IntroductionWelcome| 00:04 |
(MUSIC).
Hi, I'm Jan Kabili.
| | 00:05 |
Welcome to Up and Running with Lightroom
5.
| | 00:08 |
This streamlined introductory course is
designed to help you get started using
| | 00:12 |
Lightroom whether you're an amateur
photographer or a pro.
| | 00:16 |
I've structured the course to follow a
particular photographer's workflow,
| | 00:20 |
starting with importing photos and videos
into Lightroom.
| | 00:23 |
Then, we'll talk about managing your
photos in Lightroom's Library module.
| | 00:26 |
Where you can rank photos after a shoot,
organize photos into collections, and add keywords.
| | 00:32 |
Then, we will dive into the Important
Develop module, learning how to global
| | 00:37 |
corrections to color and tone and how to
make targeted local edits.
| | 00:41 |
We'll look at cropping, fixing
distortion, reducing noise, and sharpening.
| | 00:46 |
And we will finish up with an
introduction to some of the ways you can
| | 00:50 |
showcase your work from Lightroom.
Including exporting for the web,
| | 00:53 |
printing, and sharing to social media.
There's lots to cover, so let's jump
| | 00:59 |
right in to getting up and running with
Lightroom 5.
| | 01:02 |
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| Using the exercise files| 00:00 |
The very best way to learn the material
in this course is to work along with me.
| | 00:03 |
You can use your own photos to do that or
if you are a premium member of the
| | 00:08 |
lynda.com training library.
You can use the exercise files that I've
| | 00:11 |
prepared for you.
You can download those exercise files and
| | 00:15 |
I suggest you put them on your desktop as
I've done here.
| | 00:18 |
Inside the Exercise Files folder, you'll
find some Chapter folders.
| | 00:22 |
And inside each Chapter folder are
sub-folders that correspond to the movies.
| | 00:26 |
And inside a Movie folder, you'll find
some photo files that I'll be using
| | 00:31 |
during that movie.
Not all movies have exercise files, so
| | 00:34 |
you'll find a few numbers skipped here.
In order to use the exercise files for
| | 00:39 |
your own practice photos during the
course you need to import them into a
| | 00:42 |
Lightroom catalog.
So lets launch Lightroom, if its not
| | 00:45 |
already open and create new catalog for
these files.
| | 00:49 |
Here you can see the default catalog that
Lightroom creates when you first launch
| | 00:53 |
the program.
I suggest that you keep your exercise
| | 00:55 |
files or your practice files for this
course separate from your personal photos.
| | 01:00 |
And to do that, I recommend that you make
a new catalog for just these files.
| | 01:04 |
To do that, I'm going to go up to the
File menu in Lightroom.
| | 01:07 |
If you don't see a file menu, then hold
down the Shift key and press the F key a
| | 01:11 |
few times to change the screen mode in
Lightroom until you see a menu bar.
| | 01:16 |
Then, go to the File menu and choose New
Catalog.
| | 01:20 |
In the window that opens, navigate to
your desktop, where we'll store the
| | 01:23 |
catalog files so they're easy to access
during this course.
| | 01:26 |
Then give the new catalog a name, on a PC
in the file name field and here on a Mac
| | 01:32 |
in the Save As field.
I'll call this catalog Exercise Files Catalog.
| | 01:38 |
Then come down and press the Create
button on a Mac or the Save button on a PC.
| | 01:43 |
That will create a new folder on your
desktop for the exercise files catalog,
| | 01:48 |
separate from the actual exercise files.
Lightroom will relaunch with that
| | 01:53 |
catalog, an empty catalog now, and it's
time to import the exercise files into
| | 01:57 |
this catalog.
So, go up to the File menu in Lightroom
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and choose Import Photos and Video.
That opens the Import window.
| | 02:07 |
Go to the From Menu at the top left of
this window and from there choose Other
| | 02:12 |
Source and navigate to your desktop and
then to the Exercise Files Folder.
| | 02:17 |
This is the folder that contains the
photos that I showed you earlier.
| | 02:21 |
Do not choose the Exercise Files Catalog
folder.
| | 02:24 |
If you look inside of that one, you'll
see the database files that make up the catalog.
