IntroductionWelcome| 00:00 | (music playing)
| | 00:03 | Welcome! My name is Chris Orwig and I'm
excited about this course because here
| | 00:09 | we'll focus in on new features in Lightroom.
| | 00:12 | Now there are too many features to list them all,
so here, I simply want to highlight a few.
| | 00:17 | We'll look at how we can view our images
in true full screen and we'll explore
| | 00:22 | how we can work with Upright.
| | 00:24 | Upright allows us to not only level
our photographs, but it also enables us
| | 00:29 | to fix perspective issues, which sometimes
happen when working with wide angle lenses.
| | 00:35 | Next, we'll look at how we can perform
some advanced healing and retouching
| | 00:39 | using some new functionality that
we have with our retouching tools.
| | 00:42 | We'll explore how we can work with the
Radial Filter which allows us to apply
| | 00:48 | selective adjustments to our photographs
in some fascinating ways.
| | 00:51 | And one of my favorite new features
is called Smart Previews.
| | 00:56 | Smart Previews will increase your overall
workflow speed and flexibility as they
| | 01:01 | allow you to continue to work on your
images even when the hard drive, where
| | 01:05 | those images reside, is offline.
| | 01:08 | We'll also look at how we can add video to slideshows.
| | 01:11 | Now we'll be covering all of these features and more,
so without further delay, let's begin.
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| Using the exercise files| 00:00 | If you're a premium member of the
lynda.com online training library,
| | 00:04 | you have access to the exercise files.
| | 00:06 | Once you have downloaded the exercise files,
locate the folder, and here I'll
| | 00:11 | double-click on it to show you what's inside.
| | 00:13 | Inside, I've grouped our images into different subfolders.
| | 00:17 | You can open up one of those subfolders in order to
view images that we'll be working on in this course.
| | 00:22 | Now because this is a Lightroom course,
it may be a good idea to create a new
| | 00:26 | empty catalog and then to import the
entire folder into that catalog, so that
| | 00:31 | you can really focus in on what we'll be doing in this course.
| | 00:35 | Now if you don't have access
to these exercise files, no big deal.
| | 00:38 | You can always simply follow along, or of course,
you can always work on your own images.
| | 00:42 | All right, let's begin.
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1. Helpful Visual Interface ImprovementsUsing the aspect-ratio crop overlay| 00:00 | If you use Lightroom to crop your
photographs, you'll definitely appreciate the
| | 00:04 | new feature that we're going to highlight here.
| | 00:06 | And this is a feature which allows us to
crop our images to particular aspect ratios.
| | 00:12 | You know in previous versions of Lightroom,
in order to do that it was
| | 00:15 | guess-work and it was near impossible.
| | 00:18 | Now it's much easier and let me show you how.
| | 00:21 | In order to work with this new feature,
what we need to do is to activate the Crop tool.
| | 00:25 | So navigate to the Develop module and
then go ahead and click on this icon here,
| | 00:30 | which is located in the tool strip.
| | 00:31 | Now when you do that, you'll notice there is an overlay.
| | 00:34 | We have seen this overlay before.
| | 00:36 | To show or hide the overlay, press the H key.
| | 00:39 | Press it once to hide, press it again in order to bring it back.
| | 00:42 | Now you may also know another valuable shortcut,
which allows you to change the overlay.
| | 00:48 | Now this is a shortcut that you're going
to need to write down. It's the O key.
| | 00:52 | When you press the O key, it cycles
through different overlays and often we can
| | 00:57 | use these in order to crop and recompose our photographs.
| | 01:01 | So far, we've seen all of these overlays
in the previous version of Lightroom until now.
| | 01:07 | Take a look at what we have here.
| | 01:09 | Right here you can see that we have the
ability to crop to these different areas.
| | 01:13 | We have some guides.
| | 01:15 | These thin gray lines and these ratios
are showing me that if I were to change
| | 01:19 | my crop to that particular size, well I could crop
this to the ratio of 8.5 x 11 or 16 x 9 or 1 x 1.
| | 01:26 | How can we actually work with these aspect ratios
and also how can we change what we're seeing here?
| | 01:32 | When we're going to change the aspect ratios that we
have, we can navigate to our tools pull down menu.
| | 01:38 | Next, we want to go to the Crop Guide Overlay.
| | 01:41 | Here you can see I'm viewing these Aspect Ratios.
| | 01:43 | I actually want to choose different aspect ratios to display.
| | 01:47 | To do that, click on this option.
| | 01:50 | Next in this dialog, you can see that I have a few options.
| | 01:53 | What I need to choose is 8.5 x 11 and also 4 x 5.
| | 01:57 | So here I'll go ahead and click on those options
in order to choose those two and then click OK.
| | 02:02 | In this way, you can see that I have these little guides.
| | 02:05 | Next what I can do is click and drag my outer
crop area in order to line up with those gray lines.
| | 02:12 | Now again, you want them to line up
with the option that you want.
| | 02:14 | Now in this case, seeing this 4 x 5 aspect ratio
in the middle is a little bit distracting,
| | 02:19 | so I'll go to tools>Crop Overlay>Choose Aspect Ratios
and I'll turn off the 4 x 5 view. Here click OK.
| | 02:27 | Now I'm just focusing in on this 8 .5 x 11.
| | 02:32 | Sometimes you'll need to do that,
| | 02:33 | you'll need to turn off those other
options so that you can see this crop.
| | 02:36 | Now that I've moved my Crop tool
through the guides, next I'll click and drag
| | 02:40 | in order to recompose and then here,
I can double-click in order to apply that crop.
| | 02:46 | So in this way, you can see that you
can use the Crop tool in order to crop to
| | 02:49 | specific aspect ratios very easily.
| | 02:52 | Again, to reiterate how this works,
first you select the Crop tool.
| | 02:57 | Next, you cycle through the overlays
by pressing the O key and you cycle through
| | 03:01 | until you get that view,
which shows you the different aspect ratios.
| | 03:04 | Then to customize what you're viewing here,
navigate to Tools>Crop Guide Overlay
| | 03:09 | and then Choose Aspect Ratios.
| | 03:12 | Again, turn on whatever options
that will work for you in your own workflow.
| | 03:17 | Next, crop and resize using the Crop tool handles and
then press Enter or Return in order to apply the crop.
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| Viewing your work in true full screen| 00:00 | In this movie, I'm excited to show you
how you can work with a new feature in
| | 00:05 | Lightroom which allows you to finally
view your photographs at true full screen.
| | 00:10 | Let me show you how it works.
| | 00:12 | For starters, you'll notice I'm in the Library Module.
| | 00:15 | I've selected a photograph and then
I want to view this image in Full Screen
| | 00:19 | mode without any of the clutter or
distraction of the Lightroom Interface.
| | 00:23 | In order to do that, simply press the F key,
and in this way, we can really focus in on the image.
| | 00:30 | To exit Full Screen View mode, simply press the F key again.
| | 00:34 | All right, well let's take a look at another scenario.
| | 00:37 | Here I'll go ahead and click on another image in my filmstrip.
| | 00:40 | In this case, I'll press the F to go to Full Screen View mode
and this is a vertical image.
| | 00:45 | I actually want to zoom in even closer.
| | 00:47 | So what I'll do is position the cursor
over the image and then click.
| | 00:51 | In doing that, you can see
that we can zoom in really close.
| | 00:54 | We could also zoom out a little bit, so
that we could see more of the photograph.
| | 00:58 | In this way, we can really focus in
on our images and analyze them.
| | 01:02 | It's also a great way to show friends
or clients your photographs as well.
| | 01:07 | To exit this view, again, just press the F key.
| | 01:10 | The great thing about the Full Screen View mode
is that it's functional.
| | 01:14 | Here, I'll go ahead and select another photograph
and I'll zoom out.
| | 01:17 | Then next, I'll press the F key.
| | 01:20 | In this mode, what I want to do
is analyze which image I like best.
| | 01:24 | So here, I'll use my arrow keys.
| | 01:26 | I'll press the right arrow key to
view another version of this portrait.
| | 01:30 | I like this one better, so I'll give it a star rating.
| | 01:32 | In this case, I'll press the 1 key in order to add a one star.
| | 01:36 | So as you're in this Full Screen mode,
keep in mind that it is very functional.
| | 01:41 | To exit out of the mode, we'll just press the F key again.
| | 01:45 | Let's take a look at one more scenario
and I'll do that with one more photograph.
| | 01:49 | You know often, what we'll do is we'll
be working on a photograph and we may
| | 01:54 | zoom in on an image like this.
| | 01:55 | When we zoom in, we may be thinking to ourselves,
if only I could see more of the photograph.
| | 02:01 | Well to do that, again we'll just press the F key
and we get this larger view of our picture.
| | 02:07 | Here I'll press the F key to exit that and then
I'll zoom out so we can see the image in its entirety.
| | 02:13 | The great thing about this Full Screen mode is it works
in the Library module and also in the Develop module.
| | 02:19 | Here I'll navigate to the Develop module.
One of the things that you'll discover
| | 02:22 | about the Develop module as a side note
is that you now will be able to
| | 02:26 | access and work with the controls
in the Basic panel much more quickly.
| | 02:30 | What's happening here is it's giving you
a large preview and then it's rendering
| | 02:34 | a full size preview in the background
so that you can get to work more quickly.
| | 02:38 | All right, well anyway, back to Full Screen.
| | 02:41 | Here in the Develop module, I'll press
the F key just to illustrate that we can
| | 02:45 | access this Full Screen mode as well
right here in the Develop module.
| | 02:48 | All right, well before we wrap up our conversation,
I'll press the F key to exit out of this.
| | 02:54 | You may be wondering what happened to
the previous version of full screen.
| | 02:58 | Well, let's say that you want to access
the previous or the legacy version of this.
| | 03:02 | You can do so by adding a Modifier key.
| | 03:06 | If you press Shift+F, you can go through
the different full screen modes that we
| | 03:10 | had in the previous version of Lightroom
as you can see that I'm doing here.
| | 03:14 | So again, in order to review, Shift+F
allows you to access the legacy version of
| | 03:19 | full screen and then it's the F key by itself,
which allows you to access this new true full screen mode.
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| Customizing the grid and guide overlays| 00:00 | Here I want to highlight a few more visuals,
which are helpful when working on
| | 00:04 | your photographs in Lightroom and in particular,
I want to focus in on some new overlays that we'll see.
| | 00:10 | For starters, there are some new overlays,
which give us helpful information.
| | 00:14 | Currently, I'm in the Library module
and I have my Library Filter bar visible.
| | 00:18 | If I press the backslash key (\) in order to hide that,
it will remind me of the shortcut.
| | 00:23 | Press the backslash key (\) again and it will bring it out.
| | 00:26 | The same thing is true with the toolbar below;
press the T key once and it will
| | 00:30 | show you the shortcut to bring that back,
press it again and then you can re-access the toolbar.
| | 00:35 | Next, I want to focus in on the Loupe overlays.
| | 00:39 | Here I have an image.
| | 00:40 | I'll double-click that image in order to access this.
| | 00:43 | We can access these loupe overlays
in the Library or Develop module.
| | 00:48 | Let me show you how.
| | 00:49 | Here we'll navigate to the View pull down menu
and then we're going to go all
| | 00:53 | the way down to Loupe Overlay.
| | 00:54 | Notice that we have these options
in order to show a Grid or a Guide.
| | 00:59 | Here I'm going to turn on the option for Guides.
| | 01:01 | Currently, I have a guide on top of my image.
| | 01:04 | It reminded me, I can press the Cmd key on a Mac
or Ctrl key on Windows for more options.
| | 01:10 | When I do that, a little circle shows up;
| | 01:13 | here we can click and drag in order to reposition this.
| | 01:15 | Now these particular types of guides
can be especially helpful if you're
| | 01:20 | doing tethered shooting and you're shooting
products and you need to align things perfectly.
| | 01:24 | In order to hide the guides, simply navigate
to the View pull down menu, then go
| | 01:29 | to that Loupe Overlay and click on this option again.
| | 01:33 | All right. Let's take a look at how we
can find these in the Develop module.
| | 01:36 | Here I'll click on the module picker
for the Develop module, simply the word
| | 01:40 | Develop up top and then navigate
to the View menu once again.
| | 01:45 | Here we're also looking for Loupe Overlay.
| | 01:49 | This time, rather than showing you Guides,
I'll show you the Grid.
| | 01:52 | Here I'll click on this option and we'll see this grid overlay.
| | 01:57 | Once again press Cmd on a Mac, Ctrl on Windows,
and you'll notice you have some options.
| | 02:02 | Here is where we can change that Grid Size
and also the overall Grid Opacity.
| | 02:07 | Sometimes, it's helpful to have a grid on top
of an image, which is an architectural photograph.
| | 02:13 | In this way, you can see if all of your lines are straight.
| | 02:16 | In other situations, this is helpful in product photography.
| | 02:20 | Either way, you can access these in the
Develop module or in the Library module.
| | 02:25 | Again, to turn this off, we'll go to View
and then here we'll choose Loupe Overlay
| | 02:29 | and we'll simply click on the option in order to
turn the visibility of that Grid Overlay off.
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2. Fixing Perspective with UprightAutomatically leveling your photographs with Upright| 00:00 | In the next few movies we're going to take a look
at an exciting new feature
| | 00:03 | that we'll encounter in Lightroom's Develop module,
and this new feature is called Upright.
| | 00:09 | Upright allows us to quickly make perspective
or leveling corrections to our photographs.
| | 00:14 | As you'll discover, this feature
is really helpful in a number of different
| | 00:18 | situations working with different types of photographs.
| | 00:21 | Here in this first movie, we're going to
take a look at how we can use
| | 00:25 | Upright in order to level out two different
photographs. In order to really
| | 00:29 | focus in on the photographs, what I'm
going to do is close the panels on the
| | 00:33 | left-hand side by clicking on this triangle icon here.
| | 00:35 | All right, well now we can see this image better.
| | 00:38 | This is a portrait that I captured of Russel Brown,
the Senior Creative Director at Adobe.
| | 00:43 | And if you look at it closely, you'll notice that it's tilted.
| | 00:46 | I want to correct that using Upright.
| | 00:49 | In order to do that, we'll navigate to our
Lens Corrections panel and we'll open it up.
| | 00:54 | Now the first step that you want to
take here is to navigate to the Basic tab.
| | 00:58 | In the Basic tab, you want to click on
the option to Enable Profile Corrections.
| | 01:03 | Now this is a really important first step.
It's important because by doing this,
| | 01:08 | it will ensure that the results later,
when we're using Upright, will be that much better.
| | 01:13 | Now what is Enable Profile Corrections?
| | 01:16 | If we click on the Profile tab, we'll see.
| | 01:19 | What this allows us to do is to make certain corrections
to our photograph based on the metadata in the file.
| | 01:25 | In this case, this file had some metadata,
which said it was captured with a
| | 01:28 | Canon camera and a particular lens.
| | 01:31 | Lightroom will then take that information and
make any needed corrections to the photograph.
| | 01:36 | Now if you have an image and it doesn't have
this information in it, in other words,
| | 01:40 | if the Enable Profile Corrections is grayed out, no big deal.
| | 01:44 | Just skip that step and then
make your way to the second step.
| | 01:47 | That being said, if you're able to do that,
you almost always want to check on
| | 01:51 | this option first to Enable Profile Corrections.
| | 01:55 | Next, when working with Upright, it's almost
always a good idea to constrain the crop.
| | 02:00 | That way, you'll just see the image
rather than distorted edges.
| | 02:04 | So again, you almost always want to turn that on,
although it isn't essential when it comes to leveling.
| | 02:09 | Yet still, it's a good idea to turn on that check box.
| | 02:12 | Next, to level this photograph out, all that
we need to do is to click on the Level button.
| | 02:17 | Now you can see that Lightroom did a phenomenal job.
| | 02:21 | If we click on the toggle switch for Lens Corrections,
we can view the before and after.
| | 02:25 | Here it is. Here's before, now here's after.
| | 02:29 | All right, well let's take a look at another situation.
| | 02:32 | In this case, I'm going to take a look at this picture here.
| | 02:35 | It's an environmental portrait of Jack O'Neill,
the man who invented the wet suit.
| | 02:38 | There he is on his porch in his house, which
is literally hanging over the Pacific Ocean.
| | 02:43 | Yet one of the things that I noticed
is that the horizon line isn't level.
| | 02:48 | This particular Upright feature of leveling
is going to be most helpful in those
| | 02:52 | landscape photographs where your horizon line is off.
| | 02:56 | What we can do here is simply go through the steps,
which I highlighted with that previous photograph.
| | 03:01 | Again, first step is to Enable Profile Corrections.
| | 03:05 | The next step is to turn on Constrain Crop
and then last but not least, all that
| | 03:10 | we need to do is to click on this button here,
which takes advantage of this new
| | 03:14 | feature which is called Upright.
| | 03:16 | It allows us to level our photographs off.
| | 03:19 | I always like to look at the before and after views,
so to do that, we'll click on the flip switch.
| | 03:24 | There is before and now here is after.
| | 03:27 | In this case, it's so subtle yet nonetheless,
very significant improvement to the photograph.
| | 03:32 | All right, now that we know how to work
with the leveling feature in upright,
| | 03:36 | let's go ahead and dig a little bit deeper
because we are just barely scratching
| | 03:40 | the surface when it comes to Upright.
| | 03:41 | Let's go ahead and learn some more about
how we can use Upright in the next movie.
