IntroductionWelcome| 00:00 |
(MUSIC).
Hi.
| | 00:04 |
My name is Chris Orwig and welcome to this
course which is the fifth course in our
| | 00:08 |
series which focuses in on Lightroom.
In this course, we'll talk about how we
| | 00:13 |
can use the Print and the Book module in
order to create prints and book projects.
| | 00:19 |
And here how we can work with Print
Collections and templates.
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And also how we can create prints where we
have multiple images on one page, like a
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contact sheet.
We'll also look at how we can print a
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single image on a page, and how we can
customize the layout of that page.
| | 00:35 |
Next we'll look at how we can create some
book projects.
| | 00:38 |
Here we'll explore how we can take
advantage of Auto Layout in order to
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populate our projects with our photograph.
We'll look at how we can customize the
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layout and how we can change images or
page order so that our book projects look
| | 00:52 |
their best.
Now we will be covering all of these
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topics and more so thanks for joining me
in this course.
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Let's begin.
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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
| | 00:04 |
access to the exercise files.
Once you've downloaded the exercise files
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folder, go ahead and locate it and
double-click it to open it up.
| | 00:12 |
And here you'll encounter all of the
images that we'll be working on in this course.
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If you open up one of these folders,
you'll find all of the images that we'll
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be working on in that particular folder.
Now, because this is a Lightroom course,
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you'll want to import the entire Exercise
Files folder into your Lightroom
| | 00:29 |
catalogue, so that you can start to work
with these files.
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Now if you don't have access to the
exercise files, no big deal, you can
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always simply follow along or of course
you can always work on your own images.
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Ahright let's begin.
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|
|
1. Creating Better Prints with the Develop ModuleMaking basic adjustments in the Develop module| 00:00 |
One of the steps that you can take in your
overall print workflow in order to most
| | 00:04 |
dramatically improve the quality of your
final print is soft proofing and we'll be
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talking about soft proofing quite a bit in
this chapter, yet before we get to that
| | 00:13 |
topic we need to step back a little bit.
We need to talk about how soft proofing
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can fit into our overall workflow.
By doing that it'll help us gain some
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clarity about the topic of soft proofing.
So for now lets jump back in time to start
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off with working on our images here in the
Develop Module.
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Typically we start off with a picture like
this.
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This is a photograph of one of my
daughter's friends.
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And I like her bright expression, all the
vibrant colors.
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She was dressed up for Halloween and this
was at a Harvest Festival I just lover her
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bright warm smile.
Well, here we typically start off in
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Develop Module, and I know that you know
this stuff, right?
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We use controls perhaps increase the color
temperature, perhaps add some contrast, or
| | 00:59 |
maybe a little bit of vibrates, or color
saturation.
| | 01:02 |
We make our way through these controls.
We also use other controls as well to work
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on detail, and noise, and to sharpen the
image.
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And we make adjustments really based on
improving the overall visual appeal, the
| | 01:15 |
visual aesthetic.
Well here we have the before and after.
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We just added a bit of a snap there.
Perhaps even a bit more contrast would be
| | 01:24 |
nice, or maybe a little bit more warmth in
this picture.
| | 01:28 |
Okay well after we made those adjustments
we also make some adjustments which are a
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bit more objective.
Using the histogram what we can do is turn
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on what are called our clipping
indicators.
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These indicators are really important.
If you hover over them or click on them,
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it will turn on this indicator.
This will give us some objective way to
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evaluate our photograph in regards to the
highlights and shadows.
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It will show us any clipping that we have.
In other words, if I exaggerate this
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exposure amount here, it's going to show
me with this red detail here that I have clipping.
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I have loss of detail in this area.
Well, that's easy enough to correct.
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We use our controls in order to bring the
exposure down so we don't have any clipping.
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The same thing is true with our deep
shadows.
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If I exaggerate here we can see I have
clipping in these dark areas where the
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blue is highlighting the problem or
problematic area.
| | 02:23 |
Again, we can use our various controls in
order to correct that.
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Now I assume you know all of those things,
yet I like to highlight that because that
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really is the precursor for working with
soft proofing.
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It's the precursor because it shows us
Clipping.
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It shows us problem areas.
And it highlights those problem areas and
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then it kind of clues us into thinking
okay we need to make some adjustments in
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order to correct for that.
It kind of helps us step outside of ourselves.
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It helps us step outside of just making
subjective adjustments.
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Because subjectively right now, well this
image, it looks great.
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You know, we may be thinking to our self,
we are ready to go to the Print Module and
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to create a print.
Yet, if we were to do that, we would be
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pretty disappointed because this image
wouldn't print very well.
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Well how would we know that or how could
we make changes to this image so that it
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would print well?
Well, in order to start to evaluate our
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photographs for print, what we need to do
is to use soft proofing.
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Soft proofing it will allow us to evaluate
and to make changes to our photographs so
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that they will reproduce even more
clearly.
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Or in order to more clearly understand how
soft proofing works let's go ahead and
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talk about that with this image, and let's
do that in the next movie.
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| Creating better prints by soft proofing| 00:00 |
After you've completed your workflow in
the develop module.
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In other words, after you've completed
processing your photograph and you're
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ready to go to the print module, well
before you do that, what you want to do is
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turn on Soft Proofing.
Now, what exactly is Soft Proofing?
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Well, Soft Proofing is a way to preview
your photograph.
| | 00:19 |
It gives you the ability to preview your
picture in a way that will give you
| | 00:23 |
insight into how the image will be
reproduced on a particular printer and
| | 00:28 |
paper type.
It lets us evaluate and then make
| | 00:31 |
corrections to our photographs so that our
final prints look good.
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Well, in order to turn on Soft Proofing,
you can find this in the Toolbar.
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If your Toolbar isn't visible, press the T
key to bring it back.
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And if the Soft Proofing option isn't
there, click on the triangle icon and then
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select it in the menu here.
Well, let's go ahead and turn on Soft
| | 00:50 |
Proofing and as we do that, pay attention
to the histogram up above and also the image.
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When we turn this on, all of a sudden,
everything is going to look different.
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Well, our image it appears different.
There is a different color surrounding the
| | 01:05 |
photograph and rather than the Histogram,
we now have the Soft Proofing panel.
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Our Histogram has also changed, rather
than having percentages, we now have RGB amounts.
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So that if I hover over the image, you can
see the amounts of red, green and blue
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here, and you will see those values as I
move around the photograph.
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What's happened?
Well, we've entered this Soft Proof view.
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And in this view, a few things have taken
place.
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One, it's drawn a different histogram.
Two, it shows us our paper white.
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It's doing that by turning on this option
here, simulating our paper and ink.
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Now, that's the default.
You can change that by right-clicking or
| | 01:46 |
Ctrl clicking.
Here, you can see Paper White is selected,
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or we could choose a different background,
say like 50% grey.
| | 01:54 |
And again, the default paper white is
chosen.
| | 01:57 |
Because different papers, well, they have
different whites.
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If you've ever painted a room in your
house white, you know that there are
| | 02:03 |
different shades of white.
There is bright white, ultra white, or
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there's a white which is a little bit more
yellow or other which are a bit more blue.
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So it is with photo papers as well.
Well, this is simulating that paper white.
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And also, how the image will appear on
that paper type.
| | 02:21 |
Well, how does Lightroom know how to do
that?
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Well, if you navigate to the panel, you'll
notice there's a Profile.
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If you click on this menu, you can choose
different profiles.
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Here, I'll choose Adobe RGB 1998.
This is the Soft Proof for that particular profile.
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Or if I'm going to send this to my
printer, I can use one of the paper types
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that I use quite often.
Say, like this Velvet Fine Art paper that
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I use on my Epson 3880, it will show me
how this image will look.
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All of a sudden, it's a bit less
saturated, a bit less detailed.
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Also, there's just less color.
There's less contrast.
| | 02:58 |
Well, that's because that paper has a high
dot gain.
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In other words, the ink kind of spreads
into the paper.
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It can't hold the saturation as much as
other paper types.
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Compare this, say, to another profile.
How about for a glossy paper?
| | 03:12 |
Well, here all of a sudden, the image,
it's much more saturated, much more colorful.
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Now, if you don't see your profile in this
menu, you can always go to Other.
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This will open up our profile dialog.
Here, we can choose to display or not
| | 03:26 |
display profiles.
If there are profiles that you use
| | 03:29 |
frequently typically you check these on
and you include those.
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For example, I've been printing with this
paper recently, the exhibition fiber
| | 03:37 |
paper, so I'll turn this profile on, and
then click OK.
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It will select that as my profile or I can
choose this from this menu here.
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Another thing that we can do is choose our
rendering Intent.
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We're going to actually spend quite a bit
of time talking about this so that we can
| | 03:54 |
really understand rendering intents
because these two options sometimes well,
| | 03:58 |
they're are a little bit confusing.
So, I'm going to skip that for now, but we
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will cover it in another movie.
We've already talked a little bit about
| | 04:05 |
simulating our paper and ink and how we
can turn that option on or off.
| | 04:11 |
Now, typically you're going to want this
on.
| | 04:13 |
Now, how else can we work with Soft
Proofing and what's the big deal here?
| | 04:17 |
Well, remember in the previous movie when
I talking about clipping and those
| | 04:22 |
clipping indicators?
You may notice that in the Soft Proofing
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histogram up here, that we have different
indicators or different icons that we're
| | 04:30 |
in the same position as those highlight
and shadow indicators.
| | 04:35 |
Well, here in Soft Proofing, it's not
highlight or shadows, but it has to do
| | 04:39 |
with viewing color on our monitor.
Hover over this, it will show us colors
| | 04:43 |
that are out of gamma.
That are out of range when are being
| | 04:46 |
viewed on a monitor.
Well, we're not concerned with that.
| | 04:49 |
Here, we're focused on printing so we
want to look at this icon.
| | 04:53 |
We can hover over it just to see the
problem areas.
| | 04:56 |
Or click on this in order to turn on this
clipping indicator.
| | 05:01 |
Now, when I turn this on, all of a sudden
I realize, oh my gosh, All of these bright
| | 05:05 |
vibrant colors.
The colors that I was so excited about,
| | 05:09 |
well, they're not going to be able to be
reproduced on my printer with this paper type.
| | 05:15 |
This will change with different profiles,
right?
| | 05:17 |
Here I am using this Fiber Paper, let's go
to our Glossy Paper.
| | 05:21 |
Well, that paper it can reproduce a wider
gamete of colors so we can see that the
| | 05:26 |
indicator is not quite as broad.
Or if we compare that to say velvet you
| | 05:31 |
can see that there's much more of this
clipping or out of gamete indicator.
| | 05:36 |
Well, this out of gamete indicator, it's
really helpful.
| | 05:39 |
Because rather than going to the print
module and creating the print and being
| | 05:43 |
disappointed, now I get to see it
beforehand.
| | 05:46 |
And now, I get the chance to make some
adjustments so that I can have a more
| | 05:51 |
accurate print so that what I'm seeing is
closer to what I'm getting.
| | 05:55 |
And this problem comes up because on a
monitor, well we're seeing color via light.
| | 06:01 |
On a printer we're seeing it via ink.
And those two different types of colors,
| | 06:06 |
well they're just created differently and
they have different gametes.
| | 06:10 |
So what do we do, how do we work with
this?
| | 06:12 |
How do we correct this problem?
Well, let's take a look at how we can
| | 06:16 |
start to correct this problem, or save our
image, or create a version of this image
| | 06:22 |
so that that version can be more
reproducible, so that we can create a
| | 06:26 |
higher quality print.
And, let's take a look at how we can do
| | 06:29 |
that in the next few movies.
| | 06:31 |
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| Choosing a rendering intent| 00:00 |
An important step in working with Soft
Proofing, and in evaluating and correcting
| | 00:04 |
your photograph.
So that you can create a nice high quality
| | 00:07 |
print, is choosing your rendering intent.
You can find those rendering intents in
| | 00:12 |
the Soft Proofing panel.
And in order to see how they work, we need
| | 00:16 |
to click on this out of gamut indicator
here, so we can turn that warning off.
| | 00:21 |
And then if you click on one of these
options you'll notice a shift in the
| | 00:24 |
image, here it's a bit more saturated,
here it's a little bit less.
| | 00:28 |
Yeah, that's kind of hard to identify what
exactly is happening.
| | 00:32 |
And in my own experience in working with
photographers and students, many people
| | 00:36 |
don't really know what to choose.
They can't make sense of these different
| | 00:41 |
rendering attempts.
What do these actually mean?
| | 00:44 |
And how and why do we use a rendering
attempt.
| | 00:47 |
Well even more, what we're going to find
is that we're going to choose a rending
| | 00:50 |
attempt here in in Soft Proofing.
And also over in the Print module.
| | 00:55 |
And because rendering intent can really
make or break the quality of our print,
| | 00:59 |
what I want to do is step outside of
Lightroom for a minute.
| | 01:02 |
And walk through a few slides, to see if
we can't get a good handle on this whole
| | 01:06 |
topic of working with rendering intents.
Well, rendering intents have to do with
| | 01:10 |
this whole issue of color.
And, how on a monitor, we see color which
| | 01:15 |
is created via light.
When we send a photograph from a monitor
| | 01:18 |
to a printer, well we have to render that
color to a different space.
| | 01:23 |
Because on a printer, well that color,
it's created via ink.
| | 01:27 |
And rendering intents, they're really
important.
| | 01:29 |
We're going to find these in Lightroom in
a few different places.
| | 01:33 |
We'll fine them in the develop module,
when it comes to our soft proof preview.
| | 01:37 |
And this just helps us evaluate the image
and perhaps make some changes to the picture.
| | 01:42 |
We'll also find the Rendering Intents in
the print module, in the Print Job panel.
| | 01:48 |
And this is really important because here
in the Print module, this is where we are
| | 01:52 |
committing to our Rendering Intent.
And making a choice here, well it can
| | 01:56 |
really make or break the quality of the
print.
| | 01:59 |
So let's then explore how we can work with
these different Rendering Intents.
| | 02:03 |
Let's say we have a photograph like this
here.
| | 02:06 |
Well one of things that we can do say with
our softproof view is we can turn on this
| | 02:10 |
view which will show things in red.
It will show areas or colors of our image
| | 02:16 |
which are out of gamut.
In other words, colors which aren't reproducable.
| | 02:21 |
And if we turn on that view, we can see
that with this image, we have a lot of
| | 02:25 |
colors which are out of gamut.
Well, let's explore how our two rendering
| | 02:30 |
intents deal with situations like this.
And let's start off with relative color metric.
| | 02:35 |
In Lightroom, this is shortened or
abbreviated to relative.
| | 02:40 |
What relative does is something really
fascinating, it looks at these colors and
| | 02:45 |
first it says I'm going to divide these
up.
| | 02:48 |
I'm going to look at my In gamut colors
and deal with those differently than I'm
| | 02:52 |
going to deal with the out of gamut
colors.
| | 02:54 |
Here in this view, you can see that I have
deleted, or whited out, all of those out
| | 02:59 |
of gamut colors.
So what then happens to these colors,
| | 03:02 |
which are in gamut?
Well, it reproduces these colors, in other
| | 03:06 |
words, it reproduces what is reproducible.
It leaves the in gamut colors simply as is.
| | 03:13 |
Alright, well how then does it deal with
these out of gamut colors.
| | 03:17 |
Here you can see I've deleted everything
except for these out of gamut colors.
| | 03:22 |
And let's focus in on say this green.
What is it going to do with this really
| | 03:25 |
bright, beautiful, saturated green?
Well what relative color metric is
| | 03:29 |
going to do, is it's going to move this
green to the nearest in gamut color.
| | 03:35 |
It's going to take this out of gamut color
and move it to the nearest color by
| | 03:39 |
desaturating it, there's going to be some
sort of a color shift with this color.
| | 03:44 |
Now this is great because it helps us to
make this picture reproducible, to make
| | 03:48 |
this picture so that we can actually print
it.
| | 03:51 |
Yet the downside is that the color will be
of course a bit desaturated and sometimes
| | 03:56 |
what you'll see are artifacts.
like banding like you can see here in this
| | 04:01 |
close up view of this color.
Alright, well let's review.
| | 04:04 |
Relative, what does it do?
Well it reproduces what is reproducible.
| | 04:09 |
And it also then takes the out of gamut
colors and it moves to the nearest in
| | 04:14 |
gamut color.
Alright well then why then would we
| | 04:16 |
want to use relative.
Well you might want to use relative if
| | 04:20 |
accuracy is paramount.
If you really want your in gamut to stay
| | 04:25 |
as is.
Well relative's going to be a great choice.
| | 04:29 |
Another situation when relative color
might be a great option is when there's
| | 04:33 |
just a narrow gamut of colors.
In other words, perhaps you have an image
| | 04:38 |
which doesn't have any color which is out
of gamut.
| | 04:41 |
And you know, most of our images are like
that.
| | 04:44 |
Well if there is a narrow or a smaller
gamut, well then, this is going to be a
| | 04:48 |
great option.
Okay, well now that we've talked a bit
| | 04:51 |
about relative, let's then this say to
perceptual.
| | 04:55 |
How is perceptual going to deal with an
image like this where we have these colors
| | 05:00 |
and we have all of these out of gamut
colors?
| | 05:03 |
What perceptual does is something quite
different, where relative divided it up
| | 05:08 |
into in gamut, or out of gamut, and have
dealt with those colors differently.
| | 05:12 |
Perceptual is a bit more cohesive in its
approach.
| | 05:16 |
It takes the entire image, and it says,
I'm going to take the entire image and I'm
| | 05:21 |
going to kind of squish this down.
And this graphic here is just kind of an
| | 05:26 |
overdramatization, but it takes all of
those colors and squishes them so that
| | 05:30 |
they now all fit inside of the gamut.
What this does then is it changes almost
| | 05:37 |
each and every color.
What you'll see is that it can slightly
| | 05:40 |
kind of desaturate almost everything.
Now why is it doing this?
| | 05:45 |
Or what's this all about?
What Perceptual is really about is
| | 05:48 |
preserving visual color relationships.
It preserves the way that the eye sees color.
| | 05:54 |
So as it moves color, it kind of moves it
all together.
| | 05:59 |
Now the benefit of using this, of course,
is that it keeps the image looking the way
| | 06:03 |
that it should look to the eye.
Because the way that we see color isn't by
| | 06:07 |
seeing color in a correct, or incorrect
way.
| | 06:11 |
Rather, it's all about color
relationships.
| | 06:14 |
Perceptual does a great job preserving
these visual color relationships.
| | 06:19 |
A couple other things about Perceptual is
that it works well with photos with lots
| | 06:23 |
of saturated out of gamut colors.
One of the down sides of this is that it
| | 06:28 |
can cause gamut colors to shift.
And we'll take a look at this in one of
| | 06:33 |
the subsequent movies.
So what we can see here is that our in
| | 06:37 |
gamut colors, well, they're just going to
change a little bit.
| | 06:40 |
Sometimes that change can be undesirable.
Another thing to consider with perceptual
| | 06:45 |
on the positive side is that it reduces
artifacts like banding.
| | 06:49 |
In other words if you use relative.
And you create a print.
| | 06:53 |
And all of a sudden you see banding say in
the sky or on a part of the area where you
| | 06:56 |
have a gradient or color transient.
Well then just go ahead and choose perceptual.
| | 07:01 |
And most likely perceptual will save the
day.
| | 07:05 |
All right, well, now that we've seen or
talked about both of these different
| | 07:08 |
options, let's go back say to our print
job panel.
| | 07:12 |
Because this is where we need to make the
decision.
| | 07:14 |
Do we decide relative or perceptual?
Well, relative as you remember is useful.
| | 07:20 |
When accuracy is paramount, when you want
your colors which are in gamut to stay the same.
| | 07:26 |
Perhaps you're photographing a garment for
a catalog and you need that garment color
| | 07:31 |
to be accurate, you can't afford to have
any kind of color shift with that.
| | 07:36 |
Well relative may be a good choice in that
situation.
| | 07:39 |
Or perhaps you have a narrow gamut of
colors, well again relative will be great.
| | 07:44 |
Or maybe you're not too concerned about
those really highly saturated colors that
| | 07:48 |
are out of gamut.
And a little bit of clipping or changing
| | 07:51 |
of those colors or bringing those into
gamut, well that's going to be fine or
| | 07:55 |
relative will work really well in those
situations.
| | 07:58 |
In comparison perceptual you want to
choose that to preserve visual color relationships.
| | 08:04 |
This one it works well if you have photos
with lots of saturated out of gamut
| | 08:08 |
colors, and you just want to preserve the
way that the eye sees those colors in
| | 08:12 |
relationship with each other.
Well this can of course cause in gamut
| | 08:16 |
colors to shift.
You want to look out for that, and watch
| | 08:19 |
for that.
And then, on the positive side, one of the
| | 08:22 |
benefits is it, this reduces artifacts
like banding.
| | 08:25 |
If you see banding in your image, well,
perceptual may be a good option.
| | 08:30 |
Well, my hope is that by having this
conversation about rendering intent, that
| | 08:35 |
this has given you some valuable
information.
| | 08:37 |
And that you can then use this information
in order to make a more educated decision.
| | 08:42 |
When it comes time to decide which
rendering intent you're going to choose
| | 08:46 |
when printing your photographs.
| | 08:48 |
| | Collapse this transcript |
| Correcting a soft-proof copy| 00:00 |
Alright, well now that we have a good
working understanding of rendering intent,
| | 00:04 |
let's take a look at how we can use the
soft proofing view in order to evaluate
| | 00:09 |
and correct our photographs.
One of the things that you'll want to do
| | 00:12 |
is create what's called a proof copy.
You can do that by clicking on this Create
| | 00:17 |
Proof Copy button here.
This will create a virtual copy.
| | 00:20 |
You can see it down bellow in the film
strip and this is a virtual copy which is
| | 00:25 |
intended to be printed from.
This is the one with the soft proof
| | 00:29 |
profile turned on.
Next we want to choose a rendering intent.
| | 00:33 |
This will give us 2 different looks.
Do we want to preserve the color
| | 00:37 |
relationship, or do we want to just clip
the colors which are out of gamut, and
| | 00:41 |
bring those down, push those down to in
gamut colors?
| | 00:44 |
Here, with this image, I think it would be
nice to preserve the relationship, so I'll
| | 00:48 |
choose perceptual.
Next, we need to determine a profile.
| | 00:52 |
In order to choose a profile, I'm going to
turn on my Clip-in Indicator.
| | 00:56 |
This showing me the colors which are out
of gamet with this printer and this paper type.
| | 01:02 |
In this case, velvet fine art paper.
because this image is so much about
| | 01:06 |
saturation, I may want to choose a paper
type, say like premium luster.
| | 01:11 |
We'll see that there are less colors which
are out of gamut, creates a little bit
| | 01:15 |
more of a vibrant picture.
I like that.
| | 01:18 |
I'm going to choose that profile.
Next, we need to make some adjustments to
| | 01:22 |
get those colors in gamut.
We may be thinking, well what about going
| | 01:26 |
to our saturation slider and dragging this
down?
| | 01:30 |
When we do that, yes, we correct the out
of gamut colors but the image just looks strange.
| | 01:37 |
That won't work.
What we could do instead of that is we
| | 01:40 |
could get into these specific areas a few
different ways.
| | 01:44 |
One technique that you could use is to
scroll down to your HSL controls.
| | 01:49 |
Here in the HSL panel, you have Hue,
Saturation, and Luminance.
| | 01:54 |
If you go to Saturation, and click on the
targeted adjustment tool, you can then
| | 01:59 |
hover over the color which is a problem
area and click and drag down.
| | 02:03 |
As you do that, you'll notice that this
red clipping or out of gamut warning
| | 02:08 |
indicator, it disappears, it gets smaller.
I'll do the same thing with the hair.
| | 02:13 |
I'll click and drag down.
Now, as you work with color, you may not
| | 02:17 |
be able to remove all of the gamut
warning.
| | 02:20 |
If you go so far that it's all gone or
perhaps the hair just looks a little too
| | 02:25 |
lifeless, in situations like that maybe
you're going to have a little bit of
| | 02:29 |
clipping there.
And that clipping is going to be dealt
| | 02:32 |
with with your rendering intent.
In other words, it's shifting all the
| | 02:36 |
colors so that they have that color
relationship here.
| | 02:39 |
Well in a situation like this where the
clipping is now small, perhaps the
| | 02:45 |
relative rendering intent would work well
here because it's just hitting upon these
| | 02:49 |
brighter or more saturated color areas.
And again, you can see the visual
| | 02:54 |
difference as you choose on those options.
Here I think still perceptual, well I
| | 02:58 |
think that looks best.
Well now that we have this proof, what is
| | 03:02 |
interesting is that we're ready to print
this file, we're ready to exit the soft
| | 03:07 |
proofing view.
In order to do that, I'll click done here,
| | 03:10 |
I'm done with this tool.
And I'm going to click off this option for
| | 03:14 |
soft proofing.
So here's our image, it doesn't look that
| | 03:18 |
much different.
Yet this image has been adjusted and what
| | 03:22 |
we did is we basically saw this soft proof
view we made the needed adjustments in
| | 03:28 |
that view we made adjustments here we also
may have made adjustments other panels
| | 03:33 |
like the basic panel and this image is now
in a really good spot.
| | 03:37 |
Well let's compare these two pictures.
We'll click on one, hold down the Command
| | 03:42 |
key on a Mac, Control key on Windows, then
click on another.
| | 03:46 |
Next what I want to do is go to the
library module and in the library module
| | 03:50 |
I'm going to click on the survey mode.
In survey here it allows us to view these
| | 03:54 |
images side by side.
Well as I see these pictures side-by-side
| | 03:59 |
what we can see is that yes this one has
more color saturation in the hair.
| | 04:04 |
It is definitely more orange than this
picture over here.
| | 04:07 |
And yes, the green is brighter in this
picture, yet for the most part it still
| | 04:12 |
has that same look and feel.
It still has those nice tones and colors
| | 04:17 |
and expression.
And by going through all of that process
| | 04:21 |
really what we've done is we have
successfully modified this image not so
| | 04:25 |
that it looks good to our eye and this is
the trick right but so that it's going to
| | 04:31 |
look good in the final print.
Because what you can see with your eyes on
| | 04:36 |
your monitor well it far exceeds that
which is reproducible with you printer.
| | 04:42 |
So sometimes we kind of have to make these
changes.
| | 04:46 |
We have to go against our best intuition
and say, while this doesn't look as good,
| | 04:51 |
this image is going to print better.
It's going to look stronger in the long run.
| | 04:56 |
| | Collapse this transcript |
| Painting away soft-proof gamut problems| 00:00 |
Here, let's take a look at how we can
continue to use soft proofing in order to
| | 00:04 |
evaluate and correct our pictures.
And in particular, let's take a look at
| | 00:08 |
how we can use the adjustment brush in
order to paint corrections into a specific
| | 00:13 |
area of our image.
Well first, let's go ahead and turn on our
| | 00:17 |
soft proof.
To do that, you can press the S key or you
| | 00:20 |
can click on this box here.
Once in the soft proofing mode we want to
| | 00:24 |
choose a profile.
The profile I'm going to choose is premium
| | 00:28 |
luster paper.
I want to have a lot of bright, vibrant colors.
| | 00:32 |
Next we want to turn on our out of gamma
indicator or warning indicator here.
| | 00:36 |
Showing me that these brighter, more
saturated colors, well those are out of gamma.
| | 00:42 |
For my rendering intent, I'm going to
choose relative.
| | 00:44 |
This will then just work on these out of
gamma colors.
| | 00:48 |
It actually want to correct those myself.
So to do that, I'll first click on Create
| | 00:53 |
Proof Copy.
This will then create a virtual copy for
| | 00:56 |
me down below, which I can then work on.
I want to work in this with the Adjustment Brush.
| | 01:02 |
Here we can click on the Adjustment brush
in the Tool Strip, or we can press the K key.
| | 01:07 |
Next, we'll scroll down and choose to
Desaturate, so we can paint in some desaturation.
| | 01:14 |
And then we want to scroll down to our
Brush Options.
| | 01:17 |
We'll want to a pretty small brush that we
can work on specific little areas.
| | 01:21 |
Not too much of a feather amount our flow.
We need to go below fifty probably
| | 01:25 |
somewhere in the forties or the thirties.
Next, we can start to paint over our image.
| | 01:30 |
As I do that, you can see that what
happens is I'm painting away these areas
| | 01:35 |
which are out of focus.
I'm correcting this part of the image.
| | 01:38 |
And this gives me some nice flexibility
just to work on this part of the image and
| | 01:43 |
really target those tones or colors which
are a little bit more problematic.
| | 01:47 |
This way I'm not affecting the other
colors in the file, just these ones which
| | 01:52 |
are more saturated.
And again, just making my way through the
| | 01:55 |
picture, I'm watching to see how the
effect is taking place here.
| | 01:59 |
It's modifying the color, but not too
drastically.
| | 02:02 |
As I paint back and forth more times, it
removes more of the color.
| | 02:07 |
Go ahead and make my brush bigger here by
pressing the Right Bracket key and work on
| | 02:11 |
the greens up top.
Just remove all those little areas there.
| | 02:15 |
And then I'll come down to the blues.
Now these blues were really saturated.
| | 02:19 |
So what I'm going need to do probably is
crank up my flow here, bring it up a
| | 02:24 |
little bit more see if that won't help.
And I make my way through this and then
| | 02:29 |
make sure I'm just working on these blues
which were kind of over the top.
| | 02:33 |
And that looks pretty good.
And we have successfully corrected all of
| | 02:37 |
those colors.
What's great about using the adjustement
| | 02:40 |
brush is we can flip the switch here.
We can flip this to see our before and after.
| | 02:46 |
We can also turn off that clipping
indicator, or out of gamma indicator and
| | 02:51 |
flip the switch, and this will show how
it's affected those colors.
| | 02:55 |
And in this case, for the most part it's
done a good job.
| | 02:58 |
It shifted some colors in some pretty
significant ways, yet it's brought all of
| | 03:02 |
these colors now in gamut.
And this image, really, it's ready to be printed.
| | 03:07 |
Let's look at one more example with this
technique.
| | 03:10 |
Here I'll go ahead and click on this next
image.
| | 03:12 |
And I'm going to zoom in on this image.
Let's zoom in, say to a 1 to 4 view.
| | 03:18 |
We already have this particular
perspective turned on as far as our Soft Proof.
| | 03:23 |
Let me close a few things, though, so we
can kind of focus on that.
| | 03:26 |
Soft proofing is on, here is before
without the Soft Proof.
| | 03:30 |
Then here it is with this on.
With this image I want to print it on this
| | 03:34 |
paper, the velvet fine art paper.
When I do that and when I turn on my out
| | 03:40 |
of gamut warning indicator.
It shows me that some of the greens here
| | 03:44 |
in these flowers.
Well those are out of gamut.
| | 03:47 |
Again, to correct even small things like
this we can use that adjustment brush This
| | 03:52 |
time same settings right?
Desaturate, go ahead and check out our
| | 03:56 |
brush on a relatively low flow.
Probably an even smaller brush size there.
| | 04:01 |
We can just start to paint over these
little problem areas and as we do that we
| | 04:06 |
can really target those problem areas.
Here it's telling me, well Chris you
| | 04:10 |
forgot to make your proof copy.
I'll create one now.
| | 04:13 |
We've already talked about how that works,
and then I can just keep working.
| | 04:17 |
That's the nice thing about this is that
if ever we miss our initial step as I
| | 04:21 |
mentioned before.
Lightroom will just give us a little
| | 04:23 |
warning and help us do that at the time
when it's relevant.
| | 04:26 |
And here, just going through these areas
where I'm seeing the little red dots.
| | 04:31 |
I'll increase my flow and my brush size a
little bit for the areas, which are a bit
| | 04:35 |
more problematic.
Just some clipping there in some little
| | 04:38 |
teeny areas.
And the trick with this of course is that,
| | 04:41 |
it's okay to have some clipping in your
image.
| | 04:44 |
You don't need to bring all of the colors
in the gamma, because we already know that
| | 04:47 |
our rendering intent can do some of that
for us.
| | 04:50 |
This will just help us have a little bit
more control, so that we can see what this
| | 04:55 |
color is going to look like while we're
working on it.
| | 04:58 |
Up here again, just painted across this to
try to get a few more of those areas out,
| | 05:02 |
and I think that looks pretty good.
If we go back to our fit view, we'll be
| | 05:07 |
able to see that there are just a couple
other areas in the background as well that
| | 05:10 |
we might want to hit up with this tool
while we're here.
| | 05:13 |
Again, just bringing some of those colors
and tones in the gamma, using the
| | 05:17 |
adjustment brush in order to paint these
adjustments into specific areas, to make
| | 05:22 |
corrections on our images.
In side of this soft proof mode.
| | 05:26 |
Now of course after we've done this, after
we've completed our adjustment we can put
| | 05:31 |
away this adjustment brush.
With this image, one of the things that
| | 05:35 |
I'm noticing is that while I've brought
everything in gamut, it's just lacking a
| | 05:39 |
little bit of warmth.
Take a look at the image before.
| | 05:42 |
Here is our image before If we turn Soft
Proofing off, the image is much more vibrant.
| | 05:48 |
Here's after, well part of that is that
I'm using this velvet fine art paper, one
| | 05:53 |
of my favorite papers.
Well because of that, I'm going to go into
| | 05:56 |
my basic panel.
I'm going to crank up my temperature here
| | 05:59 |
just a little bit, bring this up a touch,
bring in a bit more warmth.
| | 06:04 |
Also might go down to my vibrant slider
and add a bit more vibrance and I'm adding
| | 06:09 |
a bit more vibrance than I would typically
be comfortable with.
| | 06:13 |
Had I not been in soft proof I would have
thought, Chris this is over the top.
| | 06:18 |
But here now in the soft proof, seeing how
this image will be printed, it helps me
| | 06:23 |
make this decision.
It helps me have a bit more logic into how
| | 06:27 |
I make these choices.
Now again, in this case for our rendering
| | 06:31 |
intent, we could choose perceptual, just
deal with these out of gamma areas not the
| | 06:36 |
other colors, or if we want the color
relationship to more closely respond or
| | 06:42 |
relate to the original file, we could
choose perceptual.
| | 06:45 |
In this case, I think perceptual looks
pretty good.
| | 06:49 |
And this image is ready to be printed.
| | 06:51 |
| | Collapse this transcript |
| Soft proofing to add visual snap| 00:00 |
So far, we've taken a look at how we can
use soft proofing in order to evaluate and
| | 00:04 |
correct our photographs.
In particular, we focused in on color and
| | 00:08 |
on saturation.
Yet, what about those situations with
| | 00:12 |
photographs like this, where we don't have
high contrast or high color saturation?
| | 00:17 |
Can soft proofing help here?
Well, definitely.
| | 00:21 |
In most situations you don't have
necessarily color problems, but you have
| | 00:24 |
problems with your images in regards to
printing them that they just fall a little
| | 00:29 |
but short.
They lose a little bit of their zest or
| | 00:32 |
life, or snap.
Let's take a look at how we can use soft
| | 00:35 |
proofing in order to recover that, so that
our prints look even stronger.
| | 00:40 |
Well, first what I'm going to do, is go
ahead and process this image.
| | 00:43 |
I'll go the basic panel and this is the
file straight out of the camera.
| | 00:47 |
And the file needs a little bit of
contrast.
| | 00:49 |
So I'll increase my contrast.
Perhaps add a little bit of clarity as well.
| | 00:54 |
And then maybe desaturate the image
attached.
| | 00:57 |
Just to give it a nice kind of interesting
aesthetic.
| | 01:00 |
I'll zoom in on the image, so you can
check this out.
| | 01:03 |
Here, I'll click on 1:4, and look at the
before and after.
| | 01:06 |
Here is our before, and now our after.