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So we want the Exercise Files folder, and
then come down and click the Choose button.
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Now you should see thumbnail previews of
all of the photos that are in the
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Exercise Files.
Now this is important, go up to the top
| | 02:41 |
of the Import window and make sure that
Add is highlighted here.
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Don't click Move or Copy or Copy as PNG.
We just want to add the Exercise Files to
| | 02:50 |
the catalog in place.
So with add selected here, we will go
| | 02:54 |
over to the column on the right.
Here if the file handling panel isn't
| | 02:58 |
open then click it's title bar to open
it.
| | 03:01 |
You can choose the size of the previews
that you want to render.
| | 03:04 |
I suggest that you render one to one
previews, so you won't have to do that
| | 03:08 |
later when you're working in Lightroom.
It may take a little longer to render the
| | 03:12 |
one to one previews, but I think it's
worth it.
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If you're in a hurry, then you can choose
Minimal instead.
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Leave everything else unchecked.
Don't fill in any of these fields.
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Just click the big Import button at the
bottom right of this window.
| | 03:25 |
That closes the import window, and will
take you back to the Lightroom library.
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Where you can see from this progress bar
that Lightroom is importing the exercise
| | 03:35 |
files, and building previews of them.
That may take a few minutes depending on
| | 03:39 |
the speed of your processor.
So you can sit back and relax while
| | 03:43 |
Lightroom finishes importing the exercise
files.
| | 03:45 |
Now, in Lightroom's library module, in
the folders panel on the left, you'll see
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the name of your harddrive with a green
light meaning that your drive is online.
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Under that, you'll see the exercise files
folder.
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Click the arrow up to the left of the
exercise files folder to expand it and
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here you'll see the Chapter folders for
the course.
| | 04:04 |
If you click on the arrow up to the left
of one of the Chapter folders you'll see
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the sub folders for the movies in that
chapter.
| | 04:10 |
And to see its thumbnail previews of the
photos in a particular movie folder, just
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click on that movie folder like this.
And then just follow along with me
| | 04:19 |
working on these files throughout the
course.
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|
|
1. Importing PhotosUnderstanding catalogs| 00:00 |
Lightroom is a great tool for editing,
organizing and showcasing your photos and
| | 00:04 |
video clips.
To make Lightroom really pay off for you,
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let me give you a basic understanding of
Lightroom's catalog system.
| | 00:11 |
A Lightroom catalog is a database.
A useful metaphor for a Lightroom catalog
| | 00:16 |
is the physical card catalog, like this
one, at your neighborhood library.
| | 00:21 |
Like the physical card catalog, a
Lightroom catalog contains a record of
| | 00:25 |
each item, each photo or video clip that
you bring into the library.
| | 00:30 |
To bring those items into a Lightroom
library, you use the import functions
| | 00:33 |
that I cover in this chapter.
But keep in mind that importing doesn't
| | 00:37 |
mean putting your photos into a container
called Lightroom.
| | 00:41 |
Instead, importing means creating a
record of each photo in a Lightroom catalog.
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Just like the neighborhood librarian
does, by creating a card in a physical
| | 00:50 |
catalog for each book in that library.
Included in each record in your Lightroom
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library is information that tells
Lightroom where you've chosen to keep the
| | 00:58 |
corresponding photo in your computer
system.
| | 01:01 |
Just like the decimal number on a library
card tells you where a particular book is
| | 01:05 |
kept on the library shelves.
But, if you move or change the name of a
| | 01:10 |
photo outside of Lightroom.
Lightroom will think that the photo has
| | 01:14 |
gone missing.
Now, that's okay.
| | 01:16 |
You can reestablish the link between a
catalog and photos, as I'll show you how
| | 01:20 |
to do later in the course.
