 04:36 |
next movie, so I'll leave that off for
now.
| | 04:39 |
And then also, I'm going to leave off the
option to embed the original RAW file.
| | 04:43 |
I want to get rid of that file and simply
convert this image to that DNG format.
| | 04:48 |
Well to do that we would simply click OK,
and what would happen is it will then take
| | 04:51 |
this file.
It would then save it in the exact same
| | 04:54 |
location and it would save it so that we
could now work with it as a DNG file.
| | 04:59 |
| | Collapse this transcript |
| Saving size with Lossy DNG| 00:00 |
In one of the previous movies, I mentioned
that one of the reasons why people like
| | 00:03 |
the DNG format, is because it allows us to
create a file which is compressed.
| | 00:09 |
Now there are two different types of
compression that we can use with this format.
| | 00:12 |
By default the DNG compression that we use
is called loss-less, in other words, it
| | 00:16 |
creates a smaller file size without losing
any important information.
| | 00:21 |
Yet, we can also convert our files with
what's called lossy compression.
| | 00:26 |
Now, this allows us to get rid of
information, so that we can have a smaller
| | 00:29 |
file size.
Now, why in the world would we want to
| | 00:33 |
have an image which gets rid of
information, so we have a smaller file?
| | 00:37 |
Well, let's take a look at how we can do
that.
| | 00:39 |
And also how this works, and why we'd
want to do that.
| | 00:41 |
By going through a scenario.
The first thing I want to do here is
| | 00:44 |
navigate to this folder which is titled,
Becky.
| | 00:47 |
Here I was standing at graduation, at the
school where I teach, and I looked behind
| | 00:50 |
me and there was this smiling student.
And as I scrolled through these images you
| | 00:54 |
can see that they're all pretty similar.
Yet, let's say that I really like the
| | 00:58 |
first and third image but I'm not so sure
about the second photograph, or maybe it's
| | 01:01 |
the first photograph that I don't like.
Yet I'm not really willing to delete it or
| | 01:07 |
get rid of it.
Well, rather than deleting it, you do have
| | 01:11 |
another option.
What you can do is convert this file to a
| | 01:14 |
lossy DNG format.
What that allows you to do, is to have all
| | 01:18 |
the speed and flexibility of working with
the DNG file format without all the file size.
| | 01:24 |
So before we actually start the conversion
process, and talk about how that works.
| | 01:28 |
Let's take a look at these files in the
finder work explorer window.
| | 01:32 |
Navigate to the thumbnails and then right
click or control click.
| | 01:36 |
Here in this menu, select show in finder
or show in explorer.
| | 01:40 |
The reason why I want to do this, is so
that we can look at what files we actually
| | 01:43 |
have to work with.
In this case we have these three files here.
| | 01:48 |
And they're all right about 18 megabytes.
And again, one of the reasons why we might
| | 01:53 |
want to use lossy DNG is to have a much
smaller file size.
| | 01:57 |
Often, we'll do this with those
photographs, which aren't our top selects.
| | 02:02 |
But we still want to hang on to them,
rather than deleting them completely.
| | 02:06 |
Well here, what we can do is say, convert
this image to what's called a lossy DNG.
| | 02:12 |
Let's look at that process.
We'll go back to Light Room for a moment.
| | 02:16 |
In Light Room, we'll navigate to the
library pull down menu.
| | 02:19 |
Then we'll choose the menu item, which is
convert photo to DNG.
| | 02:22 |
Now we've seen this before.
So again, library, convert photo to DNG.
| | 02:27 |
Click on that menu item.
Here in this dialogue, we'll only convert
| | 02:31 |
our raw files.
And for demo purposes, I'm going to keep
| | 02:34 |
the original.
So we can compare these two files.
| | 02:37 |
Then we'll use our lower case extension.
Compatibility, we'll use the latest and
| | 02:41 |
greatest of Camera Raw.
Medium size preview, embed fast load data.
| | 02:45 |
And now we want to turn on the check box
here to use lossy compression.
| | 02:50 |
This will allow us to create a much
smaller file.
| | 02:53 |
In order to do that, simply click OK.
Yet when you click OK, what you really
| | 02:57 |
need to do is pay attention to what's
happening.
| | 03:00 |
What's happening is it's converting this
file, becky-1.dng, into a different file format.
| | 03:07 |
Notice that it says becky-1-2.
In other words, it's another iteration or
| | 03:12 |
another version of this file.
In order to see this file, let's once
| | 03:17 |
again right click or control click on it.
Then select show in finder on a Mac, or
| | 03:21 |
show in explorer in Windows.
This will bring us back to this folder.
| | 03:26 |
Here I'll notice the new lossy DNG doesn't
have a thumbnail, so it got rid of that.
| | 03:30 |
So it's a smaller file size because of
that.
| | 03:33 |
It's also a smaller file size for other
reasons as well, talk about that in a second.
| | 03:37 |
But, take a look at this.
What once was about 18 megs is now only
| | 03:41 |
about five.
Now with one image that isn't that big of
| | 03:45 |
a deal, but let's say that you have those
photographs that you captured which,
| | 03:48 |
really aren't the keepers, and you have a
thousand of them, well you could then
| | 03:51 |
convert them to this format and have a
much smaller file size.
| | 03:57 |
Again, typically you'd want to do this
with those files which you aren't quite
| | 04:00 |
ready to throw away, but you also don't
want the full high resolution version of
| | 04:04 |
the files.
Well, let's then compare these two files
| | 04:08 |
in Light Room so that we can see or
compare the differences between these two.
| | 04:13 |
To do that, we'll navigate back to Light
Room and click on the Becky folder.
| | 04:17 |
Now this folder, it's only showing us the
new DNG, the lossy DNG file.
| | 04:21 |
To see both files, we need to synchronize
the folder.
| | 04:25 |
You can synchronize or update a folder by
right clicking or control clicking it.
| | 04:29 |
Then you simply choose synchronize folder.
In doing that, it will say hey you know what.
| | 04:33 |
There's a image which isn't part of our
like room catalog.
| | 04:37 |
OK, they found one photograph great.
Let's go ahead and click synchronize.
| | 04:40 |
This will take us to import dialogue.
What we can do here is we can choose to
| | 04:44 |
bring that file back, Becky-1.
I'm going to bring that back in and add it
| | 04:48 |
to the library.
And we'll click import.
| | 04:51 |
Again, typically you won't need to do
this.
| | 04:54 |
I'm just doing this so that we can have
some fun and compare these two files.
| | 04:57 |
So here we have, Becky1-2 and then we have
the original Becky-1 file.
| | 05:03 |
Remember, this one is huge, 18 megs, this
one's about 5 megs.
| | 05:07 |
Well, if we click on the icon, which
allows us to compare two files, we can
| | 05:10 |
compare the two, so that we have the
smaller file here, and the larger file
| | 05:13 |
over here.
Now we can zoom in on the images.
| | 05:17 |
I'll go ahead and zoom in here.
What I want to do is zoom in, so that we
| | 05:20 |
can compare the detail that we have in
these both photographs.
| | 05:23 |
Keep in mind, 5 megs versus 18 megs.
They look almost, identical.
| | 05:29 |
So what's the big deal?
And what's the downside of working with
| | 05:32 |
this lossy format?
Well, the file does look the same.
| | 05:36 |
The lossy DNG.
I like to think of it as a file which is a
| | 05:39 |
little bit more, brittle.
In other words, if we're going to bring
| | 05:43 |
these files over to the develop module and
if we're going to recover highlights or
| | 05:47 |
add contrast or change exposure, well, we
can't make as dramatic of adjustments
| | 05:50 |
because there isn't as much information
there.
| | 05:54 |
Again, the file is a little bit brittle.
So just keep that in mind.
| | 05:58 |
While you are saving file size, you are
losing a bit of flexibility.
| | 06:03 |
And that's where the tradeoff is.
Of course, if it's a file which you aren't
| | 06:06 |
really certain that you're going to be
using, perhaps it's worthwhile.
| | 06:11 |
Well, either way, at least now you know
how you can convert your files to this
| | 06:14 |
particular format, which is called lossy
DNG, and you know a little bit about that
| | 06:18 |
overall process, and how that works.
| | 06:22 |
| | Collapse this transcript |
|
|
9. Working with MetadataAdding keywords| 00:00 |
When it comes to organizing, filtering and
finding your photographs.
| | 00:04 |
One of the things that you can do to make
this whole process work more effectively
| | 00:07 |
for you, is you can add keywords to your
images or video files.
| | 00:12 |
Here in this movie, we'll take a look at
how we can do that.
| | 00:15 |
We'll be working with this folder, which
is titled jeff, and, inside of this folder.
| | 00:19 |
I have some images or photographs that I
captured of one of my friends, Jeff
| | 00:22 |
Johnson, a really fascinating person.
And here I captured these images on film,
| | 00:26 |
and I scanned the film.
And I want to add some keywords to these photographs.
| | 00:30 |
Now that being said, keep in mind you can
work with digital images, video files, etcetera.
| | 00:35 |
Alright, well let's add some key words to
these.
| | 00:37 |
First, though, I want to view these images
a little bit larger.
| | 00:40 |
To do that I'll click on the icon which
allows use to access theLoop view, or you
| | 00:44 |
can just press the E key to do so.
Again this is a photograph of one of my
| | 00:49 |
friends Jeff Johnson.
And so I want to add his name and also the
| | 00:53 |
location in the environment as helpful key
words which will later help me to find
| | 00:57 |
these particular pictures.
To do that, we'll open up the Keywording
| | 01:02 |
panel here just click to expand that
panel, and then you can begin to add keywords.
| | 01:07 |
And you don't need to worry about adding
these alphabetically.
| | 01:10 |
Lightroom will take care of that for you.
So, first I'll go ahead and type out the
| | 01:14 |
location, which was Ventura, then press
Enter or Return.
| | 01:18 |
Then I'll type out his name, Jeff Johnson.
Again, a fascinating character.
| | 01:21 |
Photographer, rock climber, surfer, a
really interesting guy, alright?
| | 01:25 |
I'll also add train tracks.
And there you have it.
| | 01:29 |
We have some key words.
Alright, well, in this case, we have a few
| | 01:32 |
key words which describe this particular
picture.
| | 01:36 |
Well next what I want to do is move to
another photograph.
| | 01:39 |
Say this one right here.
And I want to add some keywords to this
| | 01:41 |
picture as well.
Well we could of course start to simply
| | 01:45 |
type and to add some keywords.
I'll begin by typing out his name, so I'll
| | 01:49 |
go ahead and type out his name.
Notice that it remembered that keyword and
| | 01:52 |
it automatically ended that, or helped me
to fill that in.
| | 01:56 |
Again, here we can press Enter or Return
in order to be able to select that option.
| | 02:01 |
And then press Enter or Return to apply
it.
| | 02:03 |
I'll start to type out Ventura, there it
is.
| | 02:05 |
Press Tab to select or you can also press
Enter or Return to select, and then press
| | 02:09 |
Enter or Return to apply that.
You know another way that you can take
| | 02:14 |
advantage of keywords that you've used, is
to open up the option for Keyword
| | 02:18 |
Suggestions, or Keyword Set.
Let's begin by taking a look at Keyword Suggestions.
| | 02:24 |
Here, if we expand that, you'll notice
that it's suggesting that I use train
| | 02:28 |
track as an option as well.
Because it found or discovered these
| | 02:32 |
similar keywords, it's going to try to
discover what other keywords I might
| | 02:36 |
want to use.
So in this case, this can help me to find
| | 02:39 |
those more easily.
Let's move to another photograph this one
| | 02:42 |
here and again notice the keyword
suggestions.
| | 02:45 |
It doesn't exactly know what to do but its
trying to figure out how we work with
| | 02:49 |
keywording and typically we have a rhythm
or pattern.
| | 02:53 |
So here its using keywords which I've used
recently, and that brings me to the next point.
| | 02:58 |
Another way that you can access keywords
is to use Keyword Sets.
| | 03:03 |
In this case, we have a keyword set of
outdoor photography, or we can also use
| | 03:06 |
recent keywords.
Here we have some recent keywords, to add
| | 03:10 |
those, just click on those words.
We can then add those to this particular picture.
| | 03:15 |
Well, what about adding keywords to more
than one photograph?
| | 03:18 |
Well, if you click on one image, hold down
the Shift key, then click on another, and
| | 03:22 |
select all of these.
What you can do is add keywords, either by
| | 03:26 |
typing out the keyword, or by using
Keyword Suggestions, and clicking on the suggestion.
| | 03:32 |
Or by using Keyword Sets, and just
clicking on the keywords there.
| | 03:36 |
So again, you have three different methods
for adding keywords.
| | 03:39 |
Type them out, click on the option and
Keyword Suggestions, or click down to your
| | 03:43 |
Keyword Set, in this case, and work with
those recent keywords here.
| | 03:49 |
In this case, all of these keywords have
now been added to all of the images which
| | 03:52 |
I selected.
If we click off of those, and then click
| | 03:55 |
on to an image, you'll see that those
keywords were indeed added to these photographs.
| | 04:00 |
Now when I get to this picture here, which
has empty train tracks, I realize that I
| | 04:04 |
have a keyword that I need to remove.
Well, how can we do that?
| | 04:08 |
We'll just click into this Keyword area,
Click and Drag to highlight the keyword
| | 04:12 |
that you want to get rid of.
Then press Delete or Backspace in order to
| | 04:15 |
take care of that.
Then to exit out of that you can press
| | 04:19 |
Enter or Return.
So as you can see here, it's pretty easy
| | 04:22 |
to start to add and change and modify
keywords that you have added to your
| | 04:25 |
overall photographs.
Alright, well last but not least, before
| | 04:30 |
we wrap up this initial conversation, what
I want to do is talk about how I have a
| | 04:33 |
keyword here, which is train track.
And I actually want to change that to
| | 04:38 |
something else.
I want it to read Train Tracks, rather
| | 04:40 |
than Train Track, singular.
Well in order to modify that, what what we
| | 04:45 |
need to do, is we need to make a change to
the entire group of photographs.
| | 04:49 |
Or the the keyword that we have here in
our Keyword List.
| | 04:52 |
Here if we click to expand the Keyword
List, we can scroll down until we find
| | 04:56 |
that particular keyword.