I'm going to increase the color
| | 01:11 |
temperature a bit too, so I just have kind
of an interesting way to process this image.
| | 01:16 |
And again, here it is, our before and now
our after.
| | 01:21 |
Alright, well I liked that.
I think the image is good to go, has nice
| | 01:25 |
amounts of contrast, interesting color,
and I like the overall feel for this photograph.
| | 01:31 |
What I want to do though is before I go to
the print module, I what to turn on soft
| | 01:35 |
proofing because I want to create a print
of this image using matte paper.
| | 01:40 |
Here I'll click on Soft Proofing.
Next, in the Soft Proofing dialog from my
| | 01:44 |
profile pulldown menu, I'll select
Enhanced Matte Paper.
| | 01:48 |
This is a really popular paper for
photographers.
| | 01:51 |
And when I do that, I can see my proof
preview.
| | 01:55 |
Next I want to turn on my gamut or out of
gamut warning indicator here and then zoom
| | 02:01 |
out to check out the image.
Now when I do that I see that really
| | 02:05 |
nothing is out of gamut.
The image really it's good to go, yet
| | 02:10 |
still there is a problem.
The problem doesn't have to do with gamut.
| | 02:14 |
The problem has to do with the paper and
ink and printer combination.
| | 02:18 |
Let's take a look.
When we zoom in on this image, what
| | 02:22 |
happens is, is that image which we saw
created via light, now when it's created
| | 02:27 |
via ink well, it's just a little bit
lackluster.
| | 02:30 |
Here's before and now after.
Let's correct that.
| | 02:35 |
The first step will be to click on Create
Proof Copy.
| | 02:38 |
This will create a virtual copy.
And this is the proof copy that we'll make
| | 02:42 |
these added changes to.
So now, this image, it's lacking a little contrast.
| | 02:48 |
While we already added contrast here,
we're going to add even more.
| | 02:53 |
It’s not quite bright enough so perhaps
we’ll bring up some of our highlights, or
| | 02:57 |
maybe a little bit of the whites there.
We could also work with our shadows.
| | 03:01 |
We could either darken or brighten those.
Perhaps bring down those blacks a touch.
| | 03:06 |
As we make these adjustments, we’re really
looking to try to get something to look
| | 03:10 |
good to our eye in the soft proof view.
Because here what we're seeing is what
| | 03:16 |
this image will actually look like when
it's printed.
| | 03:19 |
You know this kind of goes against our
intuition.
| | 03:23 |
Typically what you do is you get things to
look good and you just trust the process,
| | 03:28 |
but now that we know about softproofing,
what we have to do is turn that on.
| | 03:32 |
This will simulate what will happen to all
of these colors and tones.
| | 03:36 |
And then we make these extra adjustments,
in order to make this look it's best.
| | 03:41 |
All right.
Well, now, that we have these adjustments,
| | 03:44 |
what we need to do is exit this soft
proof.
| | 03:47 |
So here, I'll click on the soft proof
option to go back to the normal view.
| | 03:51 |
In this normal view, I need to make sure I
haven't done anything bad.
| | 03:56 |
In other words, I want to make sure I
don't have shadows which have been
| | 03:59 |
clipped, or highlights which are
overexposed.
| | 04:02 |
To do that we can turn on our highlight
and our clipping indicator.
| | 04:07 |
Now when I see that here all of a sudden I
realize, yeah maybe I went a bit too far
| | 04:12 |
with my blacks.
I'll go ahead and bring those up a little bit.
| | 04:15 |
It's okay to have some loss of detail in
there.
| | 04:18 |
I think that's nice, but I want to be
careful with these sliders.
| | 04:20 |
So as you create the correction in that
soft proof view, keep in mind that while
| | 04:27 |
it may look great here.
Say if we go ahead and bring these blacks
| | 04:30 |
way down, or something like that.
When you leave that soft proof view, it's
| | 04:34 |
always a good idea to check it here just
to make sure that this is within the range
| | 04:39 |
of being reproducible.
In other words When you see this
| | 04:42 |
indicator, it's 100% ink, too big of an
area that's 100% ink and it looks a little murky.
| | 04:50 |
That being said, all images can have some
trapped shadow here where you have some
| | 04:55 |
information which isn't very relevant.
And there are photographers for that
| | 04:59 |
matter, who have really defined their
style by having 100% ink, by having
| | 05:04 |
really, really deep blacks.
So keep in mind there is a little bit of a
| | 05:08 |
give and take here.
Yet most importantly you're seeing this process.
| | 05:12 |
You're seeing the process how we can start
out with our image here, and then how we
| | 05:16 |
can create this proof copy.
And this proof copy, basically, what we do
| | 05:21 |
is we turn on our soft proof.
And then, we crank up our controls until
| | 05:25 |
we think that this image looks good to our
eye in this setting.
| | 05:30 |
This adds that extra little snap with our
particular printer type.
| | 05:35 |
And ultimately this does is it helps us
have a more accurate vision of that final
| | 05:41 |
print, so that what we're seeing on our
monitor is closer to what we get out of
| | 05:46 |
our printer.
| | 05:47 |
| | Collapse this transcript |
| Fine-tuning soft-proof color| 00:00 |
Here I want to take a look out a little
bit more of an advanced scenario.
| | 00:03 |
And here we're going to look at how we can
integrate Soft Proofing into our workflow
| | 00:08 |
in order to create stronger images.
In particular, how we can work with
| | 00:12 |
specific color or color shifts.
With this photograph I really like the
| | 00:17 |
blue tones.
I want to create a print which is dynamic.
| | 00:21 |
So here in the development module, one of
the first things we might do is turn on
| | 00:25 |
our clipping indicators.
But when I do that, I see that part of the
| | 00:29 |
color of this image, it comes from these
deep blacks.
| | 00:32 |
Well, I could of course bring these blacks
up but as I do that the image, well it
| | 00:37 |
becomes a little bit kind of lacking.
So I'm going to bring those back down.
| | 00:41 |
How else can I deal with deep blacks?
Well, another way you can deal with
| | 00:45 |
problem areas of your image, are you can
go down to your Tone Curve.
| | 00:50 |
You can open up the Tone Curve panel and
then click on this icon to go down to the
| | 00:55 |
Point Curve.
When you're in the Point Curve view, you
| | 00:58 |
can go to your black point and simply
Click and Drag it up just a little bit.
| | 01:02 |
Notice that small change, it corrected
this area.
| | 01:05 |
Now, why am I showing you this in regards
to Soft P roofing?
| | 01:09 |
Well, often in soft proofing, as we saw in
the previous movie, we can have problems
| | 01:14 |
with deep tones or deep blacks.
This can be a way to fix it.
| | 01:18 |
We can fix it before or after the soft
proof.
| | 01:22 |
Well here, I knew it was going to happen,
so I caught it even before I created my
| | 01:26 |
soft proof.
But next, I'm ready to go to the soft
| | 01:29 |
proof, so I go ahead and turn on the Soft
Proof View.
| | 01:33 |
The profile that I'm going to choose here
is this Luster or Glossy Paper because I
| | 01:38 |
want to try to really reproduce all of
these interesting colors.
| | 01:42 |
Next, I have to choose my rendering
intent.
| | 01:45 |
Now we've talked a little bit about these
rendering intents, but I think this image
| | 01:48 |
is going to make this even more clear.
Here I'm going to zoom in.
| | 01:52 |
And I'll go ahead and zoom in on the
image.
| | 01:54 |
Perhaps an area where we can see a lot of
these blues.
| | 01:57 |
Next, as I change my options between
Perceptual and Relative, you're going to
| | 02:01 |
see a shift.
I'm going to choose Perceptual.
| | 02:04 |
This is color relationships.
As I do that, all a sudden the sky, well
| | 02:09 |
it became a little bit too teal.
We compare that to relative, well it's a
| | 02:14 |
bit more blue.
Well how then can we work with this when
| | 02:18 |
we have perhaps color like this.
Where we want to use a rendering intent
| | 02:22 |
like perceptual.
But we don't like the way that it shifted
| | 02:26 |
all the colors in the image.
This is just too teal for me yet I want to
| | 02:31 |
take advantage of this rendering Intent so
I don't have banding in this image or artifacts.
| | 02:36 |
So I want to use this but I don't like the
color.
| | 02:40 |
Well what do you do in those situations?
What we can do is go to our HSL controls.
| | 02:44 |
Here we can go to the Hue panel or the Hue
tab and then click on the targeted
| | 02:49 |
Adjustment Tool.
I'm going to exaggerate for a second, but
| | 02:53 |
we can hover over the blues and Click and
Drag.
| | 02:56 |
Here I'm dragging down you can see it's
become much more aqua.
| | 03:00 |
Again, I know that looks bad.
But just illustrating how far we can swing
| | 03:04 |
this color.
Click and Drag up, and it can go in the
| | 03:07 |
opposite direction.
In this case it can become way too purple.
| | 03:11 |
So we can go either way.
We can use our slider as well to make
| | 03:14 |
those changes.
Well sometimes when you see this overall
| | 03:18 |
general color shift where you have a
dominant color in a picture like this.
| | 03:22 |
It's just going to be a matter of nudging
these colors over a little bit.
| | 03:26 |
I'm just going to nudge these over here
using the aqua and the blue sliders to
| | 03:31 |
bring back some of that nice blue.
Lets zoom back in, so now when I zoom back
| | 03:36 |
in and I evaluate the color I have here, I
like it.
| | 03:39 |
It looks good, flip the switch.
Here's before, you can see it's a little
| | 03:43 |
bit teal.
Lets zoom in even farther so that you can
| | 03:46 |
see that, an go up to this area here.
Here's without that hsl adjustment.
| | 03:52 |
Now here's with the HSL adjustment.
And it may be tricky to see on the monitor
| | 03:56 |
so I'm going to exaggerate it even a
little bit more.
| | 03:58 |
Perhaps go a little bit too far there with
my blue amount.
| | 04:02 |
But again I'm hoping that you're starting
to see how I can change that from kind of
| | 04:06 |
this aqua teal blue to this really nice
deep rich blue.
| | 04:10 |
Again, a touch too purple for my liking so
I'll just get it to the right spot.
| | 04:14 |
And a lot of times as you're working with
your soft group, as I'm doing here, it's
| | 04:19 |
about these subtle color nuances.
And with a picture like this, those color
| | 04:24 |
nuances, well they make all the difference
in the world.
| | 04:27 |
If this prints as a really deep, rich
blue, it's going to look interesting.
| | 04:33 |
If it prints as kind of an aqua teal, it's
just going to look plain strange.
| | 04:38 |
So here what my main point with this movie
is, is to get you thinking about how you
| | 04:42 |
can integrate all of your develop module
skills into Soft Proofing.
| | 04:47 |
Soft-proofing is going to relate to so
many of the different controls.
| | 04:51 |
The better you know the develop module,
and the better you can process your image
| | 04:56 |
with those controls and sliders and
panels.
| | 04:58 |
The better off your soft proofing workflow
and ultimately, the better off your final prints.
| | 05:04 |
| | Collapse this transcript |
|
|
2. Getting Started with the Print ModuleMaking print collections| 00:00 |
You can use collections in order to group
or organize your pictures.
| | 00:03 |
And the beauty of collections is that you
can group images together from different folders.
| | 00:09 |
In other words, collections are not
contingent or dependent upon file or
| | 00:13 |
folder location.
You can have an image or multiple images
| | 00:17 |
and collections, and these images can live
on different hard drives or in different folders.
| | 00:22 |
And we've talked at length about
collections when we talked about the
| | 00:26 |
library module, in another one of the
trainee courses, yet here I want to focus
| | 00:30 |
in on print collections.
.
| | 00:32 |
Why would you want to create a print
collection?
| | 00:35 |
What you need to do first is you need to
select an image and then navigate to the
| | 00:38 |
print module.
Well, here in the print module, we have
| | 00:41 |
this image and I want to add this to a
collection.
| | 00:45 |
You may want to create a print collection
to kind of ear mark or set aside those
| | 00:49 |
pictures that you want to create prints
of.
| | 00:52 |
In this case I'll go ahead and click on
the Plus icon and select Create Print.
| | 00:57 |
This will create a print collection.
I'm going to name this one Print, just to
| | 01:01 |
keep things simple, and I want to include
only this photo, only the photo I have selected.
| | 01:06 |
Here I'll click Create.
I now have a print collection with one
| | 01:10 |
image in it.
The great thing about working with
| | 01:13 |
collections which are specific to modules
like collections for print, slideshow, for
| | 01:19 |
web, etc., is that they'll have different
icons.
| | 01:21 |
The Print icon is a little printer there.
So, when I go back to the library module,
| | 01:26 |
I'll be able to know that his collection,
well this one was a set of images that I
| | 01:30 |
earmarked for the print module.
I can add more pictures to this
| | 01:34 |
collection, say go to the photos folder,
and here I could scroll down and choose
| | 01:38 |
another picture like this one here.
Simply click and drag it to the collection.
| | 01:43 |
Now it's part of that set, or that group,
or collection.
| | 01:47 |
Another way we can work with collections,
just to highlight, is we can have images
| | 01:52 |
from multiple folders.
For example, I have some pictures here in
| | 01:56 |
this folder, Mason Family, and also some
pictures in this folder, Narrative Photography.
| | 02:02 |
I want both of these folders to become one
print collection.
| | 02:06 |
How do we do that?
Well you can target one folder by clicking
| | 02:10 |
on it, then hold down Cmd on Mac, Ctrl on
Windows, and click on the other folder.
| | 02:16 |
So now I have all of these images visible
in the film strip down below.
| | 02:20 |
Next step, head over to the print module,
in the print module you're going to create
| | 02:26 |
a new collection, click on your plus icon,
click on Create Print, and this time I'm
| | 02:31 |
going to name this one Mason because these
photographs are all of different family
| | 02:36 |
members of the Mason family.
In this case I want to turn this option
| | 02:39 |
off, I want to include every photo, every
photo that I have in my film strip And
| | 02:44 |
I'll click on Create.
Now here you can see I have a print
| | 02:48 |
collection which has all of these pictures
in it.
| | 02:51 |
And again the beauty of this is that I'm
able to kind of group or earmark these
| | 02:56 |
pictures for printing.
Let's go back to the Library Module to see
| | 03:00 |
one more thing we can do with print
collections.
| | 03:03 |
Alright, click on the Library button up
there.
| | 03:05 |
You may have noticed that when you hover
over these collections, if they were
| | 03:09 |
created in a specific module like the
print module, there'll be an era which
| | 03:14 |
will show up next to that collection on
that collection line there.
| | 03:18 |
If you click on that era what it will do
is it will take you to that collection and
| | 03:23 |
to that module.
This is a really quick way to navigate to
| | 03:27 |
this module and to do the work that you
want to do here.
| | 03:30 |
In this case, the work of printing.
| | 03:32 |
| | Collapse this transcript |
| Using print templates| 00:00 |
Let's take a look at how we can start to
work with the print module.
| | 00:03 |
And in particular, let's look at how we
can work with the print module layout templates.
| | 00:08 |
Well, here I am in the Library module.
How can I navigate to the print module?
| | 00:13 |
Well, we've already seen that what we can
do is go to one of our collections and
| | 00:17 |
click on the arrow, it would jump to the
print module.
| | 00:20 |
What about those situations where we're
not using a print collection, we're just
| | 00:25 |
clicking on a folder of images.
How can we navigate to the print module?
| | 00:29 |
Well, in these situations, you can either
click on the Print button, up here in the
| | 00:33 |
module picker, or you can press a
shortcut.
| | 00:36 |
The shortcut's really handy.
On a Mac, that's Cmd+P.
| | 00:39 |
On Windows, it's Ctrl+P.
And once we navigate into this print
| | 00:44 |
module, what we're going to do is open up
a few panels.
| | 00:47 |
I want you to open up the Layout Style
panel and also the Template Browser.
| | 00:52 |
Next, open up the Lightroom templates
folder, and then click on the first template.
| | 00:57 |
When you do this, you'll see your image
inside of this view.
| | 01:01 |
Now, in order to change the image, all
that we need to do is to click on a
| | 01:04 |
different image, down here, in our film
strip, and we can see how that's updated above.
| | 01:10 |
This particular template, well this one is
a single image, or contact sheet layout style.
| | 01:16 |
What about the next one?
Well, the next one's completely different.
| | 01:20 |
This one is picture package.
Picture package is designed to allow you
| | 01:24 |
to print one image in multiple sizes.
In this way, you can kind of save paper by
| | 01:30 |
including this image in different sizes on
one page.
| | 01:34 |
Well, what about the next option, the next
Layout Style custom package, what's that
| | 01:39 |
all about?
Well, if we scroll down in our Template
| | 01:42 |
Browser, you'll see that you'll have some
custom layouts here.
| | 01:45 |
I'll click on one which is custom 1 over
2.
| | 01:49 |
Next, I want to add an image to this
layout, so I'm going to drag and then drop
| | 01:53 |
to add an image to one of these cells.
To add another image to another cell,
| | 01:58 |
again, it's just as simple as drag and
drop.
| | 02:01 |
Okay, well, what's the big deal?
What's custom package all about?
| | 02:04 |
Well, custom package, as you can see,
allows you to have more than one image on
| | 02:09 |
one page.
Where picture package limited it.
| | 02:12 |
It was the same image repeated over and
over again.
| | 02:15 |
And then, we had single image or contact
sheet.
| | 02:19 |
Well, single image or contact sheet, it
was nice.
| | 02:22 |
We could have one image there, yet it was
a little bit locked down, we couldn't move that.
| | 02:27 |
With custom package what you can do is
click on one of the cells and simply click
| | 02:31 |
and drag in order to change its size.
And you can see that I'm' doing that here
| | 02:35 |
and I can reposition this in any way that
I see fitting in order to create a
| | 02:40 |
different type of a layout with these
photographs.
| | 02:42 |
It's really free-form.
It's really flexible.
| | 02:45 |
Okay, well, what are some other options
that we have here?
| | 02:48 |
If you scroll down to the bottom, you'll
have a few options, which are actually
| | 02:52 |
pretty simple.
What I want to do is I want to select a
| | 02:55 |
few images, and I want to include those
images in one of these Template layouts.
| | 03:00 |
So, here I'll go ahead and click on one
image in my filmstrip.
| | 03:04 |
Hold down Cmd or Ctrl, click on another
and then hold down Cmd or Ctrl and click
| | 03:09 |
on a third.
I now have three images targeted in the
| | 03:13 |
filmstrip below.
Next step, I'm going to click on
| | 03:15 |
thisTriptych template here.
When I do that, we can see that we now
| | 03:20 |
have those three images visible on the
screen.
| | 03:23 |
The problem, of course, is that this
Tryptich, it doesn't really make sense in
| | 03:27 |
a vertical orientation.
It's kind of awkward.
| | 03:31 |
What I need to do is to change my overall
page orientation.
| | 03:35 |
We can do that by clicking on Page Setup.
Go ahead and click on Page Setup, and
| | 03:40 |
we'll talk more about this dialogue later,
but for now I'm just going to flip my
| | 03:44 |
orientation so that it's horizontal and
click OK.
| | 03:47 |
And you can see now that this makes much
more sense for these photographs.
| | 03:52 |
In order to change the view here or change
the crop of these pictures, just click in
| | 03:56 |
that window and I can drag this, and you
can see how we drag these around in order
| | 04:00 |
to change this.
To change a little bit of the layout, or
| | 04:03 |
the feel, of this Triptych.
There also are some really simple layouts,
| | 04:08 |
let's say like Fine Art Mat.
Well, here with Fine Art Mat, you can see
| | 04:12 |
I have this image, just in the center of
the page.
| | 04:15 |
It's a nice layout, it looks really
elegant and clean.
| | 04:19 |
You also may have picked up, that I still
have my three images selected.
| | 04:23 |
Well, down below, it shows me I'm on page
1 of 3.
| | 04:26 |
I can also navigate to those other pages
using these navigational buttons.
| | 04:32 |
Now, if ever you want to try the previous
orientation that we had, the horizontal,
| | 04:37 |
just go back to your Page Setup, really
simple.
| | 04:39 |
Click on the other option here, and then
click OK, and you can try this template
| | 04:44 |
out in this orientation.
And again, what I'm trying to illustrate
| | 04:48 |
here is how you can start to have some
flexibility with working with these templates.
| | 04:53 |
What you want to do if you're new to
working with the templates is hover over
| | 04:57 |
them so that you can start to preview what
they might look like.
| | 05:01 |
If you see one that you think might be
interesting, well click on it.
| | 05:05 |
As you click on it, pay attention to what
layout style it is, and as you do that it
| | 05:10 |
will tell you if you can move things
around a little bit.
| | 05:13 |
You can see that as I choose these
different options, it's highlighting my
| | 05:17 |
layout style, reminding me that, oh yeah,
picture package?
| | 05:20 |
That's about one image, lay it out on a
page one or more times.
| | 05:24 |
And again, as you make those selections
you'll start to teach yourself about how
| | 05:29 |
you can access these templates in order to
speed up your overall layout and printing workflow.
| | 05:35 |
| | Collapse this transcript |
| Creating a contact sheet| 00:00 |
While digital capture is amazing, one of
the downsides is that a lot of us have our
| | 00:05 |
photographs buried on hard drives.
We have to turn on the computer, open up
| | 00:09 |
Lightroom in order to browse and to view
our pictures.
| | 00:13 |
I found one helpful work around with this
is to create a contact sheet.
| | 00:17 |
This is a way to have little thumbnail
images of all of your photographs and to
| | 00:21 |
create a print of these pictures.
It can be a great reference tool it can
| | 00:25 |
also help you begin to make some decisions
about your photographs or just think about
| | 00:29 |
them in a different way.
Let's explore how we can create a contact
| | 00:33 |
sheet of these pictures here.
These are some photographs that I captured
| | 00:37 |
as part of the narrative photography
course that I did on lynda.com.
| | 00:41 |
And these are all pictures of Jared Mason
and a few of his family.
| | 00:44 |
I want to create a contact sheet of these
photographs.
| | 00:47 |
Well, I've clicked on the collection here
in the Collections panel.
| | 00:50 |
Next step is to select all of the images,
you can do that by pressing Cmd or Ctrl+A.
| | 00:57 |
Next step is to go to our Template
Browser.
| | 00:59 |
Lightroom has made this incredibly easy.
If you scroll down, you'll notice there
| | 01:03 |
are a few different contact sheets.
Here they are.
| | 01:06 |
The first one is 4 by 5.
In other words, four columns across and
| | 01:10 |
five rows tall.
If you click on one of these options, you
| | 01:13 |
can see that it automatically builds this
contact sheet.
| | 01:17 |
You can also try some of the different
options as well.
| | 01:20 |
Now, when I choose these, one of the
things that I notice is that the first
| | 01:23 |
option, all of the images, well they don't
fit on the first page.
| | 01:27 |
You have to click the next arrow to move
to the next page.
| | 01:31 |
Then, when I compare that say, to the 5 by
8, well I have an entire extra row that I
| | 01:36 |
don't need.
It would be great if I didn't have that
| | 01:39 |
included here in this contact sheet.
Well, how can we customize these?
| | 01:44 |
Customizing contact sheets or any
template, for that matter is really easy.
| | 01:48 |
Let's start out by going to, Layout.
Here in Layout you can see we have the
| | 01:53 |
page grid.
How many rows?
| | 01:55 |
Currently, there are eight.
I'm going to take that down, now there are seven.
| | 02:00 |
We can also change the spacing here if we
want to have them a little bit bigger and
| | 02:04 |
we could decrease the spacing between
these different cells.
| | 02:08 |
Another way to do that is to hover over
the image.
| | 02:11 |
You can see that my cursor changes.
It gives me access to change this
| | 02:14 |
horizontal and vertical cell spacing also
the cell size controls.
| | 02:19 |
You can see those panels moving on the
right.
| | 02:22 |
Another thing that we could do here is we
could go ahead and change our image settings.
| | 02:26 |
One image setting that I find to be
helpful is Zoom to Fill.
| | 02:31 |
Sometimes it just makes your contact
sheets, well, a little bit more clean.
| | 02:36 |
What if you want to remove images from a
contact sheet?
| | 02:39 |
Let's say that we just want the
photographs of Jerrad not of his family
| | 02:43 |
and kids.
Well then, in the filmstrip below,
| | 02:46 |
navigate to those images or scroll to
those images.
| | 02:49 |
Then, hold down Cmd or Ctrl and click on
the images that you want to remove.
| | 02:54 |
You can see that those are being removed
from the contact sheet above.
| | 02:57 |
If ever you want to add another one, we'll
just click on it and you can see that you
| | 03:01 |
can add that as well.
Alright.
| | 03:04 |
Well, I'm going to remove all of those, so
now I have a different layout.
| | 03:08 |
Again, I have too many rows.
Let's fix that.
| | 03:11 |
We'll go to our Layout Style panel.
And here, I'm going to remove a few rows
| | 03:16 |
to keep this a little bit more simple.
I also want to increase the space between
| | 03:20 |
the images.
We can do that, the cell spacing, in this
| | 03:24 |
case, it's the vertical spacing.
Let's add a little bit more space there.
| | 03:28 |
All right well, before we wrap this up,
the other thing you may notice is that
| | 03:31 |
there are some images where the crop
doesn't really show you the photograph.
| | 03:36 |
It crops off his head.
To change that, click on the image and
| | 03:39 |
drag down.
And here, we can click and drag, so that
| | 03:42 |
the important part of the image really
shows up in this thumbnail.
| | 03:46 |
And again, I use these contact sheets a
lot of times just to trigger my memory of
| | 03:50 |
these pictures.
And whether or not you want to have these cropped.
| | 03:53 |
In other words Zoom to Fill or not is
completely up to you.
| | 03:57 |
I find in some of my workflows having this
kind of really clean crisp layout where
| | 04:02 |
it's all zoomed in to fill, it just looks
nice.
| | 04:05 |
Compare that for a second to having the
Zoom to Fill turned off.
| | 04:09 |
It's just a little bit more cluttered.
Yet, the advantage of this, of course, is
| | 04:13 |
that I can see the entire image.
So, in your own workflow, of course,
| | 04:17 |
choose the settings which best suit your
needs.
| | 04:20 |
| | Collapse this transcript |
| Creating your own custom templates| 00:00 |
Now that we're learning how to work with
the Print Module Layout templates and how
| | 00:04 |
to customize those templates, let's
explore how we can customize a few template.
| | 00:09 |
And then, save those out as our own custom
user templates.
| | 00:14 |
Well, here I've clicked on this image,
jared_11.
| | 00:18 |
This is one of my favorite photographs
from that day, and I've clicked on the
| | 00:21 |
Layout template Fine Art Mat.
I like this one.
| | 00:25 |
I like the negative space but I also like
to have the image occasionally a little
| | 00:30 |
bit bigger, so I want to customize this.
To do that, I'll go to the Layout panel.
| | 00:35 |
Here in the Layout panel what I'm going to
do is decrease the size or the margin from
| | 00:40 |
the bottom here.
I'm going to go ahead and take that down.
| | 00:43 |
When I do that, you notice that the image
now, it's much lower.
| | 00:47 |
It also though opens up the ability to
change my image height.
| | 00:50 |
Here, I'll go ahead and increase its
height.
| | 00:53 |
Now, in this case, I might want to change
some of these margins and just move where
| | 00:57 |
the image is positioned.
And I think I like that there.
| | 01:00 |
It's kind of a nice version of this Fine
Art Mat.
| | 01:03 |
There's a little bit less negative space,
and in some situations, this could be
| | 01:07 |
really nice way to print the photograph.
But how could we then save this, save all
| | 01:12 |
these settings?
Well, it's really easy, you go ahead and
| | 01:15 |
navigate to your Template Browser, click
on your plus icon.
| | 01:19 |
I'll name this one Fine Arts Mat dash CO
and then click Create.
| | 01:25 |
Saving that in my User Templates folder.
And then if we scroll down there, we'll
| | 01:29 |
see that I now have a version of this
myself.
| | 01:33 |
I can click between these two simply by
selecting them here in the template browser.
| | 01:38 |
And again, it's just a nice way to have
two alternate versions of something which
| | 01:42 |
is similar.
Speaking of similar, we talked about
| | 01:45 |
creating a contact sheet.
Let's go back to that.
| | 01:48 |
I'm going to select one of these contact
sheets.
| | 01:51 |
And what I want to do is I want to use all
the photos.
| | 01:54 |
So, in the Toolbar, you may have noticed
you can choose to use All Photos, Selected
| | 01:59 |
Photos, or Flag Photos.
Here, we're going to select All Filmstrip
| | 02:03 |
Photos in order to fill up this contact
sheet.
| | 02:06 |
Well, this contact sheet, I'm going to
customize as we've seen before.
| | 02:10 |
I'll go to my Image Setting panel and
first click on Zoom To Fill.
| | 02:13 |
Next thing I'm going to do is I'm going to
change the layout.
| | 02:17 |
Here in the layout, I'll go ahead and
decrease my number of rows.
| | 02:20 |
I also want to change the overall space
that I have here between the various images.
| | 02:24 |
And you know, sometimes it's nice to even
remove the file name.
| | 02:28 |
So here, I can go down to the actual page
and in the page is an option for photo info.
| | 02:35 |
Here, I'll turn that off and you can see
that now I just have the photographs.
| | 02:39 |
Again, a little bit more customization to
go here.
| | 02:41 |
What I'm going to do next is go back to
Layout and again just dial in these
| | 02:46 |
settings until I get em just right.
I'm going to take these down and just try
| | 02:50 |
to get a nice layout here.
In this case, this is my own version.
| | 02:54 |
In a sense, what I've come to here is my
own version of the 4 across by the 5 down.
| | 02:59 |
It's a 4 by 5 contact sheet, yet it's
different than this default 4 by 5 contact sheet.
| | 03:06 |
So, I want to save these settings out, in
order to do that, I'll go ahead and I'll
| | 03:10 |
go to the plus icon, click on plus.
I'll name this one 4 by 5 and then dash CO
| | 03:16 |
and click Create.
In order to compare the two, let's click
| | 03:19 |
on the other one.
Here, we'll go to the 4 by 5 that comes preinstalled.
| | 03:23 |
It shows the images and the image title or
name.
| | 03:27 |
And then mine, well, it just was a little
bit more simple.
| | 03:30 |
It makes the images bigger.
It creates kind of an interesting grid.
| | 03:35 |
The point here isn't that you're going to
create these two exact templates.
| | 03:38 |
Rather, is to get a sense of that
workflow.
| | 03:41 |
That a lot of times you start with one of
those template layouts.
| | 03:45 |
Then, you make changes, you bounce around
the different panels, dialing in the
| | 03:50 |
options or the settings that you like.
Then, once you've configured that, you
| | 03:54 |
navigate back to the Template Browser.
And then, you click on the plus icon, give
| | 03:59 |
it a new name, and then save that preset.
| | 04:02 |
| | Collapse this transcript |
|
|
3. Customizing the Print Layout StyleCustomizing the layout of a single image| 00:00 |
Let's dig to Customizing the Print Layout
Style, And let's start off by looking at a
| | 00:05 |
Single Image Layout Style.
Here I've selected this image, jared_01.
| | 00:10 |
And I clicked on the very first Light Room
Template (1) 4 x 6.
| | 00:15 |
Next, let's go over to our Layout Style
panel.
| | 00:18 |
Here you can see we have different layout
styles.
| | 00:21 |
You may have noticed that as we click on
these layout styles, well, the panels
| | 00:25 |
below changed.
Custom and picture package have the same
| | 00:29 |
set of panels, while single image, it has
a few different options or panels here.
| | 00:34 |
Well, one of the first places you want to
go is to Guides.
| | 00:37 |
Here we want to turn on these Guides.
This shows us the Ruler, the Page Bleed,
| | 00:42 |
the Margins, the Gutters.
Also, the image sell itself and the dimensions.
| | 00:47 |
If any of this information is distracting,
while you can turn it off by simply
| | 00:51 |
clicking on these check boxes here.
Or you can turn on the options, which you
| | 00:54 |
find to be most valuable or helpful.
The great thing about all of this
| | 00:58 |
information, or all of this view, or all
of these guides.
| | 01:02 |
Is it, it can kind of help us figure out
how to position an image in the page.
| | 01:06 |
It also can show us where to position our
cursor to make changes.
| | 01:11 |
Hover over one of those guides, your
cursor changes and you can click and drag
| | 01:15 |
up and down or left and right.
Alright, well now that we've talked about
| | 01:19 |
our guides, let's go ahead and close that
for a moment and open up image settings.
| | 01:24 |
Well, currently we have our image settings
to Zoom to Fill.
| | 01:27 |
Turn that off on the image.
We'll just fit inside of that window, it
| | 01:32 |
won't fill up the cell entirely.
Click Zoom to Fill and it will fill it up completely.
| | 01:37 |
Next, rotate to fit.
This is fascinating.
| | 01:40 |
Let's say that I make this cell much more
tall.
| | 01:43 |
What will happen eventually is the image
will automatically rotate or flip.
| | 01:48 |
It will flip to fit inside of this space,
so that it fits most effectively in that.
| | 01:53 |
And it will do that if we have rotate to
fit turned on.
| | 01:56 |
All right.
Well, what about Repeat One Photo per Page?
| | 02:00 |
Well, in order to see that, we need to go
to a different template.
| | 02:02 |
Let's go down to one of our contact sheet
templates.
| | 02:05 |
If we have that selected and then click on
Repeat One Photo per Page, you can see
| | 02:10 |
it's going to repeat that photo and the
photo will fill up all of the cells on
| | 02:14 |
that page.
Okay, well now that we've seen that, let's
| | 02:17 |
go back to our basic template here, 4 x 6.
Well, here what I want to do is I want to
| | 02:22 |
rotate the image so we'll click and drag
up as we've seen before so that that fits
| | 02:26 |
inside of this little window area.
Next, let's look at our layout options.
| | 02:32 |
We'll go ahead and open up the Layout
panel.
| | 02:34 |
And in the layout panel, the first option
we have is ruler units.
| | 02:39 |
Here's our ruler up top.
It's 8.5 x 11, telling us the size of our paper.
| | 02:44 |
We can change this to other dimensions,
like centimeters, millimeters, et cetera.
| | 02:48 |
We also have the ability to change our
margins and page grid, cell cize and cell spacing.
| | 02:54 |
Let's take a look at those.
Well, margins, what they do, is they push
| | 02:58 |
in, they limit where the image can be
displayed.
| | 03:02 |
As I increase my margin, I have less space
for my image.
| | 03:06 |
I'll exaggerate this so we can see that
we've only left a little bit of space for
| | 03:10 |
the image here.
Increase this while it just opens up the
| | 03:14 |
space for that image cell, and that's how
those margins work.
| | 03:17 |
Page grid we've already about that.
Here I can add more cells, and again we
| | 03:22 |
can have one or more here depending on the
intent for the print.
| | 03:26 |
If we have more than one row or column,
well then Cell Spacing Vertical or
| | 03:31 |
Horizontal shows up.
And we can customize that as we've seen previously.
| | 03:35 |
All right, well, here I'm going to go back
just to 1 because that's all I want on
| | 03:38 |
this page.
Next, we have the Cell Size.
| | 03:41 |
We can use these sliders to increase or
decrease the cell size.
| | 03:46 |
This is the same thing that we did when we
hovered over those guides.
| | 03:49 |
If you move the guide, you also will
notice it will move this slider here.
| | 03:54 |
The last option in layout is to keep
square.
| | 03:57 |
What that will do is as we make these
changes, well both height and width,
| | 04:01 |
they'll move at the same time.
If you want to make this change, let's say
| | 04:05 |
we make this bigger and the image isn't in
the right spot, well click on it.
| | 04:09 |
Here we can move it and re-position that
image so that it fits inside of that square.
| | 04:14 |
Alright, well we have a little bit more to
talk about in regards to the single image
| | 04:17 |
layout style.