But the point is that the nature of the
| | 01:24 |
Lightroom catalog, a database that
contains information about your photos,
| | 01:28 |
but not the photos themselves.
Means that you need to get used to moving
| | 01:32 |
and renaming photos only from inside
Lightroom.
| | 01:35 |
As I'll show you how to do in this
course, or you could cause a tangle that
| | 01:38 |
can take time and effort to unravel.
The record of each photo in your
| | 01:43 |
Lightroom catalog also contains
information about each photo called Vena Data.
| | 01:47 |
That includes shooting data like f stop
and better speed and lot's more.
| | 01:52 |
It also includes instructions for how you
want to the photo to look.
| | 01:55 |
Instructions that you create by
processing the photo in Lightroom's
| | 01:59 |
develop module.
In other words, none of your edits in
| | 02:02 |
Lightroom directly change pixels in your
photos.
| | 02:05 |
Your edits are just maintained in the
form of instructions.
| | 02:08 |
And that has lots of advantages,
including that you can always go back and
| | 02:12 |
change those instructions in the future,
as we'll see later in the course.
| | 02:15 |
Now, let's go out to the hard drive to
take a look at the files that make up a
| | 02:20 |
Lightroom catalog.
The first time you launch Lightroom, the
| | 02:24 |
program makes a catalog for you.
And by default, that's located in your
| | 02:28 |
Pictures folder, or My Pictures on
Windows, and inside of that in the
| | 02:32 |
Lightroom folder that's created for you.
If I open that Lightroom folder, you can
| | 02:36 |
see that there are two database files.
The one on the right, the one with the
| | 02:40 |
extension lrcat, for Lightroom catalog,
contains most of the information that we
| | 02:46 |
just talked about.
The one on the left, that ends in the
| | 02:49 |
extension LRData, for Lightroom data,
contains previews of your actual photos.
| | 02:54 |
The previews are what you see when you're
working in Lightroom.
| | 02:57 |
So, I want to make the point, that these
catalog files are separate from and
| | 03:01 |
different than your actual photos.
They don't have to be kept in the same
| | 03:05 |
folder, or even on the same drive as your
photos.
| | 03:07 |
We'll talk more about where to store your
actual photos and your catalog files in a
| | 03:12 |
later movie in this chapter.
One more thing about catalogs, how many
| | 03:16 |
catalogs should you have?
For most Lightroom users, the best answer
| | 03:20 |
is one.
The reason is that you can only search
| | 03:24 |
through one catalog at a time in
Lightroom.
| | 03:25 |
And with only one catalog, you don't have
to remember which catalog contains a
| | 03:29 |
particular photo.
However, from time to time you might
| | 03:32 |
still want to make an additional catalog.
For example, we did that here to keep the
| | 03:36 |
exercise files for this course separate
from your personal files.
| | 03:40 |
Or you may have photos for a client that
you just don't want to intermingle with
| | 03:44 |
your personal files.
If you ever do want to make a new catalog
| | 03:48 |
in Lightroom, go to the File menu and
choose New Catalog.
| | 03:53 |
If you do have multiple catalogs and you
want to switch between them, you can use
| | 03:56 |
the Open Catalog command from here in the
File menu.
| | 03:59 |
And navigate to the .lrcat file for the
catalog that you want to open.
| | 04:05 |
By the way, if you're having trouble
finding your Menu bar, you can always go
| | 04:08 |
to the Window menu and down to Screen
Mode and choose Full Screen with Menu nar.
| | 04:13 |
Now that you have a sense of what a
catalog is, let's move on to preparing
| | 04:17 |
your files for importing to a light room
catalog in the next movie.
| | 04:21 |
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| Organizing your photos before importing| 00:00 |
Before you import any files into
Lightroom, it's a good idea to spend some
| | 00:04 |
time outside of Lightroom.
Organizing your existing photos and
| | 00:07 |
videos into a consistent system of
folders.
| | 00:09 |
Starting with an organized folder system
will make it easier to manage your photos
| | 00:13 |
from inside Lightroom later.