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| Fixing perspective with Upright| 00:00 | All right, well now that we know a little
bit about Upright, let's dig a bit deeper.
| | 00:04 | Let's dig in to the other Upright controls that we have,
which will help us to correct perspective.
| | 00:10 | In particular, we'll be working on two
different images. We'll start off with
| | 00:14 | this photograph here that I captured
of this beautiful concert hall.
| | 00:18 | In this case, I was using a wide angle lens.
| | 00:21 | As a result, there is some distortion.
| | 00:24 | You'll see the distortion on the sides of the
photograph as these columns are leaning out.
| | 00:28 | Let's see if we can make some
corrections to the overall distortion of
| | 00:32 | this image and also add a few of
our own manual adjustments as well.
| | 00:36 | In order to make corrections using Upright,
we'll navigate to the Lens Corrections panel.
| | 00:42 | Next, we'll start off in Basic.
| | 00:44 | In Basic, if we have the ability to turn on
Enable Profile Corrections, we want
| | 00:49 | to do that, as I mentioned previously.
| | 00:51 | Next after having done that, we can flip on the
toggle switch to see the before and after view.
| | 00:57 | In this case, the Profile Corrections
is really helping this image out, yet it
| | 01:01 | isn't helping with the overall
distortion that I am seeing here.
| | 01:05 | Next, we'll turn on the option to
Constrain Crop and then we'll look at
| | 01:09 | some of our upright controls.
| | 01:12 | Now there are four controls here.
We have Auto, Level, Vertical, and Full.
| | 01:16 | But what do all these mean and how do they work?
| | 01:20 | What Auto will do is it will automatically
make corrections to our picture.
| | 01:24 | It will correct any distortions due to
the overall way that the image was captured.
| | 01:29 | In this case, Auto does a phenomenal job.
| | 01:31 | If you click on the toggle switch here
to see the before and after,
| | 01:34 | here's before and then now here is after.
| | 01:38 | The image just looks much better.
| | 01:40 | Let's turn Auto off so we can
talk about level, vertical, and full.
| | 01:44 | What level does, as we've already seen,
is it allows us to level our image out.
| | 01:49 | Vertical, it allows us to work on
vertical perspective, so as I click on this,
| | 01:53 | one of the things that you're going to
see is that it really corrects these columns.
| | 01:58 | This option will not only level
the image out, but it also will help to
| | 02:02 | correct the vertical perspective
that you have in your photograph.
| | 02:04 | All right, well what about Full?
| | 02:06 | What Full does is it allows us to
correct the level in horizontal perspective,
| | 02:10 | but it also makes some slight 3D corrections.
| | 02:13 | We'll talk more about this one in
the next movie, but for now, I'll click
| | 02:16 | it here with this image, because you may be thinking,
well why not use Full compared to Auto?
| | 02:22 | Here Full does a pretty good job,
but when we compare this Auto,
| | 02:26 | I think Auto looks better.
| | 02:29 | With certain images as we'll see in the
next movie, Full will work better,
| | 02:33 | yet in most situations, what I found
is that Auto works extremely well.
| | 02:37 | All right, well the image looks a ton better,
yet I want to apply a few more of my
| | 02:43 | own adjustments to this.
| | 02:44 | So after having used Upright,
I'm going to navigate to the Manual tab.
| | 02:48 | Underneath manual, I've decided I want
to remove a bit more of the distortion.
| | 02:52 | Here you can see how you can change the Distortion value.
| | 02:55 | In this case, I'm just going to remove a little bit
of that distortion. Next, I'll work on Aspect.
| | 03:00 | Here with Aspect, we can either stretch the image
out horizontally or we can stretch it out vertically.
| | 03:06 | In this case, I'm just going to add
a little bit of height to the picture.
| | 03:10 | As you do this, you may want to turn on Constrain Crop.
| | 03:13 | By doing that, if ever you're seeing white edges
like this here, with Constrain Crop,
| | 03:17 | It will crop the image so that
you're unable to see that edge,
| | 03:21 | so that you're just looking at pixels.
| | 03:23 | Again, here with this image though,
I just want a slight adjustment.
| | 03:26 | Next, in regards to the edges or the corners,
the vignette there, what I'm going
| | 03:30 | to do is I'm going to brighten up those
corners and I'll do so by clicking on my
| | 03:35 | Amount slider underneath Lens Vignetting.
| | 03:37 | Why have I highlighted these extra controls here?
| | 03:41 | I've highlighted these because oftentimes
we can achieve the best result
| | 03:45 | by starting off in the Basic tab,
by applying Upright Corrections and then
| | 03:51 | by going to Manual to really finish things off.
| | 03:54 | The other reason why I wanted to
highlight that is, often once we have made
| | 03:58 | adjustments, we'll need to go back to
the Basic tab and click on Reanalyze.
| | 04:03 | We'll need to click on Reanalyze because
we've made some corrections to our
| | 04:06 | image in the Manual tab, therefore Photoshop
needs to recalculate how it can
| | 04:11 | best correct the perspective in this image.
| | 04:14 | In this particular case, that reanalyze step,
| | 04:17 | well it made all the difference in the world
and the image now looks really strong.
| | 04:22 | If we click on our toggle switch, here we can
see there's a before and now here is the after.
| | 04:28 | All right, well let's take a look at one more photograph
so that we can really see how all of these settings work.
| | 04:33 | In this case, I have a different type of picture.
| | 04:36 | This is a portrait of a really good friend, Eric.
| | 04:38 | He's a phenomenal artist
and here he is standing in his studio.
| | 04:43 | If you look at the image, you'll notice
that the overall perspective isn't very good.
| | 04:49 | So in order to correct an image like this, again,
we want to turn on Enable Profile Corrections.
| | 04:54 | Next, turn on Constrain Crop and then
one of the things that you want to do first,
| | 04:59 | now that you understand Upright
is typically to go straight for Auto.
| | 05:03 | If Auto doesn't work, you can try out
some of those other options.
| | 05:07 | In this case, I think Auto looks really good and
you know what, in regards to the Lens Corrections,
| | 05:11 | I think that's a wrap for this image.
It looks great.
| | 05:15 | Here we'll click on that toggle switch so you can see
there is the before and now here is the after.
| | 05:21 | I wanted to include this second image
just to highlight that you can use
| | 05:25 | Upright in a number of different situations.
| | 05:28 | It's helpful with architectural photography,
portraits, landscapes, you name it,
| | 05:32 | Upright can help out as you're starting to see here.
| | 05:35 | All right, we have more ground to cover
when it comes to Upright.
| | 05:38 | Let's continue to work with this new tool
and we'll do that in the next movie.
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| Achieving great results in difficult situations using Upright| 00:00 | Now that we're starting to develop a good
working understanding of how we can use Upright,
| | 00:04 | what I want to do here is take a look at how
we can use Upright in a few difficult situations.
| | 00:11 | I think by doing this, it will give you
some insight into how you can use
| | 00:15 | Upright in difficult or in easy situations.
| | 00:19 | We'll start off with this photograph here.
| | 00:21 | You know in this picture, I set a number
of photography books up on a critique rack
| | 00:25 | in a classroom and I set them there in order
to provide some inspiration for some students.
| | 00:31 | Yet, I captured this image at an odd angle, therefore
there's a lot of distortion and everything is just off.
| | 00:38 | Let's take a look at how we can correct the perspective
and let's do that using Upright.
| | 00:44 | Here we'll navigate to the Lens Corrections panel.
| | 00:47 | Next, we'll take our first step, which is to Enable Profile
Corrections, now that removed a little bit of distortion there.
| | 00:53 | Next, we want to constrain the crop and then
we want to choose the appropriate option.
| | 00:59 | Previously, I've mentioned that typically Auto
works well, so here I'll go ahead and click on Auto.
| | 01:05 | Yet in doing that, it didn't do very much for me.
| | 01:09 | If we click on our toggle switch here, you
can see there's before and then here's after.
| | 01:13 | It didn't really correct all of these lines,
which are sort of off in this image.
| | 01:17 | What I need to do is to take things even further.
| | 01:21 | One way that we can do that is by using Full
and what Full allows us to do is
| | 01:26 | to not only correct perspective, but it also applies
a full 3D transformation of the image.
| | 01:31 | Let me show you what I mean.
| | 01:33 | Here in this case when I click Full,
all of a sudden it corrected everything.
| | 01:38 | If I turn Constrain Crop back on, what we'll see
is that it brought this in just right to this area.
| | 01:43 | Now if the crop ever isn't exactly what
you need, like in this image, it cropped
| | 01:48 | off too much of the left-hand side of
the photograph, what you can do is press
| | 01:52 | the R key, which is the shortcut key for the Crop tool.
| | 01:56 | Then you can re-crop the image.
| | 01:58 | In this way, what I want to do is just
bring down this corner point and then
| | 02:02 | I'll click and drag this over so that
I can see more of that bookshelf.
| | 02:05 | In other words, I'm re-centering the area
that I'm cropping or I should say
| | 02:10 | I'm re-centering the photograph
so I can see more of the book case.
| | 02:13 | Next, press Enter or Return to apply that.
| | 02:15 | The reason why I wanted to highlight that
was because as it made this full adjustment,
| | 02:20 | it really corrected the image in phenomenal ways.
| | 02:24 | Take a look at the before and after.
| | 02:26 | Here I'll press the shortcut key to view
the before and after, it's the Backslash key (\).
| | 02:30 | Here is before and then now here is after.
| | 02:34 | In certain situations where you really need
to make a dramatic perspective change
| | 02:38 | sometimes using the Upright option of Full
can really help out.
| | 02:43 | In other situations perhaps where the
corrections are maybe a bit more subtle
| | 02:47 | or typical, well in those cases,
I found that Auto will work best.
| | 02:51 | All right, well let's take a look at another image.
| | 02:53 | I'll go ahead and click on this photograph here.
| | 02:56 | This is a picture that I captured
of one of my neighbors homes and this
| | 03:00 | particular neighbor really likes to decorate for the holidays.
| | 03:03 | I captured this image with a fisheye lens
so there is a lot of distortion.
| | 03:08 | Let's say that a client has seen this image
and they like it, but they want less distortion.
| | 03:14 | They want it to be cropped in and they just
want some of that distortion to be removed.
| | 03:19 | We open the image up in Lightroom,
we jump to Lens Corrections and we
| | 03:23 | get excited about correcting the distortion
and in order to do that, we click on Auto.
| | 03:28 | Yet when we click on Auto, all of a sudden we realize,
gosh, the image actually looks worse.
| | 03:35 | If we look at the before and after,
here's before and then now here's after.
| | 03:39 | I think well, this is a difficult image,
why don't we use Full.
| | 03:42 | So we click on Full.
| | 03:43 | That didn't do very much. Why is it?
| | 03:46 | Those two options didn't work because
we forgot that important first step.
| | 03:52 | Remember the first step when working with Upright?
| | 03:55 | It's to click on this option here to Enable Profile Corrections.
| | 03:59 | What you what to do is click on that option
and then I'll go ahead and click off
| | 04:03 | so this is just back to normal and you can see that
the profile corrections, they helped out quite a bit.
| | 04:09 | Next, what I need to do is simply click on Auto.
| | 04:13 | In doing that, Lightroom has done
a decent job at correcting this, but really,
| | 04:16 | I need to allow Lightroom to reanalyze
the photograph because I have made
| | 04:21 | too many adjustments in a row.
| | 04:23 | So here I'll click on Reanalyze and what that will do is
it will really finish this image off.
| | 04:28 | Now this is giving me the correction that I needed.
| | 04:31 | And this correction, it's pretty phenomenal.
| | 04:34 | Here if we look at the before and after;
here's before and then now here is after.
| | 04:39 | So the whole point of showing you this image
is that even in these exaggerated situations
| | 04:45 | where I have fisheye distortion, we can
make some powerful Upright corrections,
| | 04:50 | yet we need to make sure that we take that initial step,
| | 04:55 | and then try out an option and then if needed, click on
that Reanalyze button in order to finish things off.
| | 05:00 | All right, before we wrap up our conversation
about Upright, I want to click on
| | 05:05 | one more image and talk about how
we can use it in a situation like this.
| | 05:10 | We have this photograph that I captured
early in the morning of a local fisherman.
| | 05:14 | In this case, I have Enable Profile Corrections turned on.
| | 05:18 | What I'm going to do is click Auto.
| | 05:21 | Here you can see that Auto works extremely well.
| | 05:24 | All of a sudden all of my lines are straight.
| | 05:27 | I like how the pier is relatively straight here,
the boat, all of these details look good.
| | 05:31 | Here is our before and then now here is our after.
| | 05:35 | With an image like this, you might
be tempted to think, well I'm going to
| | 05:40 | use Full because this is a complicated photograph.
| | 05:43 | Yet, if we click on Full with this photograph,
all of a sudden we see that
| | 05:48 | it did indeed make some corrections; in
this case, it applied some 3D corrections,
| | 05:52 | yet I don't think they look better.
| | 05:55 | Here's the difference, here's Auto and then here's Full.
| | 05:58 | So as you can here with this image,
really Auto, I think, looks better.
| | 06:03 | I wanted to include this image in order
to illustrate the point that as
| | 06:07 | you're working with Upright,
there isn't going to be one solution that
| | 06:11 | works in all places for all photographs.
| | 06:14 | Rather, it's helpful to have a good
working understanding of all of these
| | 06:18 | different controls, so that you can determine
how to use these controls in order
| | 06:22 | to achieve the best results.
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|
|
3. Advanced Healing and RetouchingApplying more flexible and precise retouching| 00:00 | In the next couple of movies,
we're going to take a look at some of the new
| | 00:04 | features that we'll encounter when using
the Spot Healing Brush inside of the Develop module.
| | 00:08 | In particular, in this movie, we're
going to focus in on how we can use this
| | 00:12 | new view of our photographs, which
allows us to visualize spots so that we can
| | 00:17 | remove or reduce small blemishes more quickly.
| | 00:19 | All right, well we are going to work
with two different images.
| | 00:23 | We'll start off with this beauty photograph here.
| | 00:25 | In order to have more screen real estate
dedicated to the image, I'm going
| | 00:30 | to click on this icon here in order
to collapse the panels on the left.
| | 00:33 | Next, what I want to do is select the Spot Healing tool.
| | 00:37 | To do that, you can press the Q key or you
can click on the icon here in the tool strip.
| | 00:42 | This will then open up the tool Options.
| | 00:44 | Now first what we want to do is choose the appropriate
method of retouching, either cloning or healing.
| | 00:50 | Cloning will give you more defined edges,
more distinct content.
| | 00:53 | Healing blends things together better,
so the picture like this healing will work best.
| | 00:58 | Next in the toolbar below,
you'll notice we have a new option.
| | 01:02 | If your toolbar isn't visible, press the T key
and that will either show or hide that particular bar.
| | 01:09 | We need to have this visible so that we
can turn on the option to visualize spots.
| | 01:13 | At first glance, this isn't giving us much information.
| | 01:16 | We have this black and white
interesting view of our photograph.
| | 01:20 | What is this?
| | 01:21 | This is simply a preview and if you drag
this slider to the right, what it
| | 01:26 | will do is it will show you different amounts of variation.
| | 01:29 | If we drag too far, we're going to see all
of the texture and detail in the photograph.
| | 01:34 | Yet, what we can do is we can use this
in order to highlight or find those small
| | 01:38 | little areas that we might want to retouch.
| | 01:40 | In this case, it's showing me some
freckles or small skin variations.
| | 01:44 | Because this is a beauty photograph,
I want it to be pristine, so I want to
| | 01:48 | retouch those out of the photograph.
| | 01:50 | To do that, I'll press the Left Bracket key
| | 01:55 | to decrease my brush size
or you can always use this slider here.
| | 01:56 | Next what you want to do is simply click on
those little spots, and again,
| | 02:00 | what this will do is just help you to see those,
because sometimes in certain situations
| | 02:04 | you may not be able to notice those little
variations or those little issues on a photograph.
| | 02:09 | All right, if ever you want to go back
to the ordinary view of your picture,
| | 02:13 | you can always just click on this
checkbox and it will take it back to this
| | 02:18 | ordinary view, and here we can
continue to work on the image.
| | 02:21 | Now currently, the overlays on top
of those areas is turned off.
| | 02:25 | You can always change that.
| | 02:26 | In this case, I'll go to Auto, so that we can see
all of those little areas that we worked on in this picture.
| | 02:32 | Now another way that you can quickly
access that view is by way of a shortcut.
| | 02:37 | So in order to highlight that shortcut
and also show you another way that
| | 02:41 | you can work with this view, let's take a
look at another photograph and another scenario.
| | 02:46 | I'm going to click on this picture
that I captured of this concert hall.
| | 02:50 | It's a beautiful building, yet one of
the things that happened was that I had
| | 02:54 | some dust on my lens and if ever you
have dust on your lens or your sensor,
| | 02:58 | it shows up in your photographs as these dull spots.
| | 03:02 | Now it might be that you can't see those spots.
| | 03:04 | Sometimes they're difficult to identify
and in situations like this,
| | 03:08 | whatwe can do is we can select this tool
by pressing the Q key or by clicking on the
| | 03:13 | icon in order to activate the Spot Healing Brush.
| | 03:16 | Next, we can position our cursor over
the image and then just press the A key.
| | 03:21 | That's the shortcut to turn on and off Visualized Spots.
| | 03:25 | Now that I have done that, I can dial up
the slider in order to show me, oh my gosh!
| | 03:30 | Look at all of these little problems
that I have in my photograph.
| | 03:34 | I wouldn't have noticed those had I been zoomed out.
| | 03:38 | Here this particular visualization
is showing me these problems.
| | 03:41 | What I can do is just click through my image
with the appropriate brush size
| | 03:45 | in order to start to deal with these small areas,
these small blemishes that I have in my photograph.
| | 03:50 | As you can see here with this technique,
this particular preview is helpful
| | 03:54 | in a number of different scenarios.
| | 03:56 | Again, the Spot Healing Brush can be helpful
in so many different ways.
| | 04:00 | One of the reasons why is because it
allows you to retouch really quickly.
| | 04:05 | You can use it to retouch and remove
blemishes or just to slightly soften them.
| | 04:10 | All right, to go back to that regular view,
I'll press the A key and that
| | 04:14 | will bring this back to this ordinary view.
| | 04:17 | Here in this case, you can see that it helped me
to work on a number of areas in my photograph.
| | 04:22 | All right, we have more ground to
cover when it comes to the new features
| | 04:26 | that we'll find in the Spot Removal tool.
| | 04:29 | Let's continue to take a look at how we can
use this tool and let's do that in the next movie.
| | Collapse this transcript |
| Removing large distractions| 00:00 | Here we're going to continue to take
a look at how we can use some of the
| | 00:03 | improvements that we'll encounter
in the Spot Removal tool.
| | 00:07 | This time we will be working on another photograph
and this is a picture that I captured at a local lake.
| | 00:12 | Let's go ahead and activate our Spot Removal Brush.
| | 00:15 | We'll do so by pressing the Q key
or by clicking on this icon here in the tool strip.
| | 00:21 | Next, what I want to do is turn on
the option to visualize the spots.
| | 00:25 | Do you remember the shortcut for that?