If you want to change it, right-click or
| | 05:01 |
Ctrl+clck and choose Edit Keyword Tag.
You know, sometimes, what will happen, is,
| | 05:06 |
you'll add keywords to a group of
photographs, like I've done here.
| | 05:09 |
And then, at the end, you'll realize that
you have a typo or a spelling mistake.
| | 05:14 |
And rather than having to go back through
all of those hundreds of photographs that
| | 05:17 |
you've worked on.
You can go to this area, and simply change
| | 05:20 |
the spelling, or make the correction here.
So again, you can access that by
| | 05:24 |
right-clicking or Ctrl+clicking on the
keyboard that you want to change.
| | 05:29 |
Select the menu item, which is edit
Keyword Tag, and I'll go ahead and change
| | 05:33 |
this to Train Tracks, that will work
better, and then we'll click Save.
| | 05:38 |
In doing that now when we scroll back up
here you'll notice that as I click through
| | 05:42 |
these photographs.
These all now have this corrected keyword
| | 05:46 |
tag, which is Train Tracks, rather that
the singular, train track.
| | 05:51 |
Alright, well there you have it, a quick
introduction to key wording.
| | 05:54 |
We have some more ground to cover with
working with keywords so let's go ahead
| | 05:58 |
and continue this conversation and we'll
do that in the next movie.
| | 06:02 |
| | Collapse this transcript |
| Creating and using keyword sets| 00:00 |
Now that we've been introduced to the
topic of working with keywording in
| | 00:03 |
Lightroom, next I want to take a look at
how we can speed up our workflow by taking
| | 00:07 |
advantage of what are called Keyword Sets.
Now, I talked briefly in the previous
| | 00:13 |
movie, how we can start to work with
Keyword Sets.
| | 00:16 |
And I mentioned that we can choose an
option here.
| | 00:18 |
We can click on this pull-down menu, and
we can select a Keyword Set, say for
| | 00:21 |
portrait photography.
And it will give us a group of keywords or
| | 00:24 |
here as we saw in the previous movie, we
could use Recent Keywords, which would
| | 00:28 |
show us recent keywords which we added to
our photographs.
| | 00:32 |
Yet, we can also edit and create our own
Keyword Sets.
| | 00:36 |
Like with this group of pictures, these
are all captured for an ongoing project
| | 00:39 |
which I'm doing, which is called salt.
And what I want to do is create a Keyword
| | 00:44 |
Set which reflects this particular
project.
| | 00:48 |
And the project is all about people who
are connected to the sea and salt water
| | 00:51 |
and so, here I want to go ahead and create
my own custom Keyword Set.
| | 00:56 |
To do that, you can click on this
pull-down menu here and then choose Edit
| | 00:59 |
Set or you can also navigate to the
Metadata pull-down menu.
| | 01:04 |
And here we can choose Keyword Set and
then select the option Edit.
| | 01:08 |
In either scenario, either by using the
pull-down menu here or by working in the
| | 01:12 |
panels on the right, this will both give
you the ability to edit and create your
| | 01:15 |
own Keyword Sets.
In this case, you can see we can edit this Set.
| | 01:20 |
We have the name Jeff Johnson, Ventura,
Train Tracks.
| | 01:24 |
I also want to go ahead and type out the
word Salt.
| | 01:26 |
And I want to type out a few other words
as well.
| | 01:29 |
Surfer, because it's related to the
surfer.
| | 01:31 |
Santa Barbara is a good keyword because,
many of these photographs are captured in
| | 01:35 |
that area.
Ocean, sand and one more keyword here for
| | 01:39 |
this set, 4 x 5 because I'm capturing
these images with a 4 x 5 camera.
| | 01:46 |
Well, now that I've entered in these
common keywords that I might find helpful
| | 01:49 |
when adding keywords to photographs.
Which are captured for this project, what
| | 01:54 |
I can do, or what you can do, is save this
out as a preset.
| | 01:58 |
So, here click on the pull-down menu and
choose the option to Save the Current
| | 02:01 |
Settings as a New Preset.
I'll go ahead and save this out as a
| | 02:05 |
preset named Salt and then Project.
Next we'll click Create.
| | 02:09 |
What this will allow us to do, is to go
ahead and use or access these keywords
| | 02:13 |
over here.
So, here I'll go ahead and click Change to
| | 02:17 |
apply that and from this pull-down menu,
you'll see that we now have access to
| | 02:19 |
these different sets of keywords.
One of them is this Salt Project.
| | 02:25 |
So, that if I'm working with this set,
what I can do is apply these keywords by
| | 02:28 |
simply clicking on the keyword.
For example I can click on the word salt
| | 02:32 |
to add that to this photograph or to this
group of photographs if you select more
| | 02:36 |
than one.
Or you can also use some really handy
| | 02:40 |
keyboard shortcuts.
If you're a keyboard shortcut aficionado,
| | 02:44 |
what you can do is hold down the Option
key on a Mac, or Alt key on Windows.
| | 02:48 |
And you'll notice that a number shows up
next to these different keywords and this
| | 02:52 |
is true regardless of the Keyword Set that
you have.
| | 02:56 |
Again, you can see all of those numbers
here.
| | 02:59 |
Well, what we can then do is we can add
these keywords by holding down Option on a
| | 03:02 |
Mac, Alt on Windows, and then pressing on
the number, which relates the keyword that
| | 03:06 |
we want to add.
Here I want to add the keyword surfer and
| | 03:10 |
also 4 x 5.
So, I'll press Option or Alt+5.
| | 03:14 |
I'll also press Option or Alt+3.
In doing that, you can see how we quickly
| | 03:19 |
added those keywords to this particular
photograph.
| | 03:22 |
And so what you want to do, if you want to
speed up your overall keywording workflow,
| | 03:26 |
is you want to create a few keywording
sets.
| | 03:29 |
And that way you can quickly access and
apply those keywords which you use most frequently.
| | 03:34 |
| | Collapse this transcript |
| Synchronizing keywords| 00:00 |
Another way that you can speed up your
keywording workflow is by synchronizing
| | 00:04 |
keywords across multiple files.
Let's take a look at how we can do that here.
| | 00:08 |
All that you need to do first is to select
two or more images.
| | 00:13 |
So here on the film strip below, we'll
click on one photograph.
| | 00:15 |
Then hold down the Cmd key on a Mac or
Ctrl key on Windows.
| | 00:19 |
And then click on one or more other
images, so that you have multiple images selected.
| | 00:24 |
Now, what you can do is you can turn on an
option which is called Autosync.
| | 00:27 |
You can do so by clicking on this flip
switch right here.
| | 00:32 |
We'll go ahead and turn on Autosync.
And what I'm going to do is delete all of
| | 00:35 |
these keywords.
Click and drag to highlight those, and
| | 00:39 |
press Delete, or Mac Space.
In doing that, what you'll see is, if you
| | 00:42 |
click through your photographs, that those
keywords are removed, or changed on both
| | 00:46 |
of these photographs.
And that happens when you have two images
| | 00:50 |
selected, and when you work with Auto
Sync.
| | 00:54 |
Now, let's say that rather than deleting
keywords, or making changes in that way,
| | 00:57 |
you want to add images.
Again, this applies here.
| | 01:01 |
You can turn on Autosync, and I'll go
ahead and add a keyword, in this case four
| | 01:04 |
by five.
And we'll click to add that.
| | 01:07 |
This'll be added to the first photograph,
and also to the second photograph as well.
| | 01:12 |
Now if you flip off the switch for
Autosync, you can also work in another way.
| | 01:16 |
If you have two or more images selected
and you have Autosync turned off, if you
| | 01:20 |
click on the Sync button, this will allow
you to synchronize the metadata across
| | 01:24 |
multiple files.
Here we have a number of different fields
| | 01:29 |
of metadata that we can synchronize.
What I want to do is synchronize key words.
| | 01:34 |
So I'll go ahead and add that here.
These keywords to this keywords field.
| | 01:38 |
We'll click on the check box and here I'll
add a few more key words.
| | 01:41 |
I'll have four by five and then comma Jeff
Johnson, and then comma Salt and Project.
| | 01:48 |
And in this way, we can then synchronize
the settings across both of these files by
| | 01:52 |
simply clicking on the Synchronize button.
What that then will allow us to do, is to
| | 01:57 |
have these images which both have these
three keywords added to them.
| | 02:02 |
And in this way, you can see how you can
use these synchronized features which can
| | 02:06 |
help you when it comes to synchronizing
key words or meta data across multiple images.
| | 02:12 |
| | Collapse this transcript |
| Keywording with the Painter tool| 00:00 |
Next I want to take a look at how we can
add keywords by using the painter tool, an
| | 00:04 |
also, how we can work with the keyword
list in order to add keywords into filter
| | 00:08 |
an find specific photographs.
Let's begin by taking a look at how we can
| | 00:14 |
use the painter tool.
Go ahead an press the G key to enter into
| | 00:17 |
the grid view.
Next what I want you to do is to navigate
| | 00:20 |
to the toolbar which is located in this
area here.
| | 00:24 |
And click on the triangle icon and choose
the option for painter.
| | 00:27 |
This will open up the Painter Tool.
You can then click on it, in order to
| | 00:31 |
customize what you're going to use or add
with this particular tool.
| | 00:35 |
Here rather than flagging, I want to
choose the option of keywords.
| | 00:39 |
I'm going to go ahead and name this or add
a particular keyword here which is California.
| | 00:43 |
So go ahead and type that in there.
And then you can position you cursor over
| | 00:47 |
the image, what this will allow you to do
is add that keyword to these photographs.
| | 00:52 |
All you need to do is click, and when you
do that, you can see that it will add that keyword.
| | 00:56 |
When you're finished with adding keywords
in that way, you can go ahead and click
| | 01:00 |
done I should also point out that you can
add multiple keywords, just seperate those
| | 01:03 |
by adding a coma between the various
keywords.
| | 01:07 |
Alright well here let's go ahead and click
done.
| | 01:09 |
Next, let's look at how we can work with
our keyword list.
| | 01:12 |
Well here in the keyword list, you can see
I added the keyword "California" to 5 photographs.
| | 01:18 |
What I can do is I can just view those 5
photographs by clicking on the little
| | 01:21 |
arrow icon Notice that the arrow icon will
show up as I hover over the various keywords.
| | 01:28 |
In this case, when you click on that, it
will then filter.
| | 01:31 |
And just show you the images which have
those keywords applied.
| | 01:34 |
It also show us our metadata filtering
option open.
| | 01:37 |
And here, it's showing key wording.
And showing us those images.
| | 01:40 |
And that that particular option is
selected.
| | 01:43 |
Now, if we want to turn this filter off,
what we can do is we can click on this
| | 01:46 |
metadata panel first to close it.
That will then turn the filtering off.
| | 01:50 |
And here you can now see you can view all
of these photographs.
| | 01:54 |
Let's go back to the Jeff folder in order
to view that, so we can really focus in on
| | 01:56 |
that particular folder.
And this image here.
| | 02:00 |
Well what about using the keyword list to
add keywords?
| | 02:03 |
Here I'll scroll up so that we can see the
area where we have the keywords for this picture.
| | 02:08 |
Notice that for this first photograph we
have these keywords applied, California,
| | 02:12 |
Jeff Johnson, Train Tracks, and Ventura.
I also want to apply the keyword for the
| | 02:17 |
camera that was used, in this case a large
4 by 5 camera.
| | 02:22 |
To do that, just navigate to the keyword
list and here we can click on that checkbox.
| | 02:27 |
You'll notice that that key word will now
show up here as one of the keyword tags
| | 02:31 |
for this photograph.
So here we're discovering yet another way
| | 02:35 |
to add keywords.
We looked at how we can use the painter tool.
| | 02:39 |
And how we can add keywords by simply
adding the keyword here, and clicking on
| | 02:42 |
the photographs.
We also explored how we can begin to work
| | 02:46 |
with the keyword list.
This way, we can add or remove keywords by
| | 02:50 |
clicking the checkbox.
We can also do some filtering by clicking
| | 02:54 |
on the Arrow icon which is located to the
right of the keyword name there.
| | 02:58 |
It will just show us the images which have
that particular keyword tag applied.
| | 03:03 |
| | Collapse this transcript |
| Working with the Metadata panel| 00:00 |
Next, let's take a look at how we can work
with metadata.
| | 00:03 |
So go ahead and select an image from this
folder and click on the word Metadata to
| | 00:07 |
open up the Metadata panel.
Now, there are two different types of metadata.
| | 00:11 |
We have descriptive and additive metadata.
Descriptive is metadata which describes
| | 00:17 |
the file which is embedded in part of the
file.
| | 00:20 |
Here we have the file name, we also have
the dimensions and we have different ways
| | 00:23 |
to display information here in the
metadata panel.
| | 00:27 |
In the default setting we're seeing a few
different fields which allow us to view
| | 00:31 |
copyright and rating and label etc.
If we choose another option for example,
| | 00:36 |
if we choose EXIF in IPTC all of a sudden
we'll see a lot of different fields.
| | 00:42 |
Again, some of these fields are
descriptive and others we can add
| | 00:44 |
information here and you can see as I
scroll through this.
| | 00:48 |
We can add contact information or
information about the photograph.
| | 00:52 |
There's also some descriptive metadata as
well.
| | 00:55 |
Now, as you start to work with metadata
often what will happen is you'll really
| | 00:59 |
focus in on the task at hand and it's
almost like the rest of the Lightroom
| | 01:02 |
interface for just a few moments won't
really matter.
| | 01:07 |
So sometimes what I like to do is to
minimize the interface and then to bring
| | 01:10 |
back certain parts of the interface so
that we have more space opened up to our image.
| | 01:16 |
One easy way to do that is to click on the
triangle icon for the top area here.
| | 01:21 |
And also for the panels on the left.
In doing that we can then just really
| | 01:24 |
focus in on the images.
So we can focus on the image and the task
| | 01:28 |
at hand which is working in Metadata.
Here I'll go ahead and hover over this and
| | 01:33 |
click and drag this out.