Let's continue to work with this image and
| | 04:21 |
this layout and let's do that in the next
movie.
| | 04:23 |
| | Collapse this transcript |
| Exploring page options for a single image| 00:00 |
Let's continue to look at how we can
customize the layout for this single image
| | 00:04 |
and let's focus in on the page panel.
First, let's close our Layout Panel and
| | 00:09 |
then go to the Guides Panel.
And here in the Guides panel, I'm going to
| | 00:12 |
turn these guys off, so I can really just
focus in on the image itself.
| | 00:16 |
Next, let's open up our Page Panel, and
this is a pretty big panel.
| | 00:21 |
You'll notice at the top, you have the
ability to add a Page Background Color.
| | 00:26 |
If you click this on, you can choose a
color.
| | 00:29 |
I'll click on the color chip and let's
say, that I'm going to send this to a
| | 00:32 |
printer and I want the background to be
black.
| | 00:36 |
You could choose black here, or of course,
you could choose colors as well, by
| | 00:39 |
clicking through these options.
Well when I choose this black color, all
| | 00:43 |
of a sudden I realize, it's not going to
really work because it's not extended the
| | 00:47 |
black to the edge of the page.
If we want to change that we need to go to
| | 00:51 |
the page setup and create a custom page.
In order to do that, navigate to the page
| | 00:57 |
setup by clicking on the button in the far
left corner of Lightroom.
| | 01:01 |
Then, in the Page Setup dialog, we can go
to our Paper Size menu, and choose Manage
| | 01:06 |
Custom Sizes.
Here, we want to create a new custom size,
| | 01:10 |
and I'll go ahead and name that one edge
just edge to edge.
| | 01:15 |
And then, for the non-printable area,
well, I'm going to enter zero in all of
| | 01:18 |
these fields, and as I do that, I'll click
OK.
| | 01:21 |
Well, now I have this paper size, which is
8 in a half by 11.
| | 01:26 |
And it's going to print detail to all
edges of the picture.
| | 01:29 |
I'll click OK here, and you can see now
how that page background color will
| | 01:34 |
extends everywhere.
So in those situations that may be helpful.
| | 01:38 |
For now lets turn that off and just go
back to a white background.
| | 01:42 |
What else can we do here.
Well we could include an identity plate.
| | 01:46 |
This could be helpful if we have some
information that we want to include with
| | 01:49 |
our pictures like.
Perhaps the words Chris Orwig Photography
| | 01:53 |
or the name of your photography business.
You can click on this option to add that
| | 01:57 |
identity plate.
Here it brings it into the middle of the screen.
| | 02:01 |
Doesn't really work for me.
So I'm going to go ahead and click and
| | 02:04 |
drag that.
I can click and drag that by moving it.
| | 02:07 |
By simply dragging it to the lower part of
the screen.
| | 02:10 |
Well now down here I need to customize it.
In order to customize it click inside of
| | 02:15 |
the Identity Plate window and click on
Edit.
| | 02:19 |
I'll go ahead and in this dialog type out
a new identity plate, Chris Orwig
| | 02:23 |
Photography, and then I'll click OK in
order to apply that.
| | 02:27 |
Because it's a little bit to small there
I'll grab one of the corner points and
| | 02:31 |
click and drag that to extend that, so
that I now have that inside of that window.
| | 02:35 |
I'm re-positioning the image and also this
identity place so that they look nice together.
| | 02:41 |
All right, well I think that looks pretty
good.
| | 02:43 |
If ever you want to override the color,
click on this chip here, and then you can
| | 02:47 |
add in a different color.
Either a shade of gray, or if you want a
| | 02:51 |
hue, you could also choose a color in this
way.
| | 02:54 |
In this case I think it looked good as is,
that nice light gray, it worked pretty well.
| | 02:58 |
I'm just having this underneath the image
on this layout Next option: watermarking.
| | 03:03 |
We can turn this option on; we've seen
this before, we can do this with
| | 03:07 |
slideshows, with web galleries.
If we want to do this, we can go to this
| | 03:11 |
menu and either choose a watermark that
we've created before, in this case, the
| | 03:15 |
one in the bottom left-hand corner there.
Or to edit this, go to Edit Watermarks.
| | 03:21 |
In this dialogue, you can create your own
watermark.
| | 03:24 |
In this case, it's a text based watermark.
I'll increase the opacity here and also
| | 03:29 |
the size so that we can see that a little
bit .
| | 03:31 |
And I don't want to spend too much time on
watermarks here and here's why.
| | 03:36 |
Typically when you're printing your
photographs, watermarks aren't that relevant.
| | 03:41 |
Yet if there are situations where you need
to know how to do this I've talked about
| | 03:45 |
watermarks when we discussed the web
module.
| | 03:47 |
I looked at how you could customize these.
Also, how you could use png or jpeg images.
| | 03:53 |
Modify the text, the font size or color,
or the way that the text works, or lives,
| | 03:58 |
on top of the image there as a watermark.
So I don't want to rehash that.
| | 04:02 |
But I do just want to point out that you
can, of course, customize these watermarks
| | 04:06 |
You can create these, or save these out as
a preset.
| | 04:09 |
I'll just name this my initials, and then
I can add that to my image here, if that's relevant.
| | 04:15 |
But, again in most scenarios, if you're
creating prints, watermarks aren't really
| | 04:19 |
that relevant.
At least in my own work though.
| | 04:21 |
Okay, well I'll turn that option off.
Next we have page options.
| | 04:26 |
These options are helpful when you're
working on prints.
| | 04:29 |
You want to have some information
displayed.
| | 04:31 |
You can see that we have different
information here.
| | 04:33 |
The page info, well, it has to do with the
sharpening, the profile, the printer, etc.
| | 04:39 |
I'm going to turn that off.
Page numbers, well, we have a page number
| | 04:42 |
here on the bottom right-hand corner that
says one.
| | 04:45 |
This is helpful if you have a multi-page
document.
| | 04:48 |
Alright, well what about those crop marks?
Well those crop marks will show me how I
| | 04:52 |
can line up my crop and in order to crop
this image out of this page.
| | 04:56 |
These are really helpful if you're going
to crop off the rest of the paper from
| | 05:00 |
your picture.
The last thing I should point out here is
| | 05:03 |
that you may want to use page info when
you're testing your prints.
| | 05:08 |
Let's say that you're comparing different
profiles or different paper types and you
| | 05:12 |
want to have that as part of the print.
You want to save that as a demo sample so
| | 05:17 |
you can see, okay I chose this profile.
This is how it rendered that color.
| | 05:22 |
This is how that color or rendering intent
actually looks.
| | 05:26 |
By having this page info included you have
that as part of the file and it can add a
| | 05:30 |
lot of clarity, and you can teach yourself
a ton about printing by making sample
| | 05:35 |
prints with different settings including
that page info there.
| | 05:39 |
Alright, next option we have is photo
info.
| | 05:42 |
This is going to be the photo name here or
we can choose other options in regards to
| | 05:46 |
say equipment that we used or caption or
title or sequence Or just the file name.
| | 05:51 |
Againt this would be helpful if we have
multiple images.
| | 05:55 |
This is more relvant say on a contact
sheet and we want to have all of the names
| | 06:00 |
of the images so that the client can look
at the contact sheet and say you know
| | 06:04 |
what, it's image 0051.
That's the keeper you can then give them
| | 06:08 |
that high resolution file, or whatever you
need to do.
| | 06:11 |
You can change your font size for this
photo info as well simply by using this
| | 06:16 |
dialogue you can make that bigger or
smaller.
| | 06:19 |
Alright well here I'll click that option
off, because in this case, I just want to
| | 06:23 |
have a really nice and clean layout, and
now having made our way through these options.
| | 06:28 |
This print and this layout, well it's
really ready to go and if ever you get to
| | 06:32 |
a point where you customize settings, and
you think that you might reuse them, it's
| | 06:37 |
always a good idea to save them out as a
preset.
| | 06:40 |
I know we've talked about this before, but
I'm just going to go ahead and do this here.
| | 06:43 |
CO and I'm just going to name this P1 for
Preset 1, and click Create.
| | 06:49 |
Again, if ever you put in the effort to
customizing it, you might as well save it
| | 06:52 |
as a preset.
So, that you can take advantage of that
| | 06:55 |
and use those settings or use that
template at a later time.
| | 06:58 |
| | Collapse this transcript |
| Using the Picture Package layout style| 00:00 |
The advantage of using the Picture Package
layout style, is that it can save you time
| | 00:04 |
and money.
This layout style allows you to layout one
| | 00:08 |
image in multiple sizes, on a single sheet
of paper.
| | 00:12 |
Let's take a look at how we can use this
layout style, and also how we can
| | 00:16 |
customize the settings.
I'm going to be working from this
| | 00:19 |
collection and it's titled Print.
I'm going to select this image here,
| | 00:22 |
Stephanie and Sidney.
Next, I'll go to the Picture Package
| | 00:26 |
layout style.
When I do that, it's picking up a default
| | 00:29 |
template here and it's showing me how I
can have this image in multiple sizes on
| | 00:34 |
this page.
Well let's take a look at how we can
| | 00:37 |
customize things.
One of the first things I want to do is go
| | 00:40 |
to Rulers, Grid, and Guides.
Let's open up that window, I'm going to
| | 00:44 |
turn on Show Guides.
We've seen before how this can really be helpful.
| | 00:48 |
This will show us a number of different
things, the rulers themselves in regards
| | 00:52 |
to our paper size.
And as I see this paper size, I realize
| | 00:55 |
that I want to use a larger sheet of
paper.
| | 00:58 |
How do we make that change?
Go to your page setup by clicking on page
| | 01:02 |
setup here, and then I'll choose my paper
size, in this case U.S Legal.
| | 01:06 |
And I'll go ahead and select that and then
click OK.
| | 01:09 |
This time I have a larger sheet of paper.
If we want to change it again, just go
| | 01:14 |
back to Page Size and you can make the
changes that are needed.
| | 01:17 |
This case I'm going to go 11 by 17 and
change this to a horizontal layout.
| | 01:22 |
Now that I'm going to be printing to a
bigger sheet of paper, the template that I
| | 01:25 |
chose, well it doesn't really make much
sense.
| | 01:28 |
I have much more paper that I could take
advantage of.
| | 01:31 |
Let's look at a few more options here
before we start moving things around.
| | 01:35 |
Next we have our ruler inches.
We can choose this or change those options here.
| | 01:40 |
We can have these images snapped to the
grid, based by cells so they stick
| | 01:44 |
together as cells.
Or just so they snap to the grid lines as
| | 01:48 |
you can see there in the background.
Let's look at cells for a moment.
| | 01:52 |
If I Click and Drag one of these cells up
and then grab another one, as I move it
| | 01:56 |
towards that you notice that it snaps
right there and sticks next to it.
| | 02:00 |
This is handy if you want to get the most
out of your paper, if you really want to
| | 02:04 |
take advantage of sizing things.
Okay well that's Rulers, Grids and Guides.
| | 02:09 |
Let's close that and open up image
settings.
| | 02:12 |
Image settings allows us to control how we
work with our photographs.
| | 02:16 |
Here you can see we have zoom to fill so
that as I click and drag this its going to
| | 02:20 |
fill that up.
We also know about this Rotate to Fit
| | 02:24 |
option which we've seen before which the
image will automatically rotate to take
| | 02:28 |
advantage of that space.
If you don't want the image to be cropped,
| | 02:33 |
you want to turn off Zoom to Fill.
This will ensure that no cropping will
| | 02:37 |
take place.
Next we have Photo Border.
| | 02:40 |
This is kind of curious.
Photo Border, when I increase this, you
| | 02:43 |
can see that I just increasing the space
around the image.
| | 02:47 |
This gives us kind of some padding so that
we can have some breathing room around our photographs.
| | 02:53 |
Next, the Inner Stroke is actually the
Brush Stroke.
| | 02:56 |
In other words, let me go ahead and delete
a few cells here.
| | 02:59 |
I'll click on one, press the Delete key or
the Backspace key.
| | 03:02 |
And I'm doing this so that we can just
focus on one image for a moment.
| | 03:06 |
I'm going to make this one image much
bigger.
| | 03:08 |
Well now with this Inner Stroke here, as I
increase you can see that I have this
| | 03:13 |
brush stroke here, around the edge of the
image.
| | 03:15 |
I can change it teal or tone, by simply
selecting something different, and you can
| | 03:20 |
see how we can have different options
here.
| | 03:22 |
Well I'll go ahead and turn this option
off because I don't need an edge or border
| | 03:26 |
around the image.
All right, well now I'm kind of in a
| | 03:29 |
predicament, right?
I have all of a sudden this strange huge
| | 03:33 |
cell here.
But what I want to have is a few different images.
| | 03:37 |
And I need them specific sizes.
Because this bride has asked me to deliver
| | 03:42 |
her specific size prints.
What am I going to do?
| | 03:45 |
Well, here I'm actually going to delete
this.
| | 03:48 |
You can delete a cell by pressing Delete
or Backspace.
| | 03:51 |
Next, I'm going to close image settings
and go down to cells.
| | 03:55 |
Cells has this really handy dialogue here
which allows me to add images.
| | 03:59 |
Here I want to add a five by seven, it
fits that in.
| | 04:04 |
I can also add other pictures, a four by
six, a three by seven, and you can see
| | 04:08 |
that as I add these.
It's going to create this layout, so that
| | 04:11 |
it will take advantage of this space.
As I keep clicking, it's fitting this in
| | 04:16 |
in the best way that it can and eventually
it moves to another page.
| | 04:20 |
And by doing this well it just helps out,
I don't really have to think about anything.
| | 04:25 |
If ever I make a mistake like I've done
here, it's kind of hazard, we'll just
| | 04:30 |
clear the layout.
That will get rid of everything.
| | 04:32 |
Or if you want an added image, you can
drag it from the film strip and drop it
| | 04:36 |
into this picture packaged layout.
Here it's two by three, I'll go ahead and
| | 04:41 |
make that bigger.
And I'm going to make this bigger say,
| | 04:43 |
five by seven approximately.
If I want to get it exact well, I can use
| | 04:47 |
these sliders here in order to get it just
right.
| | 04:50 |
And we can dial that in exactly where we
want it.
| | 04:52 |
We can also click in this field and type
five and then click in this field and type
| | 04:57 |
another ratio like 7.5.
Okay, well now that I have this cell I
| | 05:02 |
want to add a few others.
In order to add another cell one technique
| | 05:06 |
that you can use is hold down Option on a
Mac, Alt on Windows.
| | 05:10 |
And then Click and Drag, and it allows you
to Copy and Paste that cell.
| | 05:15 |
Here, I'm going to add one more Option,
Clicking, and Dragging.
| | 05:18 |
Now I have a little bit of overlap here, I
have one image on top of another.
| | 05:24 |
Yet I want to use this page.
What can I do?
| | 05:27 |
Well here, if I click on Auto-Layout it
will kind of save the day for me.
| | 05:31 |
It will snap these together.
Put them in a nice position so that it's
| | 05:35 |
going to use the paper effectively.
Alright well as you can see, we can really
| | 05:40 |
customize this.
And this gives us just so much flexibility.
| | 05:44 |
If ever you make mistakes, you simply
delete and you can always re-add these.
| | 05:48 |
And as I mentioned at the beginning of
this movie, this layout style, while it
| | 05:52 |
can really save you time and money.
Because it can help you optimize your work
| | 05:56 |
flow, as you seek to print one image in
multiple sizes on a single page.
| | 06:01 |
And before we wrap up this movie, there's
one more thing that I want to highlight.
| | 06:05 |
Here, in order to highlight this, lets go
ahead and close our Cells panel.
| | 06:10 |
Then open up Ruler, Grid, and Guide, and
turn off all of those Guides so we can
| | 06:15 |
just view the images.
If we were to print this, this is what we
| | 06:18 |
would see.
And it be a little bit tricky to try to
| | 06:21 |
trim these images to their actual
dimensions.
| | 06:25 |
Well one of the ways that you can insure
to do that, is to go to the Page panel.
| | 06:29 |
In the Page panel, you'll find things that
you've seen previously, Background Color,
| | 06:33 |
Identity Plate, Water Marking.
We've already covered that in other
| | 06:36 |
places, yet what's new are these cut
guides.
| | 06:40 |
If you click on this option, you can see
that it will actually print these guides
| | 06:43 |
on the page.
This can help you get a very accurate size
| | 06:47 |
for your photograph.
Here, in this case, we can choose these
| | 06:50 |
from Lines to Crop Marks if those lines
are a little bit overdone.
| | 06:54 |
Yet I find, when I'm trying to trim out
multiple images, these lines help out.
| | 06:58 |
Because they show me exactly where I need
to cut or trim in order to create these
| | 07:03 |
pictures their exact size.
And then the last thing to highlight here
| | 07:07 |
is if we go back up to Image Settings.
You may have noticed that we talked about
| | 07:11 |
Photo Border.
If we turn this off what's going to happen
| | 07:15 |
is our photos are going to go right to the
edge of this cell.
| | 07:18 |
So if you want the image to fill up the
entirety of the cell make sure to turn
| | 07:23 |
that option off.
If you want a little breathing room around
| | 07:26 |
your pictures we'll just dial in the
border that you want to have there.
| | 07:29 |
This will then help you trim and guide
right to that edge.
| | 07:33 |
So that the image with that border will be
that exact size, or you could always turn
| | 07:38 |
it off and have the image bleed to the
edge of the frame.
| | 07:41 |
| | Collapse this transcript |
| Using custom layout styles| 00:00 |
In this movie, we'll be working with the
most flexible layout style, the custom
| | 00:04 |
layout style.
And we'll be working with these images
| | 00:06 |
here, you can find them in the Concert
Hall folder.
| | 00:10 |
Now here I am in the Library module.
I need to get to the Print module.
| | 00:14 |
Do you remember the shortcut to get there?
It's Cmd or Ctrl+P.
| | 00:18 |
Alright, well once in the Print module,
let's start off by looking at a few
| | 00:22 |
templates and then explore how we can
customize those using our panels as well.
| | 00:26 |
Over here on the left we'll open up
Lightroom Templates.
| | 00:30 |
And scroll down, until we see the word
Custom, and I'm going to select one of
| | 00:34 |
these, say Custom Overlap.
This shows me that I have four different
| | 00:38 |
cells, one in the background and then
three here.
| | 00:40 |
To add images to this it's as simple as
Clicking and Dragging.
| | 00:44 |
I'll go ahead and add a few photographs to
these cells, now what's great about this
| | 00:49 |
is this is completely free form.
In other words, I can Click and Drag to
| | 00:53 |
reposition, I can Click and Drag to change
the size of something.
| | 00:57 |
I can do a lot with this.
And you can see how we can really
| | 01:00 |
customize this simply by picking these up
and moving them around.
| | 01:04 |
Well so far you can see that I have some
images which are on top of others.
| | 01:08 |
And I'm doing this for demo purposes, not
because it looks good, but to kind of
| | 01:13 |
illustrate how we can change the stacking
order.
| | 01:15 |
If you hover over one of the cells, you
can click it and then right-click it.
| | 01:20 |
Here, we can send this all the way back,
so now we can move this back here or we
| | 01:25 |
can move it one step at a time.
We could also move this forward or to the
| | 01:29 |
front of the stacks, so that what's
covering one image can then be behind another.
| | 01:34 |
And you can kind of see how this works.
Alright, well let's look at another option
| | 01:38 |
here in regards to our layout.
In this case, I'm going to go ahead and
| | 01:42 |
try to find one that I think will be
interesting.
| | 01:44 |
How about this one here?
Again, it's simple as dragging and dropping.
| | 01:48 |
I'm going to bring in a few different
options or a few different images.
| | 01:51 |
See if I can come up with something that
might be interesting.
| | 01:54 |
In regards to these photographs, kind of a
tribute to the Disney Concert Hall here.
| | 02:00 |
All right, I think that looks kind of good
here.
| | 02:02 |
Not perfect, let me see if I can get one
more image, all right, maybe this one.
| | 02:07 |
Have some nice shapes down bellow and then
that bigger image above.
| | 02:11 |
And we have kind of this fascinating
layout.
| | 02:14 |
The point of creating this layout is just
to highlight that sometimes you'll use
| | 02:18 |
Custom Package for really functional
purposes to fit multiple images on a page.
| | 02:24 |
Other times you may use this for more
creative intentions like here.
| | 02:28 |
It's kind of an interesting layout which
didn't take a lot of effort.
| | 02:32 |
Alright, well, let's take a look at our
panels.
| | 02:33 |
We'll open up our frist panels and we have
Image Settings.
| | 02:37 |
We've seen this before, Rotate to Fit,
well that allows us to rotate an image so
| | 02:42 |
that it best fits into an image cell.
Well, if we change an image cell, we
| | 02:47 |
notice that, that rotation will kind of
snap.
| | 02:49 |
It will happen instantaneously as we make
those changes with that option turned on.
| | 02:54 |
Well, let's turn that option off.
We can also add a photo Border, this is a
| | 03:00 |
buffer around an image.
As we increase the size, what's going to
| | 03:03 |
happen is the cell size isn't going to
change, it's just going to add a little
| | 03:08 |
bit of padding or space around the image.
Let's turn that option off as well.
| | 03:13 |
Next we have Inner Stroke, this actually
goes inside.
| | 03:16 |
So here we can see that if we add a Brush
Stroke, what it's doing, is it's adding
| | 03:21 |
this brush stroke around the edge of the
frame.
| | 03:23 |
We can change the size by using the Slider
or change the color by using the Color Chip.
| | 03:28 |
Again lets turn this option off.
Alright, what about rulers, grid and guides?
| | 03:34 |
Once again, we've seen this before, but
I'll just turn it on here so that you can
| | 03:37 |
have this.
This can show us our cells as we change
| | 03:41 |
the cell size, it updates the information
there.
| | 03:44 |
What's helpful with things like this is we
can have the grid snap to cells or to the
| | 03:49 |
grid itself.
If we move this around, it snaps to the
| | 03:52 |
various grid cells you can see in the
background.
| | 03:54 |
Or, have it snap to the other images, the
other images cells, and it will snap right
| | 04:00 |
to those.
Okay, well, let's turn these options off.
| | 04:03 |
We've seen those before, just need to run
through these so you're familiar with them.
| | 04:07 |
Back to the cells, we've seen something
similar in Picture Package, yet in Picture
| | 04:13 |
Package the problem was it was one image.
What we can do here is we can change this.
| | 04:18 |
So I'll go ahead and bring my cell size
down, and add a new cell here, and it's blank.
| | 04:24 |
Next if I want to bring an image into the
cell, just Click and Drag, and drop, and
| | 04:28 |
that will fill that cell.
We can also clear our layout, or create a
| | 04:32 |
new page using these buttons.
A new page just builds in another page.
| | 04:37 |
If we want to add a cell we can always
just Click and Drag and Drop, and then
| | 04:41 |
make free-form adjustments to these cells
here.
| | 04:43 |
Simply by clicking and dragging and
repositioning the images.
| | 04:46 |
If ever we're not satisfied with the page,
click on the upper left corner, and it's gone.
| | 04:53 |
Alright, the last thing to look at here is
our Page panel.
| | 04:56 |
Our Page panel as we've seen before,
allows us to change the background, add an
| | 05:01 |
identity plate, if we want to added a
water mark.
| | 05:04 |
Or add those cut guides as we saw in the
previous movie.
| | 05:08 |
So basically what you're seeing here is
this, if we compare Custom Package and
| | 05:13 |
Picture Package their really, really
similar.
| | 05:16 |
Picture package though only allows you to
work with one image, custom package it
| | 05:21 |
allows you to work with as many different
images as you want.
| | 05:24 |
| | Collapse this transcript |
|
|
4. Creating Quality PrintsExploring different types of printers and papers| 00:00 |
Creating compelling photographic prints is
about more than learning how to use the
| | 00:05 |
different sliders or controls.
And so here what I want to do is talk a
| | 00:09 |
little bit about working with our printers
and different paper types.
| | 00:12 |
Because one of the things that I've
discovered is that the paper type that you
| | 00:16 |
use can really effect the overall mood,
feeling and quality of that final print.
| | 00:21 |
Well, let's start off by talking about
printers.
| | 00:24 |
You know, there's so many different brands
and type of printers out there.
| | 00:27 |
But one of the things that I think you'll
discover is once you find a printer which
| | 00:31 |
meets your needs, you'll find it to be a
tool that you just can't live without.
| | 00:36 |
In my own workflow, I use the Epson 3880.
And one of the things that I've discovered
| | 00:41 |
is that by having this printer, it helps
me actualize and kind of finalize my
| | 00:46 |
vision by creating these prints.
And you know a big part of printing is
| | 00:50 |
working with different types of paper.
Here, I have a number of different types
| | 00:54 |
of paper that just serve as examples.
And each of these different types of
| | 00:59 |
paper, they have a different thickness, a
different whiteness, some are a little bit
| | 01:04 |
more blue or others a bit more yellow.
They also have different texture and what
| | 01:09 |
I found is that the thickness and the
texture and the tone, well it affects the
| | 01:14 |
overall mood and feeling of that final
print.
| | 01:17 |
Let me explain.
Here with this image, it's printed on a
| | 01:20 |
nice, thick exhibition paper.
Yet this one has a bit of a gloss or
| | 01:25 |
luster to it.
When you look at this image depending on
| | 01:28 |
the angle, there will be a bit of a shine.
I think of this type of paper as almost exciting.
| | 01:34 |
You'll see a lot of color saturation and
contrast.
| | 01:37 |
It can handle a lot.
It's a beautiful paper type.
| | 01:41 |
In a sense, it's exciting and it's a
little bit loud.
| | 01:44 |
Yet perhaps you have an image that's a bit
more quiet.
| | 01:48 |
Let's say, like this photograph here.
This one was printed on a matte paper.
| | 01:53 |
Well here, the white it's a little bit
more dull.
| | 01:56 |
Also, because of the way the ink is set on
the paper, it's not going to have a high
| | 02:01 |
of a contrast or color saturation.
The difference is subtle.
| | 02:06 |
Yet sometimes it's in that subtlety it's
in that nuance which makes all the
| | 02:10 |
difference in the world.
Perhaps we can take this even further.
| | 02:14 |
Let's say we have a photograph like this
one where we're really going for a mood or
| | 02:19 |
a feeling or an emotion.
This is Velvet Fine Art paper.
| | 02:23 |
This paper is a lot like water color
paper.
| | 02:26 |
Again, the ink is really set into the
paper.
| | 02:29 |
You can't get as much of a color
saturation here or as wide of a range of
| | 02:34 |
contrast, yet this paper has a wonderful
feeling or mode or emotion.
| | 02:39 |
Now, the trick here, of course, is that
there is no one perfect printer and paper combination.
| | 02:46 |
Rather, it's thinking about your
photographs.
| | 02:49 |
And it's thinking about your vision for
those pictures.
| | 02:52 |
And a lot of times, what you'll discover
is this.
| | 02:54 |
You'll gravitate towards a certain kind of
paper.
| | 02:57 |
Like, you really like this one paper.
You'll print one of your best images on it.
| | 03:02 |
And it won't work.
And here's why.
| | 03:04 |
Because sometimes, certain images look
best printed on different types of paper.
| | 03:09 |
You almost need to experiment.
And by experimenting, ideally what this
| | 03:14 |
can lead you to is that great combination
where the image the way it was captured,
| | 03:19 |
the subject matter.
And then the paper and printer that was
| | 03:22 |
used somehow combine together to create
something, which is magic and compelling.
| | 03:28 |
So as you seek to learn how to create more
effective prints, here's what I recommend.
| | 03:32 |
Start experimenting, experimenting with
different paper types and also with
| | 03:36 |
different images.
And see if you can't find that perfect
| | 03:39 |
combination, which will help you create
more compelling photographs.
| | 03:43 |
| | Collapse this transcript |
| Configuring page setup and print settings| 00:00 |
Here, we'll take a look at setting up our
options for page setup and print settings.
| | 00:05 |
We'll be working with this file, it's
jared underscore 10.
| | 00:08 |
And here I clicked on the template
Maximized Size in order to have a nice big
| | 00:13 |
version of this photograph.
And I want to change my paper orientation
| | 00:17 |
and also the page size.
To do that we'll go to Page Setup.
| | 00:22 |
In this Page Setup dialog what we're
interested in doing is choosing our
| | 00:26 |
printer, in this case the Epson 3880 and
then the paper size.
| | 00:30 |
I'll go up to the paper size that I'm
going to be using, 13 by 19.
| | 00:34 |
And next, change the Orientation.
Once you've made or dialed in those
| | 00:38 |
options, you can go ahead and click OK.
Now, this was one of those pictures which
| | 00:43 |
was just kind of lucky.
This was from the narrative photography course.
| | 00:47 |
And this guy was walking on the bridge,
and I just asked him, quickly if you would
| | 00:50 |
be up for a photograph, and it worked.
And so, I want to print this really big at
| | 00:55 |
this nice, large, size.
The next thing we need to do is to dial in
| | 00:59 |
our print settings.
There's two ways to access the print dialog.
| | 01:03 |
We can either do that by clicking on the
Print Settings button.
| | 01:06 |
This will then open up this Print dialog.
Or, we can click on the Print button, over here.
| | 01:12 |
Now, when you click on the Print button
you have the same exact settings as before
| | 01:17 |
yet by using the Print Settings what you
can do is then save these.
| | 01:22 |
Notice that there is a Save button on the
far right.
| | 01:25 |
It will remember these settings so that
you can then use those when you finally
| | 01:29 |
print the image.
So, typically, you want to set those up by
| | 01:32 |
using the Print Settings button.
I just wanted to show you, though, how you
| | 01:35 |
can access this dialogue either way.
Well, the first thing you need to do is to
| | 01:40 |
go and select your printer, make sure if
you have a preset you could use that.
| | 01:44 |
Or, use this pull down menu and go to
Printer Settings.
| | 01:47 |
Here's where I'm going to choose my paper.
In this case, I'll be printing to this
| | 01:51 |
Epson Ultra Premium Photo Paper Luster.
Now, I have print mode AccuPhoto turned
| | 01:56 |
on, Color Management, make sure that's
turned off.
| | 01:59 |
And then, here I should point out that
you'll notice both of those fields, well,
| | 02:03 |
they're grayed out.
That's because I'm working on a demo
| | 02:06 |
computer and I don't actually have the
printer connected.
| | 02:09 |
If you did though, you can make those
choices there.
| | 02:12 |
And then, I can choose my output
resolution.
| | 02:14 |
I'll put resolution, you can determine by
what you want to use and typically 1440
| | 02:20 |
for an image like this one will work well.
High speed, I'm going to turn that off.
| | 02:24 |
I want a nice high quality print.
What this means is that it will print in
| | 02:28 |
one direction.
So, it will set ink down as the printer
| | 02:32 |
heads move left to right.
They will then lift up, move back to the
| | 02:35 |
original position.
Let the ink dry and then set ink down
| | 02:39 |
again, rather than setting ink down back
and forth.
| | 02:42 |
So again, sometimes it's worthwhile to
turn that off, especially when you have a
| | 02:46 |
paper that's a little bit more of a mat
paper.
| | 02:48 |
Well, either way, we have that option off.
Next step is to simply click Save.
| | 02:54 |
Just to illustrate that those settings are
saved.
| | 02:57 |
If we go to print to dot dot dot.
What we can see there is this same dialogue.
| | 03:02 |
And here, when we go to printer settings
we'll see the actual settings that we just
| | 03:06 |
dialed in.
That we just saved using the Print
| | 03:08 |
Settings button.
| | 03:09 |
| | Collapse this transcript |
| Exploring desktop print job settings| 00:00 |
Here we're going to focus on one of the
most important steps in printing.
| | 00:03 |
And this is when I get really excited.
I love creating prints.
| | 00:07 |
And in the Print Job panel, what we do is
we dial in the final options for creating
| | 00:12 |
the print.
Let's take a look at a few options here.
| | 00:15 |
For starters, up top we can print either
to a desktop printer or to a JPG file.
| | 00:20 |
You don't want to choose JPEG file.
if you're going to save this file out as a
| | 00:24 |
JPEG, and then upload it to a print in
service bureau or have someone else print
| | 00:28 |
it for you.
So again use that option with you're
| | 00:31 |
going to send your file to be printed
somewhere else.
| | 00:34 |
Or if you're going to print yourself on
your desktop printer, just choose Printer.
| | 00:38 |
Let's look at those options first.
Next, underneath this we have Draft Mode Printing.
| | 00:43 |
What this will do is that will disable all
of these fields.
| | 00:47 |
Now we'll just create a low resolution,
lower quality file.
| | 00:50 |
Just to get a rough draft of the image.
Let's turn that option off.
| | 00:54 |
Let's say we want a nice, big, beautiful
print.
| | 00:57 |
Well, we can dial in our Print Resolution.
You can do so by Clicking and Dragging or
| | 01:01 |
clicking in this field and then typing out
a number.
| | 01:04 |
Alright, Print Sharpening, really easy.
Low, Standard, or High, it almost always
| | 01:10 |
works best to choose Standard so I
recommend you try that.
| | 01:13 |
Then of course, determine your Media Type.
I'm going to print to a matte type of a
| | 01:18 |
paper so I'll choose Matte.
You wan to turn on 16bit output if you
| | 01:23 |
have a printer which prints in 16bit.
If you don't it will really slow the
| | 01:28 |
process down.
So make sure to look up the technical
| | 01:31 |
specs about your printer.
Most printers at this point they don't
| | 01:35 |
print in 16bit.
So you'll most likely want to leave that
| | 01:39 |
checked off.
That's why it's off by default.
| | 01:42 |
Down below, we have some Color Management
options.
| | 01:45 |
Here's where we choose our Profile.
You can select this profile from this menu.
| | 01:50 |
I'm printing to this premium luster paper,
so I'm going to go ahead an click that there.
| | 01:55 |
Next, we can choose our Rendering Intent,
and we've talked quite a bit about that.
| | 02:00 |
What I recommended basically is that
perceptual works for the majority of your
| | 02:04 |
photograph and that's typically the best
option.
| | 02:07 |
Yet you can always go back and review that
movie or we talked about the ins and outs
| | 02:12 |
of these different rendering intents in
one of the previous chapters.
| | 02:16 |
Next we have something which is kind of
curious.
| | 02:19 |
it's called Print Adjustment.
What a lot of photographers have found is
| | 02:23 |
that when they view their images on their
screen, they look bright and brilliant.
| | 02:28 |
Yet when they're printed, they're just a
little bit dull.
| | 02:31 |
This happens because many times our
monitors, well, they're not calibrated correctly.
| | 02:35 |
Or because a lot of those LCD monitors,
they're just so bright and saturated.
| | 02:40 |
That we're seeing too much color and too
much contrast.
| | 02:44 |
That color and contrast, well it can't be
reproduced.
| | 02:47 |
So Lightroom has come up with this really
fascinating way to kind of work around this.
| | 02:52 |
If you don't have exact color calibration,
what you can do is turn this option on
| | 02:57 |
Print Adjustment.
You have to experiment with this because
| | 03:00 |
these sliders, they won't change your
image in any way, shape or form.
| | 03:04 |
In other words, you'll need to turn this
option on and then crank up the brightness.
| | 03:09 |
And let's say we crank up our brightness,
how about to plus 20, and then we'll add
| | 03:13 |
that value.
I'll go ahead and type in 20 there.
| | 03:16 |
Contrast, I'm going to increase this say,
10 points, or maybe a little bit more that.
| | 03:20 |
How about 25, then once you have those
values, write them down, create a print,
| | 03:26 |
look at the print.
Then, swing the values.
| | 03:29 |
Let's say we add more Brightness and more
Contrast, write those values down.
| | 03:33 |
Create another print, it will take you a
couple of prints.
| | 03:37 |
You know, two, three, or four, to actually
figure out how these sliders work.
| | 03:41 |
And how they modify the image, but
basically, as the sliders say, they work
| | 03:45 |
with Brightness and Contrast.