It will also help you to keep track of
| | 00:17 |
photos outside of Lightroom when you have
to.
| | 00:19 |
In your operating system or in other
programs you may use like Adobe Bridge.
| | 00:24 |
The most important tip that I can give
you about organizing your files outside
| | 00:27 |
of Lightroom is to start with one parent
folder.
| | 00:30 |
Like this folder that I made in my Mac
finder and called light room photos.
| | 00:35 |
Of course you can name that parent folder
anything you would like.
| | 00:39 |
The main reason to get everything
organized inside a parent folder like
| | 00:42 |
this, is that it will make it easier to
move your files to a bigger drive if you
| | 00:46 |
need to in the future.
All you'll have to do at that stage is
| | 00:49 |
move this single parent folder from
inside of Lightroom and all of your files
| | 00:53 |
will go with it.
I'll show you how to move files and
| | 00:56 |
folders inside Lightroom later.
Now how you organize your files inside
| | 01:00 |
this parent folder is up to you.
Some photographers organize by subject matter.
| | 01:05 |
Others find it more useful to organize
the folders by date and then use
| | 01:09 |
Lightroom features like keywords and
collections.
| | 01:12 |
To keep track of photos by subject matter
as we'll see later.
| | 01:15 |
So here you can see a typical folder
organization by date.
| | 01:19 |
Inside this parent folder, I've made some
subfolders by year.
| | 01:23 |
And then inside each year, I've put
sub-folders for each shoot during that year.
| | 01:28 |
The sub-folders for each shoot, I name by
date.
| | 01:31 |
And then I add a word or two about the
location and the subject matter of the shoot.
| | 01:36 |
Let's open a couple of those shoot
sub-folders so that you can see the kinds
| | 01:40 |
of files that you can bring into
Lightrooms.
| | 01:42 |
That includes JPEGs, TIFs and PSD, or
Photoshop document format files.
| | 01:49 |
And of course, you can bring RAW files
into Lightroom.
| | 01:51 |
Here I have several different flavors of
RAW file.
| | 01:54 |
This file, this NEF was created by a
Nikon camera.
| | 01:57 |
The next file, this XMP file is what's
called a sidecar file.
| | 02:02 |
It contains the metadata for that NEF
file.
| | 02:06 |
Down here you can see a RAW file created
by a Panasonic camera and its XMP file
| | 02:12 |
and here is a DNG file.
This is a special open-source format,
| | 02:16 |
created by Adobe for raw files.
One of the advantages of DNG files, is
| | 02:20 |
that they don't require these sidecar
files, so you don't have those extra
| | 02:24 |
files to keep track of.
Later, we'll see that when you import
| | 02:27 |
files from your digital camera into Light
Room, you can convert your propertary raw
| | 02:32 |
files, like this NEF file or this RW2
file into a DNG file.
| | 02:38 |
You can also import many types of video
clips into Lightroom, like these three
| | 02:42 |
files that you see here.
And in Lightroom 5, you can import PNG
| | 02:46 |
files, includingPNG files that contain
transparency, although the transparent
| | 02:51 |
pixels will look white in Lightroom.
So those are some ideas about how to
| | 02:56 |
organize your photos before your start
importing them into Lightroom.
| | 03:00 |
Your next thought may be, well where
should I put those Lightroom photos?
| | 03:04 |
Should I put them on my computer or on an
external drive?
| | 03:07 |
And that's what we'll talk about next.
| | 03:09 |
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| Deciding where to store your photos| 00:00 |
There's one more thing to think about
before importing photos into Lightroom.
| | 00:03 |
And that's where you're going to keep
your Lightroom catalog and the photos and
| | 00:07 |
videos that you're going to bring into
your Lightroom catalog.
| | 00:11 |
Let's take a look at your options for
where to store and backup both your
| | 00:14 |
catalog and your photos.
As we've seen a Lightroom catalog is a
| | 00:19 |
database of information about your
photos.
| | 00:21 |
It's not a container for your photos.