Now, what I want to do is I want to add
| | 01:35 |
some captions for example.
To do that, we might click on the
| | 01:38 |
pull-down menu and then here choose an
option which allows us to focus in on one
| | 01:42 |
type of metadata.
For example, large caption.
| | 01:46 |
Here I have this huge field where I can
then add a caption.
| | 01:50 |
I'm going to add a caption which is a
young man stands on a train bridge.
| | 01:54 |
Alright, there we have a caption for that
photograph.
| | 01:59 |
After having done that, often what we'll
want to do is I'll want to change our view
| | 02:03 |
back to that regular or that default view.
One easy way to do that is to press
| | 02:08 |
Shift+Tab multiple times.
So here, let's go ahead and press Enter or
| | 02:12 |
Return to just apply that particular
caption, or we can just click off of that
| | 02:15 |
to exit out of that.
Then we can press Shift+Tab once to
| | 02:19 |
minimize the interface, and then press
Shift+Tab a second time in order to bring
| | 02:22 |
all those panels back.
Now, the panels on the right are obviously
| | 02:27 |
too big, so I'll go ahead and click and
drag that over to the right, so that we
| | 02:30 |
have more space opened up for the
photograph.
| | 02:33 |
And then here, of course, we can navigate
back to other areas, for example, like
| | 02:37 |
EXIF and IPTC.
In these fields, what we might want to do
| | 02:41 |
is add some contact information for the
creator of this particular photograph.
| | 02:45 |
So, here I'll go ahead and type out my
name Chris Orwig I'll add the address and
| | 02:49 |
location and I'm just going to type out
kind of demo copy here just for default
| | 02:52 |
purposes or just to kind of demo what
we're doing here.
| | 02:57 |
I could also include an email address here
in this case my email address for the
| | 03:00 |
person who created the photograph and then
the website as well.
| | 03:05 |
In doing this with the website what we
want to do is actually type out http://www.chrisorwig.com.
| | 03:14 |
In doing this, this will then have all of
this pertinent information as part of the
| | 03:18 |
metadata of this file.
And this is especially important and
| | 03:21 |
helpful when we're sending our images to
clients and posting them in different
| | 03:25 |
places, so that this metadata is then part
of this file, so that the creator of the
| | 03:28 |
particular photograph can be connected to
the picture that was taken.
| | 03:34 |
Now there's also some other important
different types of metadata.
| | 03:37 |
For example, like adding copyright
information.
| | 03:40 |
So what I want to do next is talk about
how we can create what's called a metadata
| | 03:44 |
template and how, in particular, we can
add a metadata template, which allows us
| | 03:47 |
to append or add our copyright information
to our photographs.
| | 03:53 |
And I want to do that in the next movie
because here in this movie really my
| | 03:56 |
intent was just to begin to show you how
you can work with the metadata panel, how
| | 03:59 |
you can access different views and work on
different types of metadata.
| | 04:05 |
For example how you can open up more space
for adding a caption.
| | 04:09 |
Or yet how you can do other things as
well.
| | 04:11 |
I also wanted to highlight, how you might
want to customize the interface by
| | 04:15 |
clicking on these icons.
So that you can collapse different parts
| | 04:18 |
of the interface.
So you can really focus in on, the task at hand.
| | 04:23 |
| | Collapse this transcript |
| Adding copyright metadata with a template| 00:00 |
Regardless of the type of photographer you
are, whether you photograph action sports,
| | 00:04 |
travel, nature.
people or whatever it is, we all need to
| | 00:07 |
be able to add our copyright information
to our photographs.
| | 00:12 |
So here in this movie, I want to talk
about how we can create what's called a
| | 00:15 |
metadata template.
Which will allow us to quickly and easily
| | 00:19 |
add our copyright information to all of
our photographs.
| | 00:22 |
Well before we begin in the library
module, though, I want to go back to the
| | 00:25 |
Import dialogue.
To do that, in the library module, click
| | 00:29 |
on the Import button.
It's located in the lower left hand corner
| | 00:32 |
right over here.
When we enter into the import dialog, the
| | 00:35 |
one thing that I want to highlight is that
we can apply during import different types
| | 00:39 |
of metadata.
And if we click on this pull down menu
| | 00:42 |
you'll notice that we can apply different
presets.
| | 00:46 |
Now I haven't created a preset yet, yet if
we did create a preset it would allow us
| | 00:50 |
to add this upon import Which is typically
what you want to do when it comes to meta data.
| | 00:56 |
So let's explore how we can create a
preset here inside of Lightroom.
| | 01:00 |
I'll click cancel, an we'll go back to the
library module.
| | 01:03 |
In the library module we have a few
different options.
| | 01:06 |
Perhaps the easiest way to create that
preset is to go to the Metadata > Edit
| | 01:11 |
Metadata Presets.
This will open up that dialogue.
| | 01:16 |
You can also access that dialogue In the
metadata panel.
| | 01:19 |
If you click on the preset pull down menu.
You can select that same menu item here.
| | 01:24 |
Again, they're just different ways to
access the same menu.
| | 01:28 |
So, either way.
Either by going to the metadata pull down menu.
| | 01:31 |
Or by accessing it here in the metadata
panel.
| | 01:34 |
Go ahead and click on that option which
will alow us to edit and to create a
| | 01:38 |
metadata preset.
Now the preset that we're going to focus
| | 01:42 |
in on here is for our copyright
information.
| | 01:45 |
So let's open up that area so that we can
add some copyright info.
| | 01:49 |
What we want to do is first add the
copyright.
| | 01:52 |
So, on a Mac you can press Option+G, on
Windows, that's Control+Alt+C to create
| | 01:55 |
that little copyright symbol.
And then, let's go ahead and add our name there.
| | 02:00 |
The copyright status, of course, we
want to include, is copyrighted.
| | 02:05 |
Well, now that we've added this
information.
| | 02:06 |
And I should also highlight, you can add
other information, as well.
| | 02:09 |
I'm just focusing in on these values here.
After you've added those, go ahead and
| | 02:13 |
navigate to the preset pull down menu.
And here, choose save current settings as
| | 02:18 |
a new preset.
Again, we'll want to name this something
| | 02:21 |
appropriate, so I'll press Option+G on a
Mac or Ctrl+Alt+C on Windows and then I'll
| | 02:25 |
go ahead and type out copyright and then
your name and then click Create.
| | 02:31 |
Here we'll press the Done button and now
we can access this particular preset.
| | 02:35 |
And we can access it from this Preset
pull-down menu.
| | 02:39 |
Here we can select that.
That will then add the copyright
| | 02:41 |
information to a single photograph.
Or, if you select all of the pictures by
| | 02:46 |
pressing Command+A on a Mac, or Control+A
on Windows.
| | 02:50 |
You can then select that preset again from
this pull down menu.
| | 02:53 |
And it will apply that copyright
information to all of these pictures here.
| | 02:57 |
What I want to do is apply this to all
selected, so go ahead and click on that option.
| | 03:01 |
And now all of these images have that
copyright information included as part of
| | 03:05 |
that image file.
Let's go back to the import dialog.
| | 03:09 |
In the import dialog, when we import
photographs, again we can take advantage
| | 03:13 |
of that preset that we created.
You can see its now located right here.
| | 03:19 |
And then when we import our photographs,
this can be part of this overall import
| | 03:23 |
process, so that all of our images will
always have our copyright information as
| | 03:27 |
part of them.
So that that will then protect those files.
| | 03:32 |
Alright, well there you have it.
There's a technique that you can use in
| | 03:35 |
order to create a meta data template.
And here we're obviously focusing on a
| | 03:39 |
template which allows us to add copyright
information, but if you feel that you use
| | 03:43 |
other fields frequently feel free to
include those other values in that template.
| | 03:49 |
For example you can include the
photographer's name, your website
| | 03:52 |
information etc, all you would need to do
would be to go back to that preset area
| | 03:55 |
and add more information...
Let me show you how you can do that briefly.
| | 04:00 |
Here we'll go to the pull down preset
menu, and select Edit Preset.
| | 04:05 |
In this case if we wanted to add some
information to this, rather than just
| | 04:08 |
including the copyright information.
We could also include some information
| | 04:12 |
about the person who created the
photograph.
| | 04:14 |
And here we could have our address and
information, email, website, etc.
| | 04:19 |
So again, you'll want to make these meta
data preset templates as simple or as
| | 04:23 |
elaborate as is relevant to your own work
flow.
| | 04:27 |
You can always add more formation here if
you want to do so.
| | 04:30 |
Alright, well that wraps up our look at
how we can create and work with meta data templates.
| | 04:36 |
| | Collapse this transcript |
| Filtering photographs based on metadata| 00:00 |
Let's take a look at how we can use
metadata in order to filter and find photographs.
| | 00:05 |
I also want to take a look at how we can
make corrections to metadata, as well.
| | 00:09 |
All right, well here in this folder,
Melissa, you can see I have one photograph selected.
| | 00:13 |
I want to add a red label to it.
When you do that, or when you add some
| | 00:17 |
metadata, for example, a label, a star, or
a flag, or whatever it is, it will show up
| | 00:21 |
in the metadata panel.
Here I am in the default view.
| | 00:26 |
And this is showing me that I've added a
red label.
| | 00:28 |
And whenever you see metadata which has an
arrow next to it, that particular arrow
| | 00:32 |
can help you to filter or find criteria or
photographs based on that criteria, I
| | 00:36 |
should say.
For example, let me add another label to
| | 00:40 |
another photograph.
Here, I'll click on this one.
| | 00:43 |
And then I'll add a red label by clicking
on this icon here.
| | 00:47 |
Well now that I've added a red label to
these photographs, what I want to do is
| | 00:50 |
filter my entire catalog.
I just want to see the images which have a
| | 00:54 |
red label.
To do that, we can click on this arrow icon.
| | 00:58 |
In clicking on that, it will then take us
to the library filter area with metadata selected.
| | 01:04 |
And it's just showing us these 12 images
which have this red label.
| | 01:08 |
And again, however many photographs you've
added that red label to will show up here.
| | 01:12 |
To undo this, one easy way to do that is
to press Cmd+Z on a Mac or Ctrl+Z on Windows.
| | 01:18 |
And keep in mind, you can do this not just
with labels, but you can do this with
| | 01:21 |
other fields as well.
For example, if we take this down to
| | 01:26 |
another option, which is IPTC, we'll have
the ability to add some information about
| | 01:30 |
the person who created these photographs.
In this case, I'm going to go ahead and
| | 01:35 |
type out my name there, Chris Orwig.
Then I also want to go down to my email area.
| | 01:39 |
I'm going to type out my email address.
And I also, I'm going to type out my full
| | 01:43 |
web address.
You want to include the entire web
| | 01:47 |
address, http:// and in my case,
www.chrisorwig.com.
| | 01:53 |
I'll go ahead and hover over this edge
here just to click and drag this out so we
| | 01:56 |
can see this a little bit better.
But you'll notice that I have these two
| | 01:59 |
fields, and these fields have arrows next
to them.
| | 02:02 |
Well, if we click on the email field, what
that will do is actually trigger your
| | 02:06 |
email client that you have on your
computer.
| | 02:09 |
So you could then send an email to this
particular person.
| | 02:12 |
Or you can also click on this icon here
and what that will do, is it will launch a
| | 02:15 |
website, as you can see here.
So these particular fields don't filter,
| | 02:21 |
yet they do activate or trigger something.
So again, whenever you see these arrows,
| | 02:25 |
you'll want to start to realize that those
are active ways that you can take
| | 02:29 |
advantage of the metadata that you have.
Alright, well let me show you one more tip
| | 02:34 |
here in regards to correcting metadata.
In this case, I'll go to the pull down
| | 02:38 |
menu and choose Large Caption.
And here, I'm going to go ahead and type
| | 02:43 |
out a caption, and I'm just going to say,
a young, in this case, woman, stands on a
| | 02:47 |
bridge wearing a hat.
And I'm going to type wearing incorrectly.
| | 02:52 |
I'm going to make a typo.
And then go ahead and add that caption.
| | 02:56 |
Well when you have a caption, let's say
you're going through your pictures and you
| | 02:58 |
come back to it.
And all of sudden you, you realize you
| | 03:01 |
might have a spelling error, or some sort
of mistake.
| | 03:05 |
Well you can always navigate to the Edit
pull down menu.
| | 03:08 |
Here I'll click into the caption area and
click to the Edit pull down menu.
| | 03:12 |
We'll go down to Spelling and the choose
Check Spelling.
| | 03:15 |
In this case, it will check the spelling
for us.
| | 03:18 |
And we could also check the grammar.
And it will help us to realize that we
| | 03:21 |
have some sort of an issue.
In this case, we have a spelling error
| | 03:24 |
with this word here.
Well if you right-click or Ctrl+click on
| | 03:28 |
that word, it will give you some
suggestions, and then you can then select
| | 03:31 |
an alternative option.
Here.
| | 03:34 |
Let me go ahead and make another typo
here.
| | 03:35 |
I'm just going to add another letter to
one of those words.
| | 03:38 |
And then we'll navigate to the Edit pull
down menu.
| | 03:41 |
And here, we'll select Spelling.
And then choose, Show Spelling and Grammar.
| | 03:45 |
In doing this, it will open up a dialogue.
And here, it's telling us it found a word
| | 03:49 |
which was misspelled.
And it's suggesting this is the correction.
| | 03:52 |
Click on the correction and then go ahead
and click Change and that will then allow
| | 03:56 |
you to change this spelling error in the
caption field.
| | 04:00 |
| | Collapse this transcript |
|
|
10. Opening Images in PhotoshopExternal editing preferences| 00:00 |
LightRoom is a strong and professional
application.
| | 00:03 |
Perhaps it's one of the worlds best
applications for working on photographs.
| | 00:08 |
Yet that being said, it's a tool which
doesn't stand on its own.
| | 00:11 |
You know the official name of Lightroom is
Adobe Photoshop LightRoom.
| | 00:15 |
Yet Adobe included that in the name,
because in a sense LightRoom is an
| | 00:19 |
extension of Photoshop and these two tools
work incredibly well together.
| | 00:24 |
That's one of the main reasons why so many
people use LightRoom, is because the way
| | 00:28 |
it allows you to work back and forth
between Photoshop and LightRoom.
| | 00:32 |
Yet before you start to open up your
images in Photoshop What you want to do is
| | 00:35 |
dial in a few external editing
preferences.
| | 00:39 |
We can do that by navigating to the
lightroom pull down menu, and then here
| | 00:43 |
let's select preferences to open up our
preferences dialog.
| | 00:47 |
In this dialog, click on the tab for
external editing.
| | 00:50 |
And here I want to have a quick
conversation about our initial or default
| | 00:54 |
editor, and also I'm going to talk about
how we can set up an additional external editor.
| | 01:00 |
Now, for starters, almost all of these
default settings will work extremely well.
| | 01:04 |
So there isn't too much to customize here.