It's the A key.
| | 00:28 | You can either press A
or you can click on this checkbox here.
| | 00:32 | Now as we've seen before, we can use
this slider to try to identify areas in our
| | 00:36 | photograph that we might need to retouch or remove.
| | 00:39 | In this case, I do have some spots in the sky,
so I'll go ahead and click around
| | 00:43 | and I'll click to remove those.
| | 00:45 | As I do this, you may notice
that what Lightroom is doing is it's
| | 00:48 | automatically sampling a good source area.
| | 00:52 | Now there is this interesting new feature
in this tool which allows you to
| | 00:55 | change that source area. In other words,
if it automatically selected an area and
| | 01:00 | you don't like it, well you can press
the forward slash key (/) then it will
| | 01:04 | select a new area as you can see that it's doing here.
| | 01:07 | Again, it's going to seek to try to select
a different area in order to make a better correction.
| | 01:12 | I'll press the A key to go back to
that ordinary view of the image.
| | 01:16 | You know you can do this in either view.
| | 01:18 | In this case, you can see that I have the selected area
here and here is the area that I'm retouching.
| | 01:23 | Again, when I press that forward slash button (/),
it changes that option.
| | 01:27 | This may not seem like a big deal,
but this can really help especially in tricky situations.
| | 01:33 | Let me show you what I mean.
| | 01:35 | I'm going to zoom in on the photograph
a little bit and one of the
| | 01:39 | things that I notice about the dock
is that there are these cleats and let's say
| | 01:43 | that I need to remove one of those cleats.
| | 01:45 | There are a couple of different ways that I could try this.
| | 01:49 | One technique that I could use is to change
my brush size by pressing the right bracket key
| | 01:53 | to make it a little bit bigger and then I could just click.
| | 01:56 | In doing that, Lightroom would attempt
to try to find a good area to try
| | 02:00 | to correct that, but it just didn't work.
| | 02:02 | Another way though that I could finesse
or fine-tune this is by pressing that forward slash key (/).
| | 02:07 | Here I'll press it once and then twice
and then three times and eventually it
| | 02:11 | lined everything up so that that is just perfect.
| | 02:14 | In other words, this can help to sort of
analyze things in order to find better
| | 02:19 | source content when retouching something.
| | 02:21 | All right well let me zoom out a little bit
and illustrate this perhaps another way.
| | 02:25 | You know another way that we can use
this tool is we can hover over something
| | 02:29 | that we want to remove, then hold down
Command on a Mac (Cmd + drag) or Control
| | 02:33 | on Windows (Ctrl + drag) and click and drag.
| | 02:35 | What that will do is it will show you a preview
of the different areas that you're selecting.
| | 02:40 | In this case, you can see how everything
that I select is trying to cover up that area.
| | 02:45 | Let's say that I accidentally choose something
which isn't very good.
| | 02:48 | That obviously did not do that good of a job.
| | 02:52 | Here I'll zoom in closer so you can see the results.
| | 02:54 | Again, my selection was bad.
| | 02:56 | If ever you make a selection which isn't good,
ask Lightroom for help.
| | 03:02 | You can do that by pressing the forward slash key (/).
| | 03:05 | That's a key, which leans to the right.
Now in doing this, you can see
| | 03:08 | how Lightroom is doing a better job of selecting
an area which lines up more effectively.
| | 03:14 | Now if ever what you've select, doesn't
quite work, well you can always change
| | 03:18 | the size of this or move this around
manually to help Lightroom out as well.
| | 03:21 | In this way, you can come up with the
best results in order to remove or reduce
| | 03:26 | whatever blemish it is that you're working on.
| | 03:28 | All right, I have even more new features
to highlight with this tool,
| | 03:32 | so let's go ahead and keep this image open
and let's talk about a few more new features
| | 03:36 | and we'll do that in the next movie.
| | Collapse this transcript |
| Making linear and free-form corrections| 00:00 | Now that we've covered some of the
basic new features that we'll encounter with
| | 00:04 | the Spot Removal tool, here is
where we can dig a bit deeper and here
| | 00:08 | is where things get interesting, because in this movie
I'm going to show you my
| | 00:13 | favorite new features that we'll encounter with this tool.
| | 00:16 | You know in certain situations we
need to remove small little blemishes.
| | 00:20 | In other situations we have a
larger area that we need to work on,
| | 00:24 | perhaps we have this area right here.
| | 00:26 | We have this exhaust line from an airplane.
| | 00:28 | It's a straight line and I want to remove it.
| | 00:31 | And often we'll have straight lines like
power lines right across the background
| | 00:35 | of our photographs and they're difficult
to remove until now. And here is how.
| | 00:40 | What we can do is use this Spot Removal
tool in combination with the shortcut in
| | 00:45 | order to make linear adjustments.
| | 00:47 | Let me show you what I mean.
| | 00:49 | First we want to select the tool.
| | 00:51 | Next what you need to do is to position
your cursor over the area that you want
| | 00:55 | to work on, in this case, this exhaust line.
| | 00:57 | Next, change your brush size.
| | 00:58 | You can do so by pressing the left bracket key
| | 01:01 | to make it smaller, the right bracket key to make it bigger.
| | 01:03 | Typically, you want your brush to be
just a bit bigger than the area that you're
| | 01:08 | working on, then you click.
| | 01:09 | First it's just a single click, then reposition your cursor,
hold down the Shift key and click again.
| | 01:15 | What Lightroom will do is it will connect the dots.
| | 01:19 | As you can see here, it's completely
removed that line from the image.
| | 01:24 | Inn this way we can make linear
adjustments to our photographs.
| | 01:27 | What about those situations where
something isn't a perfect straight line?
| | 01:31 | In situations like that, say with
this cloud here, one of the things that
| | 01:36 | you could do is change your brush size
and then just click and paint over that.
| | 01:40 | In doing that, you can create a freeform shape
and here we can also move our
| | 01:45 | source area in order to sample other areas.
| | 01:48 | In this way, we can quickly move
through our photograph and retouch
| | 01:51 | different things by simply painting
over the image. This really is
| | 01:55 | revolutionary, because it will allow
us to retouch our pictures in some
| | 01:59 | pretty fascinating ways.
| | 02:01 | Because this is so powerful,
let's take a look at a few more examples
| | 02:05 | so we can really see how we can
start to use these features with this tool.
| | 02:10 | Here I'm going to click on another photograph.
| | 02:12 | This is a portrait and one of things
that I notice is that there is a
| | 02:16 | distracting element, a pole in the background.
| | 02:19 | So here I'll make my brush a little bit bigger
by pressing the right bracket key.
| | 02:22 | Then I'll click once, hold down
the Shift key and click again.
| | 02:26 | This will then connect the dots, it
will create that straight line for me and
| | 02:30 | here I can change the source area so I
can sample another area to clean up the
| | 02:34 | distraction in the wall if I need to.
| | 02:36 | What about the shadow on the floor?
| | 02:38 | Here we'll just click and paint over that
and then again we can choose the
| | 02:42 | areas so that the lines on the
wood floor line up just right.
| | 02:45 | In this way, you can start to see how you can
work on different parts of your photographs.
| | 02:49 | Let's put together all of these
different pieces and to do that
| | 02:54 | we'll make our way to one more image
and here I'm going to zoom out so we can
| | 02:58 | see the image in its entirety.
| | 03:00 | One of the things that I noticed
about this fashion studio portrait is that
| | 03:04 | the subject looks fine but the
background is a little bit beat up.
| | 03:07 | So let's select the Spot Removal tool,
you can do so by clicking on it or right pressing the Q key.
| | 03:14 | Next let's turn on Visualize Spots by pressing
the A key or by clicking on this icon.
| | 03:19 | Here we see we have some problems in our background.
| | 03:22 | We remember how we can fix those,
click and drag or just simply click once.
| | 03:27 | If you click once and as you're
working on your photograph, if you notice
| | 03:31 | that sample area isn't good, do you remember
the shortcut to tell Lightroom to select a new area?
| | 03:36 | Well that's the forward slash key (/).
| | 03:38 | Here you can see it's selecting a new area
for me in order to help me to retouch
| | 03:43 | that part of the image.
| | 03:44 | If these Visualize Spots view is
too distracting as usually it is,
| | 03:48 | just press the A key in order to go
back to the regular view of the image.
| | 03:52 | In this way we can just start to
click around our photograph and quickly
| | 03:55 | make some improvements.
| | 03:56 | But what about a linear area
like the top of the image?
| | 04:00 | Here we'll make our brush a little bit bigger,
click once, hold down the
| | 04:04 | Shift key and click again and viola!
| | 04:06 | We cleaned up the top of the photograph.
| | 04:08 | What about the side over here?
| | 04:10 | In this case, we can just click
and paint over the side portion of the
| | 04:14 | photograph, in this way we can
retouch that part of the image.
| | 04:17 | With this example you can really start
to see how some of these new
| | 04:21 | features can really help you out.
| | 04:23 | Last but not least, what I want to do is hide all
of the overlays because they are a bit distracting.
| | 04:28 | To do that, press the H key.
| | 04:31 | Next, I want to view the before and
after, one way to do that is to press your
| | 04:35 | back slash (\) key that will show you the
before, press again that will show you the after.
| | 04:40 | In doing that, I noticed that this edge
right here isn't very good. Well, no big deal.
| | 04:45 | We can always go ahead and make another adjustment.
| | 04:47 | In this case what I'm going to do is
just position my cursor over that little
| | 04:51 | line there and paint across that again.
| | 04:53 | Again, you can retouch on top of areas
that you've already retouched
| | 04:58 | in order to clean things up further.
| | Collapse this transcript |
| Spot Healing tips and shortcuts| 00:00 | The new Spot Removal tool features that
we have encountered in this chapter have
| | 00:04 | really shown us that this is a tool
that we're going to integrate more
| | 00:07 | frequently into our workflow.
| | 00:08 | It's something that we're going to use more often.
| | 00:11 | Therefore, in this last movie, what I
want to do is highlight a few shortcuts
| | 00:15 | and tips for working with this tool.
| | 00:17 | Some of these will be review while others will be new.
| | 00:20 | For starters, after we have applied some adjustments,
let's take a look at our image.
| | 00:25 | Here in this image you notice that we
have different graphics or overlay icons.
| | 00:29 | For all of the circle spots, we have a
small light circle, for all of the brush
| | 00:34 | areas we have a darker circle.
| | 00:36 | How can we remove one of those areas?
| | 00:38 | Let's say that we retouched something and we
decided that we want to delete what we've done.
| | 00:43 | To do that, you can always click on one of those areas
to activate it, then press Delete or Backspace.
| | 00:50 | Another method that you can use is
to hold down the Option key on a Mac or Alt
| | 00:54 | key on Windows then hover over your image.
| | 00:56 | You notice that that will give you the scissors icon.
| | 00:59 | Then you can position the cursor
over one of those icons and then click.
| | 01:04 | So in other words, Opt+click or Alt+click
will allow you to remove those points.
| | 01:08 | Another way to do this is to hold down
Option on a Mac, Alt on Windows, and then click and drag.
| | 01:14 | This will allow you to create a marquee selection.
| | 01:16 | Whatever areas you have selected underneath
that marquee will then be deleted.
| | 01:21 | Let's say that you want to delete everything,
you want to take it all back
| | 01:26 | to its original settings. In other
words remove all of these adjustments you've
| | 01:29 | made with this tool.
| | 01:30 | Well, you can do that by simply clicking
on the Reset button and that will then
| | 01:35 | take away all of those blemishes.
| | 01:37 | Next, what I want to do is zoom
in on this photograph and here I'm going
| | 01:41 | to zoom in on this photograph and talk a little
about how we can remove this small blemish here.
| | 01:46 | Now we've already seen that one of the
methods that we can use is to simply click.
| | 01:50 | Now when we click, Lightroom automatically selects
our source area in order to remove that small blemish.
| | 01:55 | Let's delete that.
| | 01:57 | Let's say that what we want to do is we
want to define that source area ourselves.
| | 02:02 | To do that, hold down the Cmd key on a Mac,
Ctrl key on Windows and then drag.
| | 02:07 | In this way, you can see how I can select my own
source area in order to bring that over to this area here.
| | 02:14 | Now another way that we can do this is
to change the way that this spot scales.
| | 02:19 | In other words, if you're on a Mac,
press Cmd+Option, if you're on Windows,
| | 02:23 | press Ctrl+Alt, then click and drag.
| | 02:26 | In doing that, you can see that
you can create a spot area, a circle spot,
| | 02:30 | that scales from the center, let go and then
it will automatically select that source area.
| | 02:36 | Another method that you can use is
to combine another shortcut key;
| | 02:41 | press Cmd+Shift on a Mac, Ctrl+Shift on Windows
and then click and drag and it
| | 02:45 | will click and drag away from that
little anchor point, and then again,
| | 02:49 | auto select the area that it wants to work on.
| | 02:51 | Once you have one of these overlays,
often they can be a bit distracting.
| | 02:56 | Do you remember the shortcut to hide those?
| | 02:59 | Press the H key, that will then show or hide those overlays.
| | 03:03 | We're almost to the end here, just a couple
of more shortcuts to highlight.
| | 03:07 | The last two that I want to highlight
have to do with creating linear adjustments.
| | 03:12 | One of the things that we haven't talked about
is that you can make a straight
| | 03:16 | vertical or horizontal adjustment using this tool.
| | 03:19 | The way that you do that is hold down the Shift key
and then click and drag.
| | 03:23 | Here you can see I have a straight line,
or on the other hand, hold down the
| | 03:28 | Shift key and click and drag left to right
and here you can see I have a horizontal line.
| | 03:32 | In this way, sometimes that can help you
when you're retouching something, where
| | 03:36 | you need that straight line perfectly vertical or horizontal.
| | 03:39 | Last, but not least, you can connect the dots
by clicking then holding on the Shift key and clicking again.
| | 03:45 | And in doing that, that will connect those dots.
| | 03:48 | There were a lot of tips there,
et I hope that by showing you those
| | 03:53 | that those can help you to use this
tool in even more effective ways.
| | 03:57 | If you feel like I was going too fast,
it may be beneficial to go back and
| | 04:01 | re-watch the movies in this chapter
so that you can really pick up all of these techniques,
| | 04:06 | because one of the things that I have found
is that the new features
| | 04:09 | with this tool really have made it more functional.
| | 04:12 | I've started to use it more frequently
in my workflow because this is definitely
| | 04:16 | one of those new features that you want
to learn and you want to learn it well
| | 04:20 | so you can take full advantage of it.