They work to try to counter the issue
| | 03:49 |
which happens when we have our monitors
too bright.
| | 03:53 |
I should also point out that there are
people who calibrate their monitors, but
| | 03:57 |
don't like to dim their monitors all the
way down.
| | 04:00 |
Because to have correct and exact
calibration, sometimes well, it just makes
| | 04:05 |
your minder too dark.
Therefore, they'll leave them under a
| | 04:09 |
little bit brighter.
It will be just a touch too bright, so
| | 04:12 |
that it can work in that nice bright,
vibrant space.
| | 04:16 |
And then, they'll use the adjustments in
order to make any final adjustments to the photograph.
| | 04:22 |
Now because these adjustments are so
vague, in the next movie what I'll do is
| | 04:25 |
I'll show you some actual example images.
I'll be able to talk about the differences
| | 04:31 |
between these photographs.
My hope is that this will save you a
| | 04:34 |
little bit of time and money.
So that I can make those test files for
| | 04:38 |
you so that you can see how these sliders
actually work.
| | 04:41 |
All right, well after you dial in your
Print Job Settings, if you're ready to
| | 04:45 |
send this to your desktop printer, the
final step is to simply click Print.
| | 04:50 |
This will open the dialog that we've seen
before.
| | 04:52 |
You may want to double check your printer
settings, make sure those are all dialed
| | 04:56 |
in, and then simply click Print and wait
expectantly.
| | 05:01 |
If you're going to send your image off to
be printed by someone else, you want to
| | 05:05 |
change this option to print to JPEG.
And because this whole process of sending
| | 05:09 |
your file to someone else is different
than desktop printing.
| | 05:12 |
Let's go ahead and talk about printing to
JPEG files in the next movie.
| | 05:16 |
| | Collapse this transcript |
| Setting up to print JPEG images| 00:00 |
Last but not leas0,t let's look at how we
can use the Print Job panel in order to
| | 00:04 |
send our image to Print To a JPEG File.
You'd want to do this if you're going to
| | 00:08 |
send your images off to have them printed
by a printing service.
| | 00:12 |
In order to select Send To JPEG File, you
click on this pull-down menu and simply
| | 00:16 |
choose JPEG.
Next, you have the option of Draft Mode Printing.
| | 00:20 |
If you want to create a low quality print,
you probably don't want to do that so turn
| | 00:24 |
that option off.
Next, you can determine your file
| | 00:27 |
resolution by clicking and dragging, or
clicking in this field and typing in a
| | 00:31 |
custom number there.
For Print Sharpening, it's really simple.
| | 00:34 |
Typically, standard works best, so I find
in most situations that's what you'll
| | 00:39 |
want to choose, and then choose your media
type.
| | 00:41 |
If it's going to be Glossy Paper, make
that selection.
| | 00:45 |
In regards to the JPEG quality, you'll
want to keep that cranked up because you
| | 00:49 |
want a nice, full high res file for this
JPEG printing.
| | 00:52 |
You can also change the dimensions if you
want to customize the file dimensions, you
| | 00:57 |
could click here.
And either click and drag in these fields
| | 01:00 |
or enter in custom dimensions for this
image.
| | 01:04 |
Next, what about color management?
Well, here, typically most printing
| | 01:08 |
service bureaus are printing with a
profile of sRGB.
| | 01:11 |
So, that's what you're going to want to
select here.
| | 01:14 |
That's small sRGB color profile space.
Of course, you'll want to check with the
| | 01:19 |
printing service provider, what profile
they want.
| | 01:22 |
And then, make that selection.
Now, onto rendering intent.
| | 01:26 |
In most situations, perceptual will work
well.
| | 01:29 |
And of course, there was a previous movie
where we really talked about the ins and
| | 01:33 |
outs of both of these intents.
If you're not quite clear about those, go
| | 01:37 |
back and watch that movie and you'll be
able to pick up what you need to know there.
| | 01:41 |
Finally, we have Print Adjustment.
We've seen this before.
| | 01:45 |
You can turn this on and what you'll do
here is you'll increase the amount in
| | 01:49 |
contrast based on a test.
So, when it comes to having someone else
| | 01:54 |
print your work there's going to be a
little bit of lag time here of course.
| | 01:57 |
So, you want to choose something that you
tested on your own desktop printer that
| | 02:02 |
you think might work.
And eventually, what you'll want to do
| | 02:05 |
with JPEG printing is just to close this
so you don't bump those numbers.
| | 02:10 |
Because if you are printing to a service
bureau, most likely, those values well
| | 02:15 |
they'll stay consistent.
So, you just want to close that and turn
| | 02:19 |
on that option when you are doing that.
Well, the final step here is just to click
| | 02:23 |
the button Print to File.
This will open up this dialogue where you
| | 02:27 |
can choose where you want to save this
file.
| | 02:29 |
In this case, we could save this file to
our Exercise Files folder into the Photos folder.
| | 02:34 |
And here, we would simply give this a
name, I'll call this one jm, for Jared
| | 02:38 |
Mason, and then click Save.
And it will kick out or save out this JPEG
| | 02:43 |
with all of these settings that we have
dialed in.
| | 02:46 |
| | Collapse this transcript |
| Looking at brightness and contrast in print samples| 00:00 |
Here I want to take a look at how we can
use the Brightness and Contrast controls
| | 00:04 |
that we're going to find inside of the
Print Job panel.
| | 00:08 |
And I want to do this, by talking a little
bit about this photograph here.
| | 00:11 |
And sharing with you some other prints,
where I've used these controls in order to
| | 00:16 |
modify the way that they are printed.
Well, let me tell you the story about this portrait.
| | 00:21 |
This is a picture of Lynda, one of the
co-founders of lynda.com.
| | 00:25 |
I was really excited to make this picture
because Lynda is someone who has inspired
| | 00:30 |
me immensely.
I was using an 85mm lens, shooting at
| | 00:36 |
F1.2, so I have this really shallow depth
of field.
| | 00:39 |
When I opened this image up in Lightroom,
I was so excited.
| | 00:43 |
Because her near eye was tack sharp.
I worked on the image a little bit.
| | 00:48 |
And then I printed it.
And the print, it didn't look very good.
| | 00:51 |
I was disappointed.
It lacked a little bit of the life, a
| | 00:55 |
little bit of the contrast and color and
saturation that I saw on my monitor.
| | 01:00 |
And this happens to us quite often,
doesn't it?
| | 01:02 |
Because the way that we view color and
tone and contrast on a monitor, is very
| | 01:07 |
different than the way that it's rendered,
when we create our prints.
| | 01:11 |
Well, here's where these controls come
into play.
| | 01:13 |
Brightness and contrast.
They allow us to accommodate or to correct
| | 01:18 |
for that difference.
The problem with these controls, of
| | 01:21 |
course, is that they're blind.
If you make an adjustment, where you don't
| | 01:24 |
see any change on your image, you don't
see the change until you look at the final print.
| | 01:30 |
Well, let's take a look at a few
photographs, where I made some
| | 01:33 |
adjustments, to see if we can't kind of
reverse engineer or deconstruct or get to
| | 01:37 |
know how these controls actually work.
All right.
| | 01:40 |
Well, here's the first photograph I want
to show you.
| | 01:42 |
With this photograph, I've added 100
points of brightness.
| | 01:46 |
Its an exaggerated adjustment, but I think
that what it does is, it illustrates what
| | 01:52 |
brightness does.
It brightens up really everything, the
| | 01:55 |
photograph, it looks washed out.
The next photograph that I want to show
| | 01:59 |
you has 100 points of contrast.
Well here, this one, it looks a little bit
| | 02:04 |
better because our eye, our eye enjoys
contrast.
| | 02:08 |
Contrast also increases color saturation,
so we see the lipstick color, it's a bit
| | 02:13 |
more vibrant.
The blue in the background looks nice.
| | 02:16 |
The hair, the glasses, the eyes.
Except the skin.
| | 02:19 |
It introduced this texture in the skin,
which isn't very appealing or flattering.
| | 02:24 |
I don't like it.
So, again, at this exaggerated amount, we
| | 02:28 |
see what contrast does.
Well, what about increasing both the
| | 02:32 |
brightness and the contrast?
Well, here with the next photograph, I
| | 02:36 |
have 100 points of contrast and also a
hundred points of brightness.
| | 02:40 |
Well, the photograph just looks kind of
strange.
| | 02:43 |
But you can see how these two controls
could somehow, possibly complement or work
| | 02:48 |
together pretty well.
In this case, the image is brighter but we
| | 02:52 |
have some nice contrast and deep blacks.
But it just, again, looks kind of awkward.
| | 02:57 |
I should also point out that I printed
these photographs on this velvet fine art paper.
| | 03:02 |
It's one of my all-time favorite paper
types.
| | 03:06 |
This paper, though, is really tricky when
it comes to printing, because it has a
| | 03:09 |
smaller gamet.
And it can't handle a lot of contrast.
| | 03:13 |
So I need to figure how I could use these
controls in a specific way, to help me
| | 03:18 |
create better prints with this paper.
So, what if we just scale this all back?
| | 03:23 |
Perhaps, a little bit of contrast, a
little bit of brightness.
| | 03:25 |
That might work, right?
Well here, I have a print, where I have 25
| | 03:29 |
points of contrast and 25 points of
brightness.
| | 03:33 |
The image, it looks okay.
There's a little difference.
| | 03:37 |
It's lifting the image up a little bit.
You see a difference in the skin tone,
| | 03:41 |
also a bit in the contrast.
But it just isn't doing much for me.
| | 03:45 |
As I held this up next to my monitor, I
thought well this just isn't it.
| | 03:50 |
What's the problem?
What I realized was, it was the mix of
| | 03:55 |
these two controls, that was off.
Sure, the image was a little bit down,
| | 03:59 |
regards to brightness.
I need to boost that up, but I also need,
| | 04:02 |
perhaps even more to work on the overall
contrast.
| | 04:06 |
So what I found after a few test prints,
is that with this image, that by
| | 04:10 |
increasing the brightness to 20 and the
contrast to 70, it gave me a print that I
| | 04:16 |
was really excited about.
This was closer to my vision.
| | 04:21 |
Here we can see we have nice skin tone,
nice contrast, and color, and saturation.
| | 04:26 |
And it may be difficult to see the
differences between these two images here
| | 04:30 |
in this movie.
Yet, when you get up close to these
| | 04:33 |
prints, and when you look at them
side-by-side.
| | 04:35 |
When I held them next to each other, well,
the difference was really evident.
| | 04:40 |
And you know, a lot of times when you're
printing your photographs, you're looking
| | 04:43 |
for that subtle yet significant
difference.
| | 04:46 |
So here's what I want you to do.
I want you to take this, and start to
| | 04:49 |
think about how can I integrate all of
this into my own workflow.
| | 04:54 |
Now, you're going to be printing with a
different printer and paper type.
| | 04:57 |
You also may capture images in a different
way.
| | 05:00 |
Yet I'm hoping that these experiments,
that they can act as benchmarks, so that
| | 05:05 |
you can really understand how brightness,
and also contrast works.
| | 05:09 |
So that you can create some test prints of
your own, because in order to create good
| | 05:14 |
photographic prints, you do really need to
test this out and try this out and see how
| | 05:19 |
it works.
And by doing this, it can help you create
| | 05:22 |
even more compelling photographs.
| | 05:25 |
| | Collapse this transcript |
| Reviewing prints| 00:00 |
Here I want to spend some time talking
about the creative process of reviewing
| | 00:04 |
your photographs.
Because creating good and compelling
| | 00:08 |
photographic prints well, it's involved.
It involves capturing the image, working
| | 00:13 |
on it in light room.
And then creating the print, yet one of
| | 00:16 |
the steps that's often overlooked is
reviewing the photograph, because
| | 00:21 |
sometimes we just get excited.
Well here I have this print, isn't it great.
| | 00:24 |
What I want to do is talk a little about
this creative process and how we can
| | 00:30 |
review our photographs once we've printed
them.
| | 00:33 |
Well here with these initial two images my
intent was to try to create a color
| | 00:38 |
palette which somehow connected these two
images, even thought they're captured at
| | 00:42 |
different times of different subject
matter.
| | 00:44 |
because these photographs were going to
appear in a book.
| | 00:47 |
So what I needed to do was to print them
out, tack them up on the wall and then
| | 00:52 |
step back.
Because sometimes you need to seperate
| | 00:55 |
yourself from your images and just look at
those from a distance.
| | 00:59 |
By doing that, it can help you evaluate if
you have it, or if you don't.
| | 01:04 |
Another thing that you might do, is you
might work with one image.
| | 01:07 |
And let's say you modify that image a
couple different ways.
| | 01:11 |
Here I have an example of one photograph
which is subtly printed with two different
| | 01:16 |
colors or tones.
The one on the right, well, it's much too red.
| | 01:21 |
You know what, I didn't know that until I
printed the other picture.
| | 01:25 |
It was only in juxtaposition or in
combination did I really see that red shift.
| | 01:30 |
And when we work on our computers we can
kind of convince ourself that something
| | 01:34 |
looks good.
Wow, this is great!
| | 01:36 |
But then, when we make the print and
perhaps a print to compare it to we
| | 01:40 |
realize, oh gosh!
Who am I kidding?
| | 01:42 |
That didn't look very good.
That didn't work very well.
| | 01:45 |
So often these changes or these
adjustments, they're subtle, and to really
| | 01:50 |
truly evaluate them we need to see them,
in that printed form.
| | 01:54 |
With this photograph, it makes me realize,
yeah, this is the keeper.
| | 01:59 |
Another thing we can do, is print one
image, perhaps, multiple ways.
| | 02:04 |
Here you can see, I have one photograph
and this image is the same image, just
| | 02:09 |
cropped, two different ways and also
printed at different sizes.
| | 02:13 |
It's an experiment, and it's a fun
experiment, because we could crop and
| | 02:17 |
compose on camera, or in Lightroom, but I
also think when we create prints.
| | 02:23 |
And by doing this little experiment,
running that sheet of paper through the
| | 02:27 |
printer twice, and just making the subtle
change, it helped me realize which version
| | 02:32 |
I liked.
In this case I liked the crop on the left
| | 02:35 |
a little bit better.
Another great way to work with prints and
| | 02:39 |
evaluating your photographs is to create
kind of a contact sheet.
| | 02:43 |
But this isn't a contact sheet which is
typical.
| | 02:46 |
Usually the thumbnails are really small.
Here the photographs are big.
| | 02:51 |
It can help you get familiar with a set of
your pictures.
| | 02:54 |
Here one of the things that I realized is
that I didn't like the way that I
| | 02:57 |
processed these.
I didn't like the color and tone.
| | 03:00 |
It wasn't working for me.
And I realized that quickly when I saw all
| | 03:04 |
of those photographs on this one sheet of
paper.
| | 03:07 |
And also help me find some pictures in the
shoot that I would have neglected, had I
| | 03:12 |
just been viewing them inside of
Lightroom.
| | 03:14 |
A lot of times I'll run a test print just
like this.
| | 03:17 |
Cut them up.
Tack them up on the wall.
| | 03:19 |
And live with those photographs.
And by living with a print, it can help
| | 03:24 |
you see things that you might have
overlooked.
| | 03:27 |
Another thing that I like to do with
photographs is, once you've found, say, a
| | 03:31 |
keeper, a photograph you really like, is
to print it in different ways in regard to
| | 03:36 |
the layout or size.
Here you can see the same photograph.
| | 03:41 |
Yet, on the right it's a bit more of a
traditional layout.
| | 03:44 |
We have a lot of open negative space, it's
kind of optically centered.
| | 03:48 |
And then on the left, we have a big image,
printed all the way to the edge.
| | 03:52 |
Space on the top and the bottom.
Well, here, these two different versions
| | 03:57 |
of these photographs, well, they're just
completely different.
| | 04:00 |
You know, I can't tell you how often this
happens to me; that I get excited about a photograph.
| | 04:04 |
I print it big and it just doesn't work,
because sometimes images need to be small
| | 04:11 |
and intimate.
And by experimenting with different sizes
| | 04:14 |
and layouts, well it can help us come to
different conclusions about our pictures
| | 04:18 |
and different ways that we can create good
prints.
| | 04:22 |
Alright, well there's one more example
here that I want to show you, which I
| | 04:25 |
think illustrates this same point.
This is an important photograph to me.
| | 04:29 |
This is a picture of one of my mentors.
This person had taught me a lot about what
| | 04:33 |
it means to be a father and a man.
And here you can see I printed this
| | 04:37 |
picture on different paper types.
And also, in different sizes.
| | 04:43 |
And by doing an experiment like this, it
gives me a unique insight.
| | 04:48 |
So then, really what's the point of all of
this, what's the point of reviewing your
| | 04:52 |
prints or what's the point of this movie?
Well, it's this, what I want you to do is
| | 04:57 |
think about how you can create compelling
prints, not just by capturing them or
| | 05:01 |
working on them in Lightroom or printing
them.
| | 05:03 |
And also by evaluating them after the
fact.
| | 05:07 |
By taking the time to be decisive and make
some important to decision.
| | 05:12 |
To compare photographs in different ways,
because what I have found is that by
| | 05:16 |
taking the time to really review and
evaluate your prints, well it can help you
| | 05:21 |
create even more compelling photographic
prints.
| | 05:25 |
| | Collapse this transcript |
|
|
5. Creating Books with LightroomWhy build a book and why use Lightroom?| 00:00 |
It's now easier than ever to design and to
build one of your own photography books.
| | 00:05 |
Yet before we get into the mechanics of
how we can do this using the book module,
| | 00:09 |
Inside of Lightroom, what I want to do
here is step back for a moment.
| | 00:13 |
And I want to ask a question.
Well, why build a book?
| | 00:17 |
It's an important question, and here's
why.
| | 00:19 |
If we neglect to ask this question, we can
easily get caught up in the excitement of
| | 00:24 |
building a book, and our project, it can
lack focus.
| | 00:28 |
So, why then build a book?
Perhaps like one of these here.
| | 00:32 |
Well, there are so many different valid
reasons.
| | 00:34 |
Maybe you just want to create an artifact,
a document which showcases the images that
| | 00:39 |
you captured while traveling to a
fascinating location.
| | 00:43 |
Or maybe your interest is perhaps more
fine art, you want to convey and
| | 00:46 |
communicate a particular idea.
Or maybe you just have some personal
| | 00:50 |
family photographs that you want to
collect together in a book that's kind of
| | 00:54 |
fun, or perhaps you want to create a
portfolio.
| | 00:56 |
You want to create a portfolio which
really showcases your work, so that you
| | 01:00 |
could get more photographic assignments.
Again, there are so many different valid
| | 01:06 |
reasons for creating a book.
The point is, is that you want to choose
| | 01:10 |
one, and by choosing a focus, well, it can
really help you with those important
| | 01:15 |
book-building decisions, like what images
do I include, and what images don't I include?
| | 01:20 |
How do I design the cover?
Do I include typography or captions?
| | 01:24 |
How do I design the interior layout of the
book?
| | 01:28 |
And again, by having a strong focus, it
can only help you create a more compelling
| | 01:33 |
and interesting book.
| | 01:35 |
| | Collapse this transcript |
| Reviewing samples of both printed and digital books| 00:00 |
After having decided why you want to build
your book, after having clarified your vision.
| | 00:06 |
Well, the next thing to consider is
materials, and size, and also how you want
| | 00:10 |
to layout your project.
Well here, I want to look at a few options
| | 00:14 |
that we have when creating a book, that
we're going to order via Blurb.
| | 00:17 |
The first thing that I want to highlight
is a swatch kit.
| | 00:20 |
This is really helpful, you can order this
swatch kit.
| | 00:23 |
And they'll send you a few materials.
Here you can see, I have some samples of
| | 00:27 |
different cover materials.
Also, different paper types that can be used.
| | 00:32 |
And what I've found, is that by going
through the swatch kit, it's really helpful.
| | 00:36 |
Because you can feel the paper, and look
at the images on these different types of
| | 00:41 |
paper, can help you make a bit more of an
educated decision about what you want to
| | 00:45 |
use in your project.
Well then, of course, you have to decide
| | 00:50 |
about dimensions.
What is the size for your project?
| | 00:53 |
Well, here, we have a few different sizes.
One of the things to keep in mind, is you
| | 00:57 |
want to think about the cover relative to
the size.
| | 01:00 |
Is it a square or a rectangle?
How is the image going to sit inside of
| | 01:05 |
that space?
Like this one is a square, with a white
| | 01:08 |
border around it.
That looks really nice.
| | 01:10 |
Or perhaps you want to do something fun
like this, a shape which is a bit more
| | 01:14 |
like a rectangle, there's a cover
photograph, which is then reversed on the
| | 01:19 |
back side.
Again, there are so many different options.
| | 01:22 |
You can also create a cover say with a
dust jacket, like this one here.
| | 01:26 |
That jacket is then wrapped around the
cover of your book.
| | 01:29 |
And so as you think about these different
options, really go back to your vision.
| | 01:34 |
What is my vision?
What do I want to communicate, and convey,
| | 01:37 |
and then make these decisions.
Another decision, of course, is the
| | 01:41 |
interior of the book.
And here's an interesting layout.
| | 01:45 |
I really like this photograph and this
layout.
| | 01:48 |
It's a picture.
You can see the photographer's name on one
| | 01:51 |
side and sub-copy the photograph on the
other.
| | 01:54 |
And he writes a little bit about this
photograph.
| | 01:57 |
I want to read a few words here.
I'm transfixed when I encounter an
| | 02:01 |
intimate setting like this.
It's a portrait of those who are long
| | 02:04 |
gone, and yet still very present.
And for this project, which is a
| | 02:08 |
fascinating book, it's called The View
Project.
| | 02:11 |
This layout really makes sense.
In other words, they came up with the
| | 02:16 |
vision for the project, and then decided
the layout.
| | 02:19 |
They chose a layout which worked for what
they wanted to accomplish.
| | 02:23 |
Other times, you just need to experiment.
Here I have a couple of my own experiments.
| | 02:28 |
Two different layouts of these photographs
here.
| | 02:31 |
These are some family pictures.
And I wanted to create a book for my wife
| | 02:35 |
that was just a keepsake, a little gift of
some simple family pictures.
| | 02:40 |
In one layout, I have white space around
the pictures.
| | 02:43 |
More than one picture on a page many
times.
| | 02:46 |
This one is a little bit bigger.
The one which is smaller, well, the
| | 02:50 |
photographs they bleed all the way to the
edge.
| | 02:52 |
And what I found with this project, with
these family photographs, I thought I was
| | 02:57 |
going to like the bigger book better.
But when I got it, it was just too big.
| | 03:02 |
These pictures are intimate, familial.
The smaller size with this layout, where
| | 03:07 |
the photographs were all the way to the
edge.
| | 03:10 |
Well, it just worked much more
effectively.
| | 03:12 |
So again, sometimes you have to go back to
your vision.
| | 03:16 |
And make those decisions and hopefully you
get them right.
| | 03:19 |
Other times, you have to experiment.
You have to try your photographs out in
| | 03:23 |
these different sizes and also with
different paper types.
| | 03:27 |
But what I've found is that perhaps most
importantly, is having that clear, focus
| | 03:32 |
or vision and then making these decisions
and experimenting a little bit.
| | 03:37 |
Is that it can help you to create an even
more effective and compelling photographic book.
| | 03:43 |
| | Collapse this transcript |
|
|
6. Getting Started with Your Book ProjectCreating collections for your book project| 00:00 |
You know, for me the whole process of
designing a custom book is a ton of fun,
| | 00:04 |
and it's really rewarding.
You know, one of the first steps that you
| | 00:07 |
want to take in this process, is to select
and then group together the photographs
| | 00:12 |
that you want to work on in a book
project.
| | 00:14 |
One of the ways that you can do that in
Lightroom, is by using collections.
| | 00:17 |
Here in this movie, I want to focus in on
how we can create collection sets.
| | 00:21 |
And also on how we can create collections,
in order to group our photographs together
| | 00:26 |
so that later we can use those photographs
in a few different projects.
| | 00:30 |
Let's begin by working in the Collections
panel.
| | 00:32 |
Here, in the collections panel, we'll
click on the plus icon and choose, Create
| | 00:36 |
a Collection Set, create our first
creation set.
| | 00:39 |
Let go and name this one, Book-Projects.
In this way we can have all our books
| | 00:44 |
organized in one area.
Click Create.
| | 00:47 |
In order to create that empty collection
set, and don't worry while it's empty now,
| | 00:51 |
we'll be filling it up later.
Next, let's click on the plus icon and
| | 00:55 |
let's create another set.
This time, let's create a set for a print
| | 00:59 |
project, so that we can separate these
two.
| | 01:02 |
Here we'll go ahead and name this one
Print-Projects.
| | 01:05 |
And then click Create.
And once you've created a set, you can add
| | 01:09 |
collections to it, by simply clicking and
dragging and dropping.
| | 01:13 |
Notice how I can bring those other print
collections into this set here.
| | 01:17 |
And then we can close this in order to
tuck those away.
| | 01:20 |
All right.
Well, now that we've started to organize
| | 01:23 |
things here a little bit here in the
Collections panel.
| | 01:25 |
Let's work on our book projects.
Here we'll begin by clicking on the
| | 01:29 |
folder, Concert Hall.
Now, I want to use each and everyone of
| | 01:33 |
these photographs in this folder.
To select all of those, press Cmd+A on a
| | 01:37 |
Mac or Ctrl+A on Windows.
Think A for all.
| | 01:41 |
Once we've selected all of those, we have
two options for how we can create a collection.
| | 01:47 |
You can either click on the plus icon.
And choose Create Collection, or if you
| | 01:50 |
prefer to use shortcuts press Cmd+N on a
Mac or Ctrl+N on Windows.
| | 01:56 |
Think N for new collection.
Here we'll go ahead and click on this menu
| | 02:01 |
item, and this will open our Create
Collection dialogue.
| | 02:04 |
In this case, I'm going to go ahead and
name this one Concert Hall.
| | 02:07 |
I want this one to be inside of a
collection set, Book Projects, because
| | 02:11 |
this will be a book project.
Next, what we can do is include the
| | 02:15 |
selected photos, the ones that we've
selected there in the background.
| | 02:18 |
And then no need to make virtual copies
with this one or to set this as a target collection.
| | 02:23 |
So leave those two options turned off or
unchecked.
| | 02:26 |
Next, we'll click the Create button, and
what this will do, is it will create this
| | 02:29 |
collection here for us.
Now, let's say that we know that we're
| | 02:33 |
going to create a few other book projects
as well.
| | 02:35 |
Well, while we're here, we might as well
do our organizational work of selecting
| | 02:40 |
those photographs in creating those
collections.
| | 02:43 |
So here, let's go back to the folder which
is titles Family Book.
| | 02:46 |
These are some pictures that were captured
by one of my former students of myself and
| | 02:50 |
my family.
And I want to include all of these in a
| | 02:53 |
book project.
Again, Cmd+A on a Mac or Ctrl+A on Windows
| | 02:57 |
to select those photographs.
Then, let's click on the plus icon here
| | 03:01 |
and choose Create Collection.
You know, sometimes as you create
| | 03:05 |
collections you may forget to rename the
collection here.
| | 03:09 |
And just for the sake of demo, I'm
going to leave this on the default name,
| | 03:12 |
and then look at how we can rename this
later.
| | 03:14 |
So, let's go ahead and leave the name as
is.
| | 03:16 |
We want this one to be inside of the
collection set Book Projects, and include
| | 03:21 |
these selected photos once again.
Here we'll click on the Create button.
| | 03:25 |
Well, if you ever you realize that you
forgot to name a collection or if you have
| | 03:29 |
a typo in the name, you can always
right-click it or Ctrl+click it.
| | 03:34 |
This will open up the contectual menu,
choose from this menu, Rename.
| | 03:38 |
I'll go ahead and name this one,
Family-Book, and then click Rename.
| | 03:43 |
This then will allow me to have this
collection here, as you can see in our
| | 03:46 |
collection set.
Well, these particular photographs,
| | 03:50 |
they're color or they're sepia tone, well
let's say that we want to create another
| | 03:54 |
book project.
Or we're interested in possibly creating
| | 03:57 |
another book project, where we have all of
these photographs, except they are black
| | 04:00 |
and white and grayscale.
Well, in order to do that, we want to
| | 04:03 |
select the photographs.
Notice that they're already selected here.
| | 04:06 |
If they weren't, we could go back to the
folder, press Cmd+A on a Mac or Ctrl+A on Windows.
| | 04:11 |
And then, click on the plus icon and
choose Create Collection.
| | 04:16 |
When you're creating a collection where
you want to have a little bit of variety
| | 04:19 |
or you want something which is different,
what you want to do is make sure you give
| | 04:23 |
it a different name, family book, black
and white.
| | 04:26 |
You can save it in the same location, but
now what we want to do, is we want to turn
| | 04:30 |
the option to make new virtual copies.
And the reason why I want to do this, is
| | 04:35 |
so I can have all of the color photographs
in this project here.
| | 04:38 |
Then, so that we can have these virtual
copies, which we can process in a
| | 04:43 |
different way.
In this case, so that these photographs
| | 04:45 |
are black and white.
This might be helpful especially, say if
| | 04:48 |
you're a wedding photographer, and you're
creating a book project, or you want one
| | 04:51 |
book in color and one in black and white,
or if you just want to experiment with in
| | 04:55 |
different ways and process your
photographs.
| | 04:57 |
All right.
Well either way, here, we'll rename this
| | 05:00 |
family book black and white inside of our
collection set and then turn on these two
| | 05:04 |
check boxes and then click Create.
After having done that, what it will do is
| | 05:09 |
build virtual copies for us, which are now
located here in this collection.
| | 05:14 |
Next, what I need to do is process these
images in a new way.
| | 05:18 |
To do that, we'll navigate to the develop
module.
| | 05:21 |
Tap the D key or click on the develop
module button in order to navigate to that module.
| | 05:26 |
And what I want to do, is quickly convert
all of these images to black and white.
| | 05:31 |
One easy way to do that is to press Cmd+A
on a Mac, Ctrl+A on Windows, to select all
| | 05:37 |
of those photographs.
Then we can click on the Sync button.
| | 05:40 |
In the Sync button, what I want to do is
make sure that I'm going to synchronize
| | 05:44 |
the settings across all of these files.
Now, if we know that we're going to
| | 05:48 |
synchronize just perhaps the color or
whatever it is, we could choose any of
| | 05:52 |
those options, or we can choose Check All
to synchronize all of these settings.
| | 05:56 |
Here, I'll go ahead and do that, and then
click Synchronize.
| | 05:59 |
Now after having done that, I'm going to
click on the flip switch to turn the
| | 06:02 |
Auto-sync option on and then go to the
Basic panel.
| | 06:06 |
In the Basic panel we have a Color
Treatment button.
| | 06:09 |
Let's choose Black and White.
This will allow me to convert all of these
| | 06:13 |
images to black and white.
As you can see in the film strip down below.
| | 06:16 |
As we scroll through these photo's, you
can see how it's updating all of these new
| | 06:19 |
pictures with these processing settings.
Then, if we navigate back to the library module.
| | 06:25 |
What we'll see is we now have a collection
here, which includes black and white photographs.
| | 06:30 |
The same photographs that we have in a
different collection, Family Book, which
| | 06:34 |
are color and also have some sepia tone in
them.
| | 06:37 |
And so really, what I'm trying to
highlight here is that, what you want to
| | 06:40 |
do before you begin to work in the book
project, is you want to group and organize
| | 06:45 |
your images together.
That may mean working in the Collections
| | 06:48 |
panel and creating some sets and also some
collections.
| | 06:51 |
It also may mean working in the develop
module, in order to develop and process
| | 06:56 |
your photographs, so that they are ready,
so that they are good to go.
| | 07:00 |
Well, after you've done all of this
organizational work, you're now ready to
| | 07:03 |
head to the next step.
So let's go ahead and wrap this movie up
| | 07:06 |
here, and then we'll pick up where we're
leaving off in the next movie.
| | 07:11 |
| | Collapse this transcript |
| Choosing book settings and preferences| 00:00 |
Now that we have organized our photographs
into a collection set and into different
| | 00:04 |
collections, let's begin to focus on a few
essential book settings.
| | 00:08 |
Here, let's navigate to the book module by
clicking on the Book Module Picker button
| | 00:13 |
which is located right here.
And then go ahead and open up the Book
| | 00:16 |
Settings panel.
And what I want to do is walk through a
| | 00:19 |
few options that we have here.
The first option has to do with the way
| | 00:23 |
that we might want to print or have our
book made.
| | 00:26 |
You'll notice that by default, the option
which is selected here is Blurb.
| | 00:30 |
Blurb is an online resource site which you
can use, so that you can then upload your
| | 00:35 |
book project to them.
They will print it out and then send it to you.
| | 00:38 |
You can also promote and sell your book
through their online bookstore.
| | 00:42 |
If you want to get more information about
blurb, you can always click on this button
| | 00:45 |
here which will take you to a website.
And again, here you can find more info
| | 00:49 |
about working with Blurb.
I'm going to leave this page, so I'll hide
| | 00:53 |
this because I figure you can always read
that on your own time.
| | 00:57 |
You'll notice that if you choose this
option, it will give you an estimated
| | 01:01 |
price based on the different settings that
you have in these areas.
| | 01:04 |
You can also decide to use another service
provider.
| | 01:07 |
If you decide to do that, you can choose
one of these options so that you can
| | 01:11 |
design a book, and then export it in the
PDF or JPEG format, so that you could
| | 01:16 |
print it yourself, or upload it to another
service provider's site, and then print
| | 01:20 |
your book that way.
For the sake of demo, I'm going to leave
| | 01:23 |
this option of Blurb turned on, and here
I'm going to walk through the various
| | 01:26 |
settings that we have here.
You can click on the Size Pulldown menu.
| | 01:30 |
Here you can see we have different sizes.
What I want to do for this project is
| | 01:34 |
standard landscape.
You'll notice how that will change our
| | 01:37 |
view here of the project.
It also will change our price, as we make
| | 01:41 |
decisions to how we're going to work with
this.
| | 01:44 |
You can see how I can select these, it's
going to change the price.
| | 01:47 |
And here you can see that there's a pretty
significant price difference based on the
| | 01:50 |
type of cover that we use, or the size, or
the paper type.
| | 01:54 |
For example, if we wanted to use a more
expensive and nicer paper like Proline
| | 01:58 |
Pearl, notice how our price will cost much
more.
| | 02:02 |
In this case, I'll go ahead and bring this
back down to that premium luster paper,
| | 02:05 |
because that's actually a paper type that
I like quite a bit.
| | 02:09 |
Now, you can zoom in on any of your pages
by clicking on them and then double-clicking.
| | 02:13 |
Notice that this back page includes the
Blurb logo.
| | 02:16 |
Now, if you have that logo printed on your
book project you'll get a discount.
| | 02:21 |
If you choose, though, to turn that off,
you can do so here.
| | 02:24 |
Your book will cost a bit more.
Now, the advantage obviously of not having
| | 02:29 |
the Blurb logo is that your book will feel
and look more professional.
| | 02:32 |
Yet, you may need to make that decision.
Whether or not to have the logo on that
| | 02:37 |
page based on the project and also your
overall budget.
| | 02:40 |
All right.
After you've dialed in these book
| | 02:43 |
settings, the next thing that you want to
do is navigate your Book Pulldown menu and
| | 02:47 |
then you'll choose, Book Preferences.
This will open up a word Book Preferences dialogue.
| | 02:53 |
Now, with the book preferences, these have
to do three different areas.
| | 02:56 |
Let's begin with Layout Options.