Yet still, I want to talk through the menu
| | 01:09 |
items, in order to give you some options.
So that you can choose the right options
| | 01:12 |
which are relevant to your own work flow.
All right.
| | 01:15 |
Well, up top we have File Format.
Here we can choose between TIFF or PSD.
| | 01:19 |
Out of the two, the TIFF file format is
more stable, more flexible, it works
| | 01:23 |
better, so you want to leave that default
setting as is.
| | 01:28 |
Next, we have color space, and here we
have three options.
| | 01:31 |
If you workflow is entirely web-based,
well then, you may want to choose sRGB.
| | 01:37 |
If you one day are going to make prints,
well you want to choose Adobe RGB or Pro Photo.
| | 01:42 |
Or either way, if you just want a higher
quality or better quality version of your
| | 01:45 |
photograph, choose one of these options.
Now out of these two, the colour space
| | 01:49 |
which has the widest gamut, the best
flexibility so you can achieve the best results.
| | 01:55 |
Well, it's Pro Photo.
So again, I encourage you to leave that
| | 01:58 |
default setting as is.
Next, we have our bit depth.
| | 02:01 |
We have the option to choose either 16 or
eight bits.
| | 02:05 |
Now, 16 bits per channel allows us more
flexibility when we're correcting exposure
| | 02:09 |
or modifying color or making changes to
the photographs.
| | 02:13 |
So again if you're interested in quality
choose 16 bits per channel.
| | 02:18 |
now the only downside of this is that the
image file size will be a bit higher, so
| | 02:22 |
if that's an issue, it it's really bugging
down your system ,well you can always go
| | 02:25 |
to eight bits per channel, yet my own
work, I select 16.
| | 02:31 |
Then we can determine a resolution.
Here 240 will work well.
| | 02:34 |
Compression we'll leave this at the
default zip which works extremely well as well.
| | 02:38 |
Alright well next lets talk about an
external editor.
| | 02:41 |
You know what you can do is you can select
an alternative option.
| | 02:45 |
So you can open up your images in
PhotoShop.
| | 02:48 |
But perhaps you can change your color
space in your bit depth.
| | 02:51 |
Let me show you what I mean.
Well here if we go to application you can
| | 02:54 |
click on choose and I'll select the latest
version of Photoshop that I have which is
| | 02:57 |
Adobe Photoshop Creative Cloud and then
click on choose.
| | 03:02 |
This will give me a message that says hey
you know what?
| | 03:05 |
You've already selected this as your main
editor.
| | 03:08 |
Do you still want to do this?
Yeah I do so click OK, then next, I'll
| | 03:11 |
chose my file format as tif, my color
space I'll chose as Adobe RGB1998, I'll
| | 03:16 |
select a bit depth of eight bits per
channel, compression, we'll use that zip
| | 03:20 |
compression, here as well.
And in this case you can see that we have
| | 03:27 |
here very similar options Its just if I'm
in a hurry.
| | 03:31 |
Or if I know that I need to work on a file
which is going to be a bit smaller so that
| | 03:34 |
it doesn't slow down my system or
performance.
| | 03:38 |
Well here I have the option to open up an
image which is in Adobe RGB versus Pro Photo.
| | 03:43 |
Which has eight bits per channel versus 16
bits and in this case, again, this just
| | 03:47 |
allows me to have this particular version
of the file, which is going to be a little
| | 03:51 |
bit less.
Alright, well next we have the ability to
| | 03:56 |
stack this with the original image If we
work with stacking, what that will allow
| | 03:59 |
us to do is to connect these two images.
We'll go ahead and leave this on, and
| | 04:04 |
we'll talk about this in a moment, as we
start to work with Photoshop.
| | 04:08 |
So again, let's leave this setting on
here, alright?
| | 04:11 |
Well, in order to apply all of these
preferences, simply close the preferences
| | 04:15 |
dialogue, and now we're ready to begin to
edit, and to open up our photos in
| | 04:18 |
Photoshop, and we'll do that in the next
movie.
| | 04:22 |
| | Collapse this transcript |
| Editing raw photos in Photoshop| 00:00 |
Let's take a look at how we can start to
open and edit our photographs from
| | 00:03 |
Lightroom over to Photoshop.
First, we want to select a folder, in this
| | 00:08 |
case I've select the folder Portraits 2,
and then click on an image.
| | 00:13 |
Now, there are a few different techniques
that you can use to edit an image inside
| | 00:17 |
of Photoshop.
You can Right-Click or Ctrl+Click on an
| | 00:20 |
image, and select Edit In, and then choose
this option here, Edit in Photoshop
| | 00:25 |
Creative Cloud.
This will be the default settings, or we
| | 00:29 |
can also choose the alternative settings,
as well, or you can navigate to the Photo
| | 00:33 |
pull-down menu.
Here select Edit In, or choose the same
| | 00:37 |
options here.
You'll notice that there are some shortcuts.
| | 00:41 |
I recommend that you jot those shortcuts
down because most likely you'll be going
| | 00:44 |
back and forth between Lightroom and
Photoshop pretty frequently.
| | 00:49 |
So on a Mac you can press Cmd+E, on
Windows you can press Ctrl+E to edit and
| | 00:53 |
to open up an image in Photoshop.
Let's go ahead and do that with this
| | 00:58 |
photograph here.
In doing that, it gives me this warning
| | 01:01 |
dialog, and this is actually a pretty
important dialog.
| | 01:04 |
It says hey, this version of Lightroom may
require the Photoshop Camera Raw plug in,
| | 01:08 |
whatever version it is.
In other words it's not sure if Lightroom
| | 01:13 |
and Photoshop have the same Camera Raw
plug in.
| | 01:16 |
Well, if you aren't sure, you want to make
sure you render out all of those
| | 01:20 |
adjustments using Lightroom.
So here we'll go ahead and click on that option.
| | 01:25 |
Another thing you can do is obviously
update Camera Raw in Photoshop just to
| | 01:28 |
make sure you have the latest version in
both of these applications.
| | 01:33 |
If you aren't sure, click on Render using
Lightroom.
| | 01:37 |
This will then create a version of this
image and it will open it up here for us
| | 01:40 |
in Photoshop.
Here I'll wait a second for it to open up
| | 01:44 |
this file.
This file's going to come into Photoshop
| | 01:47 |
with the color space and all the settings
that we dialed in our preferences.
| | 01:52 |
In this case, it's showing me an embedded
profile mismatch.
| | 01:56 |
Do you remember in the preferences that it
shows the color space of pro photo RGB?
| | 02:02 |
Well the working color space I have in
Photoshop is different, it's Adobe RGB.
| | 02:07 |
So, what to do in situations like this?
Well here I want to use the embedded
| | 02:11 |
profile instead of the working space so I
have more flexibility.
| | 02:16 |
Because that color space has a wider
gamut, or wider color gamut, better
| | 02:19 |
options, so I have better flexibility when
I processing the image.
| | 02:23 |
I'm also going to want to change my color
space in PhotoShop.
| | 02:26 |
Because if you're working back and forth,
again you want the two color spaces to
| | 02:31 |
match or to sink up.
Yeah, for now, let's click on the option,
| | 02:35 |
use the embedded color profile instead.
This will open up our photograph and
| | 02:40 |
before I get too carried away, I'm
going to go to my area where I can change
| | 02:43 |
my color settings.
If you go to the Edit pull down menu, you
| | 02:48 |
can select Color Settings, and this will
open up our Color Settings dialog.
| | 02:53 |
What you want to do is change your working
space to the space which we selected in
| | 02:57 |
light room so that those two are matched
up Pro-Photo R.G.B.
| | 03:02 |
And this way you won't have any of these
profile mismatch warnings again.
| | 03:06 |
We will go ahead and click Okay, here in
PhotoShop I will do something simple.
| | 03:11 |
I'll click on Adjustment Layer, in this
case I'll convert the image to black and white.
| | 03:15 |
Now, I'm not too concerned with the
quality of the conversion because this is
| | 03:18 |
more of a demo movie,but what I do want to
do is perhaps brighten up the skin tone.
| | 03:22 |
So I'll brighten up the whites and the
yellows and then maybe darken some of the
| | 03:25 |
background tones there just a little bit.
Okay, great.
| | 03:28 |
Let's say we've finished our work in
Photoshop.
| | 03:31 |
Next, we need to save and close this file.
To do that we can click on the little X icon.
| | 03:36 |
That will allow us to close this.
Do we want to save this?
| | 03:39 |
Sure, we'll click Save.
That will then save and close this file.
| | 03:44 |
Once this has completed, what I'm going to
do is go back to Lightroom so that we can
| | 03:48 |
see how Lightroom will save this file as a
staked image.
| | 03:53 |
Right next door to the original file.
Alright, well now that that's complete I'm
| | 03:57 |
going to go ahead and navigate back to
Lightroom and here back in Lightroom
| | 04:01 |
you'll notice that we now have stacked
with the original file, here we have the
| | 04:04 |
DNG file, then we have this TIF version of
it as well.
| | 04:10 |
And as we've talked about in one of my
previous courses, what we can do with
| | 04:13 |
stacking is we can stack two images
together.
| | 04:16 |
You can open and close the stack by
clicking on this icon right here.
| | 04:20 |
Or you can press the S key, and you can
see how those two images are stacked or
| | 04:24 |
connected together.
Now if you prefer not to use stacking,
| | 04:28 |
which I don't use in my own workflow, you
can go back to the preferences by choosing
| | 04:32 |
Lightroom and then preferences and here
you can click this option off of stack
| | 04:36 |
with original.
In that way these 2 files, when you edit a
| | 04:42 |
file in Photoshop they will no longer be
connected in this way.
| | 04:47 |
They will just live right next door.
Let me show you what I mean.
| | 04:51 |
Here I select this image, then let's go to
Photo > Edit In > Edit in Adobe Photoshop
| | 04:56 |
Creative Cloud or Render Using Lightroom.
This will create a TIF version of this
| | 05:02 |
photograph and open it up inside of
Photoshop.
| | 05:06 |
Now that this image is opened up in
Photoshop.
| | 05:08 |
I'm going to make a simple adjustment.
Here what I want to do, is I want to
| | 05:11 |
convert this image to black and white.
So I'll click on the adjustment layer icon
| | 05:15 |
for the black and white.
And the only reason I'm making this
| | 05:18 |
adjustment, is just so that we have A
really stark difference so we can compare
| | 05:22 |
the two images when we get back to
Lightroom.
| | 05:26 |
Now to save and close this file, I'm
going to use some shortcuts.
| | 05:29 |
In Photoshop if you press Cmd+S on a Mac
or Ctrl+S on Windows, that allows you to
| | 05:34 |
save the document.
Then if you press Cmd+W on Mac, that's
| | 05:38 |
Ctrl+W on Windows, that will allow you to
close the document.
| | 05:43 |
So once this has completed saving, it will
then close the document so that we can
| | 05:46 |
then go back to Lightroom and take a look
at how it saved this file as part of our
| | 05:50 |
Lightroom catalog.
And again, one of the advantages of using
| | 05:55 |
Lightroom is that when you save your
files, they are automatically included as
| | 05:59 |
part of the Lightroom catalog.
So here I'll go back to Lightroom, and in
| | 06:04 |
doing that you can see that I now have
these two images side by side.
| | 06:08 |
We have the original RAW file, and we have
the TIF file that we created inside of Photoshop.
| | 06:15 |
| | Collapse this transcript |
| Editing an original TIFF or PSD| 00:00 |
So far we've taken a look at how we can
work with our RAW files and edit those in Photoshop.
| | 00:05 |
Next I want to explore how we can edit our
TIFF or PSD or JPEG files as well.
| | 00:11 |
Well, here in this folder we have the
original RAW file right here.
| | 00:14 |
We also have this TIFF file, which we
created in the previous movie.
| | 00:18 |
Now after having looked at this TIFF file,
what I want to do is I want to re-open
| | 00:21 |
this in Photoshop and I want to modify it
even further.
| | 00:25 |
To do that, we'll simply select the
photograph.
| | 00:28 |
Then, navigate to the Photo > Edit In >
Photoshop.
| | 00:34 |
In doing this, it will open up a dialogue,
which will ask up how we actually want to
| | 00:37 |
bring this photograph over to Photoshop.
You can see that we have three different options.
| | 00:43 |
The top option is really good if you've
worked on the image inside of Light room.
| | 00:48 |
In other words, let's say you brought this
image to the Develop Module and you made
| | 00:51 |
some adjustments there.
What this would do is create a copy or
| | 00:55 |
duplicate version of the file with any
Lightroom adjustment applied.
| | 00:59 |
Another option is to simply create a
duplicate version of the file, without any
| | 01:03 |
Lightroom adjustments.
Or you can always just edit or open up the
| | 01:07 |
original file.
In this case, that's what I want to do,
| | 01:11 |
because this photograph has simply been
worked on in Photoshop.
| | 01:14 |
I haven't done anything here in Lightroom.
So we'll just go ahead and edit the original.
| | 01:19 |
Click the Edit button.
And this will then open up this file
| | 01:22 |
inside of Photoshop.
In a sense it's just like pressing an Open command.
| | 01:27 |
But it just called Edit In.
In this case, we're editing the original
| | 01:30 |
file here in Photoshop.
All right.
| | 01:33 |
Well, this file, it has a black and white
adjustment layer.
| | 01:35 |
Just for fun, we'll create a new layer.