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|
|
4. Make Selective Adjustments with the New Radial FilterIntroducing the Radial filter| 00:00 | Here we are going to take a look at a fascinating
new feature that we'll find in the Develop Module.
| | 00:05 | It's called the Radial Filter.
| | 00:07 | To select the Radial Filter, press Shift+M
or click on the circle icon,
| | 00:11 | which you'll find in the tool strip.
| | 00:13 | Once you select the Radial Filter, you'll notice
that you have a number of different sliders.
| | 00:17 | What you can do at the Radial Filter is
you can apply selective adjustments
| | 00:22 | in really interesting ways.
| | 00:24 | Let's start off with this photograph here.
| | 00:26 | This is a picture of my youngest daughter Elsie,
she was scooting down this slide
| | 00:29 | and this is just an iPhone picture
and I like her expression, yet I
| | 00:34 | realize that her face is a little bit too dark.
| | 00:37 | So I want to brighten that up and I
want to do that with the Radial Filter.
| | 00:41 | Now before you start using this tool,
what you want to do is dial in your controls.
| | 00:45 | Here we'll go ahead and increase the Exposure
and also bring up our Shadows and then click and drag.
| | 00:50 | When I click and drag over the image,
you'll notice that this effect will be
| | 00:54 | the opposite of what we want,
yet don't worry about that for now.
| | 00:58 | So here I'll go ahead and click and drag
over the photograph.
| | 01:00 | Now in this case, it's brightening up
everything, but the center of the circle.
| | 01:05 | Now we can invert that by clicking
on the Invert button here.
| | 01:09 | When you click on the Invert button, you
notice that it's now brightening just her face.
| | 01:15 | If we flip this toggle switch, you can see
here is before and then now here is after.
| | 01:20 | Now this effect right now is exaggerated
yet this will help us to really
| | 01:23 | understand how this works.
| | 01:25 | When it comes to inverting these masks,
there's a great shortcut that you can use.
| | 01:29 | You may want to jot this one down.
| | 01:31 | It's the apostrophe key ('); when you press
apostrophe ('), it allows you to invert that mask.
| | 01:36 | Next, you notice that there is
this outline where you can change
| | 01:41 | the shape of this adjustment. Here I can go ahead
and change it so that I can make it taller or wider.
| | 01:46 | You can also hover over that center circle
in order to reposition this.
| | 01:51 | Now if ever you decide, you know what,
this is just a bit too strong, well here
| | 01:55 | we can go ahead and modify our sliders
in order to scale that back of it so now
| | 01:59 | we have a really subtle adjustment,
which is just brightening her face.
| | 02:03 | Now that we've seen how this works
let's take a look at this on
| | 02:07 | another image in a more complex scenario.
| | 02:10 | I'll click Done in order to apply those
adjustments and then I'll make my
| | 02:14 | way to a second photograph.
| | 02:16 | This is another photograph of Elsie.
| | 02:18 | This case, she is being held by one of our good friends
and again I want to do something similar,
| | 02:23 | I want to brighten up her face, also the dress,
and then also our friend's face as well.
| | 02:28 | So let's go ahead and select the Radial Filter
by clicking on the icon
| | 02:33 | or by pressing Shift+M. Now in this case,
I'm interested in brightening this area and
| | 02:38 | also adding a bit of warmth.
| | 02:40 | I'll increase my Color Temperature as well,
then click and drag from the
| | 02:44 | center out over the area that you want to affect.
| | 02:46 | If you forgot to click on the Invert button
as I did here, no big deal,
| | 02:52 | press the apostrophe (') key in order to invert that
or you can always click on this icon here.
| | 02:58 | Now once we have dialed in what we want
to do is reposition it and then perhaps
| | 03:03 | modify our sliders a bit just so
we have just the right amount.
| | 03:06 | All right, well now that we have now
this effect in one area, I also want to
| | 03:11 | brighten up this other area.
| | 03:12 | One way that we could do that
would be to simply click and then drag.
| | 03:17 | Again if the inversion is wrong,
we'll press that apostrophe (') key.
| | 03:21 | Now you can see why I highlighted that, that
shortcut key is going to be really helpful.
| | 03:25 | Next, what I want to do is brighten up
this part of the image.
| | 03:29 | So here what I could do is I could
click and drag over that area or you can
| | 03:34 | actually copy and duplicate these adjustments.
| | 03:38 | You can do this by way of
using a keyboard shortcut combination.
| | 03:42 | Again, this is one of those
shortcuts you may want to jot down.
| | 03:46 | On a Mac, you press Cmd+Opt,
on Windows you press Ctrl+Alt.
| | 03:50 | Then what you want to do is hover
over the adjustment and then click and drag.
| | 03:54 | In this way you can see that I took this
adjustment and then I applied it over here.
| | 04:00 | Now that I have it, at these settings
I'm going to go ahead and just modify
| | 04:03 | this just to brighten up this part of the image.
| | 04:06 | Here I'm going to customize this so that
it works well in this portion of the photograph.
| | 04:10 | In this way, you can see that
we can almost paint with light.
| | 04:14 | It's as if we're lighting this photograph after the fact.
| | 04:16 | Now you can do so many things with the Radial Filter.
| | 04:19 | So far, we've looked at Exposure and Shadows
and Color Temperature, you obviously can do more.
| | 04:25 | You can also work with Sharpness and Contrast
and all of the other sliders that we have here.
| | 04:29 | Speaking of that, if we want to go back
and modify one of these areas, like
| | 04:33 | this area that's over my daughter's face,
let's say we want to sharpen that up
| | 04:37 | a bit; we'll just click on that area and then
go ahead and click on your Sharpness slider.
| | 04:42 | In doing that, that will just sharpen
this area of the photograph and in this way
| | 04:47 | we're able to make these fascinating
selective adjustments to our pictures.
| | 04:52 | Now as we make our way through making these
adjustments, these overlays may be a bit distracting.
| | 04:58 | We can always hide those by using that H shortcut key.
| | 05:02 | When you press the H key, it will temporarily
hide those, press the H key again
| | 05:07 | and then it will bring those back.
| | 05:09 | What I like to do is to press the H key
to hide the overlays, then I like to
| | 05:13 | press the Backslash key (\),
that shows you the before and after.
| | 05:17 | Here's the before then now here's the after.
| | 05:19 | Let me zoom in a little bit so that
we can see this nice and up-close.
| | 05:23 | Again here is before and then now here is after.
| | 05:26 | We can also see the before and after
by clicking on this toggle switch here.
| | 05:30 | That wraps up our introduction
in regards to how we can work with
| | 05:34 | the Radial Filter, yet we still have some
more topics to cover when it comes to
| | 05:38 | this fascinating new tool.
| | 05:39 | So let's continue to work with
this tool in the next movie.
| | Collapse this transcript |
| Radial filter tips| 00:00 | Let's continue to take a look at how
we can use the radial filter in order to
| | 00:04 | correct or enhance our photographs
and in particular with this photograph,
| | 00:08 | what I want to do is take a look at how we
can use the filter in order to darken the edges,
| | 00:12 | in order to create a bit of a vignette effect.
| | 00:15 | This is a portrait that I captured of
Angus Stone, a famous musician.
| | 00:20 | I like the portrait but I just wish
those edges where a bit darker.
| | 00:23 | Let's take a look at how we can
do that using the radial filter.
| | 00:26 | Press Shift+M to select the radial filter
or click on the circle icon here in the tool strip.
| | 00:31 | When you open up the radial filter
you may encounter that the sliders are in
| | 00:36 | positions which you don't really like or want.
| | 00:38 | You can always reset the sliders
by double-clicking on the icon here
| | 00:44 | or if you hold down the Opt key on a Mac,
or Alt on Windows, that will change the
| | 00:48 | word Effect into Reset, click on that
and it will reset all the sliders back to
| | 00:52 | their default zero settings.
| | 00:54 | What kind of effect do we want to apply here?
| | 00:57 | We want to darken the edges.
| | 00:58 | Now in order to illustrate a few things
about how this tool works, I'm going to
| | 01:02 | exaggerate for a moment so this
won't look good, but stick with me.
| | 01:06 | We're going to take my exposure all the way down to -4.
| | 01:09 | Next what I want to do is click over
the center part of the image and then
| | 01:14 | I'll click and drag out so that we can
see we have this darkening effect.
| | 01:18 | Now this is over the top, it doesn't
look good. I wanted to do this to
| | 01:22 | illustrate another slider
that we have which is Feather.
| | 01:25 | Now if I hide this overlay by pressing
the H key, I can then change my Feather
| | 01:29 | amount and really see the edge here.
| | 01:31 | If I take it down to 0, you notice that
this is a really hard or fixed edge.
| | 01:36 | If I bring this up, we can then soften that edge.
| | 01:39 | How far you go with this will really depend upon
the effect or the area that you're working on.
| | 01:44 | Next I'll press the H key, again, to bring back this overlay.
| | 01:48 | I could of course extend this all the way to the edge,
| | 01:53 | all the way to the borders of this image
but I want to do this really quickly.
| | 01:56 | One easy way to do that is by a way of
a keyboard shortcut combination.
| | 02:02 | If you're on a Mac, press and hold Cmd,
if you're on Windows, press and hold Ctrl,
| | 02:06 | then double-click on any radial adjustment
and what it will do is
| | 02:12 | it will extend it to the edges of your photograph.
| | 02:15 | In this way, I now have the darkening effect
being applied to this part of the image.
| | 02:19 | Now that I've done that, I'm going to
go ahead and lessen the effect a little bit.
| | 02:23 | Also add a bit of warmth to that area
and then I'll darken the shadows as well.
| | 02:27 | Here I've made a number of different
adjustments, and at a certain point,
| | 02:32 | you may want to modify all of those adjustments together.
| | 02:35 | In other words, let's say that what you
want to do is sort of scale this effect back
| | 02:39 | because it's a bit too strong.
| | 02:41 | Let me show you what I mean.
| | 02:43 | I'll press the H key, to hide the overlay
and then I'll click on the toggle switch,
| | 02:47 | here's my before and then, here is my after.
| | 02:50 | I like the effect but it's just too strong.
| | 02:52 | Rather than modifying each individual slider,
what you can do is something
| | 02:57 | which is awesome,
you can collapse this view of all the sliders.
| | 03:01 | That will then show you your Amount slider
and with the Amount slider you can
| | 03:05 | then change the overall intensity
of all of the sliders together.
| | 03:09 | So here, as I bring this down I have less of that effect.
| | 03:12 | I can find just the right spot for this effect.
| | 03:15 | Click on the toggle switch, now you can
see here is the before, and then the after.
| | 03:20 | What exactly is this Amount slider doing?
Let me show you.
| | 03:23 | Let's drag this down further and then
let's open up our sliders.
| | 03:27 | As you can see it brought all of these
back closer to the default setting of zero
| | 03:32 | but it brought them back relative from where they were.
| | 03:36 | We'll go ahead and collapse that again
and then I'll bring up my amount and then
| | 03:40 | here as I open this up you can see where those are now.
| | 03:43 | As you can see, by being able to
control your overall amount, it can really
| | 03:47 | help you dial in a particular effect.
| | 03:49 | Before we wrap this up,
one thing that I realize is that I wish
| | 03:54 | my effect was just out further to the edges.
| | 03:57 | One way to be able to do that is to actually
click and drag on these anchor points
| | 04:01 | and extend this beyond the edge of the photograph.
| | 04:04 | In this way you can see how we can
really control where this effect is going to
| | 04:08 | be applied to the photograph.
Sometimes modifying the shapes so that it works
| | 04:12 | well with your image can really make all
the difference in the world so that you
| | 04:16 | have exactly the desired effect that you're going for.
| | 04:19 | All right, well here I'll press the H key,
then I'll press the black slash key
| | 04:23 | to look at our before and after,
here is before and then now here is after.
| | Collapse this transcript |
| Using the Radial filter in your workflow| 00:01 | Now that we know quite a bit about
how to work with the radial filter,
| | 00:04 | what I want to do is take a look
at a workflow situation.
| | 00:07 | I want to work on this image and this
is a portrait that I captured in open shade,
| | 00:11 | so the light is really even
yet what I want to do is I want to add a
| | 00:16 | little bit more visual interest.
| | 00:17 | I want to add a bit of a glow. I really
want to draw the viewer in to the subject.
| | 00:22 | To do that, I am going to create
three different radial filter adjustments.
| | 00:25 | I am going to create one adjustment
on the face, one that is applied to the
| | 00:29 | entire subject, and then a third,
which is applied to the background.
| | 00:33 | Well let's take a look at how we can do that
using the radial filter.
| | 00:37 | To access the radial filter, press Shift+M
or click on the circle icon in the tool strip.
| | 00:43 | The next step is to dial in our settings.
| | 00:46 | What I want to do is warm things up a
little bit so I'll increase my color
| | 00:50 | temperature slightly. I also want to
brighten the image a touch and then I'm
| | 00:54 | going to decrease the Highlights so
that the highlights aren't over exposed.
| | 00:58 | I'll bring my Shadows up a little bit as well.
| | 01:00 | Now once you've dialed in these settings, what you
want to do next is you want to create the adjustment.
| | 01:05 | Yet it's difficult to remember if
you need to invert the mask or not.
| | 01:09 | So here what I am going to do is simply
click and drag and what I'll discover is
| | 01:14 | that it's actually the opposite of what I want.
| | 01:16 | Remember, when that happens its no big
deal, use a shortcut, use that shortcut,
| | 01:20 | which is the apostrophe key (') in
order to invert that or just click on this
| | 01:24 | icon here if you forget the shortcut.
| | 01:27 | Next what I want to do is zoom in on the image.
| | 01:29 | So here, I'll press Cmd+Plus(+) on a Mac
or Ctrl+Plus(+) on Windows to zoom in.
| | 01:34 | Here, what I need to do is I need to
change the overall shape of this, so that I
| | 01:38 | have this nice shape which is creating
this glow around this part of the image.
| | 01:42 | In this case, another thing that I want
to do is increase my Saturation a bit
| | 01:46 | and I'm going to bring down the Exposure a touch as well.
| | 01:49 | All right, so far so good.
| | 01:51 | Let's zoom out a little bit.
| | 01:53 | Next thing that I want to do is I want to bring
a similar adjustment over the whole image.
| | 01:58 | Do you remember the shortcut that we can use
to copy and paste a radial filter adjustment?
| | 02:04 | This is a shortcut you want to jot down, here it is.
| | 02:07 | If you're on a Mac you press Cmd+Opt,
Windows that's Ctrl+Alt and then, click and drag.
| | 02:13 | When you do that it brings out
another version of that same adjustment.
| | 02:17 | Here what I want to do is extend
this over the entirety of the subject here.
| | 02:22 | Again I want to bring this really just ethereal
type of a glow around this part of the image.
| | 02:26 | That looks pretty nice.
| | 02:29 | Here I'll press the H key, so those
irritating overlays will be hidden temporarily.
| | 02:32 | Then I'll click on the toggle switch,
here is before and then now here's after.
| | 02:38 | If we zoom in on the image,
you know what it does look pretty interesting.
| | 02:41 | Yet one of the things that I noticed
is that this area, the face,
| | 02:45 | this particular area, it's a bit too strong.
| | 02:47 | Do you remember how we can
modify all of our sliders at once?
| | 02:51 | What you can do is collapse the view
of all these controls, then you can dial in
| | 02:56 | the amount and here we can dial in
the amount so that that looks exactly how
| | 03:00 | you want it to look.
| | 03:01 | Next I'll go ahead and click to expand that
so that I can see all of those
| | 03:05 | then I'll zoom back out.
| | 03:07 | I also mention that another thing that
I want to do is create a new
| | 03:11 | adjustment which is applied to the background.
| | 03:12 | To do that, I'm just going to click
and drag to create a new adjustment.
| | 03:16 | This obviously isn't what I want.
| | 03:18 | So here I'm going to reset my sliders.
| | 03:21 | To reset your sliders, you can either
double-click them one a time or press
| | 03:26 | Opt on a Mac, Alt on Windows ,that
will change the Effect word right there to
| | 03:30 | Reset and then click Reset.
| | 03:32 | Next what I want is a darkening effect.
| | 03:35 | So here I'll go ahead and click and drag
in order to create that effect.
| | 03:38 | Then I want that to be right
around the edge of the image.
| | 03:42 | In order to extend a radial filter adjustment
to the edge of a photograph,
| | 03:46 | you hold on the Cmd key on a Mac,
Control key on Windows and then
| | 03:50 | double-click on that adjustment.
| | 03:52 | That will then extend that all the way out to those edges.
| | 03:55 | If you decide to extend it further
because you want it close to the edges,
| | 03:59 | you can always do that and pull it
past the boundary of the image.
| | 04:03 | Again all of these overlays are a bit distracting so
| | 04:07 | we'll press the H key, so we can actually see
the image, so we can actually see the subject.
| | 04:11 | Now that I can see the subject
I'm going to make any needed further adjustments.
| | 04:15 | In this case, I don't need to go very far
in regards to that background,
| | 04:20 | so I can experiment with that a little bit
until I get that just right.
| | 04:23 | Now that I have that adjustment there
next let's evaluate our overall before and after.
| | 04:28 | One way to do that is to press your back slash key (\).
| | 04:31 | Here is before and then I'll press that again
and then here is after.
| | 04:35 | In this case, we've created this interesting
creative effect using the radial filter.
| | 04:38 | What's fascinating about the radial filter
as you are discovering
| | 04:43 | is that you can use this to make corrections
or enhancements to you photographs
| | 04:47 | and you can always go back and re-edit them.
| | 04:50 | For example, let's say that we print
this picture out and we realize that you
| | 04:54 | know what, the face, it needs a little
bit more sharpness. We could click in to
| | 04:58 | that area and then increase the sharpness
so that that area looked a bit better.
| | 05:02 | Now I'm going to press the H key,
in order to hide those overlays
| | 05:06 | and what I want to do is zoom in
on this photograph so that we can evaluate it.
| | 05:10 | Here when we zoom up close
we can see our overall results at
| | 05:14 | least in this part of the image.