So, there are two separate kinds of items
| | 00:25 |
to store.
The database files that make up the
| | 00:28 |
catalog itself, which are represented by
these icons on the computer screen in
| | 00:32 |
this diagram.
And the photos that the catalog is
| | 00:35 |
keeping track of, which I suggested that
you gather into one parent folder.
| | 00:40 |
And that's represented by this Lightroom
photos folder over here in this diagram.
| | 00:46 |
You have the option to store the catalog
and the photos on the same drive or on
| | 00:50 |
different drives.
So, one option is to keep the catalog and
| | 00:54 |
photos both on your computer.
This may seem logical, but I actually
| | 00:59 |
don't think it's the best option, that's
because the space on your computer's main
| | 01:02 |
drive is probably limited.
If you shoot a lot of photos,
| | 01:06 |
particularly large, raw photos, or if you
shoot video, or if you just shoot a lot.
| | 01:11 |
Then, your photos and videos and videos
will fill up your computer drive faster
| | 01:14 |
than you might think.
And at that point, you'll have to move
| | 01:17 |
the photos to a larger drive anyway.
So, why not save yourself the trouble and
| | 01:22 |
start with a larger drive for your photos
and videos from the get-go.
| | 01:26 |
The setup that I prefer in my office is
to leave the catalog files on the
| | 01:30 |
computer, and put my photos on a large,
fast, external drive.
| | 01:35 |
Represented in this diagram by this
drive, which I call the Working Drive.
| | 01:40 |
This is where you'll leave the photos as
you work on them in library.
| | 01:43 |
This setup gives me plenty of room to
grow my collection of photos and videos
| | 01:48 |
on the working drive.
And, my catalog hums right along on the computer.
| | 01:54 |
If you plan to follow this suggestion,
then start off by putting the parent
| | 01:58 |
folder of existing photos and videos on
your external working drive initially.
| | 02:03 |
Then, import those photos and videos from
that working drive into the Lightroom
| | 02:08 |
catalog on your computer.
And when you shoot more photos, you'll
| | 02:12 |
import those from your camera's memory
card on to the external working drive,
| | 02:16 |
and into your Lightroom catalog at the
same time.
| | 02:18 |
All, as I'll show you how to do shortly,
a bonus of this set up is that if your
| | 02:23 |
main computer is a laptop that you take
with you when you travel or work outside
| | 02:27 |
the office.
This arrangement sets you up for using
| | 02:30 |
Smart Previews, a Lightroom 5 feature
that allows you to edit lightweight
| | 02:35 |
proxies of your photos on the road, which
I'll show you how to use later.
| | 02:40 |
It's also a good idea to do some advanced
planning about where you're going to back
| | 02:43 |
up both your photos and your catalog
files.
| | 02:47 |
By default, every time that you quit
Lightroom, you'll see a message giving
| | 02:51 |
you the option to backup your catalog.
That's important to do, because a
| | 02:55 |
database can get corrupted.
And your catalog is the database.
| | 02:59 |
Backing up the catalog assures that
you'll have a backup of the editing and
| | 03:03 |
metadata changes that you've made, which
are stored as instructions in the catalog.
| | 03:08 |
But remember that backing up the catalog
does not backup your photos.
| | 03:13 |
That you'll have to do separately.
Ideally, to back up your photos, you have
| | 03:17 |
a couple of other external drives that
are each as large as your working drive.
| | 03:23 |
Those are represented here by this back
up drive and this drive which I've
| | 03:27 |
labeled Archive.
The Archive drive is for keeping a
| | 03:30 |
pristine copy of your original photos.
As we'll see when we talk about
| | 03:33 |
importing, Lightroom's import dialog box
has a check box for making a duplicate of
| | 03:39 |
your photos and videos.