The default photo zoom is zoom to fill.
| | 03:01 |
What this will do is the photograph was
zoom in to fill the photographic area, and
| | 03:06 |
it will crop or change the composition of
the photographs.
| | 03:10 |
If you're okay with that, leave this as
is.
| | 03:12 |
If you prefer to have the entire image
visible as you shot it, choose the option
| | 03:17 |
of Zoom to Fit.
Next, for the auto fill out options, when
| | 03:21 |
you're creating auto layouts, you can
always start new books by auto filling.
| | 03:25 |
And it will fill up your book project with
all of your photographs.
| | 03:28 |
If you prefer to do that, leave this
checked on or if you want to manually add
| | 03:31 |
your photographs, you can always turn that
option off.
| | 03:35 |
Next for the text options, here you can
fill the text boxes with filler text or
| | 03:39 |
you can use Title metadata, Capture
metadata, or File Name metadata.
| | 03:44 |
Now, it won't ever print this information
if you use filler text, it will just show
| | 03:48 |
you that text, so that you can then click
into that field and begin typing.
| | 03:52 |
And so that's the option that I'm going to
use here.
| | 03:54 |
You can also select constrain our captions
to a text safe area.
| | 03:59 |
So that the text doesn't extend to far to
the edge, so it might be cropped or cut
| | 04:04 |
off when the book is actually printed and
then trimmed to size.
| | 04:07 |
All right, well after having dialed in
those settings.
| | 04:10 |
Let's go ahead and close the Book
Preferences dialog in order to save or
| | 04:15 |
apply those settings.
And next, what I'll do is take a look at
| | 04:18 |
how we can begin to build automatic
layouts, and we'll do that in the next movie.
| | 04:23 |
| | Collapse this transcript |
| Using Auto Layout and viewing tips| 00:00 |
Alright.
Well, next let's take a look at how we can
| | 00:02 |
use the Auto Layout panel.
What we'll do is select a preset from this
| | 00:06 |
pull-down menu, and here I'll use the
preset of One Photo Per Page.
| | 00:10 |
Next, we can click on the Auto Layout
button.
| | 00:13 |
This will then build an Auto Layout for
the book.
| | 00:16 |
In this particular layout, as I start to
look at it, one of the things that I notice.
| | 00:20 |
Is I actually don't like this Zoom to fit
option, having the space around the photographs.
| | 00:25 |
So I'm going to change the preference by
navigating to the Book pull down menu By
| | 00:29 |
choosing book preferences, I can then
choose my default photo zoom, in this
| | 00:33 |
case, zoom to fill.
And then by doing that, we can then choose
| | 00:37 |
to clear the layout, and then rebuild it.
And in this way, you can see that the
| | 00:41 |
photographs are now extending to the edge
of the frame.
| | 00:44 |
As we scroll through the project, we can
then evaluate how that looks.
| | 00:47 |
Now if you want to see more of the
layouts, you can always increase, or
| | 00:51 |
decrease the thumbnail size.
Where as, I drag this to the left you can
| | 00:54 |
see, how we can see more of these
different layouts.
| | 00:58 |
Now if ever, you want to focus in on a
layout.
| | 01:00 |
What you can do is you can click into a
particular page, and then you can use
| | 01:05 |
these icons here, in order to zoom in, or
zoom out , so to speak.
| | 01:09 |
If we click on this icon, it'll allow us
to just view this particular spread.
| | 01:13 |
If we want to get into a particular image,
we'll click on this icon here.
| | 01:18 |
And you can navigate in and out by
clicking on the icons or by using a really
| | 01:22 |
easy shortcut.
I think the easiest way to navigate is to
| | 01:25 |
press Cmd+Plus or Minus on a Mac, or
Ctrl+Plus or Minus on Windows.
| | 01:30 |
In this way you can see that when you
press Cmd or Ctrl+Plus, you can zoom in.
| | 01:34 |
When you press Cmd or Ctrl+Minus you can
then zoom out.
| | 01:38 |
If ever you want to zoom in to a
particular page or picture, you can always
| | 01:42 |
click on it and then double-click on that
page.
| | 01:45 |
And that will zoom in to that area as
well.
| | 01:47 |
And you'll often as you start to get
familiar with your overall project
| | 01:51 |
especially after you've used Auto Layout.
It's almost like you'll want to see all of
| | 01:56 |
the pages.
Well, here obviously I can't unless I
| | 01:58 |
scroll up and down.
Well, what I like to do is to get rid of
| | 02:03 |
the rest of the Lightroom interface so I
can really focus in on what I'm doing.
| | 02:07 |
In order to do that, you can press a
really handy shortcut.
| | 02:10 |
It's the Shift+Tab key.
When you press Shift+Tab, you can see how
| | 02:14 |
you can minimize the rest of the
interface.
| | 02:16 |
You can also tab the L key in order to dim
the lights once.
| | 02:20 |
Press it again to turn them all the way
off.
| | 02:23 |
And this way really you can start to focus
in on what you have.
| | 02:26 |
And even with the lights dim like we have
here, you can still select a particular
| | 02:31 |
page by clicking on it.
Whatever page it is that you want to work on.
| | 02:34 |
And then you can press Cmd+Plus on a Mac
or Ctrl+Plus on Windows.
| | 02:38 |
Or you can zoom in and out by using those
shortcuts which I just listed.
| | 02:42 |
Now if we want to bring everything back,
we'll tap the L key and that will bring
| | 02:46 |
back the lights.
And then we'll press Shift+Tab and that
| | 02:50 |
will bring back the rest of the Lightroom
interface.
| | 02:53 |
Now we have a little bit more to talk
about in regards to Auto Layout.
| | 02:56 |
So let's go ahead and continue our
conversation about Auto Layout, and let's
| | 03:00 |
do that in the next movie.
| | 03:02 |
| | Collapse this transcript |
| Editing Auto Layout presets| 00:00 |
In this movie, I want to focus in on how
we can crate our own Auto Layout presets.
| | 00:05 |
You know one of the advantages of creating
or working with an Auto Layout is that it
| | 00:09 |
can really speed up your workflow, yet one
of the downsides is that we only have a
| | 00:14 |
few presets preinstalled in light room.
We have this one, which we've selected or
| | 00:19 |
we can choose another.
When you choose another preset, it's
| | 00:22 |
really easy to apply it.
Just click on the Clear Layout button, and
| | 00:25 |
then click on Auto Layout, and it will
build a layout based on the preset.
| | 00:30 |
If ever you want to go back to previous
layout again, just select it and then
| | 00:33 |
choose Clear and Auto and that will then
rebuild the book layout.
| | 00:38 |
Well, again, here underneath the Preset
pull-down menu, we only have three options.
| | 00:43 |
Let's say that we want to create a custom
preset which matches our voice in our vision.
| | 00:48 |
In order to do that we need to navigate to
the area where we can choose Edit Auto
| | 00:54 |
Layout Preset.
When you click on this menu item, it will
| | 00:57 |
open up our Auto Layout Preset Editor.
And this particular editor is actually
| | 01:02 |
pretty powerful.
You'll notice that you can create a design
| | 01:05 |
for the left and the right hand pages.
By default, the left page is the same as
| | 01:10 |
the right.
And let's leave that as is for now just to
| | 01:13 |
keep things kind of simple.
Let's work on our design by focusing in on
| | 01:18 |
this area.
Now, we can choose a particular layout
| | 01:20 |
like a fixed layout that we have here.
And currently, I have one photo selected.
| | 01:25 |
And you can see all of the one photo
options that we have here.
| | 01:28 |
We can also click on this pull-down menu
and you can see there are a number of
| | 01:32 |
other options as well.
In this case, let's leave this on one photo.
| | 01:37 |
And let's just choose an option which
gives us a little bit of a border around
| | 01:41 |
the outer edge.
Here I want to zoom the photographs to
| | 01:44 |
fill in this entire area.
And what I want to do is save this out as
| | 01:48 |
a new preset.
To do that, we'll go to the Preset
| | 01:51 |
pull-down menu.
And here, we'll change this or we'll
| | 01:54 |
choose the option of Save the Current
Settings as New Preset.
| | 01:58 |
When we do that, I'm going to go ahead and
name this One-Border.
| | 02:01 |
This will be the, the clue to remind me
that this will include one image per page.
| | 02:06 |
Except there will be a white border or
edge around each of these photographs.
| | 02:11 |
Here, we'll click Create.
After having done that click on the button Done.
| | 02:15 |
Now to apply that, what we need to do is
select the preset from the pull-down menu
| | 02:20 |
here, and then use Clear or click on
Clear.
| | 02:22 |
And then click on Auto and then it will
rebuild our book project.
| | 02:26 |
I think this layout actually looks kind of
interesting.
| | 02:29 |
We can also make more complex presets as
well.
| | 02:32 |
Let me show you one of those.
Here, again, we'll go to the preset pull
| | 02:36 |
down menu.
This time we'll choose Edit Auto Layout Preset.
| | 02:40 |
In this dialogue you can see that you can
click on this fixed layout or you can
| | 02:44 |
choose random from your Favorites folder.
We'll talk more about Favorites later.
| | 02:47 |
For now, we'll use a fixed layout.
We'll go down to an option where we can
| | 02:51 |
have multiple photographs.
Here you can see if we scroll around a
| | 02:55 |
little bit, we have a number of different
layouts which include a lot of pictures.
| | 02:59 |
I'll include an option where we have six
images on one page.
| | 03:04 |
I want to zoom those photos to fill in
that area.
| | 03:06 |
So I'm going to save this out here.
We'll choose Save Current Settings as New Preset.
| | 03:12 |
And in this case, I'll go ahead and name
this one Six-Border.
| | 03:17 |
And then click Create.
Afterwards, we'll click on the Done button.
| | 03:22 |
Now, we can access that preset here, clear
the layout, and then click on Auto Layout.
| | 03:26 |
Well now that we've done that, you can see
how we have all these photographs in one
| | 03:30 |
of these layouts.
We'll click on a layout and then click on
| | 03:33 |
the icon to zoom into this particular
spread, so we can see all of these photographs.
| | 03:37 |
And in this view, I kind of like this, but
I don't like it as much as the other option.
| | 03:43 |
And that's one of the advantages of having
presets.
| | 03:45 |
What I recommend you do is you create a
number of different presets.
| | 03:49 |
And what you'll find is that eventually,
as you build a few books, you'll gravitate
| | 03:54 |
towards a certain style.
For example, after having viewed these
| | 03:58 |
different presets here, I actually like
the one photo per page quite a bit.
| | 04:02 |
So I'll go ahead and clear the layout and
then click on Auto Layout, so I can then
| | 04:06 |
view my images that way in this particular
layout.
| | 04:09 |
And again, the point here is to simply
highlight how you can build or create your
| | 04:13 |
own custom presets.
And if you haven't done so, I recommend
| | 04:17 |
that you experiment with that a little
bit, so that you can build some of those
| | 04:20 |
presets so that will speed up your book
building process.
| | 04:23 |
And, of course, what you can do is after
you've selected a Preset, you can always
| | 04:28 |
customize the project further.
So, let's take a look at how we can start
| | 04:32 |
to customize the pages of this project and
let's do that in the next movie.
| | 04:37 |
| | Collapse this transcript |
| Customizing the page layout| 00:00 |
Next I want to take a look at how we can
customize the page layout.
| | 00:04 |
When you want to customize the way one of
the pages appears, what you can do is you
| | 00:08 |
can click on that page.
When you do that, you'll notice that
| | 00:11 |
there's an area which is highlighted in
yellow showing you the page that you're
| | 00:15 |
working on.
And you can either access the controls to
| | 00:18 |
customize the layout by clicking on the
little triangle icon which is located
| | 00:21 |
right here in order to access the various
options that we have for the page layout.
| | 00:26 |
Here we can go through these options and
we can choose one.
| | 00:29 |
For example, like this one here, and it
will apply that layout to this page.
| | 00:33 |
If we want to see this large, we can
obviously click on this icon here, so that
| | 00:37 |
we have a better view of this.
Well, after having seen this larger, I've
| | 00:41 |
decided that I actually don't like this
layout.
| | 00:44 |
Well, to change it, we can either go back
to this area and choose another option.
| | 00:48 |
Or we can also make the same change by
navigating to the page panel.
| | 00:53 |
If you open up the page panel, you'll
notice that the same exact icon is located
| | 00:58 |
right here.
When you click on it, it will open up the
| | 01:00 |
same exact contextual menu.
And again, here, we can go through these
| | 01:04 |
various options and we can scroll around a
bit until we find one that will work for
| | 01:08 |
our particular layout.
In this case, I'm going to choose an
| | 01:11 |
option which allows me to have two images.
When we select that by clicking on that
| | 01:16 |
option, you can see it chose one image
here but then it has a blank area for
| | 01:20 |
another photograph.
To add a photograph to this area, we'll
| | 01:23 |
just click and drag an image into that
space and it will add it into that area.
| | 01:28 |
If you want to change the image, just
click on the image.
| | 01:32 |
And what you can do is change the zoom
rate.
| | 01:34 |
Notice how you can zoom in or zoom out on
that area, so that it can fill up that space.
| | 01:38 |
You can see how I can click and drag this
around to change the way that that appears
| | 01:42 |
in this particular area.
Now, one of the things that's interesting
| | 01:45 |
is once you've created one custom layout
like we've done here, you can add or
| | 01:50 |
create another page with the same exact
layout.
| | 01:54 |
To do so, just click into the page you
want to work on, in this case this page here.
| | 01:57 |
If we want to duplicate that, we can click
on the Add Page button.
| | 02:02 |
What that will do is will create another
page right next door to this one with the
| | 02:06 |
same exact layout.
Here if we go back to this view, which
| | 02:10 |
allows us to view all of these different
spreads.
| | 02:13 |
And if I zoom in perhaps a little bit you
can see how this works, how we now have
| | 02:16 |
these two pages but the same layout.
Now, if you decide that you need to remove
| | 02:21 |
a page, well then one way to do that, is
to Right-Click or Control+Click on the page.
| | 02:27 |
This gives us some options, one of them is
to remove the page.
| | 02:31 |
So let's go ahead and delete or remove the
page by right-clicking or
| | 02:35 |
Control+clicking, then choose Remove Page.
Notice how that page is now gone.
| | 02:41 |
Now, if you click to add a page without
selecting any page, it will add it at the
| | 02:46 |
end of your project.
But if you want to add a page somewhere in
| | 02:49 |
the middle, for example, right here, just
click on the page, and then click on Add
| | 02:54 |
Page or Add Blank.
And what it will do is create it right
| | 02:57 |
next door to where we are here.
I'll click into it, Right-Click or
| | 03:00 |
Control+Click, and then select Remove
Page.
| | 03:04 |
Now, after having created this custom
layout, I've actually decided that it's a
| | 03:07 |
bit too complicated for my taste.
I want to make this something which is
| | 03:11 |
more simple.
So here I'll go ahead and change this to
| | 03:14 |
another layout.
Go click on this icon in the Page Panel.
| | 03:19 |
Let's chose an option with just one photo.
And I'll chose a really simple option,
| | 03:23 |
like this one here, which gives me a white
border around the outer edge of the photograph.
| | 03:28 |
If you decide that you want to change the
page layout of multiple pages, we'll just
| | 03:33 |
click in to one page, hold down the Shift
key, then click in to the others.
| | 03:36 |
And then what you can do is you can access
the controls which will allow you to make
| | 03:40 |
a selection.
In this case, a selection which gives us
| | 03:43 |
consistency across all of these pages.
On the other hand, if you want to change
| | 03:49 |
the layout in the entire project, we'll
press Command+A on the Mac or Control+A on
| | 03:54 |
Windows, to select all of the pages.
And then, you can click on either triangle icon.
| | 04:00 |
We'll go to the Page panel here to do it,
just to keep things simple.
| | 04:02 |
I'll choose an option which is one photo,
then we'll click on this option here.
| | 04:07 |
And then it will change the layout as you
can see, all the way across our book.
| | 04:12 |
So our book is now consistent with this
new layout.
| | 04:16 |
As you start to work with these layouts,
what eventually you want to do is
| | 04:19 |
obviously zoom in.
So here, if we click on a page and then
| | 04:23 |
zoom in to that spread we can evaluate
these two images in this spread.
| | 04:28 |
You can navigate between the spreads by
clicking on these icons.
| | 04:31 |
You can see how we can move backwards and
forwards.
| | 04:34 |
If you want to go to a specific page, just
click into this area, and you can type out
| | 04:39 |
a number.
I'll type out the number 15 and then press
| | 04:41 |
Return on a Mac or Enter on Windows, and
it will take me to that page, as you can
| | 04:46 |
see here.
So this gives you just another way to zoom
| | 04:49 |
in or zoom out on the photographs.
And sometimes you may need to do that so
| | 04:54 |
that you can click on an image, and then
perhaps change the zoom rate or customize
| | 04:58 |
the way that that image appears in this
area, so I could move this around a little
| | 05:02 |
bit to customize the way that that image
appears with this new layout that we've selected.
| | 05:08 |
| | Collapse this transcript |
| Saving favorite page layouts| 00:00 |
As you start to work more with the page
layout options, one of the things that you
| | 00:04 |
may want to do, is you may want to set
aside a few page layouts or mark those as
| | 00:09 |
your favorites.
You can either do this by clicking on a
| | 00:12 |
particular page, or by working with the
Page panel.
| | 00:15 |
Now, when you click on the triangle icon
which opens up the ability to modify the
| | 00:19 |
page, here we have a number of different
layouts.
| | 00:22 |
Now, its pretty difficult to go through
all of these options and then try to find
| | 00:26 |
the options which you like best.
Yet, eventually, what you'll discover, is
| | 00:30 |
that there are certain options which you
really like.
| | 00:33 |
Or when you come across one of those, what
you can do is you can position your cursor
| | 00:37 |
over that layout.
Notice that there is a little circle which appears.
| | 00:41 |
Well, if you click on that circle, it will
then add that to your favorites folder.
| | 00:45 |
And you can do this by navigating through
these different layouts, and here I'll
| | 00:49 |
just add a few to my favorites, by
clicking on the circle icon which is
| | 00:53 |
located in this area.
Now, you can do that either by clicking on
| | 00:57 |
the image and accessing that menu, or by
clicking on the menu here.
| | 01:02 |
When you do that, you'll notice that you
have the ability to select your favorites
| | 01:05 |
folder, and this will then show you the
layouts which are your favorites.
| | 01:10 |
Here, I'll navigate to the creative
options and add one more, and then
| | 01:14 |
navigate back to favorites.
And you can see how that's now its part of
| | 01:17 |
my favorites collections.
Whatever you decide to remove one of those
| | 01:21 |
from the collection, we'll just click on
the circle icon again, when you're inside
| | 01:25 |
of Favorites.
And in this way, you can see how we can
| | 01:28 |
remove these from our favorites, so that
we can then just have access to those
| | 01:32 |
layout options which we want to use most
frequently.
| | 01:35 |
And by taking some time to select a few
favorites.
| | 01:39 |
It can speed up your workflow as you move
forward and as you start to work on
| | 01:43 |
multiple book projects down the road.
| | 01:45 |
| | Collapse this transcript |
| Adding page numbers| 00:00 |
Now, that we've looked at how we can
customize the Page Layout.
| | 00:03 |
Next, I want to highlight how we can
customize or add different page numbers to
| | 00:07 |
our book projects.
In order to do this, I want to minimize
| | 00:11 |
the panels on the left over here.
So go ahead and click on this icon to
| | 00:15 |
minimize those, and then let's select a
page layout.
| | 00:17 |
You can go ahead and click into one of
these layouts.
| | 00:20 |
And then click on the icon which allows us
to zoom in, or press Cmd+plus on a Mac or
| | 00:25 |
Ctrl+plus on Windows.
Next, you can see that we have this
| | 00:28 |
layout, here.
And we have some guides which are showing.
| | 00:31 |
These guides we'll talk about in one of
the subsequent movies.
| | 00:34 |
Yet for now, let's turn the option in our
Page panel, which allows us to show page numbers.
| | 00:40 |
Notice how we can show those page numbers
in a certain area.
| | 00:43 |
In this case, the bottom corner, or we can
choose the top corner as well.
| | 00:47 |
Or we can customize this further, we can
have this on the top, the side, or also on
| | 00:53 |
the bottom.
And once you add the page numbers you may
| | 00:55 |
want to click through the navigation
controls, just to view those page numbers,
| | 00:59 |
and to see how they fit in with your
project.
| | 01:02 |
If you want to customize the actual size
of that number or the font or its color.
| | 01:08 |
You'll need to navigate down to the Type
panel.
| | 01:10 |
To select the Type panel go ahead and just
click on the Type name there.
| | 01:14 |
Notice how it's showing us a certain font
and size and different characteristics as well.
| | 01:19 |
Here I can click to drag to increase the
font size.
| | 01:22 |
Obviously, that doesn't look very good.
It highlights it when you make one change
| | 01:27 |
to one page number, that changes apply
throughout your project.
| | 01:30 |
To resize that again, we can even go ahead
and click and drag this down or we can
| | 01:33 |
lower it to past these, so it's a little
bit more of a subtle page number.
| | 01:37 |
And here I can make this really small.
Or I can also change its font, and you can
| | 01:41 |
choose really any font that you have here
in this Font Pulldown menu, which you have
| | 01:45 |
as part of your fonts on your computer.
After you've made these changes, you'll
| | 01:49 |
want to click out of that cell area, so
you can actually see what you have there.
| | 01:54 |
Then, what you'll want to do is navigate
back to the Page panel and then change
| | 01:58 |
perhaps the position.
Here, I'll go ahead and put this on the
| | 02:00 |
bottom right hand corner, so that we can
see that there.
| | 02:03 |
Now so far as I mentioned, we can see
these gray guides.
| | 02:08 |
We'll talk a little bit more about these
guides later, yet for now, what I like to
| | 02:12 |
do is I like to go to the Guides panel and
turn off the guides.
| | 02:16 |
In this way, we can really get a sense for
the overall page layout.
| | 02:20 |
This will show us the image and also the
page number here in that lower right hand
| | 02:24 |
corner, for the right page, or the lower
left corner, for the left page.
| | 02:28 |
And the reason why I like to turn off
those guides is so that I can really see
| | 02:32 |
how this will look.
And now, you know for me at least, without
| | 02:36 |
those guides I realize I might actually
want to center the numbers here.
| | 02:39 |
So I'm going to go ahead and change that
to the bottom option, which allows me to
| | 02:43 |
center the number in the middle of the
page.
| | 02:45 |
And again, where you position those page
numbers and the size and the font
| | 02:49 |
obviously depends upon the style of the
book.
| | 02:53 |
You know, in certain book projects,
perhaps if it's a photo book like this,
| | 02:56 |
you may even decide that you don't want to
have page numbers.
| | 02:59 |
You don't always need to have those.
So I just wanted to highlight, though, how
| | 03:03 |
you can use that option in order to add
page numbers.
| | 03:06 |
And also, how you can begin to customize
where those appear, and also the way that
| | 03:11 |
they appear, by navigating to the Type
panel to take advantage of some of the
| | 03:14 |
controls that you'll encounter there.
| | 03:17 |
| | Collapse this transcript |
|
|
7. Customizing the Book Page LayoutViewing the guides| 00:00 |
Next, we're going to take a look at how we
can use some of the other panels, in order
| | 00:03 |
to customize the layout for our book
project.
| | 00:06 |
And here in this movie, I want to
highlight how we can work with the Guides panel.
| | 00:09 |
And I want to walk through the different
options that we have here, so that we can
| | 00:13 |
understand how these guides can help us as
we start to design our book projects.
| | 00:17 |
So, let's go ahead and click into a Page
layout.
| | 00:20 |
Here, I'll click into this layout here.
And then I'll tap on this icon, which will
| | 00:23 |
allow me to view a larger view of this
layout.
| | 00:26 |
Next, I want to close the panels on the
left once again, just to open up more
| | 00:30 |
space so that we can really focus in on
the project.
| | 00:33 |
Now, when you click on a page, it
highlights it in yellow.
| | 00:35 |
If you click off of the page and just
click on the background area, it will
| | 00:40 |
remove that highlighted color, so we can
then focus in on the guide.
| | 00:44 |
Now, we've already seen that we can show
or hide the guides by clicking on this
| | 00:47 |
icon here, yet what I want to do is click
on the option to show the guides, and then
| | 00:51 |
talk about these guides, one guide at a
time.
| | 00:55 |
The first one is the Page Bleed.
This is really helpful because this will
| | 00:58 |
show or indicate the area that may be
trimmed off when the book is actually
| | 01:03 |
printed and trimmed.
With this layout, this doesn't really matter.
| | 01:07 |
But if we were to change this layout to
one which we've seen before, perhaps one
| | 01:11 |
photo which extends to the outer edge,
here we could now see that guide.
| | 01:15 |
That gray area, showing us that that part
of the photograph maybe trimmed off.
| | 01:19 |
Well, in seeing that, we may decide that
we want to move the image around a little
| | 01:23 |
bit, so that part of the image isn't
inside that grayed out area.
| | 01:26 |
So that we're inside of this safe area, so
to speak.
| | 01:29 |
Next, we have a guide which is called Text
Safe Area.
| | 01:34 |
If we click on that option, we'll see this
light gray box here.
| | 01:37 |
You can see it in both of these layouts.
Again, this becomes most important when
| | 01:42 |
we're using a layout which includes text.
For example, let me go ahead and choose
| | 01:47 |
one of these layouts, like this one here.
Here you can see we have the image above
| | 01:51 |
and then a text area below.
You want all of your text and captions
| | 01:55 |
etcetera, to fit inside of this area, and
so that's our safe area.
| | 01:59 |
And while we're working with text, I want
to turn on the option which is filler text.
| | 02:04 |
This will just give us some filler text to
indicate that this is a text area.
| | 02:08 |
This is really helpful, because without
that, we may forget that we have a space
| | 02:13 |
which is dedicated to adding some text in
that area.
| | 02:17 |
It won't ever print or include this
default or generic text or filler text,
| | 02:22 |
when you actually print the book.
It's just including that there is a little
| | 02:25 |
bit of a guide for you to remember.Oh
yeah.
| | 02:27 |
This is the text area.
All right.
| | 02:29 |
Well next, we have an option which is
called Photo Cells.
| | 02:31 |
This is really helpful when we're
selecting a layout.
| | 02:34 |
For example, let me choose a layout where
we have three or maybe four photos.
| | 02:39 |
I'll choose four photos here.
I'm going to go ahead and try to find a
| | 02:42 |
layout which will work well for this demo.
And what I'm going to do is select one of
| | 02:46 |
these layouts, like this one here.
And what this will do, is it will include
| | 02:50 |
the first image which we already had in
the layout, and then it will show me these
| | 02:54 |
cell areas.
These are indicators that I could then
| | 02:57 |
click on an image and drag and drop that
into one of these areas.
| | 03:01 |
Well, if we turn off the Photo Cell
option, you can see that we can't really
| | 03:06 |
see that we have these cells until we
position our cursor over those areas.
| | 03:11 |
Now, if we select a photograph and drag
over that, you can see how it's
| | 03:14 |
highlighted as well, that can indicate
that we can drop a photo in that area.
| | 03:18 |
But it's almost like designing a book when
you're a little bit blind, because you
| | 03:23 |
aren't quite certain there is another cell
there.
| | 03:26 |
So what I like to do, is I like to turn
this option on, so that we can then see
| | 03:31 |
that we have a cell area, that then
reminds me that I want to drag and drop a
| | 03:34 |
photo into that particular area.
So as you can see, these guides can be
| | 03:39 |
really helpful when it comes to designing
your book layout.
| | 03:42 |
At the same time, they can also be a
little bit distracting, especially if you
| | 03:46 |
have all of these on, because they're
going to skew the way that you evaluate
| | 03:51 |
your overall design.
For example, the design right now looks a
| | 03:55 |
little bit cluttered.
But if you can see past that, if you can
| | 03:59 |
remember that these are guides.
These won't distract you as much.
| | 04:02 |
And also if you can simply visit the
Guides panel, and turn this option on and
| | 04:07 |
off, so that you can actually evaluate the
book without the guide.
| | 04:10 |
So you can say, yes, this is a really
nice, clean, and strong layout.
| | 04:14 |
And then, when you're working on the book,
just turn those back on.
| | 04:17 |
This is one of those panels that you'll
want to visit often in order to turn on
| | 04:21 |
and off the guides, as you work on the
design of your book project
| | 04:25 |
| | Collapse this transcript |
| Changing the image size with the cell controls| 00:00 |
Next, let's take a look at how we can use
the Cell panel in order to change the cell
| | 00:04 |
or the image cell area.
To do this, open up the Cell panel, and
| | 00:08 |
then click on the icon which expands our
controls that we have here.
| | 00:13 |
Next, you want to select a photograph or
an image cell area, like this one that we
| | 00:16 |
have here.
Now, you can either choose to link these
| | 00:20 |
all together or if you click on Link All,
you can work with each of these options independently.
| | 00:25 |
Notice that as I drag the left cell
padding, you can see how we can change
| | 00:29 |
that area.
Or we can also change the other areas
| | 00:32 |
independently as you can see here.
You can also position your cursor over any
| | 00:37 |
of these guides and simply click and drag,
and sometimes this is more helpful because
| | 00:42 |
it's really right in that area where
you're working with the photograph.
| | 00:46 |
As you start to work with these
photographs, one of the things you may
| | 00:49 |
want to do is link all of these
adjustments so it's consistent.
| | 00:52 |
click on Link All, then as you click and
drag any of these sliders, you can see how
| | 00:56 |
we can consistently change the cell area
for that photograph.
| | 01:01 |
We can also do this by clicking on other
cell areas and here you can see how I can
| | 01:05 |
change the overall padding.
If we want this to be consistent, click
| | 01:09 |
into one cell area, hold down the Shift
key and then click into others.
| | 01:14 |
In doing that, we can then change all of
these at once, and you can see how I can
| | 01:17 |
have all of these exactly the same.
We can do this on a single page or across
| | 01:23 |
multiple pages.
So again, it's all about either clicking
| | 01:27 |
into one individual cell or clicking into
multiple cells, in order to change the
| | 01:32 |
overall padding that you have here.
As you work with the Padding, one of the
| | 01:36 |
things that you may want to do, Is when
you click into a photograph, you may
| | 01:39 |
want to go back to your Guides area.
If you turn off Show Guides, you'll see
| | 01:44 |
this a little bit more clearly.
Notice how we just have the image, and
| | 01:48 |
then we just have the guides, which allow
us to change the overall padding for this
| | 01:52 |
particular area.
You also may need to click into the image.
| | 01:56 |
When you click into the image, notice that
you can change the zoom rate.
| | 02:00 |
That sometimes is helpful, especially
perhaps after you've changed the size of
| | 02:04 |
this area, so that you can create the
particular look that you're going for here
| | 02:08 |
on this page.
All right.
| | 02:09 |
Well now, that we've looked at how we can
change the layout of these two pages, what
| | 02:14 |
I want to do is bring the page layout back
to something which fits the rest of the pages.
| | 02:19 |
To do that, we'll go ahead and click on
the page, and then click on the triangle
| | 02:23 |
icon from this flyout menu.
And I'll just choose this option here.
| | 02:26 |
This is an option or a layout that I
really like, and I want to apply that to
| | 02:30 |
this page as well.
Click on this icon here.
| | 02:33 |
Navigate to one photo.
Scroll all the way to the top up here.
| | 02:37 |
And then we can choose this option.
And again, I just wanted to show those
| | 02:41 |
other options, so that I could show you
how you can customize all of these
| | 02:45 |
different characteristics that we have
here with our guides and our cell panels.
| | 02:51 |
| | Collapse this transcript |
| Saving custom page layouts| 00:00 |
In this brief movie, I want to highlight a
shortcut that you can use which will allow
| | 00:04 |
you to save your custom page templates or
layouts.
| | 00:08 |
So far, we've seen that we can select an
image cell that we can use the cell panel
| | 00:13 |
in order to customize the way the image
appears in the cell area.
| | 00:17 |
Here, I'll select the button to unlink
those options, and then I'm going to go
| | 00:21 |
ahead, and push this image over a little
bit to the right.
| | 00:24 |
And then, also, move that image cell area
up.
| | 00:27 |
Well, after you've created a custom layout
on any page, really, with any of the
| | 00:31 |
techniques that we've learned so far, or
with others, what you can do is
| | 00:35 |
Right-Click or Control+Click on the page.
When you do that, you have a menu.
| | 00:40 |
One of the menu items which appears is to
save as a custom page.
| | 00:45 |
Now once you do that what it will do is it
will save this is an area so that you can
| | 00:49 |
then reuse that layout.
For example, let's say that we select on
| | 00:54 |
this page over here and we want these two
pages to have the same identical layout.
| | 00:59 |
We'll click on the icon which gives us
access to modify the page.
| | 01:03 |
You'll notice there's a new menu item
which is Custom Pages.
| | 01:07 |
Here, we can go ahead and click on that
custom page layout or that template there.
| | 01:11 |
And you can see that that will, then,
apply that to this page.
| | 01:15 |
So in this way, as you start to customize
your different pages, just keep in mind
| | 01:19 |
that you can always right-click or
Ctrl+click and save all of those
| | 01:23 |
customizations as a custom page, so that
you can then access those later.
| | 01:28 |
Now, if you ever want to remove a custom
page, we'll just click on this icon and
| | 01:32 |
navigate to Custom Pages.
And then, when you get to the custom page,
| | 01:36 |
let's say you decide that you don't like
this one, when you get to that one or you
| | 01:40 |
hover over it.
And then you Right-Click or Control+Click,
| | 01:44 |
and then choose Remove from Custom Pages,
and what it will do is then remove that
| | 01:48 |
from that menu item.
| | 01:49 |
| | Collapse this transcript |
| Changing individual images and the page sequence| 00:00 |
Another way that you can customize your
book project, is by changing the page or
| | 00:05 |
the image sequence.
For example, in this book project, we used
| | 00:08 |
an automatic layout.
Which automatically built the book, yet
| | 00:12 |
what it did in certain situations is it
positioned images together, which perhaps
| | 00:17 |
we don't like.
Well, if you want to move things around,
| | 00:20 |
just click into a page, and then click
onto the Tab area.
| | 00:23 |
That's the yellow area.
And then what you can do is click and drag
| | 00:27 |
and drop, in order to reorder the pages.
Notice how it reordered the pages and
| | 00:32 |
positioned this one here.
Perhaps, we can see this better if we
| | 00:35 |
start with page number two.
I'll drag this over to the left, so that
| | 00:39 |
this will now be page number one, and then
what was one is now page number two.
| | 00:45 |
Here we'll go ahead and click on this, and
you can see it's just about dragging and dropping.
| | 00:49 |
You know sometimes what will happen, is as
you're working on your book project,
| | 00:53 |
you'll scroll around a little bit.
And as you start to move things around,
| | 00:57 |
you may discover that you'll find a page
that you just want to get rid of.
| | 01:01 |
For example, this particular image here,
or this page I don't really like, so I'll
| | 01:05 |
click on it and then right-click or
Ctrl+click and choose Remove Page.
| | 01:10 |
Well in doing that, it then changed all of
these different spreads, that we have here.
| | 01:14 |
Let's click on one of these spreads, and
the go on, and zoom in by clicking on this
| | 01:19 |
icon here.
Now, that we have these two images side by
| | 01:22 |
side, what I might want to do is just
change them a little bit.
| | 01:25 |
So that I have a little bit of a different
characteristic between these two pages.
| | 01:29 |
These images are very similar, but I'm
going to change the zoom rate, so that
| | 01:33 |
this fits into this area.
And that this image is a little bit lower,
| | 01:37 |
and now it creates a bit more of an
interesting layout.
| | 01:41 |
So just keep in mind that as you change
your overall sequence, you also may need
| | 01:45 |
to change the way an image fits into a
particular cell.
| | 01:49 |
Another thing that you may want to do is
actually change an image when you're
| | 01:53 |
working with a project.