What I want to do then is press the back
| | 05:19 | slash key (\), here is the back slash key
(/) before and then now here is the after.
| | 05:23 | So as you can see from this workflow example,
you can use the radial filter in
| | 05:27 | some really fascinating ways
when it comes to making certain selective
| | 05:30 | adjustments to your photographs.
| | 05:31 | By knowing how to use this tool
and knowing how to use it well,
| | 05:35 | it can really help you out as you seek to make
selective adjustments to your photographs.
| | Collapse this transcript |
|
|
5. Increased Speed and Flexibility with Smart PreviewsWhat is a Smart Preview?| 00:00 | Here I want to introduce you to an exciting
new feature that you'll encounter in Lightroom.
| | 00:05 | It's called Smart Previews.
| | 00:07 | In order to take full advantage of
the strength and flexibility of Smart
| | 00:11 | Previews, you really need to understand
what a smart preview is.
| | 00:15 | Therefore, in this movie I want to take a
few minutes and I want to ask a question.
| | 00:21 | Well, what is a Smart Preview?
| | 00:22 | You know in order to answer that question
we need to think of it in regards to
| | 00:26 | our overall Lightroom workflow.
| | 00:27 | For example, let's consider this scenario,
we have a desktop computer
| | 00:32 | or a laptop computer, either one will work,
and in most situations we have our main
| | 00:36 | computer like this and then
we have one or more hard drives.
| | 00:40 | How Lightroom helps us out in these situations
is typically what we do is
| | 00:45 | we create a catalog on our main computer;
| | 00:48 | again, our desktop or laptop computer.
| | 00:50 | And you know this catalog, it's really important.
| | 00:54 | If we can understand a bit about this catalog,
it can help us to understand Smart Previews.
| | 01:00 | So why is the catalog important?
| | 01:01 | It's important because it contains
some really valuable information.
| | 01:06 | It contains by default, Previews, also Module settings.
| | 01:10 | In other words, if you've converted
your image to black and white, well that
| | 01:13 | setting, it's contained in the catalog.
| | 01:16 | There is also some other valuable
information there like File Location,
| | 01:20 | Metadata, Ratings, Keywords, Collections.
| | 01:23 | You know the catalog is key.
| | 01:25 | It's the engine that makes Lightroom so strong.
| | 01:28 | I also like to think of the catalog as making connections.
| | 01:33 | In other words, when we're working in Lightroom,
it's the catalog which allows us
| | 01:37 | to access that particular image
which resides on that particular hard drive.
| | 01:42 | The catalog helps us to make that connection
so we can open up the image,
| | 01:47 | sharpen it, add some contrast, convert it
to black and white, whatever, and then export
| | 01:52 | that high resolution file to a client or make that print.
| | 01:55 | Again, it's the catalog which allows for all of that to happen.
| | 01:59 | The catalog makes connections.
| | 02:01 | Yet what happens if that connection is lost?
| | 02:05 | If the hard drive is unplugged or turned off?
| | 02:08 | If a hard drive is unplugged or turned off,
there are some limitations.
| | 02:12 | We can't work in the Develop module.
| | 02:14 | We can't export high resolution files.
| | 02:17 | We can't publish high res files and send them to a client.
| | 02:20 | In other words, unless we're connected,
there are some limitations.
| | 02:24 | Now of course, if we flip on the switch
for the hard drive or plug it back in,
| | 02:28 | everything is fine and we can do
whatever we need to do in Lightroom.
| | 02:33 | Yet the reality of it is that we don't always
have our hard drives always on.
| | 02:38 | Consider this scenario, let's say you're going on a trip
and you're going to bring your laptop.
| | 02:42 | There is no way that you're going to
be able to bring this big hard drive
| | 02:46 | and plug it in in the airplane and work on your images
while you're flying to your destination.
| | 02:51 | In situations like that, there are limitations,
that is, until now.
| | 02:56 | This is where smart previews come in and this is
where smart previews make things really interesting.
| | 03:02 | One of the things that you can do now in
Lightroom is you can generate smart previews.
| | 03:07 | When you generate smart previews,
these are saved in the catalog.
| | 03:12 | I know I still haven't answer the question,
what is a Smart Preview? But stick with me;
| | 03:16 | we'll get to that answer in just a few moments.
| | 03:19 | You can generate these smart previews
as I mentioned and these are saved in the catalog.
| | 03:24 | If we take a look at our catalog, I think it can
help us to understand what a smart preview is.
| | 03:29 | So here, let's focus in on the catalog.
| | 03:32 | If we open up the folder where a catalog resides,
what we'll discover is it's made up of two documents.
| | 03:38 | There's one document, which contains previews.
| | 03:41 | There's another one, which is the main catalog.
| | 03:43 | Each of those files have a certain file size.
| | 03:46 | In order to understand that,
I've duplicated these catalog files,
| | 03:52 | yet this time I've generated Smart Previews.
| | 03:55 | Notice that the Smart Previews, they live
or reside in the same location as the
| | 03:59 | other previews and as the Lightroom catalog.
| | 04:02 | If we really focus in on that, one
of the things that we'll discover about this
| | 04:06 | is that we have these files, these
previews which are smaller in file size
| | 04:11 | than the other previews. Yet they're
not only smaller, they allow us to do
| | 04:15 | certain things that we couldn't have done previously.
| | 04:18 | So what is a smart preview?
| | 04:20 | In colloquial terms, I like to think of
a smart preview as a lightweight
| | 04:24 | image that can be used in place of larger RAW files.
| | 04:29 | In more particular terms, a Smart Preview,
it's a Lossy DNG has a smaller file size.
| | 04:35 | It can be used when the large file is offline.
| | 04:39 | In other words, if that hard drive is unplugged,
you can still work in the Develop module.
| | 04:44 | As I just mentioned, these Smart Previews,
they're stored in the same folder as the catalog.
| | 04:50 | All right, well this is all nice in theory.
| | 04:52 | How does this then relate to our workflow?
| | 04:55 | Well, if we go back to our workflow. Here we are.
| | 04:58 | We have our main computer,
desktop or laptop, we have our catalog.
| | 05:02 | Lightroom is making the connection to
our files, we're able to do whatever we
| | 05:05 | want, we're able to work in the Develop
module, and convert our images to black
| | 05:09 | and white or whatever the task
is that we need to accomplish.
| | 05:13 | Yet while we're here, if we take one
more step and if we take that step to
| | 05:17 | generate Smart Previews, what it
will do, is it will change our catalog.
| | 05:22 | Now our catalog will also contain Smart Previews.
| | 05:25 | If we have these Smart Previews,
these will give us some flexibility down the road
| | 05:30 | if we lose connection with any of our hard drives.
| | 05:33 | In other words, if we decide to work
without one of our hard drives turned on,
| | 05:37 | or if we go on a trip and if we don't
bring a certain hard drive, that's okay
| | 05:41 | because we have these Smart Previews.
| | 05:45 | Let's say for example that one of
those hard drives goes offline, well that's
| | 05:48 | when the smart previews kick in.
| | 05:51 | That's when this lighter weight image can
be used in place of the original RAW file.
| | 05:56 | It isn't just a preview but it's a really functional file.
| | 06:00 | It's not as big as the full file,
so if you zoom in, it won't be a sharp;
| | 06:05 | yet still you can process and work on
your raw files if you've generated these
| | 06:09 | previews and if those raw files are offline.
| | 06:12 | So let's go back to the question that
I posed at the beginning of this movie.
| | 06:16 | What is a Smart Preview?
| | 06:19 | A Smart Preview in some, it's a
lightweight image that can be used in
| | 06:22 | place of larger RAW files when those files are offline.
| | 06:26 | Now that we know a little bit about
what a Smart Preview is, let's take a look
| | 06:31 | at some of the advantages of Smart Previews
and we'll do that in the next movie.
| | Collapse this transcript |
| The advantage of Smart Previews| 00:00 | Now that we know a little bit about
Smart Previews, what I want to do here is
| | 00:05 | provide you with an overview, a review of what
we learned and I also want to dig a bit deeper.
| | 00:10 | In particular, I want to focus in on
the advantages of working with Smart
| | 00:14 | Previews, I also want to highlight how
we can start to generate Smart Previews
| | 00:18 | so that we can take advantage of them.
| | 00:20 | All right, well first a quick review.
| | 00:22 | So far we've talked about how we have
our main computer, a laptop or desktop.
| | 00:27 | On that computer we have our Lightroom catalog.
| | 00:31 | Then we can have an external hard drive,
and on that hard drive we'll have our
| | 00:35 | large images, our full RAW files.
| | 00:36 | In Lightroom what we can do is generate a smart preview.
| | 00:41 | When we do that, it will generate a
smaller version of our larger image and
| | 00:46 | this smaller version of our photograph;
| | 00:48 | it will live or reside in the Lightroom catalog.
| | 00:52 | What are the advantages of working with Smart Previews?
| | 00:54 | The first one is obvious, it allows us to access
and work on our images,
| | 01:00 | say in the Develop module, even if that hard drive is offline.
| | 01:04 | Let's dig a little bit deeper into this question.
| | 01:06 | Let's really focus in on it;
what are the advantages to Smart Previews?
| | 01:10 | Here, I want to highlight, too.
| | 01:12 | Now I've already mentioned the first.
| | 01:14 | The first one is flexibility.
| | 01:16 | Again, we can access and work on those
files even if those images are offline.
| | 01:21 | But the second one,
which I haven't mentioned yet, is speed.
| | 01:25 | One of the advantages of working with
Smart Previews is that you can access your
| | 01:30 | file quickly without interrupting your overall workflow.
| | 01:33 | We all have those experiences where
we're working in Lightroom and all of a
| | 01:37 | sudden we go to work on an image and that
one hard drive well it isn't plugged in.
| | 01:42 | We have to stop, we have to find the hard drive,
plug it in, fire it up and then, we can continue working.
| | 01:47 | Now in Smart Previews,we won't have that delay.
| | 01:50 | And in addition, what we can do is we
can work on these smaller files and if
| | 01:54 | we're working on smaller files well
that will speed up our overall workflow.
| | 01:58 | Those are the main advantages of using Smart Previews.
| | 02:02 | Well how then do we generate Smart Previews.?
| | 02:05 | Well there are three methods that we can
use in order to generate Smart Previews..
| | 02:09 | The first one is we can generate them upon import.
| | 02:13 | So whenever we're importing our photographs
into Lightroom, we can choose an
| | 02:16 | option which will allow us to generate Smart Previews.
| | 02:19 | The second option here allows us to generate
Smart Previews with images which
| | 02:24 | already exist in our Lightroom catalog.
| | 02:27 | In those situations, we can go to the
Library pull down menu and then choose
| | 02:30 | Previews and then Generate Smart Previews.
| | 02:33 | Last but not least, we can generate
Smart Previews when we're exporting our
| | 02:37 | photographs as a catalog.
| | 02:39 | Now that we know these methods
let's go ahead and take a look at
| | 02:43 | how we can actually do this in Lightroom
and let's do that in the next movie.
| | Collapse this transcript |
| How to generate Smart Previews| 00:00 | Here, we're going to take a look at
three techniques that we can use in order to
| | 00:04 | generate or create Smart Previews.
| | 00:06 | Now you can see that I've created a
new Lightroom catalog. I've done that
| | 00:10 | so that we can really focus in on smart previews.
| | 00:13 | Yet that being said, all the techniques
that I'll show here will work with new
| | 00:17 | catalogs or with pre-existing catalogs.
| | 00:20 | The first technique involves using the Import Dialog.
| | 00:25 | In order to access the Import Dialog,
simply click on the Import button;
| | 00:28 | it's located in the lower left-hand corner over there.
| | 00:32 | Once you've opened up the Import dialog,
you'll want to select the folder that
| | 00:35 | you want to import from.
| | 00:37 | In this case, I'm choosing from an external
hard drive here, and I've selected a
| | 00:41 | folder titled Portraits 1.
| | 00:43 | Now if you know a bit about Lightroom,
you know that there are different
| | 00:46 | methods that you can use when importing.
| | 00:49 | We have a few different options up here.
| | 00:50 | The good news is, is that generating
Smart Previews works with all of these options.
| | 00:56 | So in this case, what I want to do is simply
add these photographs to my Lightroom catalog.
| | 01:01 | So I'll leave that option Add selected.
| | 01:04 | The next step is to simply choose
this option over here, which allows you to
| | 01:08 | Generate Smart Previews and then, after
you've dialed in all your settings,
| | 01:12 | all that you need to do is to simply click Import.
| | 01:15 | That will then import those files and
it will generate the previews as well as
| | 01:20 | the Smart Previews, which we defined in that dialog.
| | 01:23 | Now that Lightroom has finished generating
these Smart Previews,
| | 01:27 | I'll just go ahead and double-click on
one of my images so we can focus on the
| | 01:31 | photograph and the photograph looks as it did previously.
| | 01:34 | Yet if you notice on the right-hand side underneath
the Histogram, it shows me
| | 01:38 | that I've the Original file and the Smart Preview file.
| | 01:41 | Now Lightroom will always prioritize the original file.
| | 01:44 | So if that drive is connected, well
it will work from that particular file.
| | 01:49 | If it isn't connected, then it will use the Smart Preview.
| | 01:52 | Let's import some more photographs
but this time let's import photographs
| | 01:56 | without generating these Smart Previews
so I can show you the two
| | 02:01 | remaining techniques for generating Smart Previews.
| | 02:04 | So here, I'll click on the Import button
in order to go back to my Import dialog.
| | 02:08 | This time, I'm going to select Portraits 2
and choose these three photographs here
| | 02:12 | and I'm going to turn off this check box
of Generating Smart Previews.
| | 02:17 | Next, I'll go ahead and click Import.
| | 02:19 | This will then, bring these images into
Lightroom and once this is finished up,
| | 02:24 | what I'll do is go ahead and double-click
on one of these photographs and here
| | 02:27 | you can see I just have the original photograph.
| | 02:30 | As I click through these pictures, you can see
that it's showing me with all of these pictures;
| | 02:34 | it is just that original photo.
| | 02:36 | Let's say that we have a photograph in our library
and we want to generate
| | 02:41 | the Smart Preview for that photograph like this one here.
| | 02:44 | What you can do is navigate to your
Library pull-down menu.
| | 02:48 | When you click on Library, you can go down to Previews,
and then you can choose Build Smart Previews.
| | 02:53 | When you do that, what it will do is
give you this prompt, do you want to build
| | 02:58 | Smart Previews for all photos or only one?
| | 03:01 | There is currently only one photo selected.
| | 03:02 | In this case I'm going to build just for one.
| | 03:05 | When it comes to making this decision,
really it's up to you whether or not
| | 03:10 | you want to have Smart Previews for all
your images or for just selected files.
| | 03:14 | One of the advantages of Smart Previews
is speed and flexibility.
| | 03:18 | One of the disadvantages is file size.
| | 03:21 | It is going to create that Smart Preview file,
which we saw previously and that's
| | 03:25 | going to take up space on your hard drive.
| | 03:27 | That being said, it may be worthwhile
to use that space for Smart Previews
| | 03:32 | because it can speed up your overall workflow.
| | 03:34 | So again, choose a choice which
is appropriate to your own workflow.
| | 03:38 | Here I'll just select, Build One.
| | 03:40 | That will then generate out that Smart Preview.
I don't need this warning
| | 03:43 | message again so I'll click,
Don't show again and then click OK.
| | 03:47 | Over here in the Histogram, it shows me
I have the Original and the Smart Preview.
| | 03:52 | Let's go back to these two photographs here.
| | 03:56 | What I want to do is select both photographs;
to do that, I'll click on one
| | 04:00 | then I'll hold down the Command key on Mac,
Control key on Windows and click on another.
| | 04:04 | We could also do that in the Grid View.
| | 04:07 | If you press the g key, g for Grid, you can
see that I have these two images selected.
| | 04:12 | Again, click on one, hold down Cmd
or Control and then click on another.
| | 04:17 | What I want to do is I want to export
both of these images as a catalog.
| | 04:22 | When we do that, we'll discover the third way
that we can generate or create Smart Previews.
| | 04:27 | So here I'll navigate to my File pull-down menu
then I'm going to choose Export as Catalog.
| | 04:33 | This will open up our Export Catalog.
| | 04:35 | In our Export Catalog, I'm going to export
to this external drive and here I'll go ahead
| | 04:40 | and save this out as Portrait-Demo.
| | 04:45 | Next, we have some exporting options;
| | 04:47 | we can export this as a catalog with two photos.
| | 04:50 | We'll export the selected photos, negative
files and also, a new option here in Lightroom;
| | 04:55 | we have the ability to generate
Smart Previews upon export.
| | 04:59 | Now in order to create a catalog with
the Smart Previews in it, we would simply
| | 05:03 | click Export Catalog and it would take care of that for us.
| | 05:07 | Now you know the three different methods
that you can use in order to generate Smart Previews.
| | Collapse this transcript |
| Filtering for Smart Previews| 00:00 | Here I want to highlight three techniques
that you can use in order to find your
| | 00:04 | photographs which have Smart Previews.
| | 00:07 | Frst what I'm going to do is
I'm going to my main Catalog.
| | 00:10 | So here in the Catalog panel, I'll click on
All Photographs so I can see all
| | 00:14 | nine photographs that I have in this catalog.
| | 00:16 | One of the things that we already know
that we can do is we can select an
| | 00:20 | image and then we can look underneath
the Histogram and we can see if this
| | 00:24 | photograph has a Smart Preview.
| | 00:25 | In this case, this picture doesn't.
| | 00:27 | Yet if we click on another, which does, you
can see that that will be displayed here.
| | 00:31 | You can see this in the Library module
or if you navigate over to the
| | 00:35 | Develop module, you'll notice that
it's located in the same exact location.
| | 00:40 | All right, well let's go back to the Library filter.
| | 00:42 | Let's say that we want to find all of our images
which don't have Smart Previews
| | 00:46 | and we want to do that really quickly.