Let's click on the Curves icon.
| | 01:39 |
This one will brighten the image up a
little bit and darken it down.
| | 01:42 |
Create a little classic S curve.
Just to add just a touch of contrast there.
| | 01:46 |
And again, you can do whatever you need to
do in Photoshop to finish off the file.
| | 01:51 |
Next we'll go to our File pull-down menu.
Here I'll select File > Save.
| | 01:56 |
Then, I'll also select File > Close, which
will allow me to close the file after it's
| | 02:00 |
been completely saved.
Now, what it will do, essentially, is just
| | 02:05 |
save this file with the three layers, and
Lightroom will know that this file exists.
| | 02:10 |
It will by default be part of the
Lightroom catalog.
| | 02:14 |
The only problem that Lightroom has is
when we use the save as command.
| | 02:18 |
So, here let's go back to Lightroom.
In Lightroom you can see that this image
| | 02:21 |
has now been updated.
Alright.
| | 02:24 |
Well, let's look at a few other options in
order to dig deeper into this whole topic.
| | 02:28 |
Here we'll select the folder which is
titled Chris and here you can see I have a
| | 02:32 |
single PSD file.
In order to open up this file again, we'll
| | 02:36 |
go to photo.
Here, I'll choose Edit In.
| | 02:39 |
And then we'll select Edit in Adobe
Photoshop.
| | 02:42 |
Again, we have a few options.
We can edit the original Photoshop document.
| | 02:46 |
Or we could edit a copy or copy with
Lightroom Adjustments.
| | 02:50 |
Again, if you process the file in
Lightroom, you may want to choose this
| | 02:54 |
option here.
Yet in this case what I want to do is this
| | 02:58 |
file hasn't been processed in Lightroom
just in Photoshop but I want to create a
| | 03:01 |
duplicate copy of it.
So here I'll select edit a copy no need to
| | 03:05 |
include Lightroom adjustments because
there aren't any.
| | 03:09 |
Then click on the edit button what this
will do is bring up another version of the
| | 03:13 |
file here.
You can see its now titled chrisdalmoro-edit.
| | 03:18 |
Because this is a duplicate version.
And I'll click on the color balance
| | 03:22 |
adjustment layer icon and I'll add a
little bit of red and a little bit of
| | 03:25 |
yellow to add a little bit of a, say,
sepia tone look.
| | 03:28 |
Next we'll navigate to the file pull down
menu.
| | 03:32 |
Here we'll select save and then we'll go
to the file pull down menu and select close.
| | 03:38 |
This will then save and close the file and
we can jump back to light room here.
| | 03:42 |
The reason why I wanted to show you this
one which is that when you create a copy
| | 03:45 |
you can see that you have two versions of
the file.
| | 03:49 |
These two versions, they live right next
door to each other, they are both
| | 03:52 |
photoshop documents...
And this particular technique works with
| | 03:57 |
Photoshop documents, TIFF, or JPEG.
It just allows you to create a copy or
| | 04:01 |
duplicate version of the file.
Now, that being said, we didn't need to
| | 04:05 |
choose that option.
We could always have just chosen Edit Original.
| | 04:10 |
But for demo purposes, I wanted to show
you what it would look like if you chose
| | 04:13 |
Edit a copy.
All right.
| | 04:15 |
Well, there's how we can start to work
with our Photoshop files and our TIFF files.
| | 04:21 |
Next, let's take a look at how we can work
with the JPG file format because that will
| | 04:24 |
be a little bit more involved and so, I
want to go ahead and do that in the next movie.
| | 04:29 |
| | Collapse this transcript |
| Editing an original JPEG| 00:00 |
Let's take a look at how we can select and
then edit a JPEG file in Photoshop.
| | 00:05 |
And here we will look at two different
scenarios we'll begin by working with
| | 00:08 |
JPEG's and we will keep those flattened.
And then we will explore what happens when
| | 00:13 |
we create or add layers in Photoshop as
well.
| | 00:15 |
Alright, we will go ahead and select an
image which you can find in the beach
| | 00:18 |
family folder.
These are all JPEG files.
| | 00:21 |
Next, navigate the Photo > Edit In > Edit
in Adobe Photoshop.
| | 00:28 |
This will then open up the same dialogue
which we've seen before, we can edit a
| | 00:31 |
copy with Lightroom Adjustments, if we
process the file at all in Lightroom or
| | 00:35 |
just a copy or simply the original.
Here I just want to edit the original
| | 00:40 |
file, so go ahead and choose that option
and then click on the edit button.
| | 00:45 |
This will launch this file in Photoshop.
Here it's telling me I have a profile mismatch.
| | 00:50 |
The JPEG actually has a lower color gamut
or smaller color gamut of Adobe RGB.
| | 00:55 |
I'm currently working in ProPhoto.
I'll just use the embedded, keep that as
| | 00:59 |
is, and that will work fine.
Alright, well this image, what I want to
| | 01:03 |
do is I want to sharpen it, and I want to
sharpen it on this exact layer.
| | 01:07 |
So here If we double click the Zoom tool,
we can see the image at 100 percent.
| | 01:12 |
That's typically what you want to do when
you sharpen your files.
| | 01:15 |
Next, navigate to the Filter > Sharpen.
And then, let's choose smart sharpen.
| | 01:22 |
Smart sharpen will allow us to apply a
little bit of sharpening here.
| | 01:25 |
And again, the point is, here, not to
learn how to sharpen but rather, to apply
| | 01:28 |
something to your image to make some sort
of a change or correction.
| | 01:33 |
So I'm going to apply these amounts here.
Then, click OK.
| | 01:37 |
Well, in doing this I've subtly sharpened
this image.
| | 01:40 |
Next what I want to do is simply save and
close it.
| | 01:43 |
To do that I will navigate to file and
then choose save.
| | 01:47 |
Then I'll navigate to the File Close.
By simply keeping this document as a JPEG
| | 01:52 |
with one layer when we go back to light
room what we will encounter is that we
| | 01:56 |
have this file.
With that added correction or enhancement
| | 02:00 |
made that we worked on in Photoshop.
Yet, what about those situations where you
| | 02:05 |
have an image and where you add layers to
it in Photoshop?
| | 02:10 |
Well, this is where things get a little
bit complicated, so stick with me here.
| | 02:14 |
What we're going to do is use photo, edit
in, and then edit this one in Photoshop
| | 02:18 |
one more time.
This will reopen this photograph, we'll
| | 02:22 |
edit the original, click the edit button
and again we'll use the embedded profile warning.
| | 02:28 |
Well with this image, let's say for some
reason we've decided to remove the color,
| | 02:32 |
again just for demo purposes I'll do that,
we'll click on the adjustment layer icon
| | 02:36 |
and remove the color.
And I'm saying just for demo purposes
| | 02:40 |
because I actually like the color in this
photograph.
| | 02:43 |
But just to make a change here, we'll
remove the color.
| | 02:46 |
Well now that this image is black and
white, we have a layer here.
| | 02:49 |
Now we could of course flatten this image.
You can do so by navigating to the layer.
| | 02:55 |
And then you can choose flatten image.
Then we could just save it out as a JPEG.
| | 03:00 |
But what if we aren't certain about this
conversion?
| | 03:02 |
What if we want to keep this layer as part
of the file?
| | 03:06 |
What we need to do is to navigate to our
File > Save.
| | 03:11 |
And we can't save this as a JPEG, because
JPEG's don't allow layers.
| | 03:16 |
So here, we'll simply choose Save or Save
As.
| | 03:18 |
In doing that, we then have to determine
the location in the file format.
| | 03:23 |
Well I'll save this out as a tint file
format.
| | 03:25 |
Because I like that better than PSD.
And this will allow me to save the layer.
| | 03:30 |
And you may be wondering, well what's the
big deal.
| | 03:33 |
Well you'll see in just a minute.
So we'll go ahead and click Save.
| | 03:37 |
And then, we'll click OK to use the
default settings there.
| | 03:40 |
And then File and Close.
Well, the big deal of course is when we go
| | 03:44 |
back to Lightroom, all that image, it
isn't part of our Lightroom catalog.
| | 03:49 |
It isn't part of this folder.
If we scroll through this folder.
| | 03:53 |
Here I'll press the G key, and I'll
decrease the thumbnail sizes a bit.
| | 03:57 |
You can see that, that black and white
image.
| | 03:59 |
It doesn't exist in this area.
Well, why is that?
| | 04:03 |
What went wrong?
What happened?
| | 04:04 |
Well, what happened was something which is
kind of interesting.
| | 04:07 |
We started off with this JPEG file.
Opened it up in Photoshop.
| | 04:11 |
But then we added a new layer, so we had
to save it out and use Save As.
| | 04:16 |
And when you use Save As, essentially what
you're doing is saving this file quote.
| | 04:21 |
Behind Lightrooms back, so Lightroom
didn't really know that, that happened.
| | 04:25 |
So we need to do, is we need to
synchronize the folder and this will solve
| | 04:29 |
our issue.
This will help us to bring in this missing
| | 04:32 |
photograph back into this folder.
To do that you'll Right Click or Ctrl
| | 04:37 |
Click on the folder and then Select
Synchronize Folder.
| | 04:41 |
This will allow us to open up the
synchronized dialogue.
| | 04:44 |
Here it detected that there is one missing
photograph.
| | 04:48 |
Great.
We can show the import dialogue if we want
| | 04:50 |
to, it's not really necessary so I'll turn
that off and then we'll go ahead and
| | 04:53 |
choose synchronize.
What this will do, it will add this
| | 04:56 |
picture to our catalog, we'll be able to
scroll around until we can find that, here
| | 05:00 |
it is over here on this side.
You can see that this image is now part of
| | 05:04 |
our catalog.
And now it's part of our catalog as a file
| | 05:08 |
which is in this tif file format.
So when you're working with JPEG files,
| | 05:12 |
just keep that in mind.
That if the file is flattened you won't
| | 05:16 |
need to go through this extra step.
And if your saving with layers You will
| | 05:20 |
need to take that final step which
involved going to the folder, right
| | 05:23 |
clicking or CTRL clicking on the folder
name, and then select synchronized folder,
| | 05:27 |
and that way, you'll make sure to have all
of those files as part of your overall
| | 05:31 |
Lightroom catalog.
| | 05:35 |
| | Collapse this transcript |
| Editing a modified TIFF, PSD, or JPEG file in Photoshop| 00:00 |
Next, I want to take a look at a scenario
where things get a little bit more complicated.
| | 00:05 |
You know, often when we work on our files,
wither they're tif, psd, or jpegs, we may
| | 00:09 |
decide that we want to process those files
in Lightroom and in Photoshop as well.
| | 00:15 |
Let me talk through a scenario here.
Remember this folder of images,
| | 00:18 |
portraits2, where we have this picture
which is a raw file.
| | 00:22 |
We open that one up in photoshop, and then
we converted it to black and white and
| | 00:25 |
saved it, and that was integrated into our
lightroom library.
| | 00:30 |
And here it is, this is a TIFF file, and
this workflow is consistent whether it is
| | 00:34 |
a TIFF, PSD or a JPG.
And let's say that once we see this in
| | 00:39 |
Lightroom, we decide, you know what, I'm
going to use quick develop or maybe the
| | 00:42 |
develop module.
Then, I'm going to go to my tone control,
| | 00:46 |
controls here.
And what I want to do is increase the
| | 00:48 |
contrast a little bit and also increase
the exposure.
| | 00:52 |
Not quite that much.
Here I'll just click this button maybe a
| | 00:55 |
few times.
Now I just want to darken the blacks there.
| | 00:57 |
Just increasing the overall contrast.
So this is a TIF file which has been
| | 01:02 |
processed in Photoshop and now also in
Lightroom.
| | 01:07 |
Well, when it comes to opening up a file
like this in Photoshop, we need to make
| | 01:10 |
some important choices.
So here again if it's a TIF, PSD or JPG
| | 01:15 |
that's been processed in Lightroom, we'll
navigate to the photo pull-down menu,
| | 01:19 |
select Edit In, and choose Photoshop.
And then, in this dialog, we need to make
| | 01:25 |
sure that these Lightroom adjustments are
part of what we'll see in Photoshop.
| | 01:30 |
Now, if we select Edit Original, the
Lightroom adjustments will not be visible.
| | 01:34 |
If we choose Edit a Copy, again the
Lightroom adjustments will not be visible.
| | 01:38 |
We'll have a duplicate version without
anything we did in Lightroom.
| | 01:42 |
Yet, if we choose Edit a Copy with
Lightroom Adjustments, whether its TIF PSD
| | 01:47 |
or JPG, we'll see that file with all of
those Lightroom adjustments applied.
| | 01:53 |
Let's go ahead and select that option, and
take a look at how the file will appear.
| | 01:57 |
One it's inside of Photoshop.
Here, we'll render using Lightroom.
| | 02:01 |
Which we'll just make sure will take
advantage of the latest version of Camera
| | 02:05 |
Raw that we have here installed in
Lightroom.
| | 02:07 |
Alright.
Well, now that I'm in Photoshop.
| | 02:09 |
What we're going to see is that we've
encountered a flattened version of the file.
| | 02:14 |
It took the 2 layers that we had in this
document, and then the Lightroom adjustments.
| | 02:18 |
And sandwiched those down.
To a single layered document.
| | 02:23 |
The advantage of this, of course, is that
we now no longer need to deal with all of
| | 02:26 |
those other layers.
Because often when we have a lot of
| | 02:30 |
layers, the file size increases
dramatically.
| | 02:34 |
So in this case, we have this really
simple file, without all of those layers.
| | 02:38 |
It's essentially flattened it for us, and
created a copy of it.
| | 02:41 |
Just to illustrate a difference here lets
go ahead and create one more layer.
| | 02:44 |
We'll add some reds and some yellows, just
so we can distinguish this between the
| | 02:48 |
other document.
Then lets choose file and save, and after
| | 02:53 |
that we'll choose file and close.
This will then save and close the file.
| | 02:58 |
And integrate it into our Lightroom
catalog.
| | 03:01 |
So here, let's go ahead and navigate back
to Lightroom, once this is complete.
| | 03:06 |
I should also point out that the
processing here of this image isn't amazing.
| | 03:09 |
That's not the point.