For example, let's say that you click into
| | 01:56 |
an image and you don't really like it, you
can press Delete on a Mac or Backspace on Windows.
| | 02:02 |
Notice how in the film strip below, it now
shows us that this image is no longer part
| | 02:06 |
of the book project.
Let me hover over this dividing line for
| | 02:10 |
the film strip below, so that we can see
that a little bit better.
| | 02:13 |
Do you see how that 1 number is missing?
Well that's telling me that I'm no longer
| | 02:17 |
using that image in the project.
Well, if I drag one of my other images
| | 02:21 |
into this image cell, notice how it's
updating this and telling me that I've
| | 02:25 |
used this photograph twice.
Now with this layout, it's pretty obvious
| | 02:29 |
because these two images are side by side.
But sometimes what will happen is you'll
| | 02:33 |
drag and drop an image onto another
spread, and you won't really notice it
| | 02:38 |
because perhaps you'll be zoomed in like
this here.
| | 02:41 |
And maybe you'll get excited about this
layout or spread that you have here.
| | 02:44 |
And so you'll neglect to notice that
you're using one image three times
| | 02:49 |
throughout the book project.
Well what you obviously want to do is go
| | 02:53 |
back to the view, which allows you to view
all of these images here.
| | 02:57 |
And what you can do is then find the area
where you've used this photograph in other places.
| | 03:01 |
You can do that by scrolling around.
And when you scroll around, as you click
| | 03:06 |
you on this number, you can see it will
then highlight the places where that image
| | 03:09 |
is used.
Or in this case, you can see it's used in
| | 03:12 |
these three locations here.
Well obviously, that won't work.
| | 03:17 |
So I'll go ahead and drag and drop another
photograph into that area, and then I need
| | 03:20 |
to replace this image as well.
In order to find a photograph, I need to
| | 03:24 |
find one without a number on it.
And then again, I'll drag and drop that
| | 03:28 |
into that image cell, and then I'll zoom
in perhaps a little bit and change the way
| | 03:32 |
that that appears.
| | 03:33 |
| | Collapse this transcript |
| Swapping image position| 00:00 |
In this movie, I want to highlight how we
can swap the position of our images really easily.
| | 00:05 |
Let's go ahead and click into a page, and
then click on the icon which allows us to
| | 00:09 |
zoom in on the spread.
If we want to swap these two images so
| | 00:13 |
that they appear in the opposite position,
just click onto one of those photographs,
| | 00:18 |
and then click, drag, and drop.
And what that will do, is it will swap
| | 00:22 |
those photographs.
If ever you want to bring those images
| | 00:24 |
back, you can always click and drag back
in order to swap them back to their
| | 00:28 |
original position.
And you know this works when you have a
| | 00:31 |
single image layout or if we change this
layout to one with more photographs, like
| | 00:36 |
four photos.
Here, I'll go ahead and scroll down till I
| | 00:39 |
find an option.
Perhaps this one here will work.
| | 00:42 |
What I can then do is go back to my Guides
option and turn on the Guides, so I can
| | 00:46 |
see the other cells here.
I'm just going to click and drag in a few
| | 00:49 |
photographs into these cells.
And I'm just doing this randomly for demo purposes.
| | 00:53 |
But what you can see here in this
particular, is that if we zoom in on the
| | 00:58 |
page by clicking on this icon and just
focusing on this for a moments, you can
| | 01:02 |
see that you can drag and drop so that you
can then swap or change the positions of
| | 01:07 |
these images.
This also works across multiple pages as well.
| | 01:12 |
If we go back to the view, which shows us
all of our different layouts, what we can
| | 01:16 |
do is select a photograph, like this one
here.
| | 01:19 |
Drag and drop it onto an entirely
different page and spread, and it will
| | 01:24 |
then swap, or flip-flop, those two images.
So, when it comes to changing your images
| | 01:29 |
up, just know that you can always drag and
drop those images in order to change their position.
| | 01:34 |
| | Collapse this transcript |
| Changing the page spread sequence| 00:00 |
In this brief movie, I want to highlight a
technique which you can use, which will
| | 00:04 |
allow you to reorder, or re-position, an
entire layout spread.
| | 00:08 |
And this technique is actually quite easy.
All that you need to do is to click into a
| | 00:13 |
page, hold down the Shift key, and click
into the other page for that layout spread.
| | 00:18 |
Once you do that, you'll notice that the
entire layout spread is highlighted in yellow.
| | 00:23 |
Well now, all that you need to do, after
having selected the spread, is to simply
| | 00:27 |
click in that yellow area and then drag
this around.
| | 00:30 |
Here we can drag and drop this into
different areas.
| | 00:32 |
Once you let go, it will then re-position
that spread into that location.
| | 00:37 |
Again, if we want to work with a different
spread, click.
| | 00:40 |
Hold down the Shift key, and click again.
And then just go ahead and click and drag
| | 00:43 |
and drag that to a new position.
And so, here, as you can see, by using
| | 00:47 |
this technique, you can quickly and easily
move around your different page layout spreads.
| | 00:54 |
| | Collapse this transcript |
| Changing image zoom on multiple images| 00:00 |
In this movie, I want to highlight a
technique that we can use, which would
| | 00:03 |
allow us to change the zoom rate on
multiple photographs at once.
| | 00:08 |
I also want to share with you a shortcut,
which will allow you to select all of the
| | 00:11 |
photographs in your book project to change
the zoom rate.
| | 00:14 |
Well let's begin by talking about what we
already know.
| | 00:17 |
We already know that we can click into a
single image, and then change the zoom
| | 00:21 |
rate by using the zoom slider here.
And then we can click and drag around to
| | 00:24 |
re-position the photograph.
Yet, we can also change the zoom rate on
| | 00:29 |
multiple images, if you hold down the
Shift key and then click into all of those
| | 00:33 |
photographs that you want to work on.
You can then use the zoom slider.
| | 00:37 |
And notice how it makes the zoom
consistent with all of these pictures.
| | 00:41 |
In this way, we can change all of those
photographs.
| | 00:44 |
After you've changed the zoom rate, of
course, you'll need to click off by
| | 00:47 |
clicking in the background, and then just
click onto a single image.
| | 00:50 |
You may need to drag these around a little
bit, just to customize the way that those
| | 00:54 |
photographs appear.
So that you like the overall look of the sequence.
| | 00:59 |
Now, let's say that you want to select all
of the images in your entire book project,
| | 01:04 |
and change the zoom rate or zoom value for
all of those photographs.
| | 01:08 |
Well to do that, you'll need to use a
shortcut key combination.
| | 01:11 |
Now this is a really long shortcut.
And I want to share it with you in case
| | 01:15 |
you need to do this at some point, as
you're working on your projects.
| | 01:19 |
On a Mac, what you can do is press
Shift+Option+Cmd+A.
| | 01:24 |
On Windows, you can press
Shift+Alt+Ctrl+A.
| | 01:27 |
That will give you the ability to select
all of these different images, as you can
| | 01:32 |
see here.
Next, click into one of the images, and
| | 01:35 |
then you can drag the zoom slider.
Notice how it's changing the zoom value
| | 01:40 |
for all of the photographs and for all of
the image cells that we have in our project.
| | 01:45 |
Now, if you accidentally make a mistake.
For example, here I've decreased the zoom
| | 01:50 |
value to zero percent, and I decided that
this might look good, but I click off the
| | 01:55 |
image and I actually don't like this.
Well, if ever you make a mistake when
| | 01:59 |
working in Lightroom in the book module or
wherever it is, you can always press Cmd+Z
| | 02:04 |
on a Mac or Ctrl+Z on a Windows, and then
just press that multiple times in order to
| | 02:09 |
undo whatever step you've taken as you've
been working on your project as we've done here.
| | 02:14 |
So in my case, I've just tapped Cmd+Z
twice and that allowed me to undo what was
| | 02:20 |
done here.
If you're on Windows, you'll press Ctrl+Z
| | 02:23 |
twice in order to undo the change of this
zoom rate.
| | 02:26 |
Well after you've made whatever changes
you want, to make your photographs, you
| | 02:30 |
can click on the background in order to
deselect all of those photographs and layouts.
| | 02:36 |
So that you can then, begin to work on
another aspect of your project.
| | 02:40 |
| | Collapse this transcript |
| Changing the background| 00:00 |
Let's take a look at how we can customize
the background of a particular page or
| | 00:05 |
spread or of the entire book project.
To do that, what I want to do is open up
| | 00:10 |
the guides panel and then for a moment
let's turn off the visibility of the
| | 00:14 |
guides, then let's collect to expand the
background panel.
| | 00:17 |
In the background panel, we have some
controls which allows us to apply
| | 00:20 |
background changes globally or do we make
changes in this way.
| | 00:25 |
It will apply a change to the entire
project.
| | 00:28 |
For example, if we choose a new background
color here by clicking on the background
| | 00:32 |
color option.
And then if we click on the color chip and
| | 00:35 |
if we choose a different color, for
example, lets say we want to choose
| | 00:38 |
something that has perhaps a little bit of
color in it, you can see how all of the
| | 00:43 |
pages now have this color in their
background.
| | 00:45 |
And you can see how we make changes to
this, and we can change the overall
| | 00:49 |
saturation of the background, and we can
select a background color which might fit
| | 00:53 |
our project.
Now so far this color is being applied to
| | 00:58 |
the entire project.
Yet if we click on this check-box to turn
| | 01:01 |
this option off, what we can then do is we
can make changes to particular pages.
| | 01:07 |
Here I'll click on to one page and then
I'm going to change the background color.
| | 01:11 |
In this case, I'll change it to something
wild so that we can really see the
| | 01:14 |
difference here.
I'll make this perhaps a nice bright red
| | 01:17 |
and here you can see how I was able to
change background of one just one page.
| | 01:22 |
Well lets say that you've made some
changes like this and you actually don't
| | 01:25 |
like them.
Well how can you bring this back to normal?
| | 01:28 |
Well what you want to do is click on the
option to apply the background globally,
| | 01:33 |
then you can click off the checkbox to
remove that background color Which will
| | 01:38 |
then remove the background color from all
of the images and all of the different layouts.
| | 01:43 |
Next if you want to create a custom
background, you can always turn this check
| | 01:47 |
box off.
And then you can work on a particular spread.
| | 01:50 |
In order to illustrate how this works,
what I want to do is scroll down to the
| | 01:54 |
last page of our book here.
And I want to create a new spread.
| | 01:57 |
So let's click on this image.
And then right click or Ctrl click, and
| | 02:02 |
choose Add a Page.
What this will do is it will create
| | 02:05 |
another page for us and here we can add
pages so that we have a new spread.
| | 02:09 |
And then let's click on the option which
allows us to zoom in on this particular spread.
| | 02:14 |
Well here let's add a few images just for
demo purposes.
| | 02:17 |
We'll click and drag one photograph there.
And then, with this spread, I'm going to
| | 02:21 |
change this.
And here I'm going to choose an option
| | 02:24 |
with 2 or 3 photographs.
I'll choose one of these options, like
| | 02:27 |
this one here, and I'll turn on my guide
so I can actually see the image cells.
| | 02:32 |
And again, what I'm trying to do is just
build a unique layout so I can demonstrate
| | 02:36 |
how we can start to customize the
background.
| | 02:39 |
Well, once you have a page or a layout
that you want to work on, you can simply
| | 02:43 |
click on that page.
Next, what you can do is you can add a new
| | 02:48 |
particular photograph to the background.
So here, I'll click and drag one of my
| | 02:52 |
photographs to this area, and it will then
position that behind these photographs.
| | 02:58 |
Now with all of these guides turned on
it's a little bit cluttered, so let's turn
| | 03:02 |
those off by clicking on show guides.
Well now here we can't really see the
| | 03:07 |
image very well because of it's low
opacity.
| | 03:10 |
We can increase the opacity by clicking
and dragging the opacity slider to the right.
| | 03:15 |
Here you can see how we can increase or
decrease that as well.
| | 03:18 |
If these images are a bit too much or if
the layout isn't interesting to us, we can
| | 03:24 |
always click on the flyout menu and we can
choose different options.
| | 03:27 |
Here, I'll go ahead and choose a single
image option, but what I want to do is
| | 03:31 |
choose an option where I have a smaller
image like this option right here.
| | 03:35 |
In doing that, you can see how we have a
single image to the left, and then there
| | 03:39 |
we have our background.
The background is obviously too strong so
| | 03:43 |
I'll go ahead and decrease that value so
it's a little bit more faint.
| | 03:48 |
And sometimes what you may want to do, is
customize the background of one page as
| | 03:52 |
we've done here, or maybe what you want to
do is hold down the Shift key and click
| | 03:57 |
into two pages, and then drag and drop an
image, so that that image will then appear
| | 04:02 |
in both of these pages.
Here you can see how we can increase or
| | 04:06 |
decrease the opacity of those pages so
they have the same exact background.
| | 04:11 |
Now another thing that you can do is you
can actually apply a different look to the background.
| | 04:17 |
Here let's go ahead and click on the
background to remove our selection then
| | 04:21 |
click on to a single page.
On the single page we'll go back to an
| | 04:25 |
option perhaps where we have one
photograph and then lets remove the
| | 04:29 |
photograph by clicking on it.
And then pressing Delete on a Mac, or
| | 04:33 |
Backspace on Windows.
So here we just have this single page with
| | 04:37 |
a photograph in the background.
Well, if we click on that page, we can
| | 04:41 |
click on this little triangle icon, which
will give us some other options.
| | 04:45 |
Here you can see, we can use a photograph.
One that we've used previously, we'll show
| | 04:49 |
those here.
Or we can also click to other options.
| | 04:52 |
For example, we can use some of these
travel options in this place here.
| | 04:57 |
Perhaps we want to use something like this
compass.
| | 04:59 |
If we click on that, it will then apply
this here to the background.
| | 05:03 |
In this case we can increase or decrease
the intensity of the opacity of that.
| | 05:08 |
We can also click into the Color Chip.
And here we can change the overall color
| | 05:12 |
tint or hue, so that it fits or matches
the overall color aesthetic that we have
| | 05:17 |
in our project.
In this case I'll just look for something
| | 05:20 |
which is a little bit more of a light
blue.
| | 05:23 |
As you can see here.
If you decide to change the graphic or
| | 05:26 |
remove it, you can do so by clicking on
the graphic check box here.
| | 05:31 |
If you want to add a graphic which is
consistent or which kind of ties the theme
| | 05:35 |
together, this travel theme with the
compass rose.
| | 05:38 |
We'll just click on another page, click on
the triangle pull down menu, and then here
| | 05:43 |
we'll navigate to Travel and I'll choose a
map.
| | 05:46 |
So that we can then have a map in the
background.
| | 05:48 |
And once again I'll add a bit of a color
tint to this.
| | 05:52 |
And so I'll go ahead and try to find a
nice light blue or something around there,
| | 05:55 |
which will allow me to have sort of a
consistent color palette.
| | 05:59 |
And also a consistent look or theme or
feel to the book project.
| | 06:03 |
Now, obviously, these graphics don't
really match my book project.
| | 06:07 |
Yet, I wanted to show you these, so that
you could begin to look at.
| | 06:10 |
Or you can create book projects, which
include different background options.
| | 06:14 |
| | Collapse this transcript |
| Reviewing the layout| 00:00 |
At some point in your book building, or
book design process, what you want to do
| | 00:04 |
is just step back, and evaluate the pages,
and the layout.
| | 00:08 |
And in order to do that, what I like to
do, is to minimize the Lightroom
| | 00:13 |
interface, and it's brightness.
So here, let's begin by using a shortcut,
| | 00:17 |
which we already know.
If you push Shift+Tab that will already
| | 00:20 |
allow us to minimize, a lot of the
Lightroom interface.
| | 00:24 |
If we want to hide the toolbar, which is
located below, you can tap the T key.
| | 00:28 |
That allows you to show or hide the
toolbar.
| | 00:31 |
You can also change the brightness of the
background.
| | 00:34 |
To do that, you can right-click or
Ctrl+click, and here I'll choose a nice
| | 00:38 |
dark color like black.
Which will make this a little bit more
| | 00:41 |
elegant, so I can really focus in on the
brightness of these pages.
| | 00:45 |
Well next, what I want to do is zoom in on
my first page here.
| | 00:49 |
So I'll click on that, then press Cmd+plus
on the Mac or Ctrl+plus on Windows.
| | 00:54 |
Now obviously, it's hard to evaluate when
we have this yellow color here.
| | 00:57 |
So just click off of that, so that you can
view the page.
| | 01:01 |
If we want to take this even further to
really just focus in on the book.
| | 01:05 |
What we need to do, is we need to hide the
guides.
| | 01:08 |
Notice how those guides are distracting.
Well to bring back the panels on the
| | 01:12 |
right, just hover over this area, and then
click to the Guides area, and click on the
| | 01:17 |
option to show guides.
And then position your cursor off and
| | 01:20 |
those panels will disappear.
If we want to get rid of the rest of the
| | 01:24 |
interface, we can do so by tapping the L
key twice.
| | 01:28 |
L is the key which allows us to dim or to
turn out the lights.
| | 01:32 |
In this way, we can really just focus in
on the project.
| | 01:35 |
And this is a great way for you to
evaluate your own project, and also to
| | 01:40 |
show it to others.
Here, we can press the arrow keys to move
| | 01:43 |
through the pages.
I'll tap the right arrow key to move
| | 01:46 |
forward or the left arrow key in order to
move backwards.
| | 01:51 |
Sometimes what will happen, is you'll come
across a layout, like this one here.
| | 01:54 |
And you may realize, that you know what I
want to do is actually customize this a
| | 01:57 |
little bit.
I want to change this one, so I'm going to
| | 02:00 |
zoom this in.
So that this line right here connects with
| | 02:04 |
the other line on this other page.
And sometimes, you'll discover things that
| | 02:08 |
you may not have noticed by viewing your
book in this way.
| | 02:12 |
It's also just kind of fun and enjoyable
to click through or sort of flip through
| | 02:16 |
the pages almost, by pressing the arrow
keys.
| | 02:18 |
Other times, you may discover that you
have some images, which you need to work
| | 02:22 |
on in the Development module.
As I'm seeing here, I'm noticing I have
| | 02:26 |
some dust in the sky I'm going to need to
fix.
| | 02:29 |
I'm going to need to go to the Develop
module to work on those photographs.
| | 02:32 |
So, again, this is the perfect way to
begin to evaluate your overall project.
| | 02:37 |
If you notice anything that needs to be
changed, well you can always go back to
| | 02:41 |
those other techniques that we've talked
about.
| | 02:43 |
How you can change images or swap the
location of images or of layouts.
| | 02:48 |
Well, after you've reviewed your project,
in order to bring everything back, go
| | 02:52 |
ahead and tap the L key once.
That will bring the lights back up.
| | 02:56 |
Then press Shift+Tab.
That will bring back most of the Lightroom interface.
| | 03:00 |
To bring back the tool bar, which you
definitely want to do, tap the T key.
| | 03:05 |
That will bring that back.
And of course, you can change the
| | 03:07 |
brightness value of the background.
Here, I'll bring this back to the default
| | 03:11 |
setting of medium gray, so I'll go ahead
and select that option, so that we've now
| | 03:15 |
brought everything back to normal.
And now, once we're back to normal, so to
| | 03:19 |
speak, again, there's a lot to look at;
it's a pretty complicated view.
| | 03:24 |
So, it's always helpful to take the time
to do as we did here, to uncomplicate things.
| | 03:29 |
So that you can really focus in on the
pages and the layout of your overall book project.
| | 03:34 |
So that you can make sure it's exactly how
you want it.
| | 03:38 |
| | Collapse this transcript |
| Saving your book layout| 00:00 |
In this movie, I want to highlight how we
want to do one final review of our book
| | 00:04 |
project, and then make any needed changes.
And also talk about how we can create the
| | 00:08 |
save book, so that we can create our
layouts, and images, and all of the design
| | 00:13 |
work that has gone into this book project
so far.
| | 00:16 |
Well, one of the pages that I have here,
in my book project is page number 20.
| | 00:21 |
And on this page, what I have, is four
images.
| | 00:23 |
I actually don't want that, so I'll click
on this icon, here.
| | 00:27 |
And I'll navigate back to my modify page
option, and I'll choose the single image
| | 00:31 |
page layout, so that I can just have one
photograph on this particular page.
| | 00:36 |
Now, what you want to do, is whenever
you're working with your layouts, you want
| | 00:39 |
to double check to make sure that you
don't have one image which is used
| | 00:42 |
multiple times.
Or in this case, twice.
| | 00:44 |
So here, I'll go ahead and find another
photograph and I'll drag and drop that one
| | 00:48 |
into this space, just to make sure that
I'm using my images just once.
| | 00:53 |
The final check, go through your film
strip below.
| | 00:55 |
Again, if you see any of those issues, you
can always click on the number there and
| | 00:59 |
what that will allow you to do, is to
click on that option where you have those
| | 01:03 |
images which are used twice.
In this case I have a page, where I have a
| | 01:07 |
photograph on the cover, and also on the
first image, that's okay.
| | 01:10 |
Then I'll scroll through and make sure
that I'm not duplicating any other images
| | 01:14 |
as well.
Well after you've done your final
| | 01:17 |
aesthetic review, as we did in the
previous chapter, just to get a feel for
| | 01:20 |
the flow and you fix any needed changes,
what you want to do is save this book layout.
| | 01:26 |
This is telling me that this book is
currently unsaved.
| | 01:28 |
And sometimes what can happen, is you can
navigate away from the book module by
| | 01:33 |
clicking to another module.
You can think to yourself, oh, no.
| | 01:37 |
I forgot to save all those settings.
Well fortunately, the Book module has some
| | 01:42 |
built-in memory.
If we go back at or remember our project.
| | 01:45 |
Yet if we were to quit Lightroom and come
back, then we wouldn't be quite so lucky.
| | 01:50 |
So what we need to do is save the book
out.
| | 01:53 |
We can do so, by clicking on the button
Create Save Book here or you can also
| | 01:57 |
access this, by clicking on the plus icon
and then by choosing Create Book.
| | 02:02 |
This will give us a dialogue which is
called the Create Book dialogue.
| | 02:06 |
I'm going to name this book
Concert-Hall-Book-1.
| | 02:09 |
Next, I want this inside of my collection
set here, which is Book Projects.
| | 02:15 |
That will be located right next to that
collection.
| | 02:18 |
I'm going to include only the used photos
in this project.
| | 02:21 |
No need to use virtual copies or to set
this as a target collection.
| | 02:25 |
Simply click Create.
When you do that, you'll notice that it
| | 02:28 |
will create a collection.
It has a different icon.
| | 02:31 |
It has a little book icon there, and that
then now will remember all of various
| | 02:36 |
settings, which we've applied as we've
started to customize this book project.
| | 02:40 |
So, again, at this point, in your own
project, just make sure that you save all
| | 02:44 |
of those settings out.
And you can do so by, creating what's
| | 02:48 |
called a Saved Book.
| | 02:49 |
| | Collapse this transcript |
|
|
8. Creating a Custom LayoutUsing the Print module to design a layout| 00:00 |
So far in this course we've taken a look
at how we can use the Book Module Controls
| | 00:04 |
in order to customize our book project
layout.
| | 00:08 |
Yeah, in this chapter, what I want to do
is move beyond the basics.
| | 00:12 |
I want to move beyond the book module, and
I want to take a look at how we can use
| | 00:16 |
the print module in order to design a
custom layout.
| | 00:19 |
And then we'll look at in the next movie
how we can integrate that layout into our project.
| | 00:24 |
Well, let's begin here, in the book
module.
| | 00:26 |
In the book module, we know that we can
select the page and then click on this
| | 00:30 |
menu item, and we can access a number of
different types of layouts.
| | 00:34 |
Well, if there's a layout here that we
can't quite find, there's one that we want
| | 00:39 |
to create on our own.
Well, we can do that by navigating to the
| | 00:42 |
print module.
The first step though, of course, is to
| | 00:45 |
look up your book size.
You'll want to go to the book settings and
| | 00:48 |
then click on this menu to look up your
size.
| | 00:50 |
Mine is a ten by eight book.
So what I need to do next then is click on
| | 00:55 |
my print module here.
So I'll navigate to the print module, and
| | 00:59 |
I'm going to select from my template
browser.
| | 01:01 |
A template which is close to this, perhaps
one which is 8 by 10 like this one here.
| | 01:07 |
Next what we need to do is to dial this in
so that it's exactly that same size or
| | 01:13 |
those same dimensions.
So here I'll navigate to page setup by
| | 01:17 |
clicking on the Page Setup options.
And what we want to do is customize our
| | 01:22 |
overall page size.
To do that, we'll click on the paper size
| | 01:26 |
pull down menu, and then choose manage
custom sizes.
| | 01:29 |
This will give us the ability to create
our own custom size, click on the plus
| | 01:34 |
icon to do so.
And I'll give this one a name, I'll name
| | 01:36 |
this 10 by 8.
Next, we'll change our width to 10 inches.
| | 01:41 |
Our height eight inches, and then we will
zero out these non-printable areas so that
| | 01:47 |
we can work with this layout all the way
to the edge of the frame there.
| | 01:51 |
After having dialed that in, again, ten by
eight, zero out all of those margins
| | 01:56 |
there, just click Okay.
Now we can select that as our paper size.
| | 02:01 |
Click Okay, and that will then give us
this particular layout that we have here.
| | 02:05 |
Well then we can further customize this.
We can do this by navigating to our layout
| | 02:11 |
size, and what I want to do is create a
custom package.
| | 02:14 |
When you have a custom package what you
can do is you can add images to your
| | 02:18 |
photograph or to you layout as we have
here...
| | 02:21 |
I'll select a photograph and I'm just
going to select one and then drag and drop
| | 02:25 |
that into this area and here we can free
form move this around or position this
| | 02:30 |
into different areas.
Now I'm going to do this in a way just
| | 02:33 |
that is a little bit free form again I'm
going to create a layout which would be
| | 02:37 |
impossible to create really if we were
just to use the book module.
| | 02:42 |
And here I'll go ahead and have a few
different image cells.
| | 02:44 |
And I'm just having a bit of fun here with
dragging these images on to this area and
| | 02:49 |
changing how these look and appear.
And once you have your own custom layout,
| | 02:54 |
which you're customizing by dragging all
of these values, or all of these images
| | 02:58 |
around What we want to do next is save
this out.
| | 03:02 |
Now this particular layout isn't
necessarily something which is amazing,
| | 03:06 |
but perhaps you have an idea where you
want to have a combination of photographs,
| | 03:11 |
and you want to create a layout like this
and then use it in your book project.
| | 03:16 |
Well what you need to do is to save this
out as a custom template so that you can
| | 03:20 |
then use it multiple times to do that
navigate to the template browser here
| | 03:25 |
we'll click on the plus icon and I'll go
ahead and name this 1 co.custom co my
| | 03:32 |
initials and then custom--1 we'll save
this in the user templates folder and
| | 03:37 |
click create.
Once you've created one of your own custom
| | 03:40 |
templates, you can always access it by
clicking here.
| | 03:43 |
You can see how we have these empty cells
which we can then fill up with photographs.
| | 03:48 |
And I'll go ahead and fill this up with
different images so that we can have an
| | 03:51 |
option or something that we can work with
here.
| | 03:55 |
Once we've created the custom layout,
using the point module.
| | 03:58 |
What we need to do next, is we need to
save this out, so that we can then
| | 04:03 |
integrate it, or then include it into our
book project.
| | 04:06 |
So let's go ahead, and talk about how we
can save out this custom layout, and
| | 04:10 |
include it in the book project.
And to do that in the next movie, so go
| | 04:14 |
ahead and leave this custom layout open.
As we'll continue to work with it in the
| | 04:19 |
next movie.
| | 04:19 |
| | Collapse this transcript |
| Including the custom layout in your project| 00:01 |
In the previous movie, we created this
custom layout, and in this movie, I'm
| | 00:04 |
going to talk about how we can make some
further changes to this layout.
| | 00:08 |
And also how we can review it and then
save it, and integrate it into our book project.
| | 00:13 |
What you want to do here in the print
module is tap the i key to hide the
| | 00:17 |
information overlay.
Next in the ruler grid and guides panel,
| | 00:22 |
click on the option to hide the guides.
Now, without all of those overlays or
| | 00:27 |
guides, you can really evaluate the layout
that you've created.
| | 00:30 |
In this case, I want to make this image
bigger.
| | 00:32 |
Now that I actually see this, I'll go
ahead and click and drag that so that it's
| | 00:35 |
a little big larger.
And then I'm just going to move it around
| | 00:38 |
just a touch as well.
You can move it around by dragging or just
| | 00:41 |
by clicking on the different images and
resizing those as well.
| | 00:45 |
Alright.
Well, once you've accomplished or created
| | 00:47 |
a layout that you think is kind of
interesting well the next step of course
| | 00:52 |
is to navigate all the way down to the
bottom of your panels here.
| | 00:55 |
And what we want to do is navigate to the
area where we can select the print job.
| | 01:00 |
Rather than sending this to printer what
we're going to do is create a JPG file.
| | 01:05 |
Now once you select the option for JPG
file what you need to do is to choose your resolutuion.
| | 01:11 |
You may want to turn the option off for
Print Sharpening, we have a resolution of
| | 01:15 |
300 pixels per inch, JPG quality of 100.
That will work well.
| | 01:20 |
Then we can also choose our profile.
Here I'll choose a larger or higher
| | 01:24 |
profile, and choose Pro Photo RGB, which
will just ensure that the image quality is
| | 01:29 |
that much better.
Next up, of course, is to click on the
| | 01:33 |
button which is Print to File.
This will allow us to generate or to
| | 01:37 |
create this JPEG file, so when we click on
the print to file button what we need to
| | 01:42 |
do is to select the folder where we want
to save this image.
| | 01:45 |
In this case I'll select the concert hall
photo, and I'll go ahead and name this one
| | 01:50 |
Custom Page.
Next we'll go ahead and create this by
| | 01:54 |
clicking on the Save button...
So when you use this option of printing
| | 01:58 |
this or saving this to a jpg file, what we
can then do is save this in a location,
| | 02:03 |
then when we go back to the library module
we can resynchronize the folder so that we
| | 02:08 |
have access to this image.
Navigate to the library module by clicking
| | 02:13 |
on the library module picker button.
In this concert hall folder, what we need
| | 02:18 |
to do is to synchronize this folder, Right
Click or Ctrl+Click it and choose
| | 02:23 |
Synchronize folder.
This will then tell us that here's a
| | 02:27 |
photograph, in this case the one we just
created, which isn't part of this catalog.
| | 02:31 |
Would you want that to be part of your
catalog?
| | 02:34 |
Well we do, so here we'll click on the
Synchronize button And this will then
| | 02:37 |
bring this image into Light Room, so that
we can start to work with it.
| | 02:42 |
And essentially what we're doing here, is
we're creating this image using the print
| | 02:46 |
module and then bringing it back into
Light Room, so we can include it in our
| | 02:50 |
book project.
To bring this one into our book project,
| | 02:53 |
I'll click on the thumbnail, and I'll drag
and drop it into the book project right here.
| | 02:58 |
Now if we want to navigate to that
project, just click on the arrow icon, and
| | 03:02 |
that will take us to the book module, and
this project.
| | 03:06 |
Now if we want to use this custom page
here, we can click and drag and drop that
| | 03:11 |
onto one of our pages.
Let's zoom in on that so we can see that a
| | 03:15 |
little bit better, and you can see how
this page is now part of my project.
| | 03:19 |
Now if this page isn't taking up enough
size, what you'll want to do is click on
| | 03:24 |
this icon here, and then choose an option
where you have one photo and where this
| | 03:28 |
extends to the outer edge of the frame.
In doing that you can see how it now
| | 03:33 |
extends further out to the edge rather
than being cramped in that smaller box.
| | 03:37 |
Just keep in mind, when we created this
custom layout, we created it so that it
| | 03:41 |
would work to the outer edge of the frame.
So again, here you just want to make sure
| | 03:45 |
you click on this option.
And then we can now include this page as a
| | 03:50 |
custom page which we can use in our
layout.
| | 03:52 |
Now if you're more comfortable creating
custom layouts in Photoshop, well you can
| | 03:57 |
also create a new document in Photoshop
which matches these sizes.
| | 04:01 |
And then you can create a custom layout
however you want to there.
| | 04:05 |
Save it as a JPEG.
And then just reimport that into Lightroom
| | 04:09 |
catalogue so that you can then include in
your book project.
| | 04:12 |
So here what I'm hoping that you're
starting to see is that one of the ways
| | 04:16 |
you can create a custom layout is by going
other places.
| | 04:20 |
Rather than doing all of you layout, here
in the book module, you can go to the
| | 04:24 |
print module which gives you a bit more
flexibility, so that you can drag and drop
| | 04:29 |
and move things around.
Then, after having done that just save the
| | 04:32 |
file out as a JPEG so that you can then
re-include it in your project.
| | 04:37 |
| | Collapse this transcript |
|
|
9. Perfecting Your Book Project ImagesMaking specific adjustments| 00:00 |
As you get to the final stages of your
book project, one of the things that you
| | 00:04 |
want to do is to begin to focus in on the
details.
| | 00:07 |
And here I want to talk about how we can
make a few specific corrections to two
| | 00:11 |
different photographs and how we can
synchronize those settings across both of
| | 00:15 |
the files using the Develop module.
If you click into this particular spread
| | 00:20 |
here, where we have these two photographs,
and if we zoom in to view the spread.
| | 00:24 |
Or if we zoom in even closer just to see
the page, one of the things you may notice
| | 00:29 |
is that there are some little spots or
dots in the sky area.
| | 00:34 |
You may be able to see this better if we
use the Preview option of 1 to 1 or even 4
| | 00:39 |
to 1.
In choosing this option, we can pan around
| | 00:42 |
the photograph, as you can see here.
And what I'm hoping you'll see is that
| | 00:46 |
there are these little dust spots.
This was because I had some dust on my
| | 00:51 |
lens which I had neglected to clean off,
and this problem actually shows up in two
| | 00:56 |
different photographs.
Well, I want to correct that, so to
| | 00:59 |
correct any of your images or to work on
any of the details, all that you need to
| | 01:04 |
do is select the photograph.
You can do this simply by clicking on the
| | 01:08 |
image here or here, then navigate to the
develop module.
| | 01:12 |
Here, we'll click on the develop module
picker button, which will take us back to
| | 01:17 |
the develop module.
Then we may need to zoom in so we can
| | 01:20 |
actually do some of this detail work.
In the navigator panel, we can zoom in
| | 01:25 |
perhaps one to one, or one to two here.
You can click on some options here so you
| | 01:29 |
can get nice and close, and then pan
around the photograph.
| | 01:33 |
You see those little problem areas?
We'll fix those with the spot removal tool.
| | 01:37 |
You can find this tool in the tool strip
right here.
| | 01:40 |
We'll go ahead and click on that option.
This will allow us to clone or to heal
| | 01:44 |
away these issues.
And here with our brush size we can
| | 01:48 |
increase or desrease our brush size.
I'll make it a little bit bigger.
| | 01:51 |
We can either click or we can also click
and paint over these areas.
| | 01:56 |
Here I'll press the space bar key, then
click and drag in order to re-position the
| | 02:01 |
image and I'm just going to click and drag
around until I find a few more problem areas.
| | 02:05 |
Now if I zoom out by clicking the Fit
option, what we'll see is that we have a
| | 02:11 |
few little issues that we've dealt with I
notice a few others now.
| | 02:14 |
So let me go ahead and fix those, make my
brush a touch bigger here.
| | 02:18 |
And I'm going to remove this small
blemish.
| | 02:21 |
This may be difficult for you to see, but
I'm going to fix this, just cause I can
| | 02:24 |
see it on my own computer.
Alright well once we've made those little
| | 02:28 |
detail corrections, we can always apply
those settings to multiple images.
| | 02:33 |
So, if we click on this image here, one of
the things that you may notice is we have
| | 02:36 |
those spots in the same exact location.