Rather than clicking through all of our
| | 00:50 | photographs, how could we do that?
| | 00:51 | One technique that you can use
is to open up the Filtering options.
| | 00:56 | You can press the backslash key (\) in
order to open up the Library Filtering options.
| | 01:00 | Here, what we want to do is go to the Metadata tab.
| | 01:04 | In the Metadata tab, we have a number
of different columns, and in each column
| | 01:08 | we can select a criteria, in order
to filter or find certain images.
| | 01:12 | In the first column rather than looking for
our images by date, click on the
| | 01:17 | icon next to Date and this will open up
a contextual pull-down menu.
| | 01:21 | About three quarters of the way down,
near the bottom of this menu, there's an
| | 01:25 | option for Smart Previews Status.
| | 01:27 | Here we can select those photographs
which have a Smart Preview, in this case,
| | 01:31 | this option here or those photographs
which don't, and here it's showing
| | 01:34 | me these two pictures.
| | 01:36 | So with this method, you can see
that you can quickly find those photographs
| | 01:39 | which either have or don't have those previews.
| | 01:42 | Next, I'll go back to all the photographs
here and then I'll
| | 01:46 | press the backslash key (\) one more
time in order to hide those Library
| | 01:50 | Filtering options, because here,
I want to show you one more technique.
| | 01:54 | This last technique involves using Smart Collections.
| | 01:58 | If you open up your Collections panel,
what you can do is create a Smart
| | 02:03 | Collection by clicking on the plus (+) icon.
| | 02:05 | Click on the plus (+) icon then,
select Create Smart Collection.
| | 02:10 | When you do that, it will open up
the Smart Collection Dialog.
| | 02:13 | The first thing you want to do here is give this a name,
so I'll give this a name of Smart Previews.
| | 02:18 | Next, you'll want to choose some criteria
for your custom or your new Smart Collection.
| | 02:24 | Rather than sort or filter by rating,
click on this menu and what we want to do is
| | 02:28 | choose the option to find those photographs
that have that Smart Preview.
| | 02:33 | So I'll go ahead and click on
that and then simply choose Create.
| | 02:36 | Now whenever I click on this Smart
Preview, it will show or display all
| | 02:41 | of those photographs.
| | 02:42 | Currently there are seven images
which have Smart Previews.
| | 02:46 | Yet, if I go back to my Portraits 2 folder
and if I select the photograph which
| | 02:51 | doesn't have a Smart Preview
and I generate one, well this image will
| | 02:55 | automatically be added to this Smart Collection.
| | 02:58 | Let me show you that.
| | 02:59 | So here I've selected this particular photograph
and I'm going to navigate
| | 03:03 | to my Library pull-down menu then,
I'll choose Previews, and then select
| | 03:07 | Build Smart Previews.
| | 03:08 | In this case, I'll just build it for this one image.
| | 03:11 | In doing that, it will generate out
to that preview, then if we make our
| | 03:16 | way back to that Smart Collection
that we just created that we called Smart
| | 03:19 | Previews, now we're going to find that this image
is located inside of that Smart Collection.
| | 03:25 |
All right, well there you have it;
| | 03:26 | three techniques that you can use in
order to filter or find your photographs
| | 03:30 | that have smart collections.
| | 03:32 | The first one is to look underneath
the Histogram, the second one is to use
| | 03:36 | Custom Filtering options underneath
the Metadata panel here and then last but
| | 03:40 | not least, you can create a Smart Collection
in order to group together your
| | 03:45 | photographs which have Smart Previews.
| | Collapse this transcript |
| A real-world scenario with Smart Previews| 00:00 | Now that we know a little bit about
Smart Previews and about how to generate or
| | 00:04 | create Smart Previews and then to filter
or find our photographs that have these
| | 00:08 | previews, next what I want to do is
talk about how we can start to work with them.
| | 00:14 | In particular, I want to take
a look at a real world scenario and also
| | 00:18 | highlight a few things that will happen
when we're working with Smart Previews.
| | 00:21 | For starters, I want to point
out that all of the images that I have
| | 00:25 | here are saved on an external hard drive
and currently that external hard drive is plugged in.
| | 00:30 | You can see that because this green light is turned on.
| | 00:33 | Also, you'll notice down below the icons here
in the filmstrip, they're showing
| | 00:37 | me that these images are connected.
| | 00:40 | Once I turn that drive off as I'll do in a few minutes,
we'll notice some new icons appear there.
| | 00:45 | Next, I also want to talk about
how we can discard Smart Previews.
| | 00:50 | There maybe a time and a place
where you select a photograph and where you decide,
| | 00:53 | you know what, this image,
it doesn't need a Smart Preview, and you may
| | 00:58 | want to do that simply to save file size.
| | 01:00 | Let me show you what I mean.
| | 01:01 | What I'm going to do is open up the Finder
or Explorer window and I'm going
| | 01:06 | to navigate to where this particular catalogue is saved.
| | 01:09 | In this case I've named it Smart-Demo.
| | 01:10 | You can see I have my Smart-Demo Smart Previews
and currently this is taking up some file size.
| | 01:18 | Once your catalogue starts to grow
and you have thousands or tens of
| | 01:22 | thousands of photographs, this particular
Previews file can get kind of large.
| | 01:27 | In situations like that, you may want
to discard a preview on a particular image,
| | 01:31 | perhaps an image, which isn't very important.
| | 01:34 | Let's go ahead and take a look at how we can do that.
| | 01:37 | I'll navigate back to Lightroom.
| | 01:40 | With this photograph, if I want to
discard the preview, I can do that by
| | 01:44 | navigating to the Library pull down menu
and then here we'll select Previous and
| | 01:48 | then will choose Discard Smart Previews.
| | 01:52 | In doing that, that will then remove this particular
preview and I'll just do it for this one image.
| | 01:57 | Now it's showing me that this is just the original file.
| | 02:00 | I'm going to continue to work
and let's say that I've decided
| | 02:04 | I want to convert one of my images to black
and white and I've selected this photograph here.
| | 02:09 | In order to do that, I'll navigate to the Develop module.
| | 02:12 | If the hard drive is connected, what Lightroom
will do is prioritize the original file.
| | 02:19 | So here, I'm working off of the original file.
| | 02:22 | I'm going to go ahead and just desaturate the image.
| | 02:25 | This first step in this black and white
conversion process just makes the
| | 02:29 | image look okay, it doesn't look great.
| | 02:32 | There's more work that I need to do here.
| | 02:35 | Yet let's say that all of a sudden
I need to leave and go somewhere
| | 02:39 | and I'm going to bring my laptop with me,
which I'm working on now.
| | 02:42 | In other words, I need to turn off or disconnect
that hard drive, what will happen then?
| | 02:48 | Well let me show you.
| | 02:49 | I'll go back to that Finder or Explorer window and here
is a hard drive that I'm working on, External Drive 1.
| | 02:56 | Now I'm going to click to eject that or disconnect it.
| | 02:59 | When I do that, when I go back to Lightroom,
something interesting will happen.
| | 03:03 | For starters you'll notice down below
that there's an icon that shows me
| | 03:08 | that these particular images have Smart Previews.
| | 03:11 | There's also an icon shows me that these other images,
they are just offline as we can see there.
| | 03:16 | If we go to the Library module, one of the things
that we'll notice is that this hard drive is grayed out.
It's showing me that that particular drive is disconnected.
| | 03:26 | Because this image has a Smart Preview
associated with it, I can continue to work on it.
| | 03:32 | You can see that there's a Smart Preview here,
so I can navigate to the Develop module,
| | 03:36 | and when I navigate to the Develop module,
I can finish this image off.
| | 03:41 | In order to do that, I'm going to
increase the Contrast, decrease the Blacks,
| | 03:45 | perhaps bring up the Shadows
and I want to brighten the image overall.
| | 03:49 | Again I'm looking for a bit more drama here
when it comes to this black and white conversion.
| | 03:54 | All right, that looks nice.
| | 03:56 | Let's say that I get back from my trip
with my laptop, I set it down on my desk
| | 04:00 | and then I plug that hard drive back in
and I turn it on; what will happen?
| | 04:06 | Well let's take a look.
| | 04:08 | I'm going to go ahead and turn on that hard drive.
| | 04:11 | Now that I have fired up that hard drive
and turned it on what's happened is
| | 04:15 | now you can see that all of those icons
in the filmstrip have disappeared
| | 04:19 | and also you can now see that I have
the original and Smart Preview file.
| | 04:24 | What this will do is it will sync all of the adjustments
that I made to that original file.
| | 04:30 | At this point, I could continue to
work on the file, perhaps I could add
| | 04:33 | some more clarity or I could change
the overall brightness of the image or
| | 04:36 | whatever I need to do.
| | 04:37 | In other words, the workflow is seamless.
As you can see here from this real
| | 04:43 | world example, using Smart Previews can help you out.
| | 04:46 | They can help you out in order to speed up
your workflow and also in order to
| | 04:50 | give you more flexibility when you're
working with those situations where you
| | 04:54 | have images on external hard drives.
| | Collapse this transcript |
|
|
6. Better Book BuildingAdding text with ease| 00:00 | In the next couple of movies, I want to
highlight a few new features that you'll
| | 00:04 | encounter in the Book module.
| | 00:06 | I'm not going to talk about all of
the in's and out's of building and
| | 00:10 | designing books, yet I do want to highlight a few things.
| | 00:12 | For starters, up in the Book Settings,
if you click on your Paper Type,
| | 00:16 | you'll notice that there is a new option, which is Standard.
| | 00:19 | This is very similar to Premium Luster
yet it's a bit more affordable.
| | 00:23 | Next, what I want to do, just for demo purposes,
is to highlight that I've selected a folder.
| | 00:27 | I have a few images here, these are some
portraits that I captured and I'm going
| | 00:32 | to click Auto Layout, because what I
want to highlight in this movie is how you
| | 00:35 | can now add text to your book projects with more ease.
| | 00:39 | I'm going to go ahead and select a layout,
this one here, and then
| | 00:43 | I'll zoom in on it by clicking on this icon,
which allows me to see these two pages.
| | 00:47 | When I click on one of the pages,
you'll notice that there's a new button.
| | 00:51 | This is a welcome new button, it says Add Photo Text.
| | 00:55 | To add text, all that we need to do is click
and then we can go ahead and add some text,
| | 00:58 | in this case I just typed out the word Caption.
| | 01:02 | Previously, it was awkward to add text
with your images, now it's incredible easy.
| | 01:07 | But what about those situations where you have
a page layout which includes text and an image?
| | 01:13 | Let's change this layout to one of
those options by clicking on this icon here.
| | 01:17 | I'll just choose an option where I have space
for an image above and then text below.
| | 01:23 | Again here, I can add that photo text,
and I'll just type out the word Caption
| | 01:27 | and then I can also add the text here for the photograph
and I'll just type out the word Portrait.
| | 01:32 | You can see how you can have these different fields.
| | 01:35 | Now you can modify the text and the font
and the color and all of those things,
| | 01:39 | as we could previously, yet the one
thing that I wanted to highlight here was
| | 01:43 | this new ability to have these Add Photo
Text buttons, which allow us to add text
| | 01:47 | to our book projects with more ease.
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| Including page numbers| 00:00 | The next new feature that I want to
highlight in the Book module is the ability
| | 00:04 | to add page numbers to your book projects.
| | 00:07 | Previously, you weren't able to do this.
| | 00:09 | Now you can do this really easily.
| | 00:11 | In order to illustrate how this works,
I'll go ahead and click into one of the spreads
| | 00:15 | and then I'll click on this icon here to zoom in.
| | 00:18 | Next, if you navigate to the Page panel
in the top left-hand corner, you have a
| | 00:23 | check box, which allows you to include page numbers.
| | 00:26 | Now by default, these page numbers
begin with a number one on the first non-cover page.
| | 00:32 | In this case, it's this one here.
| | 00:34 | If I go ahead and click into that, what
we'll see is that this is page number 1.
| | 00:39 | Yet perhaps we wanted this page to be a dedication page.
| | 00:42 | You could always start this at a later point
by navigating to the page
| | 00:46 | where you want it to start, perhaps right here.
| | 00:49 | You then Right+click or Ctrl+click into that page number
| | 00:52 | area and then choose Start Page Number.
| | 00:55 | In this case, we'll start with 1 there
and then it will move forward.
| | 00:59 | You can also customize the pages numbers.
| | 01:01 | You can change the location by clicking on this menu here.
| | 01:05 | You could choose different corners, Top or Bottom.
| | 01:07 | Or you could also choose the top of the page
or the bottom of the page, or the side.
| | 01:12 | In this way, you can selectively decide
where you want those to appear.
| | 01:16 | In this case, I'll choose Bottom Corner.
| | 01:18 | Last but not least, you can click into
those page numbers and what you can do is
| | 01:21 | you can customize the text.
| | 01:23 | In this case, perhaps you want to use a different font.
| | 01:26 | Well, you could then make a selection of a font.
| | 01:28 | You could also change its overall size and color.
| | 01:32 | As you make those changes, they will be
applied globally to your Book Project.
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| Identifying favorite page layouts| 00:00 | One of the advantages of working with
the Book module in Lightroom is that it
| | 00:04 | gives you a lot of flexibility, provides you with
a lot of options when it comes to page layout.
| | 00:09 | There are so many different page layouts
which are interesting, yet what I
| | 00:13 | found is that after I've use the Book module quite a bit,
I tend to gravitate towards certain layouts.
| | 00:19 | These are my favorites.
| | 00:20 | Now there is an easier way to mark,
find and remember your favorite layouts.
| | 00:25 | Let me show you what I mean.
| | 00:26 | Here, we can click on a page and we can change
a layout by clicking on this icon here
| | 00:30 | or you can navigate to the Page panel
and click on the same icon, which you'll find there.
| | 00:36 | In this case, you can see that we have different layouts.
| | 00:39 | As I hover over them, this little circle icon appears.
| | 00:43 | If you click on that, you can then mark
or remember that as a favorite.
| | 00:47 | You can go to other locations as well;
let's say we go to 4 Photos and we really like this one.
| | 00:52 | Here I'll click on that, those will then be recalled
and remembered if we click on Favorites.
| | 00:57 | This will show me these two files.
| | 01:00 | I can also find those as I'm scrolling
through the many options because I'll
| | 01:04 | notice them with this little icon.
| | 01:06 | If ever you want to remove one of these
from your favorites, just click on
| | 01:10 | the icon again and it will be removed.
| | 01:12 | You can also go to the Favorites tab and click there
and it will be removed that way as well.
| | 01:18 | So in this way, it can really help out
as you're going through your book projects
| | 01:21 | and as you find layouts that you really like,
all that you need to do now
| | 01:25 | is to simply click on the icon
in order to mark that layout as a favorite.
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| Creating custom page templates| 00:00 | Here I want to highlight another handy new feature,
which we'll encounter in the Book module.
| | 00:05 | And this is a new feature which allows us
to save what are called Custom User pages.
| | 00:10 | What these are, are these are custom templates.
| | 00:13 | In other words, if ever we have applied
a layout template to a page and then customized it,
| | 00:17 | we can now save that custom layout
as a user page so that we can
| | 00:22 | then access that and reuse that at another time.
| | 00:26 | Let me show you what I mean.
| | 00:27 | Here I'll go ahead and click into
this page on the left and I'll click
| | 00:31 | in to the icon in the lower lefthand corner
which allows me to modify the page layout.
| | 00:35 | I want to use one of these prebuilt
templates for two photos.
| | 00:39 | The one I'm going to try out is this one here.
| | 00:42 | I'll go ahead and click to apply that to this page.
| | 00:45 | Next, I'll drag over another photograph,
so I now have two images in this particular layout.
| | 00:49 | I like this layout but I've decided
I want to customize it a bit further.
| | 00:53 | I want my images to have more space,
more padding around them.
| | 00:56 | In order to make that type of a customization,
ick into one image,
| | 01:01 | hold down Cmd on a Mac, or Ctrl on Windows,
and then click into another.
| | 01:05 | Then navigate to the Cell panel
and change the Padding Amount.
| | 01:09 | We can do that by clicking and dragging to the right.
| | 01:11 | You can see how I can increase that padding
amount around the outside of the
| | 01:15 | image inside of this Cell area.
| | 01:17 | If I click off, you can then see how
I've customized this particular page.
| | 01:21 | Now you can make many different
types of changes to the templates.
| | 01:25 | Here I'm just illustrating one.
| | 01:26 | After you've made whatever customization you want,
if you want to save that out,
| | 01:31 | you can do so by clicking into the page
and then by right-clicking or Ctrl+Clicking.
| | 01:37 | When you do that, you'll see a contextual menu.
| | 01:39 | This menu has an option, which is to Save as User Page.
| | 01:43 | Go ahead and click on that option
and what it will do is it will save this as
| | 01:48 | a custom layout, which you can access and use
on another page or in another book project.
| | 01:53 | Let me show you how we can do that.
| | 01:55 | Here I'll click on to another page.
| | 01:57 | Next I'll click on the icon, which allows me
to change the page layout.
| | 02:01 | I'm going to navigate up to a new menu item,
which we have, which is called User Pages.
| | 02:07 | Here you'll see that user page, which I just created.
| | 02:10 | In order to apply that, we'll just click on that
and here you can see it applied that to this page here.
| | 02:15 | Again, I'll just bring over another photograph
so I now have two pictures on this page.
| | 02:20 | In this way, you can see that you can
customize templates and then you can
| | 02:24 | save those out as your own custom user pages.
| | 02:27 | All right, before we wrap up our conversation
about this let me show you one
| | 02:31 | more thing in regards to custom user pages
and that is how you can remove them.
| | 02:35 | Let's say that you have a layout, which
you don't use very often and you don't
| | 02:40 | really like anymore. How can you get rid of it?
| | 02:42 | We'll navigate to your Page panel
and then click on this icon here.
| | 02:46 | Next, of course, go to User Pages and here
you'll see all of the user pages, which you've created.
| | 02:51 | If there's one that you don't like,
right-click or Ctrl+Click then
| | 02:56 | you can use this option to remove this
from your user pages.
| | 03:00 | All right, that wraps up our look
at this new feature, which allows us to
| | 03:04 | customize layout templates and then save
those out as user pages so that we can
| | 03:09 | then reuse those on different pages
and also in different book projects.