The point is just to make some sort of a
| | 03:12 |
visual difference.
So back in Lightroom, what we'll see is we
| | 03:16 |
now have 3 files.
What started as a raw file, was brought
| | 03:20 |
into Photoshop.
And then we created an Adjustment layer.
| | 03:23 |
Then we made some adjustments here in
Lightroom, and we wanted to apply those
| | 03:27 |
adjustments and open the file in
Photoshop, which we did.
| | 03:30 |
And then in Photoshop we continued to
modify the image.
| | 03:33 |
So, as you can see, what this allowed us
to do is to have a bit of a workflow.
| | 03:38 |
And your workflow when it comes to your.
Psd, tif, or jpeg files that have been
| | 03:42 |
processed in Lightroom.
The main thing to keep in mind is that
| | 03:47 |
what you want to do is choose photo, edit
in, and Photoshop.
| | 03:52 |
And then you want to select this top
option to make sure that all of those
| | 03:56 |
Lightroom adjustments will be included
when you edit and open that file in Photoshop.
| | 04:03 |
| | Collapse this transcript |
| Opening an image as a Smart Object in Photoshop| 00:00 |
Next, I want to take a look at how we can
open up our Raw files inside of Photoshop
| | 00:04 |
as smart objects.
In doing this, it gives us even more
| | 00:08 |
flexibility so that we can tap into the
Raw processing power here in Lightroom and
| | 00:13 |
also in Photoshop.
Let's begin by working with this
| | 00:17 |
photograph here.
You can find it in the folder portraits 1.
| | 00:21 |
Or, for that matter, you can really select
any raw file that you have in your library.
| | 00:25 |
And what I want to do with this image is I
want to convert it to black and white.
| | 00:29 |
So here I'll navigate to the quick develop
panel or, of course, we could go to the
| | 00:32 |
develop panel as well.
I use a preset, just to keep things simple.
| | 00:36 |
I'll go ahead and click on this pull down
menu and choose B&W Presets, and select
| | 00:41 |
B&W Look 1.
In doing this, it will convert the image
| | 00:45 |
to black and white.
Alright.
| | 00:47 |
Well, so far I kind of like that so what I
want to do is open this file up in Photoshop.
| | 00:52 |
To do that, we will navigate to Photo >
Edit In > Smart Object in Photoshop.
| | 01:01 |
In doing that, this will give us a lot of
flexibility as you'll see in a moment.
| | 01:05 |
This will also allow us to save the file
out and that will be included in our catalog.
| | 01:11 |
Alright.
Well, here we have this image.
| | 01:13 |
You'll notice that it comes into Photoshop
as a smart object layer.
| | 01:17 |
And now that I look at it I realize it's
too dark.
| | 01:20 |
I want to change the way this image is
processed.
| | 01:23 |
Well, to do that we can double-click on
this icon here and it will launch the
| | 01:27 |
photograph in Camera Raw now inside the
Photoshop.
| | 01:31 |
You know the engine of Camera Raw that's
in Lightroom and in Photoshop is the exact
| | 01:35 |
same engine.
Here, we'll notice we have all of our same controls.
| | 01:39 |
It's just that they're sort of positioned
a little bit differently.
| | 01:42 |
The interface is different, but the engine
is still the same.
| | 01:46 |
Well, here I want to reprocess this image.
I want to brighten it up a little bit,
| | 01:49 |
perhaps bring up my shadows and then
darken those blacks to create a different
| | 01:52 |
way to process this image.
All right.
| | 01:56 |
Well, there you have it.
Some more flexibility using Camera Raw.
| | 01:59 |
Some more or another way to process this
image, let's click OK to apply those settings.
| | 02:04 |
And one of the advantages of Smart Objects
is that you can always and forever go back
| | 02:08 |
to Camera Raw simply by double-clicking on
this icon in order to reprocess the file.
| | 02:14 |
Well, after having done that I like it, so
I want to save the file out.
| | 02:18 |
So here let's navigate to the File pull
down menu or you could use your shortcuts
| | 02:21 |
as well.
Choose File > Save.
| | 02:24 |
And the next choose File > Close.
In doing this, by default, it will create
| | 02:29 |
a TIFF file for us, and it will save this
TIFF file in the same exact folder in Lightroom.
| | 02:35 |
So here back in Ligthroom, you can see we
have the original RAW file that was
| | 02:38 |
processed here.
Then, we have the file that we opened as a
| | 02:41 |
Smart object.
This is now a TIFF file, and this TIFF
| | 02:45 |
file is part of the catalog.
So when it comes to opening up your files
| | 02:50 |
as smart objects, the advantage is
flexibility, that you can constantly and
| | 02:54 |
forever edit or modify that image.
Yet the downside, of course, is that smart
| | 02:59 |
objects increase your overall file size.
Yet that being said, sometimes the
| | 03:04 |
flexibility is worth that increade in file
size.
| | 03:07 |
Yet either way, now you know how you can
edit or open up your images from Lightroom
| | 03:12 |
over to Photoshop as smart objects.
| | 03:16 |
| | Collapse this transcript |
| Including multiple images in Photoshop as layers| 00:00 |
Another way that you can open up your
photographs and work with them in
| | 00:03 |
Photoshop is to select two or more images,
and then to open up those files in a
| | 00:07 |
single, layered document in Photoshop.
Let's take a look at a scenario where we
| | 00:12 |
might want to do that.
In this folder, which is titled Steven, we
| | 00:16 |
have some raw files.
These are files straight out of the camera.
| | 00:20 |
What I want to do is combine two together
to create what's called a diptych.
| | 00:24 |
Here, I want to work with this file here,
then hold down the Cmd key and click on
| | 00:27 |
this image.
Then, if you press the N key to enter into
| | 00:31 |
survey mode, what that will allow you to
do is to show these two images side by side.
| | 00:37 |
In this case you can kind of imagine
having these perhaps in one document, side
| | 00:41 |
by side like this.
Well that's exactly what I want to do.
| | 00:44 |
So let's go back to the grid view, so that
we can view how we have these two images selected.
| | 00:50 |
Once you've selected two or more files,
you can either right-click or Ctrl-click
| | 00:54 |
and choose Edit In, and then select Open
as Layers in Photoshop.
| | 00:59 |
Or you can also navigate to the Photo pull
down menu, and choose Edit In.
| | 01:03 |
And then select this option here, which is
Open as Layers in Photoshop.
| | 01:08 |
In doing that, what this will do is it
will open up both of these images.
| | 01:12 |
And it will put them into a single
Photoshop document.
| | 01:16 |
Here, we'll click open anyway.
And then, again, this will create this
| | 01:19 |
document, as you can see here.
And this will give us some flexibility in
| | 01:23 |
order to have multiple files in one
document.
| | 01:26 |
Sometimes, you'll do this for exposure
reasons.
| | 01:28 |
Other times, perhaps, for creative reasons
like we're doing here.
| | 01:32 |
Here, we have the two files.
There's the one file.
| | 01:35 |
The other one above.
I'll select the Move tool.
| | 01:38 |
And then I'm just going to click and drag
this one out of the frame.
| | 01:41 |
In doing that, you can see that I've moved
this off to the side.
| | 01:45 |
Now, to reveal that image.
In Photoshop, you can reveal anything
| | 01:49 |
that's outside of this document window by
navigating to Image.
| | 01:53 |
And then select Reveal All.
This is a nice handy trick to be able to
| | 01:57 |
do that.
So we now have this document which has
| | 02:00 |
these two images side-by-side.
You can see the top photograph and then
| | 02:04 |
the bottom photograph here.
In this way, by being able to have
| | 02:08 |
multiple images in one document, it gave
us flexibility to create this layout that
| | 02:12 |
we have here.
In other situations, as I mentioned, it
| | 02:16 |
might be to be able to combine multiple
exposures together, or to do something
| | 02:20 |
else as well.
All right, well after having modified this
| | 02:24 |
file however you want to do that, next
we'll navigate to the File pull-down menu.
| | 02:28 |
Here we'll choose Save.
That will allow us to save this file out
| | 02:32 |
as a TIFF file.
And then next we'll choose File and Close.
| | 02:36 |
This will save and close the file and
include it inside of our catalog.
| | 02:41 |
So that if we go back to Lightroom, this
will allow us to see that now here in
| | 02:45 |
Lightroom, if we go to the loop view, we
now have this TIFF file which is included
| | 02:48 |
as part of our catalog and so that we can
continue to work on this and include it in
| | 02:52 |
our overall workflow.
| | 02:57 |
| | Collapse this transcript |
|
|
11. Exporting, Emailing, and Publishing PhotographsExporting photographs to a hard drive, CD, or DVD| 00:00 |
And while at the previous chapters we
already talked about how we can export and
| | 00:03 |
publish our video files.
Well here in this chapter, we'll shift our
| | 00:07 |
focus to doing some similar things with
our photographs.
| | 00:11 |
We begin by taking a look at how we can
export a group of photographs so we can
| | 00:14 |
take some images which are high-resolution
or full resolution RAW files and export
| | 00:18 |
them as lower resolution JPEGs.
In this case I have a folder of images
| | 00:24 |
which is titled Steven.
These are some photographs which I
| | 00:28 |
captured recently for a client.
And what I want to do, is I want to export
| | 00:31 |
these so I can send them lower resolution
JPEG's so they can make some decisions
| | 00:34 |
about which photographs they want to use.
So here, you can select one or more images.
| | 00:40 |
I'll go ahead and click on this
photograph.
| | 00:42 |
Then hold down the Command key on a Mac,
or Control key on Windows.
| | 00:45 |
And click on a few others.
So that I've selected five images from
| | 00:49 |
this group.
Next, we can either click the export button.
| | 00:53 |
Or you can always navigate to the file
pull down menu, and select export here.
| | 00:58 |
Either way by pressing the button or by
choosing this menu item it will launch our
| | 01:01 |
export dialogue.
Now, the first thing that we need to
| | 01:05 |
determine is where we want to export these
files to.
| | 01:08 |
Do we want to export them so it triggers
our email client and then so that we can
| | 01:12 |
email them these pictures or just export
into a specific location or we can export
| | 01:16 |
them so that it will trigger the burning
of a CD or a DVD.
| | 01:22 |
In my case, I just want to save these to a
specific location.
| | 01:25 |
So I'll select hard drive.
Next what we need to do is define the location.
| | 01:29 |
And we'll go through these different
fields here, so that you can become
| | 01:32 |
familiar with a few of these options.
I'll go ahead and click to expand this.
| | 01:37 |
And here we can define a location.
When I choose a specific folder, I'll put
| | 01:41 |
these on my Desktop in a subfolder, which
is titled Steven.
| | 01:45 |
Next I will define the file naming.
Here I want to rename these files.
| | 01:49 |
So I'll go ahead and choose a new naming
convention, a custom name, and sequence.
| | 01:54 |
You don't have to do this, but it just
might be nice.
| | 01:56 |
In this case the client will get these
files with some names which make a little
| | 01:59 |
bit more sense.
The subject's name, and again an extension.
| | 02:02 |
Or A sequene number then we'll go ahead
and navigate past video because we don't
| | 02:06 |
have any video files.
So we'll go down to file settings.
| | 02:10 |
In file settings we can choose the image
format.
| | 02:13 |
We have a number of different formats PSD
TIF DNG or the original file.
| | 02:19 |
What I'm interested in doing is sending
over a lower-resolution JPEG file.
| | 02:23 |
It will be viewed on a monitor, so I'll
use this sRGB color space.
| | 02:27 |
For the quality, though, I'm going to
crank that up to somewhere around 70 or 80.
| | 02:32 |
That should work well.
And we also will need to resize these photographs.
| | 02:36 |
In the Image Sizing area, we can resize
these to fit within a certain area.
| | 02:41 |
What I tend to like to do, especially if
you have verticals and horizontals, is to
| | 02:44 |
choose long edge.
And that way you can make sure that these
| | 02:48 |
images are never longer or wider than a
certain size.
| | 02:52 |
In this case I'm going to change this to
800 pixels here.
| | 02:55 |
That again works well for e-mail
resolution.
| | 02:58 |
We'll leave it at that 72 pixels per inch.
Let's make our way down to output sharpening.
| | 03:04 |
These will be viewed on the screen, we
have a few options we could also view some
| | 03:08 |
sharpening options for matte paper or
glossy paper.
| | 03:12 |
And in most scenarios I found that
standard works really well.
| | 03:16 |
If you want it to be a bit more subtle
Perhaps low, or if you really want to
| | 03:19 |
crank it up, you can try high.
And that being said, when you have a high
| | 03:23 |
amount of sharpening.
It is never, as I've looked at my files.
| | 03:26 |
It's not like it's overdone.
Rather, it is just a little bit more intense.
| | 03:30 |
Yet, in most scenarios, I just used the
standard amount.
| | 03:33 |
And that tends to work really well.
Now, we can add some metadata here.
| | 03:37 |
In the meta data I want to include is just
my copyright information, so I'll go ahead
| | 03:40 |
and include that copyright info right
there.
| | 03:43 |
You can also include other information as
well.
| | 03:46 |
I'm going to pass the option for adding a
watermark because I don't want that on
| | 03:49 |
these photographs.
I know the client, I work with them all
| | 03:52 |
the time, so I just want to send them the
images so they can actually look at the
| | 03:55 |
work and evaluate it.
Then in regards to our post processing
| | 03:59 |
what we can do is we can have it trigger
something after we're done.
| | 04:04 |
In this case I'm going to have it trigger
to show in the Finder if you'er on a Mac
| | 04:07 |
or Explorer if you're on Windows.
This will then open up that folder, and
| | 04:11 |
that's kind of nice because it will remind
me, oh yeah, I need to do something with
| | 04:14 |
these photographs...
And that I could send them over to the
| | 04:18 |
client or whatever I need to do.
Well, after having gone through all of
| | 04:22 |
these different steps, the next and final
step is to simply click Export.
| | 04:27 |
In doing that, you can see that Lightroom
will go through these files one at a time.
| | 04:30 |
Here it will show us the progress above.
And what's great about this is we can
| | 04:34 |
continue to work in Lightroom.