Well, if we want to synchronize these
| | 02:40 |
setting across multiple files, click on
the file that you've corrected, hold down
| | 02:45 |
the Command key on Mac, Control key on
Windows, and then click on the other image.
| | 02:49 |
Next you want to make sure to turn off
autosync, and just click on the Sync option.
| | 02:55 |
Here we'll check None to remove all of the
synchronize settings, and all that we want
| | 03:00 |
to synchronize across all of these is just
the spot removal.
| | 03:04 |
So turn on that option there, and then
click on the synchronize button.
| | 03:08 |
And what this will do, is it will apply
these settings to both photographs So that
| | 03:13 |
both photographs will now have those
little issues dealt with, or removed.
| | 03:17 |
And so again here, I'm just highlighting
one issue that you might need to take care of.
| | 03:22 |
Your issue may be something completely
different.
| | 03:25 |
Yet whatever it is, if you’re working in
the book module and as you’re doing your
| | 03:29 |
final evaluation of your photographs.
If you notice a little problem area, some
| | 03:34 |
sort of a little detail, well by all
means, at this stage, navigate back to the
| | 03:39 |
develop module and work on those images in
order to make those corrections so that
| | 03:43 |
you can then print your book project with
full confidence that your photographs will
| | 03:48 |
look their best.
| | 03:49 |
| | Collapse this transcript |
| Applying global adjustments to all your photographs| 00:00 |
When it comes to fixing up, and preparing
your photographs for printing in a book.
| | 00:05 |
One of the things that you may discover in
your book project is that as you're
| | 00:08 |
working on it, you may notice that you've
neglected to do something on the entire
| | 00:13 |
set of photographs.
For example, if we click into one of the
| | 00:16 |
pages, and then navigate to this single
page view, and zoom in really close, say
| | 00:22 |
to this four-to-one perspective.
One of the things you may notice here, is
| | 00:26 |
that we have some detail, or some texture
here in the sky.
| | 00:29 |
Well that's because I've neglected to work
with reducing the noise, the color noise.
| | 00:35 |
I've also neglected to sharpen all of
these photographs.
| | 00:38 |
Well that is something that we obviously
will want to do.
| | 00:41 |
So what we can do is navigate back to the
Develop Module by clicking on the develop button.
| | 00:47 |
Then next what I want to do is select all
of the photographs which we have here in
| | 00:52 |
the filmstrip below.
To do that, press Cmd+A on a Mac, or
| | 00:55 |
Ctrl+A on Windows.
Then we're going to navigate down to the
| | 00:59 |
Detail panel.
In the Detail panel, what we can do is
| | 01:03 |
work on sharpening the photograph, and
also reducing the noise.
| | 01:07 |
Yet before I begin to work with these
controls, I want to click on the Sync dot,
| | 01:11 |
dot, dot.
option which will open up my Synchronized
| | 01:14 |
Settings dialog.
We will choose Check None, what I want to
| | 01:18 |
synchronize is the sharpening and also the
noise reduction.
| | 01:22 |
So let's choose these two options, and
then click Synchronize.
| | 01:26 |
This will synchronize our settings but
more importantly this will send us up so
| | 01:30 |
we can turn on Auto Sync.
Now as we make adjustments to these
| | 01:34 |
sliders, they will then be applied to all
of the photographs.
| | 01:38 |
Whenever you are working on sharpening or
noise reduction you want to zoom into
| | 01:42 |
100%, one way to do so is to click on the
little warning icon which will then show
| | 01:47 |
you the texture and the detail that you
have here in the photograph.
| | 01:50 |
I'm just going to reposition this so we
can see a portion of the image here and
| | 01:54 |
also the sky.
Well there's a lot of noise there, in the sky.
| | 01:58 |
If we reduce the color noise slider, and
if I zoom in even further, say to an,
| | 02:02 |
eight to one perspective so you can really
see this.
| | 02:06 |
You'll notice how the color noise slider
allows me to get rid of all of that color variety.
| | 02:10 |
The luminance noise slider allows us to
get rid of all of the brightness, that we
| | 02:14 |
have there.
Now we need to increase the value of both
| | 02:17 |
of these sliders until we see the texture
looking good in this portion of the image.
| | 02:22 |
You also want to sharpen the image, so
here I'm going to increase my amount,
| | 02:25 |
ecrease the radius and remove the detail.
And then increase the masking slider as well.
| | 02:31 |
This will allow us to perform some edge
sharpening, which is what I want to do.
| | 02:35 |
So I'm going to go ahead and dial in my
sharping amount, also my noise reduction.
| | 02:40 |
I'll bring a little bit of contrast back,
and then drop these detail sliders down
| | 02:44 |
just a bit as well.
Well, after having applied these
| | 02:48 |
adjustments to this photograph because we
have Auto Sync turned on, they will all be
| | 02:53 |
applied to the other photographs as well.
Yet what you may want to do is just click
| | 02:57 |
to another photograph, just to evaluate it
and to make sure that it looks better.
| | 03:01 |
Here we'll navigate to this picture and
you can always click the flip switch here
| | 03:05 |
to see the before.
Let me show you the difference.
| | 03:08 |
I'll zoom into a eight to one perspective.
This is before we applied any of these
| | 03:12 |
corrections And then this is after, you
can see how the sky looks a lot better, or
| | 03:16 |
if we go back to a Fit And View, we should
be able to see just a touch of a
| | 03:22 |
difference there, although it's difficult
to see when you're zoomed out.
| | 03:25 |
Well either way, the point here is to
discuss this idea that if you notice that
| | 03:29 |
there's something that you need to do to
the entire set of the photographs which
| | 03:33 |
you've neglected, for example like
sharpening or noise reduction.
| | 03:37 |
You could always select all those
photographs, navigate back to the Develop
| | 03:41 |
module, and work with Auto Sync in order
to synchronize those settings across all
| | 03:46 |
of the images that you'll use in your
project.
| | 03:49 |
After you've done that navigate back to
the Book module by clicking on the Book
| | 03:53 |
module picker button.
This will bring us back here to this book
| | 03:57 |
project, and I'll go back to the view
where we can see both of these images,
| | 04:02 |
which have been cleaned up in regards to
the level of sharpness and noise reduction.
| | 04:06 |
| | Collapse this transcript |
|
|
10. Working with TypographyAdding captions| 00:00 |
In this chapter we'll focus in on how we
can add some typography to our book projects.
| | 00:05 |
And in this first movie I want to begin
the talk about how we can use the Text
| | 00:09 |
panel in order to add what's called photo
text or page text.
| | 00:13 |
Now let's go ahead and select a page.
You can do so by clicking on it.
| | 00:17 |
Then click on the icon which allows you to
zoom in on that page.
| | 00:20 |
Now, you may have noticed that when you
select a page, a little button appears.
| | 00:25 |
This button allows you to click on it and
it reads Add Page Text in order to add
| | 00:30 |
some text for the page.
Now you can either click on that button or
| | 00:34 |
you can also just click on this check box
here which is located in the text panel.
| | 00:39 |
Either way this activates the page text
field and I'll go ahead and just write out
| | 00:43 |
some demo text.
I'll write out the words demo page text.
| | 00:48 |
You notice that this particular text field
is aligned to the bottom of the page.
| | 00:52 |
You can change this by clicking on these
buttons so that it's on the top or the bottom.
| | 00:57 |
And you can also control the offset.
Here as we click and drag the offset you
| | 01:01 |
can see how I can move this up or down.
Or you can also just position your cursor
| | 01:06 |
over the text field and then drag it into
the area where you want that text field to appear.
| | 01:12 |
Now, if you click on the image you'll
notice there's a button which reads Add
| | 01:16 |
Photo Text.
Now this gives you the ability to add text
| | 01:19 |
for a particular photograph.
Let's go ahead and add some text here.
| | 01:22 |
We can do so by clicking on this button or
by clicking on the check box and here
| | 01:27 |
again I'll just type out some words Demo,
Photo, and then Text.
| | 01:32 |
Well once we have that text field there we
can change where it shows up, we can have
| | 01:36 |
this above the image, we can have it on
top of the photograph.
| | 01:40 |
Depending on which item you choose here,
which button you choose when you use the
| | 01:43 |
offset it will allow you to re-position
that.
| | 01:46 |
Here I want this to appear bellow the
photograph so I'll click on bellow and
| | 01:50 |
then we can customize this as well.
You can see how you could slightly nudge
| | 01:53 |
that around in that area bellow of the
photograph.
| | 01:56 |
Now there's also a really handy pull down
menu next to the photo text button Which
| | 02:01 |
allows you to display different
information here.
| | 02:03 |
For example, if we want to see how this
image was captured and include that in the
| | 02:07 |
project, we can include or choose the
option of Equipment.
| | 02:11 |
This shows the camera and the lens that
was used for this particular image.
| | 02:15 |
Or we can show other information as well,
like Exposure.
| | 02:18 |
What I actually want to do with this
image, is I want to display a caption.
| | 02:22 |
Here if we click on this pull down menu
and chose Caption.
| | 02:26 |
What we can do is we can take advantage of
a caption which has been added in the
| | 02:31 |
library module.
Notice how that caption showed up below
| | 02:34 |
down here.
Well how can we add a caption which will
| | 02:37 |
show up underneath our photographs?
What you can do is navigate into the
| | 02:42 |
Library Module.
In the Library Module, you want to select
| | 02:45 |
the photograph then open up the Meta Data
Panel.
| | 02:48 |
Inside of the Meta Data Panel is a field
which allows you to add caption.
| | 02:53 |
Here we can go ahead and change the way we
display that information in the metadata
| | 02:57 |
field to Large caption.
This is the best option when you're adding
| | 03:01 |
captions and here's a caption that I just
added.
| | 03:03 |
I'm going to go ahead and delete that so
I'll highlight that and delete that and
| | 03:08 |
I'm going to add a new caption which is
I'll go ahead and type out Sunrise Over
| | 03:12 |
the Disney Concert Hall.
Well when we navigate back to the book
| | 03:15 |
module, as you'll see here, is it will
update our caption and it's going to
| | 03:20 |
display whatever caption we have added to
this photograph in the library module.
| | 03:25 |
Now the great thing about this is we can
take advantage of captions that we've
| | 03:28 |
already added or we can customize, or
change them, as I've done here.
| | 03:33 |
Now after we've added these captions, what
I want to do next is talk about how we can
| | 03:37 |
work with layouts when we have more than
one photograph.
| | 03:41 |
So let's click on the page here.
And then let's click on the Flyout menu,
| | 03:45 |
which allows us to choose different
layouts.
| | 03:47 |
And let's try a layout where we have three
photographs.
| | 03:50 |
I'll click on this option here, just to do
something a little bit different.
| | 03:54 |
You'll notice that we have these different
image fields.
| | 03:57 |
Let's add some other images to those, just
for demo purposes.
| | 04:01 |
Well if you have a page where you have
multiple fields, you'll notice that the
| | 04:05 |
caption, in this case, it shows up right
underneath this photograph.
| | 04:09 |
This is the photo text that we have here
for this image.
| | 04:13 |
We can still change where this is
displayed, but you'll notice that it's
| | 04:16 |
aligned to the photograph.
Let's add some more text, say to the
| | 04:20 |
middle photograph.
Here we'll click on that one and once
| | 04:23 |
again let's add a caption.
We'll click on Photo Text, we'll choose
| | 04:27 |
the option for caption.
To create the caption, we can either type
| | 04:32 |
it in here or we can go to the library
module.
| | 04:35 |
Let's go to the library module just to
ensure that this caption will be part of
| | 04:39 |
this image.
What I'm going to do is just type out the
| | 04:41 |
words Disney Concert Hall, Los Angeles.
Next, we'll navigate back to the book module.
| | 04:48 |
And back in the book module what we'll see
is that caption will appear.
| | 04:52 |
Again, notice how the caption is aligned
to the photograph.
| | 04:56 |
The reason why I wanted to show you this
is because the text field here, the page
| | 05:01 |
text that we have, well that's aligned to
our overall page.
| | 05:05 |
It isn't connected in any way to the
images.
| | 05:08 |
So in this way we can have this text field
which is connected to the layout which is
| | 05:13 |
related to the page.
Then we can also have other text fields as
| | 05:16 |
you can see here which are connected
somehow to the images so that their
| | 05:21 |
alignment is related to where the image is
positioned in the particular page layout.
| | 05:26 |
Alright, we'll now that we've seen how we
can begin to customize the text, working
| | 05:31 |
with the text panel, working with photo
text, and page text.
| | 05:35 |
Well next let's take a look at how we can
change the way that this text actually appears.
| | 05:39 |
And in order to do that, we'll leave this
page open as we'll continue to work on it.
| | 05:44 |
And we'll work with this page here, and
customize the text in the next few movies.
| | 05:49 |
| | Collapse this transcript |
| Customizing type: Part one| 00:00 |
In the previous movie we looked at how we
can begin to work with the Text panel in
| | 00:04 |
order to add Photo Text and Page Text.
In this movie, I want to take things a bit further.
| | 00:10 |
And here we'll look at how we can
customize the way that the text appears by
| | 00:14 |
working with the type panel.
So let's go ahead and open up the Type
| | 00:18 |
panel and then scroll down a little bit.
One of the first things that you'll notice
| | 00:22 |
is that we have a lot of different type
controls.
| | 00:24 |
We'll be talking about these various
controls.
| | 00:27 |
You'll also notice that all of these
controls are grayed out.
| | 00:30 |
Well they're grayed out because we haven't
selected a photograph or a text field.
| | 00:35 |
Here if we click into a text field like
the Demo Page Text, you can notice that
| | 00:39 |
all of these controls are now illuminated.
Well you can highlight this text field by
| | 00:43 |
Clicking and Dragging, when you do that
you can then change some of the characteristics.
| | 00:48 |
Let's start up here at the top, we can
choose a different font.
| | 00:51 |
I'll select a different font from this
pull-down menu.
| | 00:54 |
And we can also choose if this is Italic
or Bold.
| | 00:57 |
I'll select bold for my title text here
which we have on this page.
| | 01:02 |
Then we can increase the size if we want
to change it's Opacity.
| | 01:05 |
We can use this slider which will allow us
to have text which has less Opacity.
| | 01:10 |
Now this just looks like it's creating a
light gray tone.
| | 01:13 |
Yet if we position this over the images,
and then use the Opacity slider.
| | 01:17 |
You notice how it allows us to have text
which is transparent and sometimes for
| | 01:22 |
certain projects that can be helpful.
Alright, well after we've customized this
| | 01:27 |
text, what I want to do is take a look at
how we can work with these other fields.
| | 01:31 |
In order to really highlight that we need
to choose a different layout.
| | 01:35 |
So here, let's go scroll back to our area
where we can customize what text is
| | 01:39 |
displayed Now I'm going to turn off the
Page Text for a moment.
| | 01:43 |
What I want to do then is change the
layout, so that we can have a layout where
| | 01:47 |
we can focus in on how these different
text options actually work.
| | 01:52 |
Here let's click on the icon which allows
us to access the different layout options.
| | 01:57 |
And let's select the option for One photo
and then scroll down, until you find an
| | 02:01 |
option where you have one photo and some
copy.
| | 02:04 |
How about this one here?
Let's go ahead and click on that item.
| | 02:08 |
You can see that we have the image here,
and I'm going to go ahead and change its
| | 02:11 |
zoom rate.
So we can see a little bit more of this
| | 02:13 |
photograph, I think it's fun to have more
of this picture here, in the frame.
| | 02:17 |
Then we have the caption below, then we
have another area where we can add some
| | 02:21 |
more copy.
Well let's begin with the caption.
| | 02:24 |
Click into the caption area and then Click
and Drag to highlight it.
| | 02:28 |
Now most captions are typically really
small and they're also often very faint.
| | 02:35 |
So what I want to do is change this to a
grey tone.
| | 02:37 |
I also want to change its size.
To make those changes we'll work with the
| | 02:41 |
Type panel.
Here I'll go ahead and Click the Drag and
| | 02:44 |
Size slider to the left.
Now keep in mind that while this font may
| | 02:47 |
be impossible for you to read, it still is
an 11 point font.
| | 02:52 |
It's just that because we're zoomed pretty
far out on this page it looks really small.
| | 02:56 |
What you want to do is pay attention to
your font size and think about how that
| | 02:59 |
will relate to the final printed page.
Here we can click on the Color Chip.
| | 03:04 |
In the Color Chip we can choose various
colors as you can see here.
| | 03:07 |
Or we can choose something, maybe a nice
light gray, and that would then allow us
| | 03:12 |
to have a really subtle caption underneath
the photograph.
| | 03:15 |
Well next I want to add some copy to this
right hand side.
| | 03:18 |
And I'm going to type out a few words.
You can type out whatever you want.
| | 03:21 |
I'm going to go ahead and type out, color,
line, shape, and form.
| | 03:23 |
And I'm going to type out these words
because in a sense this is what this
| | 03:29 |
photograph is about.
Here I'm actually going to copy these by
| | 03:33 |
highlighting them, and then by pressing
Cmd+C on a Mac Ctrl+C on Windows.
| | 03:38 |
And then by pasting by pressing Cmd+V on a
Mac or Ctrl+V on Windows.
| | 03:43 |
And I'm just going to do this so that I
have a few lines of copy here.
| | 03:47 |
Most importantly I want to have some demo
copies so that I can begin to customize it
| | 03:51 |
so that I can show you how all of our type
controls actually work.
| | 03:56 |
Well to begin to change this area, we'll
go ahead and highlight whatever copy you
| | 04:00 |
have added in that area on your project.
Let's begin by changing the size.
| | 04:05 |
Sometimes if you have a larger size you
can better understand how the other
| | 04:09 |
controls work.
We've already talked about Opacity, so
| | 04:12 |
I'll skip that, so let's jump straight to
tracking.
| | 04:15 |
Tracking allows us to do is to change the
space between all of the letters, notice
| | 04:20 |
how we can add more or less space between
these letters.
| | 04:23 |
Baseline really depends upon our
alignment.
| | 04:27 |
Here at Baseline, we can Click and Drag
right to move this up or we can click and
| | 04:31 |
drag down to move this down.
Now I mentioned alignment.
| | 04:36 |
You'll notice that there are a number of
different alignment buttons here.
| | 04:39 |
We can change the alignment, say to the
bottom of the page and then as I use the
| | 04:43 |
baseline sider, you can see how we can
move that or change that from that area.
| | 04:47 |
We can also chose options which will
change the justification of this or we can
| | 04:51 |
have the copy, Right Justified or Centered
or left justified as well.
| | 04:56 |
All right, well after having customizing
these controls, I actually want to reset them.
| | 05:01 |
Just double-click the slider and that will
reset it to the default settings.
| | 05:05 |
We can change the lead in here as we do
that, it will change the space between the
| | 05:09 |
lines that we have in this text field.
Or if we click off of the highlighted text
| | 05:15 |
what we can do is click between letters.
That will then allow us to change the
| | 05:19 |
Kerning or the space between individual
letters as you can see here.
| | 05:24 |
Now so far we've been making adjustments
to this entire group of text.
| | 05:29 |
Yet we can also highlight a single word.
Here I'll highlight the word color and I
| | 05:34 |
will increase the Size of that word, so
that you can see how I'd have a really big
| | 05:38 |
version of that particular word.
I can also change other characteristics
| | 05:42 |
here as well.
I'll click on the Color Chip and I'll add
| | 05:45 |
some color to this, and perhaps what I
want to do is try to find a nice blue for that.
| | 05:50 |
I'll go ahead and close that and you can
see that we now have this particular color
| | 05:54 |
showing up in that word.
While you can select the entire text
| | 05:58 |
field, you can also select individual
letters or individual words, and then
| | 06:03 |
customize those further.
As you start to make changes with these
| | 06:06 |
areas, if you notice that you make some
changes perhaps by highlighting a few areas.
| | 06:11 |
And just modifying things a little bit,
and if things get a little bit messy in
| | 06:15 |
regards to some of these changes.
You can use this auto leading button which
| | 06:19 |
will then bring some of those back to
normal.
| | 06:21 |
And you can also double click your
sliders.
| | 06:23 |
An addition, which will also bring those
values back to normal.
| | 06:28 |
Now when you have text, like we have here.
You'll notice that some of the text
| | 06:32 |
extends past this little box.
If I were to highlight all of this, and
| | 06:37 |
change the size of this text, what would
happen is I would be able to change the
| | 06:40 |
size of all of the text.
Except for this last word which was
| | 06:45 |
outside of that text area.
Well, if ever that happens just decrease
| | 06:49 |
the size until you can see everything and
then re-select all of those values.
| | 06:54 |
Here we'll click on Auto Leading and Auto
Kerning to bring that back to normal.
| | 06:58 |
And then we'll change the size.
Notice that as I made that next size
| | 07:02 |
change it brought all of these values back
to normal.
| | 07:06 |
And here I simply wanted to highlight how
you can reset some of these values in case
| | 07:10 |
you make a mistake.
Another way obviously to do this is to
| | 07:13 |
simply delete the text and then o re ad it
again and that way it will give you a
| | 07:18 |
fresh start.
Well either way, now we've started to see
| | 07:21 |
how we can customize the text that appears
in this area to the right of the photograph.
| | 07:27 |
In this case, rather than having this
color in this, what I want to do is change
| | 07:30 |
this a little bit more.
So I'll go ahead and bring this back to a
| | 07:33 |
nice perhaps a dark gray.
And I'm going to decrease the size, so
| | 07:36 |
that this text field is a little bit
smaller.
| | 07:39 |
So that we have a caption underneath the
photograph, and then some copy to the
| | 07:43 |
right explaining perhaps a bit about this
particular photograph.
| | 07:47 |
Then click off of the image, in order to
be able to evaluate how the Typography is
| | 07:51 |
integrating into your overall design.
And yet, there is a little bit more that I
| | 07:56 |
want to talk about in regards to
Typography, and the Type panel.
| | 07:59 |
So let's go ahead, and leave this Page
Layout open.
| | 08:02 |
As we'll continue to work with it in the
next movie.
| | 08:06 |
| | Collapse this transcript |
| Customizing type: Part two| 00:00 |
In this movie, I want to share with you
three or four tips which will help you as
| | 00:04 |
you seek to customize a typography in your
book projects.
| | 00:07 |
You know, as you start to add type to your
projects, one of the things that you'll
| | 00:11 |
notice is that often the type appears
really, really small.
| | 00:15 |
What you can do is navigate to the preview
panel, and click on this option of four to one.
| | 00:20 |
This will allow you to zoom in close.
Then you can click and drag around so that
| | 00:25 |
you can view your type up close, so that
you can view and evaluate it, and also
| | 00:29 |
type it out or make any needed changes to
it.
| | 00:33 |
You know, this particular view option,
4:1, was included here so that we could
| | 00:37 |
focus in on details like this.
Now, after having evaluated the text, we
| | 00:41 |
can always go back by clicking on the Fit
button, which allows us to zoom out.
| | 00:46 |
Well next what we may want to do is change
our font.
| | 00:49 |
We know that we can click and highlight in
order to select the type that we want to change.
| | 00:54 |
Then next, if you click to the font pull
down menu, you can obviously select a new
| | 00:59 |
font by simply clicking on it's name.
Yet often, because this menu includes so
| | 01:04 |
many fonts, what you may want to do is
quickly jump to a certain font.
| | 01:08 |
To do that you can type a letter on your
keyboard, if you type the letter C for
| | 01:12 |
example, this will jump up to the first
font which begins with the letter C.
| | 01:17 |
Here this will allow me to find the font
which I want to use which is, Century Gothic.
| | 01:22 |
I can then make that selection and of
course then make any other changes.
| | 01:26 |
Now when it comes to making changes, we've
already talked about how we can use these
| | 01:30 |
sliders, but have neglected to mention how
you can use this particular tool which is
| | 01:35 |
located right here.
If you click on this tool to activate it,
| | 01:39 |
you'll notice that as you hover over your
text tool, the icon changes.
| | 01:43 |
Well this is telling you that you can
click and drag up and down or left and
| | 01:47 |
right in order to change some of the
characteristics of your type.
| | 01:50 |
If we click and drag up and down you can
see that we're changing the overall
| | 01:54 |
leading which is changing the space
between the different lines of type that
| | 01:58 |
we have.
Let go, and then hover over the text field
| | 02:02 |
again, and click and drag to the right or
to the left in order to increase or
| | 02:06 |
decrease the size of the text field.
And in this way just gives you yet another
| | 02:11 |
way to be able to modify the text.
Once you're done with the tool, you can go
| | 02:15 |
ahead and click on it in order to disable
it.
| | 02:18 |
Now next I want to highlight how we can
add more columns to our text field.
| | 02:22 |
Often if you have a lot of text, maybe
you'll have five or six paragraphs.
| | 02:27 |
You may want to add some columns.
Well, you can do so by working with the
| | 02:30 |
column and the gutter sliders.
Here when we increase our columns, you'll
| | 02:34 |
notice that the text now appears in two
separate columns.
| | 02:38 |
We can also change the gutter size, or
that's the size between these columns.
| | 02:42 |
Now with this particular text it isn't
very essential, but like I said if you had
| | 02:47 |
paragraphs of text or if you just wanted
multiple columns, you can add those by
| | 02:51 |
simply working with these sliders here.
For this project I'll go ahead and bring
| | 02:55 |
this back to the one setting, one column
there.
| | 02:58 |
And I'm also going to change the leading
size here.
| | 03:01 |
I'm just going to bring all of that text
together, and I'm going to decrease it's
| | 03:05 |
size so it's a little bit smaller.
Alright, well once you've customized the
| | 03:09 |
type of typography for the page again,
just click off of it so that you can
| | 03:13 |
evaluate the way that it appears.
And make sure that it's good to go, and in
| | 03:18 |
this case I think our type looks good.
| | 03:20 |
| | Collapse this transcript |
| Using and creating type presets| 00:00 |
After you have customized the typography
in one of your projects, one of the things
| | 00:04 |
that you may want to do is you may want to
save all of those settings out as a preset.
| | 00:09 |
To do that, you can go ahead and click on
the text field like this one here, then go
| | 00:12 |
to the Text Style Preset and click on the
custom pull down menu.
| | 00:17 |
What you want to do is the chose the
option for Save the Current Settings as a
| | 00:21 |
new preset.
When you click on that menu item, it will
| | 00:24 |
open up the new preset dialogue.
I'm going to go ahead and name this one,
| | 00:27 |
CG, for Century Gothic, dash 10 because
it's approximately a size 10 font size
| | 00:33 |
there, and then click Create.
Next you can take advantage of that by
| | 00:37 |
using this or accessing it from this pull
down menu here.
| | 00:41 |
For example, what I'm going to do is
highlight this text field.
| | 00:45 |
Next, I'm going to zoom into a 4:1
perspective by clicking on the 4:1 button
| | 00:50 |
which is located in the preview panel and
let's change this area so we can zoom in
| | 00:54 |
so we can see the text that we have here.
It looks like it deselected the text so
| | 00:59 |
I'll use Cmd A on a Mac or Ctrl A in
Windows to reselect all of the text that
| | 01:04 |
we have here.
Well, next we can navigate to this preset
| | 01:07 |
pull down menu and we can choose some
different presets.
| | 01:10 |
For example, we can choose a preset, which
was a Sans Serif preset, one which is
| | 01:14 |
really simple and clean, which could be
good for captions.
| | 01:18 |
Or we can also choose one which is a bit
more decorative.
| | 01:21 |
And we even have presets here which are,
even a touch more exaggerated, like the
| | 01:25 |
caption for a wedding.
You can see, uses this really interesting
| | 01:29 |
cursive font, which might be relevant if
you are putting together a wedding book or
| | 01:34 |
of course we can use a present, which we
just created.
| | 01:36 |
Which was this one here, I'll go ahead and
select that option which will bring our
| | 01:39 |
copy back to the way that we had designed
it.
| | 01:43 |
And so as you start to work with
typography in book projects, if you ever
| | 01:48 |
come up with a way to customize the text,
what you'll want to do is save that out as
| | 01:52 |
a preset, and this will be especially
helpful as you add typography in other
| | 01:57 |
areas of that particular book.
So that when you navigate to a new page,
| | 02:01 |
what you can do is you can then reuse this
particular preset.
| | 02:05 |
You can just simply select it here and
then begin to type away so that all of the
| | 02:10 |
text in your entire book project will be
consistent and cohesive.
| | 02:16 |
| | Collapse this transcript |
|
|
11. Designing the CoverChanging the layout| 00:00 |
So far in this course, we've been focusing
our attention on the interior of our book
| | 00:05 |
project, and that's typically the best
place to start.
| | 00:08 |
You want to begin with the interior so you
can get that right, and then next you want
| | 00:12 |
to shift your focus to the exterior.
Here we'll look at how we can begin to
| | 00:17 |
design the front and the back cover.
Go ahead a click on to either one of those
| | 00:21 |
pages and then click on the icon that
allows us to zoom in on this particular
| | 00:25 |
spread, where we have the front and the
back cover photographs.
| | 00:29 |
Now these particular photographs were
selected for us because we performed
| | 00:33 |
Auto-Layout at the beginning of the
project.
| | 00:35 |
So obviously, we need to select some other
pictures.
| | 00:37 |
Now when it comes to choosing photographs
for the front or the back cover, what I
| | 00:42 |
like to think about is to try to choose an
image where there's some negative space or
| | 00:46 |
the image isn't very complicated because.
We're going to need to include some
| | 00:49 |
typography on the cover and also on the
back page.
| | 00:53 |
So what you'll want to do is scroll
through your photographs until you find
| | 00:56 |
one which might work.
In this case, I found one here, so I'll
| | 00:59 |
drag and drop that on to the page, and
then I'll also bring this one over as
| | 01:03 |
well, so that the front and the back cover
have a similar color palette, and look,
| | 01:08 |
and feel.
They just have distinct or different images.
| | 01:12 |
And so again as you start to look for
those photographs that might work, just
| | 01:15 |
keep in mind that you will be needing to
add some typography to these pages as well.
| | 01:21 |
Also keep in mind that you can get a
little bit creative here, and so what I
| | 01:25 |
want to do next is share with you an
advanced technique.
| | 01:28 |
And this is a technique that you might
consider using if you want to have tow
| | 01:32 |
images which are mirrored on the front, in
the back cover.
| | 01:35 |
Let me show you how this would work.
Let's select this image which is on the
| | 01:40 |
cover, and what I'm going to do is create
a virtual copy, which is flip-flop, so
| | 01:44 |
that we can kind of have this interesting
mirror version of this photograph, in two places.
| | 01:50 |
So again, select the cover photo then
navigate to the develop module.
| | 01:55 |
Once we're in the develop module, one of
the things that we can do here is create a
| | 01:59 |
virtual copy so that we can then process
this copy in a different way.
| | 02:04 |
And that's exactly what I want to do.
To create a virtual copy, you press
| | 02:08 |
Cmd+Apostrophe on a Mac, or
Ctrl+Apostrophe on Windows.
| | 02:12 |
Notice that in the film strip below, we
now have two versions of the same exact photograph.
| | 02:18 |
Well on the virtual copy version, I
want to transform the image.
| | 02:22 |
I want to flip flop this horizontally.
To do that you can Right Click or Control
| | 02:28 |
Click on the image.
Next, in this menu, you're looking for the
| | 02:32 |
action of transform.
So again, right click, or control click on
| | 02:36 |
the image, select transform, and then
choose, flip horizontal.
| | 02:41 |
This is just an interesting way to flip
flop one of your photographs.
| | 02:44 |
Here you can see, I now have a newer
version of the original image.
| | 02:49 |
Well now that we've created this here in
the developed module, we are going to
| | 02:52 |
navigate back to the book module.
In the book module what we can do, is we
| | 02:57 |
can change our bat cover photograph to the
virtual copy.
| | 03:00 |
Let's go ahead and click and drag and drop
that into this area, and here you can see
| | 03:05 |
how we have these interesting lines, which
almost connect here on the spine.
| | 03:08 |
Then this way we kind of have a mirror
image or an image that is wrapping around
| | 03:14 |
the entire book project.
Now you don't necessarily need to do this,
| | 03:18 |
but I just wanted to show you this
technique to get you to begin to think
| | 03:22 |
creatively about how you might use images
as you start to design the cover of your
| | 03:27 |
book project.
In other situations, you may want to go
| | 03:29 |
for something which is more simple.
Again, how you design the cover is
| | 03:33 |
completely up to you, and it's also all
about your vision for the project.
| | 03:38 |
With this particular project, I'm going to
go ahead and bring back the other image
| | 03:41 |
which we had, because I think that
actually worked a little bit better.
| | 03:44 |
Especially because this book will be
folded closed and I want people to have a
| | 03:49 |
similar experience, but yet to see two
different images here, on the front and
| | 03:53 |
the back.
Well either way, now that we've designed
| | 03:56 |
or added some photographs to the front and
the back, our next focus is to begin to
| | 04:01 |
think about the title of this book
project.
| | 04:03 |
And what I want to do in the next movie,
is talk about a creative approach to
| | 04:07 |
selecting a book title, for your project.
| | 04:10 |
| | Collapse this transcript |
| A creative approach to selecting a title for your book| 00:00 |
In this movie, I want to share a little
bit of my creative process when it comes
| | 00:04 |
to thinking up a title for a book project.
One of the things that I often do is
| | 00:08 |
reflect upon the photographs.
These photographs were captured of the
| | 00:12 |
Disney Concert Hall.
I was visiting one of my friends who plays
| | 00:15 |
for the LA Philharmonic, which plays
inside of this location.
| | 00:19 |
One of the things that he said to me is
that people find it interesting to try to
| | 00:23 |
photograph this structure.
And I was reflecting upon that and what I
| | 00:27 |
tend to do is I tend to start to think
about my experience and then I pull up a
| | 00:32 |
particular website.
Let me show you that website here it's
| | 00:35 |
titled Visual Thesaurus.
This is a website that you have to pay to
| | 00:39 |
use or you can also use it on a trial
basis.
| | 00:43 |
What you can do is you can type in a word
for example like the word title.
| | 00:48 |
I'm thinking about titles for my book
project.
| | 00:50 |
I'll type in that word.
And then I'll click to look it up.
| | 00:53 |
This will give me a visual display of this
particular word.
| | 00:57 |
This just gets me thinking about this
process then I'll think about those photographs.
| | 01:01 |
You know, a lot of those photographs were
about the color.
| | 01:04 |
The color of those sunrise colors in the
sky.
| | 01:07 |
I also want to think about how that
particular structure was shiny.
| | 01:11 |
So I'll type in the word shine.
And again what I'm trying to here is I'm
| | 01:15 |
trying to examine different words to try
to find the exact word which I'm looking for.
| | 01:22 |
You know, in this group of words, I've
located one which I think might work.
| | 01:26 |
It's the word reflect.
Because really it was about how the light
| | 01:30 |
was reflecting off of the structure, and
it was also about my process of reflecting
| | 01:35 |
upon photographing that structure, based
on this conversation that I had with one
| | 01:40 |
of my friends.
So here I've now encountered or discovered
| | 01:44 |
the title for my project.
So here I just wanted to highlight this
| | 01:47 |
resource, that may be one which will be
helpful to you as you start to think about
| | 01:52 |
what you may want to use as a title for
your project.
| | 01:55 |
Once you've come up with a title, however
you've accomplished that, you want to
| | 01:59 |
navigate back to Lightroom.
Here, we want to start in the book module.
| | 02:03 |
And we'll click on the front cover.
Next we'll go ahead and open up our Text
| | 02:08 |
and our Type panels.
Here we're going to jump back and forth
| | 02:11 |
between these two panels, and we'll start
off by adding a caption for this
| | 02:16 |
particular photo.
So we'll click into the photograph and
| | 02:19 |
then click on the option for Photo Text.