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|
|
7. Creating Slideshows with VideoBuilding a slideshow with still images and video files| 00:00 | In the next few movies, I want to highlight
an exciting new feature that we'll
| | 00:04 | find in Lightroom, in the Slideshow module.
| | 00:07 | This is a feature which finally allows us
to include video files in our slideshows.
| | 00:13 | In the previous versions of Lightroom,
you could only use still images and slideshows.
| | 00:18 | Now you can use still images and video files.
| | 00:21 | What I want to do is walk you through
the process of designing and creating
| | 00:25 | a slideshow which includes a video file.
| | 00:29 | In this first movie, we'll just talk about
setting up the slideshow.
| | 00:32 | Then in the next movie, we'll dig a little bit deeper.
| | 00:35 | For starters, you'll notice that I've clicked into a folder.
| | 00:38 | This folder is titled Slideshows.
| | 00:41 | I have eight different files in this folder.
| | 00:43 | These are all photographs or video files
that I captured of my youngest daughter Elsie.
| | 00:49 | Let's say that what I want to do is
I want to create a slideshow for her grandparents.
| | 00:52 | I want to include all of these images and one video clip.
| | 00:57 | One of the first things that you want to do
is select the files that you want to work on.
| | 01:02 | The next step of course is to navigate
to the Slideshow module.
| | 01:06 | In order to do that, we'll just click on the word Slideshow.
| | 01:08 | This is our module picker button for the slideshow.
| | 01:12 | The next step is to create a collection.
| | 01:14 | If you do that in a slideshow, what it does is
it saves your slideshow and
| | 01:18 | it allows you to reorder the slides, because we all
know that every slideshow needs to be reordered.
| | 01:23 | This is an essential step.
| | 01:25 | So here what I'll do is I'll click into my film strip,
hold down the Shift key
| | 01:29 | and then click to the end to select all of these files,
and then go to the Collections panel.
| | 01:34 | You'll find that on the lefthand side.
| | 01:36 | Here we'll click on the plus icon (+)
and choose Create Slideshow.
| | 01:40 | Another way to do the same thing is to click on
this button up here, Create a Saved Slideshow.
| | 01:46 | Again, either of those buttons or options
will do the same thing.
| | 01:49 | So choose one of those options
and then go ahead and give it a name.
| | 01:53 | I'll give this a name of Elsie, which is the name of
my youngest daughter who is very cute.
| | 01:58 | This is what happens to the youngest daughter.
| | 02:00 | Because she has big sisters, they dress
her up and they do all sorts of things.
| | 02:04 | She ends up in buckets, in piles of
laundry, she sings songs, she's out in
| | 02:09 | a field with flowers; you name it, there she is.
| | 02:11 | All right, next what I want to do is
I want to re-order my slides.
| | 02:15 | Now that we've created this saved slideshow
in this Collections panel, here
| | 02:19 | I can click and drag these slides around
and in this case, I just want it to end,
| | 02:23 | say, with my little video clip there.
| | 02:26 | Currently, if I click through the slides,
one of the things that you'll notice
| | 02:29 | is that the images in the video clip are different sizes.
| | 02:33 | Occasionally, this will happen due
to aspect ratios and the way that still
| | 02:37 | images are captured versus video files.
| | 02:40 | In order to accommodate for that,
what I'm going to do is change a few options
| | 02:44 | and also change the overall layout.
| | 02:46 | Let me show you what I mean.
| | 02:48 | I'll click into an image and I'll open up my top two panels.
| | 02:51 | The first one is Options, the second one is Layout.
| | 02:55 | And here at the first option, I'm going
to choose is Zoom to Fill Frame.
| | 02:59 | In this way, I'll be able to have my still images
and my video files the same size.
| | 03:04 | This isn't an essential step, it's just something
that I wanted to highlight here.
| | 03:09 | Next, I'll go to the Layout panel and I'll click to open that.
| | 03:13 | Currently, Show Guides is turned on.
| | 03:15 | You can't see them, because they're all
the way on the edges but what I'm going
| | 03:18 | to do is just click and drag those in.
| | 03:21 | I want to do this so that I can change
which part of the image will be seen and
| | 03:25 | how much of the image or video file will be shown.
| | 03:28 | In this case, I'm going to go ahead and unlink
these files and when you unlink them,
| | 03:32 | it allows you to change these sliders one at a time.
| | 03:35 | In this case, I'll just turn these options off
and here what I can then do is
| | 03:39 | I can click to expand this
or just change the overall size so that
| | 03:43 | I'm dedicating towards a certain part
of the image or the video.
| | 03:46 | Now that I have this space to find,
when I click to the video, you can see
| | 03:50 | it's that same sizer and I can control
where this will be displayed.
| | 03:54 | In this way, the show will have a bit more continuity.
| | 03:57 | Again, this isn't an essential step, but nonetheless,
it can be something that you may want to consider.
| | 04:02 | All right, now that we have brought
our images into the Slideshow module and
| | 04:06 | created a saved slideshow in the Collections panel,
and re-ordered our images
| | 04:10 | and finally, customized the layout, the
next step is to take a look at some of
| | 04:14 | our Playback options and we'll do that that in the next movie.
| | 04:18 | Yet before we get there, I want to highlight one thing.
| | 04:20 | You may have noticed that as we brought these in,
we have still images and
| | 04:24 | we also have this video clip right here.
| | 04:26 | Now in order to integrate video into
your slideshow, all you need to do is just
| | 04:30 | simply include it as one of the assets
of the slideshow and there it is.
| | 04:34 | There's nothing special that you need to do
in regards to bringing video files in.
| | 04:38 | By default, they can now be included in our slideshows.
| | 04:41 | All right, next let's take a look at some of
our playback options and let's do that in the next movie.
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| Playing slideshows with still images, video, and a soundtrack| 00:00 | In this movie we are going to pick up
where we left of in the last movie as we
| | 00:05 | are taking a look at how we could build a slideshow,
which included still images and video files.
| | 00:10 | In particular, here we're going to focus in
on some playback considerations as
| | 00:15 | we talk about how we can work with still images
and video files and audio and
| | 00:18 | how we can add a sound track as well.
| | 00:21 | In order to talk about playback
let's navigate to the Slideshow module.
| | 00:24 | Here we'll open up our Playback panel
by clicking on the word Playback.
| | 00:29 | Next we have some options here, yet before
we get to those options what I want to do is
| | 00:33 | just play a few slides for you so that we can see
how this will work by default
| | 00:38 | without dialing anything in, in the Playback panel.
| | 00:41 | So here I'll go ahead and click Play
and we'll watch a few slides, here goes.
| | 00:45 | We have a couple of images at play and then the video file.
(Slideshow playing)
| | 00:52 | In the video file, you can hear one of
my other daughters talking and however
| | 00:57 | loud that the audio is capturing that video file,
well that will then be played back in your slideshow.
| | 01:03 | Yet we can customize that further
and let me show you what I mean.
| | 01:07 | Here, I'm just going to click out of
the slideshow, navigate to another image,
| | 01:11 | I'm going to turn on some options for audio.
| | 01:13 | Now if you've built a slideshow before,
you know that you can select music.
| | 01:17 | If we click on Select Music,
you can choose an mp3 file in order to
| | 01:21 | play that as a soundtrack throughout
your slideshow. Often you want to do
| | 01:25 | that, because audio and photographs or videos,
well it just becomes really interesting.
| | 01:29 | All right. What about audio balance?
| | 01:32 | What does that have to do with anything?
| | 01:34 | What we can do here is we can control
how loud the soundtrack is; we just
| | 01:38 | selected in this case an mp3, versus
how loud the audio is in our video clips.
| | 01:44 | So here we have audio balance,
which gives us some flexibility.
| | 01:48 | If we crank it all the way to the right,
as it is here, we will just hear the music.
| | 01:53 | Let me play a few slides so that
we can see and hear how this works.
| | 01:57 | Here I'll go ahead and click Play and we'll watch the show.
| | 02:00 | (Slideshow playing)
| | 02:09 | All right, as we can see and hear there,
what's happening with this dragged all the
| | 02:13 | way to the right is that it favors our soundtrack.
| | 02:16 | We hear that soundtrack, it's at the
same volume the whole way through.
| | 02:20 | What happens if we drag it further to the left?
| | 02:23 | If we drag this to the left, what will happen is
our soundtrack, again this mp3 file which I've selected,
| | 02:30 | it will dip down so that I can then hear the audio,
which is part of my video clip.
| | 02:35 | Let me click Play here so that we can see
in here how this works. Here it goes.
| | 02:40 | (Slideshow playing)
| | 02:46 | All right, so as we saw with that example,
when we drag the slider to the extreme left,
| | 02:49 | all our soundtrack fades out and then we hear
the audio from the video file
| | 02:53 | or perhaps we want something a bit more subtle.
| | 02:56 | If we put this, say right about here
what we'll hear is that our audio track
| | 03:01 | will dip down but not all the way out.
| | 03:04 | It'll just get lower so we can hear more
of the audio that we have in our video clip.
| | 03:08 | Again, let me show you this option
so that you can see and hear how this works.
| | 03:12 | Here I'll click Play.
| | 03:13 | (Slideshow playing)
| | 03:18 | Notice that the audio track is quieter now
and then once this is done, it gets louder.
| | 03:24 | So as you can see here, what's happening is
the audio track gets softer and
| | 03:29 | while the video plays and then it gets louder
after it's moved on to the other still images.
| | 03:34 | In this case, my video clip here,
the audio file isn't very interesting.
| | 03:39 | Here I really would want to favor
the music and that would make for a better
| | 03:42 | overall show; yet what I wanted to
do was to highlight how you have some
| | 03:46 | different options when it comes to audio balance.
| | 03:49 | What you want to do is dial in just
the right amount based on the type of
| | 03:53 | slideshow that you want to create.
| | 03:55 | All right, as you can see here,
it's really easy to build slideshows with
| | 03:58 | still images and video files.
| | 04:01 | Not only is it easy, but it's also a ton of fun.
| | 04:04 | If you haven't experimented with the
Slideshow module and if you haven't
| | 04:07 | experimented with working with video files
in the Slideshow module,
| | 04:11 | this is definitely something that
you're going to want to try out.
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|
|
8. Expediting Your WorkflowA better way to import photographs| 00:00 | In this movie I want to focus in on a
new feature, which really is a solution to
| | 00:05 | a problem that we had in the previous versions of Lightroom.
| | 00:09 | This new feature is a little preference that we can
change, which can really help out our overall workflow.
| | 00:14 | You know the previous versions of Lightroom,
what would happen is this:
| | 00:18 | we would be working on a folder of images,
like this folder here and I'll be
| | 00:22 | focusing on in this photograph and then
I would decide that I want to import some new photographs.
| | 00:27 | Well to do that, we could click on the Import button
and then we could choose a
| | 00:33 | folder of images that we want to import
or just let's say one particular photograph this one here.
| | 00:38 | Whenever we would start to import that photograph,
all of the sudden it
| | 00:42 | would shift our focus away from where we were
to the new photographs that were being imported.
| | 00:48 | Sometimes this would be helpful,
because we would start to see these new photographs
| | 00:52 | and we would watch as they would
be imported in to Lightroom.
| | 00:55 | Yet in other situations, it would really
just interrupt our overall workflow.
| | 01:00 | There's a new preference, which allows us
to focus in on a folder or a collection
| | 01:03 | or certain images, say like this one here, and it
allows us to import photographs in the background.
| | 01:11 | Let me show you how you can turn on this preference.
| | 01:13 | In order to do this, we navigate to our Lightroom
pull down menu, and then choose Preferences.
| | 01:18 | Here underneath the General tab, you'll notice that
there are Import Options and there's a new option here.
| | 01:24 | The new option is to Select the Current/Previous
Import collection during the import.
| | 01:30 | In other words, if you leave this turned on
what it will do is it will shift
| | 01:34 | your focus to those photographs that are being imported.
| | 01:37 | If you turn this option off, what will happen is
you will be able to stay focussed
| | 01:42 | on the images that you are currently working on.
| | 01:44 | Let's take a look at how this works
when we turn this option off.
| | 01:48 | Here I'll go ahead and close the Preferences dialog
and next I'll go back to Import.
| | 01:51 | In the Import dialog once again,
I'm going to choose some images
| | 01:56 | that I want to import these here
and I'll simply click Import.
| | 01:59 | As I do that, notice that it's importing
these behind the scenes.
| | 02:03 | I can continue to work on the photograph
that I'm working on then, once that
| | 02:08 | import is complete, what you can do
is you can navigate your catalogue in here,
| | 02:12 | I'll click on Previous Import and then its going to
show me these images which were just imported.
| | 02:18 | In this way I think it makes your workflow a bit more fluid
and uninterrupted and that's what I like to do.
| | 02:24 | I like to continue the task that I'm working on
and then once the import is complete
| | 02:28 | you can always go there by clicking on this option here.
If ever you want to change this preference
back to its default setting,
| | 02:37 | just go back to your Preferences dialog
and in that Preferences dialog
| | 02:41 | navigate to the General tab
and then click on that option there.
| | 02:44 | That being said, in my own workflow,
what I do is I leave that option checked off
| | 02:49 | because I think that that gives me
a little bit more focus on what I'm doing
| | 02:52 | and then allows me to import images in
behind the scenes so to speak
| | 02:57 | so I can really focus in on one task and then move
to the next task once that import has been completed.
| | Collapse this transcript |
| Using targeted collections with increased speed| 00:00 | Here I want to focus in on a new feature
that we'll encounter which will speed
| | 00:04 | up our workflow when it comes to working with collections.
| | 00:08 | If you've been working with Lightroom
for some time, there's a good chance
| | 00:11 | that you've encountered collections
and that you've discovered that collections are powerful.
| | 00:16 | They are powerful because they allow us
to group or organize our images together
| | 00:22 | in a way that isn't dependent upon where those images live.
| | 00:26 | If they are in different folders or different hard drive,
that's fine.
| | 00:29 | We can organize or group these images
together in the collection.
| | 00:33 | Let's take a look at a typical collection workflow.
| | 00:37 | Currently, I have a lot of images in my library
but one of the things that I notice is
| | 00:41 | I have some portraits of men
and also some portraits of women.
| | 00:45 | I want to create two different collections
and add some photographs to those collections quickly.
| | 00:50 | One way that we could do this would be to select an image,
in this case, a portrait of a guy.
| | 00:54 | Here I'll click on my Plus icon in my Collections panel
and I'll choose Create Collection.
| | 00:59 | I'll name this collection Portrait-Men.
| | 01:03 | Next, I'll leave the default settings as is
and simply click Create.
| | 01:07 | Now that I have created this collection,
what I can do is I can define this as a targeted collection.
| | 01:15 | To do that, you right-click or Ctrl+Click on the collection
name and then choose Set as Target Collection.
| | 01:22 | Notice that when I do that, there's a little Plus icon
just to the right of that collection name.
| | 01:28 | Then I can go back to another folder
and when I was back in another folder,
| | 01:32 | I could find a photograph like this
one here, a portrait of one of my good friends,
| | 01:35 | and I could add it to that collection
by way of a shortcut because it's a targeted collection.
| | 01:41 | If you have a collection which is targeted,
you can press the B key and that
| | 01:45 | will then add the photograph you selected to the collection.
| | 01:49 | When I click on this, we can now see
that I have these two photographs inside of this collection.
| | 01:55 | There's a new feature which allows us
to target collections much more efficiently.
| | 02:00 | Let me show you what it is.
| | 02:01 | I'm going to navigate back to another folder,
in this case this folder here and
| | 02:06 | then I'm going to create a new collection.
| | 02:08 | To do that, we'll click on our Plus icon
located in the top right corner of the
| | 02:12 | Collections panel and choose Create Collection.
| | 02:16 | This time I'll go ahead and name this out Portrait-Woman.
| | 02:20 | Next, what I want to do is turn on a new option.
| | 02:23 | Here is the new feature.
| | 02:25 | You can now turn this option on
to set this as the target collection.
| | 02:29 | So you can target it upon the creation of the collection.
| | 02:33 | Here I'll click Create and as I do that
you'll notice that this one now has this icon
| | 02:37 | showing me this is the targeted collection.
| | 02:40 | Then I could go back to my folder or my files,
I could find images that I want to add to the collection.
| | 02:46 | Here, I'll just press the B key in order to add all
of these photographs to this particular collection.
| | 02:51 | Now in doing this, I can really just
quickly go through a large volume of photographs
| | 02:55 | and then add those photographs to
this particular collection as you can see here.
| | 03:02 | The great thing about this is that these images,
they live in different folders.
| | 03:06 | If I click back to the folder, you can see how I have
certain photographs there, other photographs here.
| | 03:12 | If ever I want to have these pictures
all in one collection, we'll just select
| | 03:17 | the photograph, press the "b" key and then by default,
that will be added to this targeted collection.
| | 03:23 | All right, so in summary the next time
you go to create a collection, click on the
| | 03:27 | Plus icon and choose Create Collection,
but then be sure to click on this option here,
| | 03:31 | set as Target Collection,
because that will help you to work
| | 03:35 | with collections in more efficient ways.
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| Improvements with Smart Collections and Smart Filters| 00:00 | Here I want to highlight a few new improvements
in Lightroom when it comes to
| | 00:03 | working with Smart Collections and also, filtering.
| | 00:07 | Let's start off with Smart Collections.
| | 00:09 | In order to do that, I've gone back
to a previous version of Lightroom
| | 00:13 | and here, I want to highlight one of the things
that we'll find when it comes to Smart Collections.
| | 00:18 | In both versions, to create a Smart Collection,
you go to the Collections panel,
| | 00:21 | click on the plus (+) icon
and then choose Create Smart Collection.
| | 00:25 | This will open up our create Smart Collection dialog.
| | 00:29 | A Smart Collection, it allows us to group images
together based on certain criteria.
| | 00:34 | We can define that here.
| | 00:36 | If you click on this pulldown menu, you see
that you have a number of different options.
| | 00:40 | It is pretty difficult to find the right option.
| | 00:43 | This has been improved in the latest version of Lightroom.
| | 00:46 | So let me show you that improvement.
| | 00:48 | If we go to the most recent version of Lightroom
and navigate to our Collections panel
| | 00:51 | then click on the plus (+) icon,
here we can choose Create Smart Collection.
| | 00:57 | Again, the dialog looks the same yet the difference is
when we click on this option here.
| | 01:03 | Notice how much more compact this dialog is.
| | 01:07 | Also, here you're going to encounter some
new criteria that you can use for Smart Collections.
| | 01:12 | For example, here we could choose if it has
a Smart Preview or not.
| | 01:17 | Also, we'll encounter some of the criteria
that we've seen previously.
| | 01:21 | We'll just notice that these are a bit
more tucked away, so that we can then
| | 01:24 | find them in this area here.
| | 01:27 | We'll also encounter other new criteria as well.
| | 01:29 | For example, we could sort by size and
you see the options that we have there.
| | 01:33 | We also have some options in regards to
bit depth, color mode or color profile.
| | 01:38 | Again, this will just make Smart Collections
that much more functional and
| | 01:42 | help us to be more efficient when we're seeking
to sort and view certain types of files.
| | 01:48 | All right, next I want to highlight Filters.
| | 01:50 | If you go up to your Library Filter bar,
which you can open or close by
| | 01:54 | pressing the Backslash key (\), one of
the things that you can do is you can
| | 01:59 | sort based on metadata.
| | 02:00 | If you click into any of these columns,
you can change the type of metadata
| | 02:04 | that you're going to sort for.
| | 02:06 | Again here, you'll encounter some improvements.
| | 02:08 | For example, you can now sort based on
whether or not the image has a Smart Preview or not.
| | 02:14 | All right, there are a couple of improvements,
which will help you to be more efficient
| | 02:18 | when it comes to working with
Smart Collections and also Filters.