In other words, we can select a different photograph.
| | 04:39 |
We can work in the Library module, and
work on keywording.
| | 04:42 |
Or we can navigate to any of the other
modules as well.
| | 04:45 |
In doing that, it will allow us to
continue our overall workflow, and then
| | 04:48 |
once this is complete, as you can see here
What it will do, is it will just show us
| | 04:51 |
these files.
Well now here I have these five images
| | 04:56 |
that are in a folder.
What I could do next is perhaps create an
| | 05:00 |
email and then include these images as an
attachment and then send them to the client.
| | 05:05 |
Or I can also copy these files to an
external hard drive or thumb drive, or
| | 05:08 |
whatever I needed to do.
So here we can start to see how we can
| | 05:12 |
take our images and how we can export
those out of Lightroom.
| | 05:17 |
And in this particular example, I showed
you how you can export JPEG files.
| | 05:21 |
Now keep in mind you can also export the
original file, a DNG, a PSD, a TIF, or a
| | 05:26 |
JPEG file.
So again, you'll want to choose the file
| | 05:30 |
format which obviously fits your
particular needs and your work flow.
| | 05:34 |
In this case, I'm actually going to send
the client these JPEGs right now.
| | 05:38 |
So this was kind of helpful for me to go
through this process.
| | 05:41 |
And now we've looked at how we connect
sport our photographs let's dig a little
| | 05:44 |
bit deeper and take a look at how we can
automate this a bit more.
| | 05:48 |
And we'll do that in the next movie.
| | 05:50 |
| | Collapse this transcript |
| Exporting photographs with previously used settings| 00:00 |
In the previous movie we selected a few
photographs from this folder and then we
| | 00:04 |
exported those pictures so that we could
convert these high resolution raw files
| | 00:07 |
into lower resolution JPEG files.
Well, here in this movie, I want to take a
| | 00:12 |
look at how we can take advantage of all
of those export settings which we've used previously.
| | 00:18 |
Because let's say for example that we've
decided that we also want to export
| | 00:22 |
another photograph as well with those same
exact settings.
| | 00:26 |
Well, we can do that by simply selecting
the photograph then you can navigate to
| | 00:31 |
the File pull down menu and here rather
than selecting Export, we'll choose Export
| | 00:35 |
with Previous.
In doing that it will apply the previous
| | 00:40 |
export settings and, in this case, it's
going to apply those settings, even the
| | 00:43 |
naming convention.
Here, it's telling me that this particular
| | 00:48 |
file already exists.
What should we do?
| | 00:50 |
Well, ask it to use a unique name and what
that will do is it will create a unique
| | 00:53 |
name and still save this image to that
particular folder.
| | 00:58 |
Well now here you can see the folder of
images.
| | 01:01 |
And we can see that this image should
really be named Steven-6.
| | 01:03 |
So I'll go ahead and click into the file
name here.
| | 01:07 |
And I'll just manually rename that to
Steven-6.
| | 01:11 |
And that will then show up at the bottom
of this stack.
| | 01:14 |
And in this way what you can do is you can
take advantage of those settings, which
| | 01:18 |
you've previously dialed in so that you
can then export other photographs using
| | 01:21 |
those settings as you can see here.
Simply by navigating to that command,
| | 01:27 |
which is File and then Export with
Previous.
| | 01:31 |
| | Collapse this transcript |
| Creating and using exporting presets| 00:00 |
Next let's take a look at how we can take
advantage of export presets in order to
| | 00:04 |
speed up our overall work flow.
In order to work with export presets, what
| | 00:08 |
you want to do is select an image and then
click on the Export button or navigate to
| | 00:12 |
File and choose Export.
This will open up the Export dialog and
| | 00:17 |
here you can use one of these predefined
Lightroom presets, for example, to burn a
| | 00:21 |
full size JPEG.
Or you can also create some of your own
| | 00:26 |
user presets.
Yet if you're going to create one of your
| | 00:29 |
own user presets, what you'll need to do
is to customize a few fields here.
| | 00:33 |
So what we'll do is we'll go to our export
location, and rather than using a specific
| | 00:37 |
folder, I'll choose the folder later.
This is, as it says, useful for presets
| | 00:42 |
because this will allow us to determine
the folder when we're creating the
| | 00:46 |
exported file.
We also want to make sure that when we're
| | 00:50 |
working with file naming, that we don't
use a custom text.
| | 00:54 |
As you saw in the previous movie, you can
run into issues with having images with
| | 00:58 |
the same name.
So rather than doing that, we'll just
| | 01:01 |
leave the naming convention as the default
name as it appears on the file.
| | 01:05 |
You also want to go through and choose and
dial in your options.
| | 01:08 |
But let's say we want to create a preset
to export JPEGs at this quality setting,
| | 01:12 |
at this particular size 800 pixels on the
long edge.
| | 01:17 |
With some sharpening applied and then also
it will open the finder once this is complete.
| | 01:22 |
In order to create this preset, we'll
click on the Add button, in doing that
| | 01:25 |
this will open up our New Preset dialog.
And I'm going to go ahead and name this
| | 01:31 |
one JPG-800 and then here we can click
Create.
| | 01:35 |
And once we click Create, this preset will
show up in our user presets.
| | 01:39 |
You want to create presets for those times
when you're exporting images to certain
| | 01:43 |
sizes that you do, or that you use very
frequently.
| | 01:47 |
Ideally, you'll have a whole slew, or a
whole set of presets which you can then access.
| | 01:52 |
Now, in order to take advantage of a
preset.
| | 01:54 |
All that you need to do is to click on the
preset name.
| | 01:57 |
And it will change all of the various
settings as you can see here.
| | 02:00 |
When we go back to JPG-800.
It will dial in all of the settings which
| | 02:04 |
we've defined.
Then, of course, to use this, simply click
| | 02:08 |
Export, and this will run through this
preset process.
| | 02:12 |
The first step here is to choose a folder,
which is kind of handy because now what I
| | 02:15 |
need to do is I need to create a folder.
So I'll go ahead and create a new folder.
| | 02:20 |
And I'll just title this new.
And then I'll create and open that folder.
| | 02:24 |
In this way, it will then save this file
to that particular location.
| | 02:29 |
And this is nice because then every time
we run this preset, it will ask us which folder.
| | 02:33 |
So we can make sure that we're just saving
our images in the correct location.
| | 02:38 |
You know, another way that you can use a
preset is to go back to Lightroom, select
| | 02:42 |
the image and then navigate to the File
pull down menu and here you can choose
| | 02:45 |
Export with Preset.
Here it will show you all of the pre
| | 02:50 |
installed Lightroom presets and any that
you've created.
| | 02:54 |
In this case I'll select the one we just
created which was JPG-800.
| | 02:58 |
It will go through this process and say,
hey, what folder do you want to use?
| | 03:02 |
I'll use the same folder here, new.
Then I'll click Open or Choose.
| | 03:06 |
And that will then save this file out as a
small JPEG to that particular location.
| | 03:11 |
And now again, keep in mind that I've
showed you how to create a preset to save
| | 03:14 |
a JPEG.
Yet you can also create presets to create
| | 03:18 |
TIFFs or PSDs or DNG files.
And you can dial in or change all of those
| | 03:23 |
settings so that they meet your needs.
Again here I just wanted to show you one
| | 03:27 |
way that you could save a preset out, as
we've done so here with this particular file.
| | 03:32 |
Most importantly, what you'll want to do
is take a look at how you can create those
| | 03:35 |
presets so that you can have a whole set
of presets.
| | 03:38 |
Because this will really help you to
optimize your work flow when it comes to
| | 03:42 |
exporting your photographs.
| | 03:44 |
| | Collapse this transcript |
| Emailing photographs from Lightroom| 00:00 |
Another way that we can export our
photographs from Lightroom is that we can
| | 00:03 |
export those images so that we can then
send them as attachments to an e-mail.
| | 00:09 |
And this can obviously speed up your
workflow and also, it's a ton of fun
| | 00:12 |
because it allows to quickly send your
pictures to other people so that you can
| | 00:15 |
share your work.
Well let's take a look at a few techniques
| | 00:19 |
that we can use in order to be able to do
that.
| | 00:21 |
We'll be working with this folder here,
it's titled Beach Family.
| | 00:25 |
These are some pictures that I captured of
some family friends down at a local beach
| | 00:28 |
and I want to email this family a few
photographs.
| | 00:32 |
To do that, we can either navigate to our
Export area by clicking on the Export
| | 00:36 |
button here.
Or we can also navigate to the File
| | 00:39 |
pull-down menu and the select Export.
Either way, this will launch the Export dialog.
| | 00:45 |
Now in the export dialogue, you may
want to take advantage of the Lightroom
| | 00:48 |
preset which is for email.
Notice that will change this to Export to
| | 00:52 |
e-mail or you just manually choose that
option there.
| | 00:55 |
Then you could go through these different
fields and choose to rename the files if
| | 00:59 |
you want to.
You can dial in your file setting perhaps
| | 01:03 |
you want to increase the quality there a
little bit 75 or 80.
| | 01:06 |
You can also define how you might want to
resize the image.
| | 01:10 |
Often when you're resizing your images,
it's helpful to turn on this option to Not
| | 01:14 |
Enlarge the files.
In case you have a lower resolution file,
| | 01:18 |
this won't stretch it out or increase it's
size.
| | 01:21 |
So this will make sure that you maintain
the overall image quality.
| | 01:25 |
Output sharpening.
It's almost always a good idea to sharpen
| | 01:27 |
your files for the screen and on standard.
You can include metadata if you want to,
| | 01:32 |
copyright and then contact information or
you could leave that turned off.
| | 01:36 |
Again it's entirely up to you.
Alright, well after you've dialed in those
| | 01:39 |
settings simply click Export.
In doing this, what it will do is it will
| | 01:43 |
prepare this file.
And it will open up this dialogue here
| | 01:46 |
which will allow us to export these images
and send them as an email.
| | 01:51 |
Yet before we can actually send this as an
email.
| | 01:53 |
We need to add our own email account
information.
| | 01:57 |
We can do that by clicking on the pull
down menu here and then go to the Email
| | 02:00 |
Account Manager.
In this manager, what we need to do is to
| | 02:04 |
add a new email account.
So click on the Add button and the email
| | 02:08 |
that I'm going to add here is just my own.
The service provider that I use for my
| | 02:13 |
email is gmail.
So I'll select that from this list here,
| | 02:16 |
and then click OK.
Next, we have to enter in the email address.
| | 02:21 |
I'll go ahead and enter that in there, and
I'll add my password as well.
| | 02:25 |
We can validate this just to make sure
that we entered that in correctly.
| | 02:29 |
If we did, it will say yup, we're good to
go.
| | 02:31 |
It's validated.
The green light is turned on.
| | 02:34 |
So here we can go ahead and click Done.
I should also point out that the good news
| | 02:38 |
is you only need to do this once.
It will always be remembered as part of
| | 02:42 |
Lightroom, so in the future, you won't
need to take this step.
| | 02:46 |
Alright, we'll click Done.
This will bring us back to this dialogue here.
| | 02:50 |
As you can see, we now have the ability to
send this email to someone.
| | 02:53 |
I'll just send this to myself so we can
test it out.
| | 02:56 |
Sometimes it's a good idea to do that, so
you can make sure that the image looks good.
| | 03:00 |
I'll just say this is a test.
Alright, we can include a caption or
| | 03:05 |
metadata if we want to.
Or we can also just use certain presets.
| | 03:09 |
In this case, we're going to use those
settings which we defined in the Export dialogue.
| | 03:14 |
Alright.
After having done that, we'll go ahead and
| | 03:16 |
click Send and we'll send off this
photograph.
| | 03:19 |
You know, another way that we can do this
is we can select one or more images.
| | 03:23 |
Here I'm going to go ahead and select
multiple photographs by holding down the
| | 03:26 |
Cmd key on a Mac or Ctrl key on Windows.
I'm just going to select some of these pictures.
| | 03:31 |
You can also email pictures even more
quickly by going to File and then by
| | 03:35 |
choosing Email Photos.
There's a shortcut for this.
| | 03:40 |
Shift+Cmd+M on a Mac or shift+Ctrl+M on
Windows.
| | 03:44 |
When you click on this menu or this option
here, it will open up this dialogue.
| | 03:48 |
And this will skip all of those export
settings.
| | 03:51 |
And the reason why you might want to do
this is because you can simply use one of
| | 03:55 |
these presets.
If you click on this preset pull down
| | 03:58 |
menu, you'll notice that there are some
presets.
| | 04:00 |
These work extremely well.
In most situations Medium or Large will be
| | 04:04 |
all that you'll need to do.
So in this case you can just use a preset.
| | 04:09 |
Or you can see below you can always create
your own presets too.
| | 04:12 |
Here I'll just use this Medium preset.
Next I'm going to send this one to myself
| | 04:16 |
as well and in a moment, we'll look it up
and take a look at how this will look.
| | 04:20 |
We'll call this one test two this is
another test here goes.
| | 04:24 |
Alright well another thing you may want to
do before we leave this dialogue is you
| | 04:28 |
may want to open up this address area.
If you click on this address button what
| | 04:33 |
you can do is you can add addresses to
your Lightroom catalog.
| | 04:37 |
Here I'll go ahead and just add my own
email address here.
| | 04:40 |
Then I'll just type that out.
I should actually do that differently.
| | 04:44 |
I should put my name up here sorry about
that and then my email address below and
| | 04:48 |
then click OK.
And doing that you can see that part of my
| | 04:52 |
address book.
Once you have that as part of your address
| | 04:55 |
book, as your adding the email it will
help you automatically fill that in.
| | 05:00 |
So, if I go to type out the name, you can
see it's giving me a suggestion.
| | 05:04 |
Click on the suggestion, and then what you
can do is add that to the email.
| | 05:08 |
Again, you may want to add addresses to
people that you're emailing frequently,
| | 05:11 |
that way again it will speed up your
workflow here as you're using this
| | 05:14 |
particular feature.
Alright well let's go ahead and send off
| | 05:19 |
these photographs.