This'll create a really small, little
| | 02:24 |
caption there.
I'm going to go ahead and type out some
| | 02:27 |
custom text.
So I'll go ahead and type into that field.
| | 02:30 |
I'm going to type out the work REFLECT, in
all caps.
| | 02:33 |
Next, I will highlight that by clicking
and dragging.
| | 02:36 |
It's incredibly small, I can barely see
it.
| | 02:39 |
Yet no big deal.
We'll go to the Type panel here and we'll
| | 02:42 |
increase the size by clicking and dragging
our size slider to the right.
| | 02:47 |
Now what I want to do is reposition this.
So currently it's really low.
| | 02:51 |
If we position our cursor over this, when
we see that cursor change...
| | 02:55 |
We can then click and drag and we can
bring this up to this area where we have
| | 02:59 |
negative space.
Currently, it's left justified.
| | 03:03 |
I would prefer this to be right justified.
So here we will click on that icon which
| | 03:07 |
will allow us to move this over to the
right.
| | 03:10 |
Now if we click off for a moment we can
begin to evaluate how this is appearing in
| | 03:15 |
this layout.
One of the things I notice is that I kind
| | 03:18 |
of like how this is working, but I want to
change the image a little bit.
| | 03:21 |
So if we click into the image what we can
do is change our zoom and then we can also
| | 03:26 |
click and drag this around.
Perhaps I want to change this so that this
| | 03:29 |
line in a sort of leading up to this copy
that we have here Then I'll click into the
| | 03:33 |
title and I'll just bring this down a
little bit and here I'm going to highlight
| | 03:37 |
it and decrease its size and also change
its color to white.
| | 03:42 |
So again all of these steps really are
about this creative process of trying to
| | 03:46 |
arrive at a title which really works for
your project and also then trying to
| | 03:50 |
figure out how it fits into the cover.
And when it comes to cover design it's
| | 03:55 |
worth taking all of this extra effort.
It's worth taking the time to brainstorm
| | 03:59 |
about how you might title your book and
also it's worth taking the time to get
| | 04:03 |
this to fit exactly where you want it.
Now before you get it in just the right
| | 04:08 |
place, what you may want to do is go back
to your panel which allows you to turn on
| | 04:12 |
the visibility of the guides.
The guide which I'm interested in showing
| | 04:17 |
is my text safe guide.
I want to turn that on, and off.
| | 04:21 |
Here let's zoom in a little bit, we'll
click on the one to one, or the four to
| | 04:25 |
one view here.
What that will allow us to do is to zoom
| | 04:29 |
in on this text field here, and I'll zoom
in even closer, so that you can see this a
| | 04:33 |
little bit better.
There are things you may notice, it's
| | 04:36 |
actually going to be almost impossible for
you to see, but.
| | 04:39 |
This text field is right next door to my
text safe area.
| | 04:43 |
It's a little bit too close for my liking.
So I'm going to click into this text field
| | 04:48 |
and then go back to my type panel.
One of the ways that we can scoot this
| | 04:52 |
around is we'll go ahead and click into
this area.
| | 04:54 |
And I'll just click into that area so that
I have my cursor right there.
| | 04:58 |
So we can use this Kearning slider.
Notice how I can push that over to the
| | 05:02 |
left and again I'm just nudging it around
so that it isn't too close to this text
| | 05:07 |
safe area.
So it's in an even better position.
| | 05:10 |
And again really what I'm trying to
illustrate is to just finesse and to fine
| | 05:15 |
tune exactly the way that this typography
appears and where it appears and how it appears.
| | 05:20 |
So that it looks good on your cover.
Alright, well, let's go back to this Fit
| | 05:25 |
in View.
And then let's click off of this so that
| | 05:28 |
we can begin to evaluate the progress that
we're made here.
| | 05:31 |
Well, now that we've done that, I'll go
back and I'll turn off the visibility of
| | 05:34 |
my guides, so that we can just focus in on
the project itself.
| | 05:38 |
And I'll click into this image.
I'm just going to zoom in a little bit more.
| | 05:42 |
And slide this over a touch.
And I think that looks good.
| | 05:46 |
All right, well, that wraps up this step
in selecting a title for a book, and in
| | 05:50 |
beginning to design the cover of this
project.
| | 05:53 |
Let's go ahead and leave these pages
visible.
| | 05:55 |
As we'll continue to work with them in the
next few movies.
| | 05:58 |
| | Collapse this transcript |
| Adding another text field to your cover| 00:00 |
Now that we have added our title to the
cover of the book project, next what I
| | 00:05 |
want to do, is look at how we can add some
more text fields.
| | 00:08 |
In particular, I want to add a subtitle
and also the photographer's name.
| | 00:13 |
In addition, we'll look at how we can
change our background color which will
| | 00:16 |
allow us to customize the spine, and we'll
add some typography there as well.
| | 00:20 |
Now before I get too carried away, I'm
going to click into the photograph and I'm
| | 00:24 |
just going to click and drag this down,
and also I want to bring my title up a
| | 00:28 |
little bit, and I'm just customizing this
a bit further.
| | 00:31 |
Then, you'll notice that we already have a
photo text caption here, which we've added
| | 00:35 |
this custom text for.
We can also add some page text.
| | 00:40 |
So let's click on the "Page Text" field,
and this is where I'll type out my subtitle.
| | 00:44 |
And the subtitle is why I take pictures.
It's because this, this set of photographs
| | 00:50 |
really was about this conversation with a
friend about why we take photographs and whatnot.
| | 00:54 |
So here I have the caption; it's in the
wrong position.
| | 00:57 |
I'll just position your cursor over this
and we can drag this up.
| | 01:01 |
Next I need to right-justify it.
Do you remember how to do that?
| | 01:05 |
In the type panel, if you scroll down to
the bottom, we have these little icons
| | 01:09 |
which we can use.
One of the icons allows us to justify
| | 01:12 |
things to the right.
Now, that's really difficult to evaluate
| | 01:15 |
the copy when it's this small.
So what I like to do is to zoom in.
| | 01:19 |
The zooming in the book module is a little
bit awkward.
| | 01:23 |
But let me give you a couple of ideas of
how you can do this.
| | 01:26 |
One way you can do this is by clicking 1
to 1 and then you can click and drag this
| | 01:31 |
around so that you can see this a little
bit better.
| | 01:33 |
Or you can also click 4 to 1.
Another way that you can open up more
| | 01:37 |
space is to click on this icon to close
the panels on the left.
| | 01:41 |
Just so that you can see how this fits
into the overall layout.
| | 01:45 |
Well, here with this text field, I'm going
to highlight it and change its color.
| | 01:48 |
I'm going to choose a nice light gray
here.
| | 01:51 |
I think that might work well.
I also want to decrease its size so it's
| | 01:54 |
nice and small.
Then we can position our cursor over this
| | 01:57 |
and click and drag this up so we have it
in just the right spot.
| | 02:01 |
And then, of course, click off in order to
see how this looks.
| | 02:05 |
Well now that I've added this subtitle,
next I want to include the photographer's
| | 02:08 |
name or my name on this project, yet we've
run out of text fields.
| | 02:13 |
We've used up our photo text and our page
text.
| | 02:16 |
Well what you can do is you can always
click into one of your text fields like
| | 02:20 |
this one here and just press Return on Mac
or Enter on Windows.
| | 02:24 |
Notice how this is opening up this text
field.
| | 02:27 |
It's now too high, but we can always click
and drag that back down.
| | 02:31 |
And what this can do is it can give us the
ability to have this text field or we can
| | 02:35 |
also have one which is lower.
I'll press enter or return a few more times.
| | 02:40 |
And then just click and drag this down.
You may be thinking, "OK Chris, what are
| | 02:44 |
you doing here?" Well, stick with me for a
moment and you'll see here as I start to
| | 02:48 |
get this exactly where I want it.
Just adding some more space there.
| | 02:52 |
Then, I'll go ahead and type out the
words, By Chris Orwig.
| | 02:55 |
And, I want to make this white, so we'll
highlight that text field and then choose
| | 02:59 |
white from our color chip there.
You can see how we now have the title, the
| | 03:04 |
subtitle and the author name.
For the author name I'm going to go ahead
| | 03:08 |
and decrease that size so we can just show
you how you can customize that so we can
| | 03:12 |
have three distinct text fields with only
two different text boxes.
| | 03:18 |
Well next let's go ahead and bring back
the panels on the left...
| | 03:20 |
And let's choose a fit in view
perspective.
| | 03:24 |
Well here we have our title and also the
subtitle, and the author name.
| | 03:29 |
Next I want to work on the spine.
To do that we'll zoom in so we can
| | 03:33 |
actually see what we have there, and I'll
click on the one to one perspective, and
| | 03:37 |
then we can just scroll around in order to
scroll into this area of the spine.
| | 03:43 |
Well, in the spine that you notice that
it's currently white.
| | 03:46 |
If you want to change that, you can do so
by scrolling down to the last panel which
| | 03:51 |
is your background panel.
You want to make sure that Apply
| | 03:54 |
Background Globally is checked off and
then just turn on Background Color.
| | 03:59 |
Here we can click into this color chip and
we can choose a particular color.
| | 04:02 |
We could choose a Certain color here or if
you click and drag around and then
| | 04:07 |
position your eye dropper over the image.
We can actually sample color from our
| | 04:12 |
image so it makes it bit more cohesive and
that's what I want to do.
| | 04:15 |
And now that we've added that background
color which will only appear on the spine.
| | 04:21 |
Next I'm going to add some type here.
If we click into this, text area which is
| | 04:25 |
by default, located on the spine, we can
then type out some words.
| | 04:30 |
I'm going to go ahead, and type out the
word reflect, and then add some spaces,
| | 04:34 |
and then type out my name, by Chris Orwig.
Next, we need to highlight, this text field.
| | 04:41 |
So you can go ahead, and do that, click
and drag to highlight it.
| | 04:44 |
And of course, we'll want to customize
this.
| | 04:46 |
In this case I want this to appear in the
middle of this text area, so we'll click
| | 04:51 |
on this icon which allows us to align it
in that position.
| | 04:54 |
I also want to change the character color
to white, so I'll select white to be
| | 04:59 |
consistent with the other colors that we
have.
| | 05:01 |
And then of course we can customize the
size based on.
| | 05:04 |
How we want that to appear, in this case I
think a little bit of a smaller size will
| | 05:09 |
work well.
To just have a subtle title in that area
| | 05:12 |
on the spine.
Let's go back to our Fit In View.
| | 05:16 |
This will then give us the ability to
evaluate how we've done.
| | 05:20 |
We have our title and author on the spine.
We also have the title and subtitle and
| | 05:26 |
author on the cover.
And so here we've started to see how we
| | 05:29 |
can take advantage of some of these
controls that we have here in Lightroom to
| | 05:33 |
work with typography and also how we can
"break the rules" a little bit, how we can
| | 05:37 |
add multiple text fields inside of one
text area as we did here with the subtitle
| | 05:43 |
and also the author name.
| | 05:45 |
| | Collapse this transcript |
| Selecting an alternate cover layout template| 00:00 |
Another way that you can design the front
and back covers of your book project is by
| | 00:04 |
taking advantage of the cover templates
which come pre-installed with Lightroom in
| | 00:09 |
the book module.
And you know, one of the things that I
| | 00:11 |
like about this particular book cover is I
like the simplicity of the cover, yet the
| | 00:17 |
back cover isn't really working for me.
So what I'm going to do is go ahead and
| | 00:20 |
click on the overall spread, which we have
here, and then click on the triangle icon.
| | 00:25 |
You'll notice that this will give us
access to a completely different menu.
| | 00:29 |
This is a menu which allows us to choose
templates which we can use to modify the cover.
| | 00:34 |
And in this case, I'm going to use this
option here which I really like.
| | 00:38 |
This allows you to use single photograph
across the front and the back covers.
| | 00:43 |
You can see how this photograph now
extends over these areas.
| | 00:46 |
If we click on the image we can change its
overall size, and what I want to do is I
| | 00:51 |
want to increase the size so it's just
showing me part of the photograph, and
| | 00:56 |
then I'll click and drag this around and
I'm looking to try to create these nice
| | 00:59 |
lines which we had before.
But I want to cover which is much more
| | 01:03 |
simple, and I think will actually do it
for me.
| | 01:06 |
This now fits inside of this area really
nicely, and then perhaps on the back what
| | 01:11 |
I want to do is add some copy.
Now I have gone to a website and selected
| | 01:16 |
some demo copy and what I'm going to do is
paste it into this field here.
| | 01:21 |
Often what you'll do is you'll have a
paragraph which is descriptive about the
| | 01:25 |
project here on the back.
We can do the same thing to customize
| | 01:28 |
this, click and drag to highlight that
copy.
| | 01:31 |
We can choose how we want this to align
and we have a few different options there.
| | 01:36 |
We can also choose its overall character
color, in this case we could make this
| | 01:40 |
white or maybe gray, and we can select an
appropriate size.
| | 01:44 |
Here, I go ahead, and decrease it's size
to make it a little bit smaller.
| | 01:47 |
You can see how we can change, and
customize all these different fields.
| | 01:52 |
Now after we've customized the way that
that text appears.
| | 01:55 |
What I like to do, is to click off
everything.
| | 01:58 |
In clicking off everything, all of the
sudden I notice that my image has a little
| | 02:02 |
are which is sticking up here, so I need
to click, and drag that over to the left
| | 02:06 |
in order to hide that.
I also like to minimize the entire light
| | 02:10 |
room interface.
To actually evaluate how this looks.
| | 02:14 |
To do that you can press shift/tab.
Then tap the L key in order to dim the lights.
| | 02:20 |
Then position your cursor off of the
image.
| | 02:23 |
In doing that we can evaluate the copy on
the back The copy on the spine and also
| | 02:28 |
the cover.
If you see anything that needs to be
| | 02:30 |
changed well just press Shift Tab to bring
back the interface, and then tap the L key
| | 02:35 |
to turn the lights back on.
Then you can click into one of those text
| | 02:39 |
fields like this one here.
What I need to do is to center that, I
| | 02:42 |
must have accidentally clicked that off a
moment ago, I want that centered there on
| | 02:47 |
the spine.
Alright well that looks pretty good.
| | 02:49 |
And I like the overall layout now.
That we've created here with the front and
| | 02:53 |
the back cover.
And my hope with this chapter is that it
| | 02:57 |
gave you insight into how you can use
these tools, but that it also gave you a
| | 03:01 |
little bit of creative inspiration to
start to think about this whole process of
| | 03:05 |
designing a cover.
You know, covers do not come quickly and
| | 03:09 |
easily, and often they take a little bit
of time.
| | 03:12 |
And what you want to do is experiment, and
often by experimenting, it can help you
| | 03:17 |
lead to even better results, like I think
here with this cover project.
| | 03:21 |
I think what we started out was good, but
I think the final results are much better.
| | 03:25 |
And perhaps, if we even took a few more
minutes, we could make this project even better.
| | 03:31 |
So again as you work on designing the
front and the back cover of your own book
| | 03:35 |
project, I hope that you can see how you
can use these tools.
| | 03:38 |
And also how you can apply your own
creativity and vision In order to create a
| | 03:42 |
compelling or interesting cover.
| | 03:45 |
| | Collapse this transcript |
|
|
12. A Condensed Book Project WorkflowSelecting the keepers| 00:00 |
In this chapter, we will build another
book project with the intent of going
| | 00:04 |
through that book workflow from start to
finish.
| | 00:07 |
Where we select the photographs, then
build and design the book.
| | 00:12 |
One of the first steps that you'll want to
take is in the library module.
| | 00:15 |
In the Library module, what you can do is
select a folder or collection of photographs.
| | 00:20 |
Here I've selected the collection titled
Family-Book.
| | 00:23 |
And these are some photographs which were
captured by one of my former students of
| | 00:27 |
myself and my family and I want to create
a book project for my wife in order to
| | 00:31 |
give her all of these pictures because I
know that she would absolutely love that.
| | 00:37 |
Well again you want to begin by selecting
the pictures that you want to use.
| | 00:41 |
One way to do that is in the Library
module.
| | 00:44 |
To navigate to the Loop view, which you
can access by clicking on this icon right here.
| | 00:49 |
Next you want to press a key to add either
a flag, a star, or a label.
| | 00:54 |
In this case I'll use stars.
I'll tap the one key in order to give an
| | 00:58 |
image a one star rating.
Then press your arrow keys to scroll
| | 01:02 |
through the photographs until you find
other images that you want to add to your project.
| | 01:07 |
When you come across a photograph again
tap one of those keys in order to add a
| | 01:11 |
flag, a star or a label.
You just want to be consistent.
| | 01:15 |
And in this case, I've already quickly
gone through this photographs in order to
| | 01:19 |
add a few stars to a couple of pictures
that we might use in this project.
| | 01:23 |
Well after you've added a flag, a star or
a label.
| | 01:27 |
Next you want to do some filtering.
To filter based on certain criteria in the
| | 01:32 |
Library Module, we need to open up the
Filtering Options, which you can do so by
| | 01:36 |
tapping the backslash key.
That's a slash which leans to the left or
| | 01:41 |
points to the left.
Notice the Library Filtering bar opened
| | 01:44 |
up, and here we can click on Attribute and
then select the option, in this case 1 star.
| | 01:50 |
This will show us the images, which I've
added a 1 star rating to.
| | 01:55 |
Well, once we've whittled this down,
notice that I now have 24 photographs
| | 01:59 |
instead of 68.
Next we'll navigate to the book module.
| | 02:03 |
Once we navigate to the book module what
will happen by default is it will
| | 02:08 |
automatically create this book.
Well we will obviously want to customize
| | 02:12 |
this a little bit more, and I'm going to
change the layout so its quite a bit different.
| | 02:17 |
Yet sometimes it gives you a good idea on
how you might start to see these images
| | 02:20 |
come together.
The other thing that you might do, is as
| | 02:24 |
you start to look at the photographs, you
might realize that there's a image
| | 02:29 |
missing, which you want to bring back.
Well you can always turn the filtering on
| | 02:33 |
an off by clicking on this flip switch,
here.
| | 02:36 |
Notice how it will show you any image
which isn't being used in this project.
| | 02:40 |
If you want to include a photograph, well
you can click on it and then you can add a
| | 02:44 |
one star rating by simply clicking on the
one key.
| | 02:47 |
Now these are pretty small and difficult
to see, so let me click and drag to make
| | 02:51 |
this a bit bigger, and here I'll go ahead
and click on a few other photographs.
| | 02:55 |
And then I'll scroll through my images,
just to see which images aren't part of
| | 02:59 |
this project.
And occasionally, you'll come across a
| | 03:02 |
picture, which you might want to include.
And here, I'll go ahead and just navigate
| | 03:05 |
through the photographs and see if there
might be any others here.
| | 03:09 |
Alright, well now that I've added a few
more photographs, next let's click on the
| | 03:13 |
Flip Switch.
That will then show us all of the images
| | 03:16 |
which we have in our project.
We now have 29 photographs to work with.
| | 03:20 |
And the first part really is about making
this selection.
| | 03:24 |
Well after you've made the selection of
those photographs, next what we need to do
| | 03:27 |
is to customize the layout.
So let's go ahead and talk about how we
| | 03:31 |
can customize the alyout and also change
the image sequence.
| | 03:34 |
And we'll do that in the next movie.
| | 03:36 |
| | Collapse this transcript |
| Reviewing the layout| 00:00 |
After you have selected the photographs
that you want to work on for your project,
| | 00:04 |
next you want to navigate to the book
module and begin with the Book Settings
| | 00:08 |
panel and the Auto Layout option.
Let's open up book settings, here I'll
| | 00:12 |
leave the settings as is, except I'm
going to change my paper type, I'm
| | 00:16 |
going to use a nicer paper because I'm
going to be printing 1 book and this will
| | 00:20 |
be a gift for my wife.
So go ahead and choose that paper type here.
| | 00:24 |
We'll next want to navigate to
auto-layout.
| | 00:26 |
I actually don't like this layout for the
photographs so I'll go to the preset and
| | 00:31 |
click on the preset pull down menu and
select the option to edit an auto-layout preset.
| | 00:37 |
I want to create my own layout here.
So to do that, on the right hand side I
| | 00:41 |
want to have a page where I have two
photos in it.
| | 00:44 |
So I'll slect the option for two photos
and I'm going to look for an option which
| | 00:48 |
is really clean that just has two pictures
and nothing else.
| | 00:52 |
In this case, I'll scroll around a little
bit until I find one of these layouts.
| | 00:56 |
I think this one might work well.
Then on the left hand side, I'm going to
| | 01:00 |
choose a different layout.
To do that, we'll select from this menu
| | 01:04 |
fix layout.
Again this gives us the same controls as
| | 01:07 |
we have over here.
On the left side, I'll choose an option
| | 01:11 |
which allows me to have one photograph
like this one here.
| | 01:14 |
And, again, what this allows me to do is
to include different layouts on different
| | 01:19 |
pages and what I want to do is save this
preset out.
| | 01:23 |
So, I'll click on the preset pulldown menu
and save the current settings as a new preset.
| | 01:28 |
I'm just going to name this one
family-book.
| | 01:30 |
This will remind me that I used this
layout for this project, and then click create.
| | 01:35 |
After you finish that, go ahead and press
the Done button and then what I want to do
| | 01:40 |
is clear the layout, and then click on
Auto Layout once again with our new
| | 01:44 |
family-book layout selected.
And this will then use all of these
| | 01:48 |
photographs as you can see here.
Now, that it's done that what we need to
| | 01:53 |
do next is began to customize the overall
layout we can do that by starting off with
| | 01:58 |
the cover for example.
If we click on the cover and then click on
| | 02:02 |
the icon which allows us to zoom in.
We'll see that it selected a few
| | 02:06 |
photographs for us to use in this area.
You know the particular photographs that
| | 02:10 |
it selected really were just random, so
what I want to do is select one of my own.
| | 02:15 |
Here I'll click on a photograph and drag
and drop it into that area in order to add
| | 02:19 |
that picture to this part of the book
project.
| | 02:22 |
Also if we find another photograph, maybe
like this one here, we could then add that
| | 02:26 |
to that area and add that to the back of
the project as well.
| | 02:30 |
After we've customized that area, what I'd
like to do is to go back to the overall layouts.
| | 02:35 |
Here with the layouts, I want to start to
think about the flow and the rhythm of
| | 02:39 |
this project.
You can begin by looking at your first
| | 02:42 |
page here.
Or by customizing any pages where you
| | 02:45 |
notice you may want to combine images
together.
| | 02:49 |
For example, if we go into this spread
right here, and if we click on the icon
| | 02:53 |
which allows us to get close, you'll
notice that we have 2 verticals of my
| | 02:57 |
daughter Annie.
I really would like these to be side by
| | 03:00 |
side, so I'll click and drag this around
in order to swap those images.
| | 03:05 |
So here we have an up close shot of us and
then I have a photograph of Annie here.
| | 03:09 |
I'm just going to zoom in on this picture.
So we have one picture where she's
| | 03:13 |
standing tall and another photograph where
it's really focusing in on her gold shoes
| | 03:17 |
and her gray tights there.
And so a lot of what you'll do here is
| | 03:21 |
really just shuffle things around.
You'll then go back to the view where you
| | 03:25 |
can view the overall layout and you'll
look at how you can change this layout.
| | 03:30 |
Occasionally what will happen is that
you'll come across a situation where
| | 03:33 |
you'll need to delete pictures.
Let's look at one of those scenarios.
| | 03:37 |
Often what I'll do is increase the
thumbnail size so that I can look at a
| | 03:41 |
group of pages.
Notice that we have some similar photos here.
| | 03:45 |
What I really would like to have.
The two big sisters, holding their little
| | 03:50 |
sister, side by side.
So, I'll drag and drop this one into this
| | 03:54 |
area and then this one over here into that
area.
| | 03:57 |
In doing that, we have these images, which
now, I think, flow a little bit better together.
| | 04:03 |
But witht his entire spread, it doesn't
really work for me.
| | 04:06 |
I don't neccisarilly like this image or
these images here.
| | 04:09 |
Or whatever it is.
Again, you'll want to make those decisions yourself.
| | 04:13 |
As you find that there are pages that
don't work, remember that you can
| | 04:17 |
right-click or control-click on a page and
select Remove Page.
| | 04:21 |
It will then remove it from the project.
Click on another page and right click or
| | 04:25 |
control click and you can do the same
thing.
| | 04:28 |
When doing that you can then remove those
pages from the project.
| | 04:32 |
And sometimes you'll need to do that in
order to create a project which is a
| | 04:35 |
little bit tighter or simpler.
Often, even with selecting those
| | 04:39 |
photographs, you may have too many images
in your overall book project.
| | 04:44 |
Now I can already see that I have too many
photographs here, so what I'm going to
| | 04:47 |
need to do is to clean this up even
further.
| | 04:50 |
No, we don't necessarily need to go
through that whole process here because it
| | 04:54 |
will be a lot of doing what I've just done
here.
| | 04:56 |
I did want to take some time to illustrate
that overall workflow.
| | 05:00 |
Again, the workflow which begins with
selecting the pictures.
| | 05:03 |
After you've selected the photographs you
then begin with auto layout and then you
| | 05:08 |
start to customize the layout and you add
or remove any photographs that you want to use.
| | 05:13 |
If ever you want to bring in from the film
strip, well you can always do that By
| | 05:17 |
clicking and dragging it into that area,
or if you want to swap pictures around,
| | 05:21 |
you can do that as well.
Then when it comes time to removing pages,
| | 05:25 |
you can Right Click or Control Click and
choose Remove Page, or you can also move
| | 05:31 |
pages around.
If you decide to re-sequence pages You can
| | 05:35 |
click on one and then just drag and drop
and drop it to a new position, in doing
| | 05:39 |
that you can then create a different
seuence or flow with your photographs.
| | 05:43 |
| | Collapse this transcript |
| Duplicating the book design| 00:00 |
Here you can see that I've customized the
layout of this book project and I've
| | 00:04 |
removed a few pages to keep things simple.
Well one thing that I want to highlight
| | 00:08 |
here is that I changed the layout on this
page, and you can do this by clicking on
| | 00:12 |
this page or this particular spread.
And then if you click on the option to
| | 00:16 |
have two page spreads, you can have an
image which goes across multiple pages.
| | 00:20 |
And here, again, you just want to do
whatever customization you want to do to
| | 00:24 |
your project.
And in this condensed workflow chapter,
| | 00:27 |
the next step in our progress is to save
this out and then take a look at how we
| | 00:32 |
can reuse or repurpose this particular
project.
| | 00:35 |
So next let's go ahead and click on the
create saved book button up here, or you
| | 00:39 |
can click on the plus icon in the
collections panel.
| | 00:42 |
We'll go ahead and choose the option to
create a book.
| | 00:45 |
What we want to do is name this one
Family-color-book.
| | 00:49 |
This will give us the ability to save out
this project with these color photographs
| | 00:53 |
in sepia tone images.
We'll include the selected photos, and
| | 00:57 |
we'll have this inside of our book
project's collection set.
| | 01:01 |
Next, click Create, and what that will do
is it will save all of those settings and
| | 01:05 |
that layout.
Now, you can actually duplicate or reuse
| | 01:09 |
this book project.
One of the ways you can do that is by
| | 01:12 |
right-clicking or CTRL-clinking on the
project you created.
| | 01:16 |
And you can choose the option to duplicate
the book.
| | 01:19 |
Now in doing that you can see we have
another version of this let's rename it,
| | 01:24 |
here we'll right click or control click
and choose Rename.
| | 01:27 |
Instead of color, I'll name this one BW
here for black and white.
| | 01:32 |
Now you may be wondering well why in the
world would you want to duplicate a book project?
| | 01:37 |
Well you may want to do that if you have a
certain layout that you really like you
| | 01:41 |
just want to use different photographs for
it.
| | 01:44 |
Well we can access or view different
images by navigating to the library module.
| | 01:50 |
Here in the library module, what I'm
going to do is select these photographs
| | 01:54 |
here, which is my family book photographs.
These are all virtual copies which we
| | 01:59 |
created earlier.
I want to add these to this particular
| | 02:02 |
book project.
Well to do that, we can select these
| | 02:06 |
images and press Cmd+A to select them, and
then drag and drop these into this project.
| | 02:12 |
Notice that these images will now be part
of this project.
| | 02:15 |
You can see we have 81 photographs there.
If we click on the arrow icon it will take
| | 02:20 |
us to that location.
Now what's great about this is because
| | 02:24 |
these are virtual copies, they're all
located near The original color images.
| | 02:28 |
So if we want to swap these images out.
Well we can then just click off of this,
| | 02:33 |
to select to see the page where we are.
And then we an select a different image in
| | 02:37 |
this case a black and white photograph, or
a black and white version of this
| | 02:40 |
photograph in order to change the way
these images appear, and that's exactly
| | 02:45 |
what I'm going to do here.
I'm just going to go through and make a
| | 02:49 |
few changes to the way that these
photographs are appearing in this area.
| | 02:52 |
And you can see that I'm essentially
rebuilding this book project, but this
| | 02:57 |
time I'm building it with some black and
white versions of these photographs.
| | 03:01 |
So again, just clicking through and
dragging and dropping these pictures into
| | 03:05 |
these areas.
And then making any needed changes in
| | 03:08 |
order to customize the way that this
appears.
| | 03:10 |
We can also do the same things with our
front cover as well as our back cover.
| | 03:15 |
If you click on one of the images it will
take you to that photograph so that you
| | 03:19 |
can then find a nearby photograph in order
to replace it.
| | 03:23 |
And really the point here is to talk about
how you can save out the book project, as
| | 03:27 |
we did here, using all of these details
and customizing the flow and the rhythm
| | 03:32 |
and the layouts and then you can duplicate
it.
| | 03:35 |
And then sometimes by duplicating a book
project you can then reuse all of those
| | 03:40 |
layout features which you've already used
and you can just use them with different photographs.
| | 03:45 |
Here I am using black and white images
that are of the same subject, yet keep in
| | 03:50 |
mind these could be completely different
photographs.
| | 03:53 |
Yet what I've found that as you start to
use the Book module is that you'll have
| | 03:57 |
certain layouts or certain book projects
where you really like the layout.
| | 04:02 |
You just want to change the images.
Well, this gives you the easy ability to
| | 04:06 |
do so, and it all stems from saving the
book project, and then Right Clicking or
| | 04:11 |
Ctrl+Clicking, and choosing Duplicate
Book.
| | 04:14 |
It's a little bit more of an advanced
technique.
| | 04:16 |
Still, I wanted to highlight that in our
Condensed Workflow chapter.
| | 04:20 |
So you can start to think about how you
can get the most out of all of your
| | 04:24 |
efforts in the book module.
| | 04:26 |
| | Collapse this transcript |
|
|
13. Printing Your BookExporting to PDF| 00:00 |
After you have finished your book project,
like with this project here, before you
| | 00:04 |
send it to the printer, what you want to
do is export the book to a PDF.
| | 00:10 |
In this way, you can print out a test
version of the book so that you can then
| | 00:14 |
evaluate it in order to export your book
to PDF and begin to evaluate it.
| | 00:19 |
Simply click on the project that you
finished, in this case, the concert hall
| | 00:23 |
book project, then next click on Export
book to PDF.
| | 00:27 |
When you do that, it will open up a
dialogue, and ask where you want to save this.
| | 00:31 |
Again save this to the desktop, and I'll
name this project reflect, which is the
| | 00:35 |
title of this project here, and then click
save.
| | 00:38 |
What this will do is it will go through
the process of rendering out all of these
| | 00:43 |
RAW files that I used in this project in
these particular sizes, and it will create
| | 00:47 |
all of the different pages and it will
build or render a PDF document.
| | 00:52 |
| | Collapse this transcript |
| Exporting and ordering books from Blurb| 00:00 |
The final, and perhaps one of the most
exciting steps in your book building process.
| | 00:05 |
Is to send your book to the printer, so
that you can then sell, or order a print,
| | 00:09 |
or a copy of the book yourself.
So let's take a look at how you can do
| | 00:12 |
that here.
What you want to do first, is obviously
| | 00:15 |
select the project that you're working on,
in this case Concert Hall book, and the
| | 00:19 |
next you click on the button Send book to
Blurb.
| | 00:22 |
Here I'll demonstrate how we can send this
book to Blurb in order to be able to order
| | 00:26 |
copies of this project.
Now if you aren't a member of Blurb, you
| | 00:29 |
can click on the Not A Member button, in
order to sign up.
| | 00:32 |
All you'll need is an e-mail address and a
password here.
| | 00:36 |
I've already registered, so I'll go ahead
and include my e-mail address there and
| | 00:39 |
also my password.
And then click Sign In, this'll take you
| | 00:42 |
to the next page where you can add your
book title, subtitle, and author.
| | 00:47 |
Here you can type those values out, and
then after having done that the next step
| | 00:52 |
is to simply click on the upload book
button.
| | 00:55 |
What this will do is it will begin the
overall upload process, so here I'll go
| | 00:59 |
ahead and click on that button.
We can see that it's showing me the
| | 01:03 |
progress over here as it's rendering out
all of these pages of the book project.
| | 01:07 |
And once this is complete, it will then
open up a page in blurb, which will then
| | 01:12 |
show me my book project.
Well rather than watching all of this
| | 01:16 |
progress take place, what I want to do is
fast forward until this upload is complete
| | 01:21 |
and show you the book project itself.
Once the upload is complete, it will open
| | 01:26 |
up your browser window and it will take
you to the book project.
| | 01:30 |
In this case, this is the book project
here.
| | 01:32 |
And one of the things that you can do is
that you can begin to order copies of the
| | 01:36 |
book for yourself, or you can add and
instant pdf version, which you can sell
| | 01:40 |
for a lower amount.
You can also convert the book, so it can
| | 01:43 |
be an e-book, which you can read on the
iPad.
| | 01:46 |
What I like to do is to preview the book.
If you click on the book itself, in order
| | 01:50 |
to preview it, this gives you a really
interesting perspective of the project.
| | 01:55 |
In a sense for me, at least, this is the
first time where I start to actually see
| | 01:59 |
this book as a real book.
Because here you can see that we have
| | 02:02 |
these background graphics, and what you'll
want to do at this point is just slow down.
| | 02:08 |
You know, when we look at images online,
typically we click through these
| | 02:12 |
photographs pretty fast.
Yet when we look at a book, often we slow
| | 02:16 |
down, and we take time time to flip the
pages.
| | 02:19 |
And so what you'll want to do here is let
go of your trigger finger, so to speak,
| | 02:24 |
and just click, and wait and watch, and
then click and view another page, and make
| | 02:29 |
your way through this project.
Because, you know, sometimes when you're
| | 02:32 |
looking at a book, what will happen is
you'll actually leave this right open for
| | 02:36 |
maybe ten or twenty seconds, and really
absorb it.
| | 02:40 |
The whole process of looking at a printed
photograph is very different than looking
| | 02:44 |
at a photograph when you're viewing it on
a screen.
| | 02:46 |
So again, this just gives you this preview
of how this book will appear.
| | 02:50 |
After you have evaluated the book and
looked through the various pages, you can
| | 02:55 |
go ahead and just click on this buy
button.
| | 02:57 |
This will take you through a process which
is really easy to go through in order to
| | 03:00 |
order a copy or multiple copies of your
book.
| | 03:04 |
| | Collapse this transcript |
|
|
ConclusionNext steps| 00:00 |
Congratulations on making it through this
course.
| | 00:03 |
As you may know, this course is part a
larger series where we focus in on Lightroom.
| | 00:08 |
So if you're interested in taking the next
step and digging in deeper in to how you
| | 00:13 |
can get better with Lightroom.
Well the next course we focus on how we
| | 00:16 |
can create slideshows and web galleries,
so that we can share our work with others.
| | 00:21 |
Well thanks for joining me in this course.
I hope to see you in the next one.
| | 00:25 |
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