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| Adding direction metadata| 00:00 | Here I want to highlight a small yet
sometimes helpful new feature that we'll
| | 00:03 | encounter in the Library module
inside of the Metadata panel.
| | 00:08 | What it is, is a new field,
which allows us to enter in direction
| | 00:13 | or if we have a GPS enabled camera,
it will include that GPS information.
| | 00:18 | Let's take a look at how this works.
| | 00:19 | When I select the photograph and then navigate
to the Library mode and open up the Metadata panel.
| | 00:25 | Next, I'm accessing or viewing that EXIF information
and at the bottom of this field,
| | 00:30 | you'll notice there's a new option, which is Direction.
| | 00:33 | Here you can click into this field
and you can add a direction.
| | 00:36 | I know that this photograph was captured as it was
facing due south, so I'll go ahead and enter that in.
| | 00:41 | Or, on the other hand, if you're using a camera,
which is GPS enabled, as I have here in this folder,
| | 00:48 | like with my iPhone, you notice that
it will pickup the direction here.
| | 00:52 | In this case, this photograph was captured
as I was facing northeast or if we
| | 00:56 | click on another image here, it
will show us the direction is south.
| | 00:59 | You know with some photographs,
this extra bit of metadata isn't that helpful.
| | 01:04 | If you have a landscape that you capture
and you really want to go back and
| | 01:08 | look at which way you were facing,
well sometimes this direction info can really help out.
| | 01:12 | All right, there you have it, another handy new
feature that we have in the Metadata panel;
| | 01:16 | the ability to add direction to our photographs.
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| Collection consistency| 00:00 | In this brief movie, I want to highlight
another new feature that you'll encounter
| | 00:03 | when working with collections.
| | 00:05 | This is one of those features that might go
unnoticed but I just want to highlight it here
| | 00:09 | so that you can take advantage of this feature.
| | 00:12 | It has to do with the way that
we work with multiple collections.
| | 00:16 | Eventually, you'll have many collections
and what you'll discover is that
| | 00:20 | you'll be working on collections and you'll
make your way to work on one photograph
| | 00:24 | and then you'll navigate to another collection.
| | 00:26 | In previous versions of Lightroom,
what would happen is, as you would go to
| | 00:30 | another collection, and then return, it would by default
take you to the first image in the collection.
| | 00:35 | Now in this version of Lightroom
it will take you back to whatever image
| | 00:40 | you had been working on last time.
| | 00:42 | This has in a way, built-in memory and
what I found is that this feature is great
| | 00:47 | because it can really help you speed up
your workflow so that you never lose
| | 00:50 | your place when you're working with collections.
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| Dragging photos to saved Map locations| 00:00 | If you worked with the Map module before,
you know that it's nice to be able
| | 00:04 | create what are called Saved Locations.
| | 00:06 | Now there's a new way that you can work with
saved locations and you can
| | 00:10 | add images to the saved locations
that you have here in this panel.
| | 00:14 | Once you've created a saved location,
what you can now do, which you
| | 00:18 | previously couldn't, is drag an image to that
saved location that will now be part of that criteria.
| | 00:25 | Another way that you can do this is by
clicking on the location that you have
| | 00:29 | there then hover over your image
and you can add images that way as well.
| | 00:33 | So again, you can either click and drag
to the image or you can select the
| | 00:37 | photograph and click and drag to that location.
| | 00:39 | Now those photographs will all be part
of that saved location and here you
| | 00:44 | can see we can click through the images
that were captured at this particular saved location.
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| Importing and working with PNG files in Lightroom| 00:00 | In this latest version of Lightroom,
we can now import PNG files and that's what
| | 00:05 | I want to focus in on here.
| | 00:07 | In the previous versions of Lightroom,
we could import JPEG, TIFF, PST, RAW files;
| | 00:11 | CMYK files, Movies and now we can import
all of those as well as this PNG format.
| | 00:17 | You know, the PNG format is really fascinating.
| | 00:20 | It does a really good job when it
comes to working with transparency.
| | 00:25 | So why would this matter to us as photographers?
| | 00:27 | Some of our camera phone apps actually
save files in this PNG format, we
| | 00:32 | may want to import and work on those in Lightroom.
| | 00:35 | In other situations, we may have files like this one here.
| | 00:39 | If I click into this next file,
it's titled demo cover.png, you can barely see
| | 00:44 | that there's a title here of a magazine.
| | 00:46 | We can use this as an overlay on top
of a photograph to sort of simulate
| | 00:52 | how an image might appear on a cover of a magazine.
| | 00:55 | Let me illustrate that by navigating to another photograph.
| | 00:58 | This is a photograph that I captured
in one of my colleague's offices.
| | 01:02 | He had some balloons hanging down;
| | 01:03 | I thought the light was just beautiful.
| | 01:05 | Let's say I want to consider using
this photograph for a cover of a magazine.
| | 01:10 | There's a feature in Lightroom,
which allows you to overlay content.
| | 01:13 | If you go to the View pull-down menu
and then access Loupe Overlay, what you
| | 01:18 | can do is choose a layout image in order to
simulate a layout, like in this case, a magazine cover.
| | 01:24 | You can either click on this option and
navigate to the file on your hard drive
| | 01:28 | or if you've recently used one of these options,
you can access it here.
| | 01:32 | Here, I'll go ahead and select demo-cover.
| | 01:35 | Now this will bring in this PNG file,
which we just looked at.
| | 01:38 | Here you can see how this image might appear
on the cover of a magazine.
| | 01:42 | Now in seeing this, I realize the aspect ratio
of the photograph isn't right.
| | 01:46 | I'm going to need to crop the photograph.
| | 01:48 | To do that, I'll just select the Crop tool
by clicking here and I'm just
| | 01:52 | going to go ahead and crop this down
again just to sort of simulate how this
| | 01:55 | image might appear on the cover.
| | 01:56 | This is especially helpful when you're
working with Tethered Capture or when
| | 02:01 | you're just trying to figure out how
you're going to work some sort of layout.
| | 02:05 | In here I'll just modify the crop a little bit
in order to create a temporary or
| | 02:09 | preview of how this might appear.
| | 02:10 | What's great about this is we can turn this view
on and off and all it is,
| | 02:15 | is a view of a transparent PNG file.
| | 02:17 | Here I'll go to View>Loupe Overlay, and I'm going to
turn on the option to turn this off so it won't show that.
| | 02:23 | Let me show you another example here.
| | 02:25 | I have a file, which is just a demo file
that I created in order to illustrate
| | 02:29 | something in regards to Photoshop. This is PNG file.
| | 02:32 | Again, sometimes you just have documents;
| | 02:34 | you want to be able to access and work with in Lightroom.
| | 02:37 | Still in other situations, it might be for creative intent.
| | 02:40 | I click on this image here;
it's a photograph of a rock climber rappelling.
| | 02:45 | Here, everything is removed from the
picture except for the rope and the rock
| | 02:49 | climber and this is a PNG file.
| | 02:51 | I can use this as an overlay.
| | 02:54 | In order to try figure out what type of image might work
for compositing this together with something else.
| | 03:00 | Let's go to the balloon file for starters.
| | 03:02 | Here I'll click on the balloon file,
| | 03:04 | I'll navigate to the View pull-down menu,
and then choose Loupe Overlay.
| | 03:09 | Rather than selecting the option for the magazine cover,
I'm going to choose my rock-climber.
| | 03:14 | Here we can see that he will be overlaid on top of this image.
| | 03:17 | It's a little bit difficult to see and so
I've decided this image will not work.
| | 03:21 | Then I can go to another photograph,
like this one that I have here of this can.
| | 03:27 | In this case, I can start to see how
this composite might come together.
| | 03:31 | Again, I need crop a little bit in order
to reposition how this overlay sits
| | 03:35 | with this image, and so here I'll just go ahead
and crop this in just a bit, and then apply that crop.
| | 03:40 | You can start to see how this might work as a composite.
| | 03:44 | Again, I'm just going to modify this a little bit more
to see if I can get it in a bit of a better spot.
| | 03:49 | There we go, I think that might work.
| | 03:51 | And again, all that I am doing is overlaying
a transparent PNG on top of another photograph.
| | 03:57 | I wanted do this in order to illustrate;
one, what a PNG file is and how
| | 04:01 | sometimes these files can have transparency;
and then two, I want to illustrate
| | 04:06 | a real world scenario where you might use a
PNG that's transparent inside of Lightroom.
| | 04:12 | Still, if you aren't going to use this
Overlay feature, that's ok, it's
| | 04:16 | still important to know that you can now import
and work with PNG files inside of Lightroom.
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| Tethered capture shortcuts| 00:00 | Here I want to highlight a couple of
new features that are helpful when you're
| | 00:04 | using Tethered Capture inside of Lightroom.
| | 00:06 | What Tethered Capture allows you to do
is to connect your camera to your
| | 00:10 | computer and then to use the Lightroom
interface in order to trigger the shutter release
| | 00:14 | or to take pictures and then to import
those photos directly into Lightroom.
| | 00:19 | Now there's a new shortcut, which allows
you to trigger your shutter release button
| | 00:23 | by pressing the F12 key, you want to write that down.
| | 00:27 | All right, now that we know the shortcut,
let's go ahead and take a look at
| | 00:30 | how we can work with Tethered Capture in Lightroom.
| | 00:33 | In order to do that, I'll jump over to Lightroom.
| | 00:35 | Here in Lightroom, what you do is
you navigate to the File pull-down menu,
| | 00:39 | choose Tethered Capture and then
select Start Tethered Capture.
| | 00:43 | Here, we'll choose a Session name, also File Naming
Convention of where we want to save these files.
| | 00:49 | Next, simply click OK.
| | 00:51 | This will then begin our session, and
of course, you'll need to have your camera
| | 00:55 | connected as I do here and then next,
what you can do is simply press the
| | 00:59 | shutter release button in order to take a picture.
| | 01:02 | Here we can see the photograph that I've captured;
| | 01:04 | I'll press the E key to take this into a Loupe View mode.
| | 01:07 | Now that we have that image in the Lightroom,
one of the things that
| | 01:11 | I noticed is that the image is a little bit tilted.
| | 01:14 | Here, if we move this off a bit, you can see that
these lines in the background aren't exactly straight.
| | 01:19 | You know another way to be able to see that
is to turn on the Grid Overlay.
| | 01:23 | You can find the Grid Overlay controls by clicking on
this icon here and then by choosing Grid Overlay.
| | 01:29 | Here with those controls, we can turn this on
and then I can change the grid size
| | 01:34 | and I'm doing this just to try to identify
how this image is just a little bit off.
| | 01:39 | Here, what I can then do is correct that.
| | 01:42 | We can correct that by going to the Develop module.
| | 01:45 | Here inside the Develop module I'll grab the Crop tool.
| | 01:48 | There are great shortcuts
that you can use with the Crop tool.
| | 01:51 | If you hold down the Cmd key on the Mac,
or Ctrl key in Windows, you can click and drag
| | 01:55 | over something that should be straight,
in this case, this line here.
| | 01:59 | Now we can see how that lines up much better
in the background then press Enter or Return.
| | 02:05 | And while I'm here, I'm going to change
my overall color temperature by grabbing
| | 02:08 | the Eye Dropper tool and then I'll click on
of these items in the background.
| | 02:12 | Now that changed the color temperature,
you can customize this as well, and here
| | 02:17 | you can just dial this in so that the
image that you're capturing looks just
| | 02:21 | right as it is being brought into Lightroom.
| | 02:23 | All right, well after having made those changes,
what I want to do is trigger the
| | 02:27 | shutter release and capture another
image with these settings applied.
| | 02:30 | We can do that by simply choosing this option here,
Same as previous
| | 02:35 | and this time I'll use our shortcut key,
I'll press the F12 key and what that will do is
| | 02:40 | it will trigger the shutter release button
and it will capture another image.
| | 02:44 | Here we can see that photograph in the
filmstrip below, it looks exactly the
| | 02:48 | same in regards to its crop, also its position and its color.
| | 02:52 | When it comes to using Tether Capture,
sometimes you'll be photographing a
| | 02:56 | product like this and you'll need to align
things between different images.
| | 03:01 | A great technique that you can use in
order to do that is to go to your View
| | 03:05 | pull-down menu and then navigate
to Loupe Overlay and choose Guides.
| | 03:10 | This will launch the guides; here if
you press the Cmd key on a Mac or Ctrl
| | 03:14 | key on Windows, you can change these
guides. In this way if you change the
| | 03:18 | product which is sitting on this area,
you can then make sure that those two
| | 03:22 | products as they're being captured will be aligned.
| | 03:26 | All right, well that wraps up our look at some of
the new features that we can use with Tethered Capture.
| | 03:31 | In particular, the shortcut, the F12 key,
which allows us to trigger the shutter
| | 03:34 | release button, the ability to show the
grid so that we can see the grid overlay
| | 03:39 | on top of what we're capturing, and
last but not least, the ability to show
| | 03:43 | the guide, which can help us to align
objects as we're using Tethered Capture.
| | 03:47 | When you're ready to turn this off,
all that you need to do is to navigate
| | 03:51 | to your View pull-down menu then navigate
to Loupe Overlay and click on Guides
| | 03:55 | and that will then turn off the Guides Overlay.
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| Validating DNGs| 00:00 | Here I want to highlight another new
feature that we'll encounter in Lightroom
| | 00:04 | and this one is called DNG Validation.
| | 00:06 | Now this will be relevant to you if you work with
the DNG format like I do myself.
| | 00:12 | In order to get to know why this matters,
I think it's helpful to take a
| | 00:16 | look at why people use this format.
| | 00:19 | So before we get to Lightroom, let's ask that question,
why work with this DNG format?
| | 00:24 | There are a number of different reasons
why people use DNG files.
| | 00:28 | The DNG format allows us to do different
types of compression, sometimes
| | 00:33 | that's Lossless where detail isn't lost,
other situations it's Lossy where detail is lost,
| | 00:37 | yet in either scenario,the DNG format,
it allows us to work more quickly in Lightroom.
| | 00:44 | Sometimes that means that we can work
with Fast Load DNGs and we can work up
| | 00:48 | to eight times faster when it comes to previewing
and working with our images in the Develop module.
| | 00:54 | In other situations, it allows us
to work without Sidecar XMP files in
| | 00:59 | comparison to RAW files,
which need the Sidecar XMP file.
| | 01:03 | Another reason why people use this
format is for archivable confidence.
| | 01:07 | The DNG format is Open Source,
therefore,people are confident that they will be
| | 01:12 | able to access and work with their images into the future.
| | 01:15 | Now there's a new reason for using the DNG format
and it's this DNG Validation;
| | 01:20 | this new feature, which we're going to highlight here.
| | 01:22 | All right, well what is DNG Validation and how does it work?
| | 01:26 | Let's jump to Lightroom in order to take a look.
| | 01:29 | Now that I'm inside of Lightroom,
I want to continue to talk about DNG Validation.
| | 01:33 | You know one thing that happens with
whatever type of file format we use
| | 01:38 | is that eventually, some of our files will become corrupt.
| | 01:41 | This is just the nature of working on computers.
| | 01:44 | What we can do is we can find those files
and then we can get rid of them and let me show you how.
| | 01:50 | In the Library module, you can navigate
to the Library pull-down menu, then you
| | 01:54 | can you can select Validate DNG files.
| | 01:57 | What this will do is it will ask Lightroom
to scour and scan your entire
| | 02:02 | Lightroom catalog and search for any DNG files that are bad.
| | 02:07 | A great thing about this is that if it finds any files,
it will put those in a collection.
| | 02:12 | Now here, my library is in good shape
and that is a good thing.
| | 02:16 | Yet if it found a file, it would put it in a collection.
| | 02:19 | And the reason why this is helpful?
| | 02:21 | It's kind of the same reason why it
is helpful to know if you have a rotten
| | 02:25 | apple inside of a basket full of apples
because it's better to find out
| | 02:29 | beforehand that the apple is rotten
before you sink your teeth into it.
| | 02:33 | In other words, this will just help you to realize,
hey, you know what, these files are corrupt.
| | 02:37 | And sometimes there's nothing you can do
but get rid of those files, clean house, delete them.
| | 02:43 | In other situations, you may discover
that a file is corrupt and that you have
| | 02:48 | another version of that file on a different hard drive.
| | 02:50 | That will you give you the heads up to go looking for
the better version of that particular file.
| | 02:56 | Well either way this new feature is
a welcome new feature because it now
| | 03:00 | allows us to find those files which are
corrupt and you can access this option
| | 03:05 | by navigating to your Library pulldown menu
and then by selecting Validate DNG files.
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| Viewing LAB color values in the histogram| 00:00 | In this movie, I want to simply point out
and highlight another new feature and
| | 00:04 | it's a feature which allows us to display information
when we position the cursor over our images.
| | 00:10 | Currently, I'm in the Develop module
and I have the Histogram visible.
| | 00:14 | If I hover over the image, you see that
we can see the RGB values right here.
| | 00:19 | Again as I position the cursor over the image,
we can see different RGB values.
| | 00:24 | We can also now see values from the lab color space.
| | 00:28 | This is the largest color space;
its gamut exceeds those of the RGB and
| | 00:33 | CMYK color models and so that's one of the
reasons why this lab color space is so helpful.
| | 00:39 | In order to access that information,
position the cursor over the Histogram
| | 00:43 | then right-click or Ctrl+Click, here
simply choose Show Lab Color Values,
| | 00:49 | then position the cursor over the image
and as I do that you can see that we have
| | 00:54 | those lab colors displayed in this area right here.
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