We'll click Send.
| | 05:21 |
The great thing about this is that this
really all happens right inside of Lightroom.
| | 05:25 |
We never need to go anywhere else to get
these photographs out there.
| | 05:30 |
Well let's go ahead and open up the
browser.
| | 05:32 |
I want to do that and take a look at this
that I have here, and I'll open up this folder.
| | 05:37 |
And here we can see, for example, with
this test email here we have all of these
| | 05:40 |
images which we can scroll through and
view.
| | 05:44 |
And the great thing about this is we can
imagine how the client will receive these.
| | 05:48 |
And what I like to do is do what I just
did here is send myself those pictures.
| | 05:53 |
And then I go back to Lightroom and I
re-send them to the client.
| | 05:58 |
It's always a good idea to test things out
before you actually deliver it to the
| | 06:01 |
client to make sure that the images look
good.
| | 06:04 |
That you selected the correct photographs,
etcetera, etcetera.
| | 06:08 |
So, to finish this off, what we would need
to do is to then go to File, choose Email Photos.
| | 06:13 |
And then here, we would select a different
address and subject.
| | 06:16 |
And then type out some different words
here as well.
| | 06:19 |
Well that wraps up our look at how we can
take advantage of that feature of being
| | 06:23 |
able to email photographs straight from
Lightroom.
| | 06:26 |
Again, what I recommend you do here is
that you take a few minutes to test this out.
| | 06:31 |
You add some of those addresses of people
that you email frequently so that you can
| | 06:35 |
begin to integrate this step into your
overall Lightroom workflow.
| | 06:40 |
| | Collapse this transcript |
| Using Publish Services to export photographs to a folder| 00:00 |
Another way that you can speed up and
optimize your workflow when it comes to
| | 00:03 |
exporting your photographs, is by taking
advantage of the Publish Services panel,
| | 00:07 |
which you'll find in the Library module.
In the Library module, first what you'll
| | 00:13 |
want to do is select a photograph or two
and then navigate to the publish services area.
| | 00:18 |
If you open up this panel.
You'll notice that you can publish
| | 00:21 |
photographs to different areas.
For example, you can publish to a hard
| | 00:24 |
drive or to other online services as you
can see listed here.
| | 00:28 |
Well, let's first begin by talking about
how we can publish our photographs to a
| | 00:32 |
specific place on a hard drive.
To do that, what you want to do first is
| | 00:36 |
click on the SetUp button.
This will take you to the Lightroom
| | 00:39 |
Publishing Manager.
The first thing you want to do is, give a
| | 00:42 |
name to this publishing service.
I like to give this my name or my
| | 00:46 |
initials, so I'll just go ahead and call
this Chris Orwig HD for hard drive.
| | 00:50 |
Then we want to export to a specific
location.
| | 00:53 |
And what you'll notice is that all of
these areas that we have here, these are
| | 00:56 |
identical to what we have when we're
working with exporting photographs.
| | 01:01 |
And publishing is just another way to
export pictures.
| | 01:05 |
It's just that we can remember certain
settings as you'll see here in a minute,
| | 01:08 |
and this can optimize your work flow.
So again, you want to work through all of
| | 01:13 |
these different fields.
We'll choose a specific location, and I'll
| | 01:17 |
just call this Location Photos on my
desktop.
| | 01:20 |
We want to choose a file-naming
convention, either to rename the files or
| | 01:23 |
leave them as their default names as they
are.
| | 01:27 |
I'll go ahead and leave that as is for
now.
| | 01:28 |
If we have video files, we can include
some options there.
| | 01:32 |
In this case, I'm going to turn this
option off because I don't have video files.
| | 01:36 |
And I'm going to create an export publish
preset, which is focuses in on photographs.
| | 01:41 |
For our file settings, we can choose a
certain quality.
| | 01:44 |
I'll save these as low resolution JPEGs or
you could choose PSD, TIFF, DNG or original.
| | 01:50 |
Again, whatever it is that you want to do.
I'll leave my quality setting, actually
| | 01:53 |
I'll take this up a little bit, I would
like to take my quality of my JPEGs up to
| | 01:56 |
about 80.
That tends to work pretty well.
| | 01:59 |
Color space SRGB then for image sizing we
can choose to re-size these photographs
| | 02:04 |
which is what I want to do.
I'm going to re-size so their long edge
| | 02:08 |
isn't any longer than a 1000 pixels.
We'll choose a resolution for these files,
| | 02:14 |
I'll take this down to 72 pixels per inch.
We can define some sharpening, sharpening
| | 02:20 |
for the screen and standard.
If we want to include metadata we can
| | 02:24 |
always do that or we can just include the
copyright and contact information.
| | 02:29 |
Again, whatever is relevent to your work
flow, you can make that decision there.
| | 02:33 |
Last but not least, we can determine to
add a watermark or not.
| | 02:36 |
Alright.
Well, I'll go ahead and leave the
| | 02:38 |
watermarking option off, I almost always
do.
| | 02:41 |
And in this case, I want to create this,
or save this out as a publishing preset.
| | 02:47 |
To do that, just simply click Save.
What will happen here once we've done
| | 02:51 |
this, is, it will save this out as a
preset.
| | 02:54 |
As you can see here in our Publish Service
panel, located underneath the hard drive.
| | 03:00 |
Well currently you can see that I haven't
added any photographs to this area.
| | 03:04 |
Or I do want to add this picture so I
click and drag and drop that to this
| | 03:08 |
little area.
When we click on that, it will show us
| | 03:11 |
which photographs we've worked on which
need to still be published.
| | 03:16 |
So we can go ahead and click on that
folder then I'll press the G key to
| | 03:19 |
navigate to the grid view.And here, it's
showing me that I have one new photo that
| | 03:22 |
needs to be published.
If we want to add others, we can go back
| | 03:27 |
to our folders and we can select other
photographs to add, and then again, you
| | 03:30 |
can click on this and it will show you
which pictures you have kind of in queue,
| | 03:34 |
waiting to be exported or to be published.
And so again, publishing is just another
| | 03:41 |
way to export pictures.
But what's great about publishing is it
| | 03:45 |
has some built-in memory.
In other words, it remembers all of our
| | 03:49 |
export settings.
And all that we need to do to publish, is
| | 03:52 |
to either click the Publish button here or
the Publish button located in the upper
| | 03:55 |
right-hand corner.
When we do that, it will go through this
| | 04:00 |
process and it will convert these files
based on those settings which we defined
| | 04:03 |
in that previous dialog.
And here it's showing me that I have two
| | 04:07 |
photographs which have been published.
I can continually add pictures to this area.
| | 04:13 |
If I have another photograph that I
want to add, I'll drag and drop it there.
| | 04:16 |
Now it shows me I have one photograph
which isn't published, two which I already have.
| | 04:21 |
I'll go ahead and click Publish.
And that will then publish or export that
| | 04:25 |
file as a smaller JPEG file which I could
then send to a client or post online or
| | 04:28 |
whatever it is.
So as you can see, you could use these
| | 04:33 |
publish services features as just yet
another way to export your files to a
| | 04:37 |
specific location on a hard drive.
And often, you'll want to use publish services.
| | 04:44 |
For those times where you're exporting
photographs, the same way over and over
| | 04:48 |
and over again.
In other words, if you know that certain
| | 04:52 |
clients always like their files with
certain settings, well create a Publish
| | 04:55 |
Service for that, so that you can quickly
and easily export those files.
| | 05:00 |
And then get those off to the client, or
wherever you need to get them.
| | 05:03 |
Alright, well now that we've started to
look at how we can use Publish Services to
| | 05:07 |
a hard drive let's explore how we can use
some features which'll allow us to publish
| | 05:10 |
to other sites as well and we'll do that
in the next movie.
| | 05:15 |
| | Collapse this transcript |
| Uploading photos to Facebook and Flickr| 00:00 |
Another way that you can publish your
photographs in the library module is by
| | 00:03 |
taking advantage of the publish services.
Which allow you to publish your work to
| | 00:08 |
different sites, like Behance, Facebook,
or Flickr.
| | 00:12 |
And so here, let's take a look at how we
can do this.
| | 00:14 |
And just to illustrate, I'll show you how
we can work with Facebook.
| | 00:17 |
And the process is nearly identical when
we work with these other sites as well.
| | 00:22 |
What you want to do first is select a
photograph, like this one here, and I
| | 00:25 |
want to quickly develop this image.
You could use quick develop or the develop
| | 00:30 |
module, and here I'm just going to
increase my overall exposure just a little
| | 00:33 |
bit, I'll add a touch of clarity you know,
decrease some of the vibrance, because if
| | 00:36 |
I'm really going to post this some where I
want to make sure that the image looks good.
| | 00:42 |
Well after you've finished your processing
in quick develop, or perhaps in the
| | 00:46 |
develop module even better, the next step
is to navigate to publish services here in
| | 00:49 |
the library module.
Click on the setup button, and this will
| | 00:54 |
launch the Lightroom Publishing Manager.
This is where you can manage your
| | 00:58 |
different connections.
For this first one, I'll go ahead and just
| | 01:01 |
type out my name so that I can have a
connection here Which will remind me this
| | 01:04 |
is for my Facebook account.
I'll click Authorize on Facebook.
| | 01:09 |
Here I'll agree to those Terms of Services
and what this will do is it will open
| | 01:12 |
Facebook and ask me if I want to authorize
this connection.
| | 01:16 |
I do.
When you click Connect this will open open
| | 01:19 |
up the connection between Lightroom and
Facebook.
| | 01:22 |
We'll go ahead and click OK a few times,
and that will then allow me to be able to
| | 01:26 |
upload to certain areas on the site.
Alright, well next, let's go back to
| | 01:30 |
Lightroom for a moment, and back here in
Lightroom, what we need to do is further
| | 01:33 |
modify these settings that we have here
for this Facebook connection.
| | 01:39 |
Well, one of the things that we'll want to
do, of course, is determine where we
| | 01:42 |
want to include these photographs.
Do we want these to a particular album?
| | 01:46 |
Do we want them as cover photos, timeline
photos?
| | 01:49 |
You name it.
Here, I'll just choose Timeline Photos.
| | 01:51 |
And I'll go ahead and leave the album
setting as is.
| | 01:54 |
You can also create new albums and other
things, as well, to organize your photographs.
| | 01:59 |
Now for the title, what you may want to do
is perhaps use something which is custom,
| | 02:03 |
or maybe even leave it blank.
This will make it a little bit more clean.
| | 02:08 |
So I'll go ahead and leave that blank, so
that there isn't a title there.
| | 02:11 |
Or another good option would be to use the
overall file name.
| | 02:14 |
If you use the file name perhaps what
you'll want to do is choose a custom name.
| | 02:18 |
Or rename the files.
So here I'll just go ahead and rename this
| | 02:22 |
one Steven-tiller, which is the subject of
the photograph that I'm going to post.
| | 02:27 |
Alright, well we can also post video files
if we want to.
| | 02:30 |
We could include those, if we needed to.
For our file settings we'll leave this
| | 02:34 |
here at a quality of about 75 or 80 should
work well.
| | 02:38 |
Regards to the long edge, we'll leave this
on as default size here.
| | 02:41 |
I'll put sharpening for screen on
standard, an then I'll include some meta
| | 02:45 |
data here.
I'll include the meta data of the
| | 02:48 |
copyright an the contact information.
Well after having done that, really all
| | 02:52 |
that we're going to do is click save.
What this does is it remembers all of
| | 02:56 |
these settings which we've dialed in here
for this particular connection for our
| | 02:59 |
publish services.
And again, you can do the same thing for
| | 03:04 |
Behance or for Flickr.
Or click on this button to find other
| | 03:07 |
services as well.
Now, when you're ready to upload a
| | 03:10 |
photograph, just drag and drop it to this
area.
| | 03:12 |
And like we saw previously, to publish one
of these pictures, which we have for one
| | 03:16 |
these services or to a hard drive, we can
click on this area.
| | 03:21 |
I like to view this in the grid view
because it shows us which photographs we
| | 03:24 |
have, which we're able to publish.
Then you just need to click one of the
| | 03:29 |
publish buttons.
There's two: either this one here, or the
| | 03:32 |
other one in the upper right hand corner.
Go ahead and click publish.
| | 03:36 |
What this will do is it will then export
this file, which is a huge raw file.
| | 03:40 |
It will rename it, and make it much
smaller, and then upload it to Facebook
| | 03:44 |
for me.
So now that this task is completed, I'm
| | 03:47 |
going to go ahead and navigate back to
Facebook.
| | 03:50 |
And I'll refresh this view here so we can
take a look at this photograph.
| | 03:54 |
And here you can see that this image was
posted, and we have this particular
| | 03:57 |
picture as part of the timeline here,
which is included now on my particular
| | 04:01 |
Facebook page.
And so in this way, what we're starting to
| | 04:05 |
see is that we can use these connections
via the publish services panel, in order
| | 04:09 |
to be able to get our work our there, and
to share it with the world.
| | 04:14 |
And what I recommend you do here is that
you take a few minutes to set up those
| | 04:17 |
connections, so that when you're ready or
when you come across a photograph that you
| | 04:20 |
want to publish to one of these sites, you
already have that connection established.
| | 04:26 |
And all that you'll need to do is to drag
the photographs to the particular service
| | 04:29 |
and then simply click the publish button.
In order to publish and to share those
| | 04:34 |
photographs with others.
| | 04:35 |
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|
|
ConclusionNext steps| 00:00 |
Congratulations on making it through this
course.
| | 00:03 |
Now that you know how you can use the
Library module in order to import and
| | 00:06 |
manage all of your photographs, it's now
time to begin to shift your attention to
| | 00:10 |
the Develop module.
And, you know, the good news is that the
| | 00:14 |
Develop module is a ton of fun.
That's where the magic takes place.
| | 00:18 |
This is where we really get to breathe
some life into our photographs.
| | 00:22 |
So if you're ready to take your Lightroom
skills to the next level, I recommend that
| | 00:26 |
you check out course number three in this
series, where we focus in on Lightroom in
| | 00:30 |
order to improve our workflow and our
photographs.
| | 00:35 |
Well, in closing, thanks for joining me in
this course, and I hope to see you in the
| | 00:38 |
next one.
| | 00:39 |
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