To any drive that you specify at the same
| | 03:42 |
time that Lightroom is importing your
photos and videos.
| | 03:46 |
And that's what I use the archive drive
for.
| | 03:48 |
I don't normally touch its contents, it's
just an insurance policy, the equivalent
| | 03:54 |
of strong film negatives safely.
In addition, I regularly run third-party
| | 03:59 |
backup software to back up my working
drive to a third external hard drive, the
| | 04:04 |
one that I've labeled Backup.
This ensures that I always have a
| | 04:08 |
relatively current copy of my working
photos, which is important because
| | 04:12 |
external hard drives do fail.
So, I think you'll find that it pays off,
| | 04:17 |
to have given thought to the best storage
an backup options for you.
| | 04:21 |
And I recommend you do that before you
start importing photos into Lightroom
| | 04:25 |
which is what we'll cover next.
| | 04:27 |
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| Importing photos from a drive| 00:00 |
The first thing you'll do after launching
Lightroom for the first time is to import
| | 00:04 |
some photos.
I suggest you start by importing the
| | 00:07 |
existing photos that I recommended you
organize into folders on a drive.
| | 00:11 |
That way you'll have a folder structure
already reflected in Lightroom's Folders
| | 00:14 |
panel when you're ready to import new
photos from your camera's memory card later.
| | 00:19 |
I'll cover the steps for importing from
an internal or external drive here and
| | 00:23 |
later we'll talk about how to import from
a camera memory card, which is slightly different.
| | 00:29 |
There are no exercise files for this
movie and I'm working here in the empty
| | 00:33 |
default Lightroom Catalog that's made
automatically the first time you launch Lightroom.
| | 00:38 |
Since I want to assimulate what you'll
experience when you bring your own files
| | 00:41 |
into Lightroom.
For the first time.
| | 00:43 |
So if you're following along just use
some personal files that are already on
| | 00:47 |
your computer or on an external drive.
I'm going to start here in Lightroom by
| | 00:52 |
clicking the Import button at the bottom
of the library module or you could go up
| | 00:57 |
to the file menu and choose Import Photos
and Video.
| | 01:00 |
Either way that opens Lightroom's import
window.
| | 01:04 |
You can work through this window from
left to right.
| | 01:07 |
So let's start here on the left in the
source panel.
| | 01:09 |
Here I want to navigate to the photos and
videos that I want to import.
| | 01:14 |
The wide bars in the source panel.
This one and this one.
| | 01:18 |
Represent the drives that are currently
online for this computer.
| | 01:22 |
Now, before I open Lightroom, I organize
my photos and video clips into a parent
| | 01:27 |
folder that I called Lightroom photos.
And I put that folder and all of its
| | 01:31 |
sub-folders on my external working drive.
So I'm going to navigate to my working
| | 01:36 |
drive, clicking the arrow to the left of
it and there's my Lightroom Photos Parent folder.
| | 01:41 |
I'll click the arrow to the left of that
and you can see the your folders and here
| | 01:45 |
are some of the shoot subfolders.
I'm going to click on the parent folder,
| | 01:50 |
Lightroom Photos.
Now here in the center if you see this
| | 01:54 |
message, no photos found.
It's because this check box include
| | 01:58 |
subfolders is not checked.
To remedy that, just check Include
| | 02:03 |
subfolders and that should stay checked
for the next time that you import.
| | 02:07 |
And now here in the center of the window,
you can see thumbnails of the photos in
| | 02:12 |
all of the sub folders inside my
Lightroom Photos folder.
| | 02:15 |
To see more of these thumbnails, I'll go
down to the Thumbnail slider and I'll
| | 02:19 |
drag it to the left to make the
thumbnails smaller.
| | 02:22 |
And I also have a scroll bar here that I
could use to scroll down to see other photos.
| | 02:29 |
I usually import all my photos and then I
call through them or edit through them
| | 02:32 |
later in Lightroom.
But if there are some that you really
| | 02:36 |
don't want to import, you can uncheck
them here like this.
| | 02:40 |
Or if you wanted to uncheck a whole range
of photos you can click on one and then
| | 02:44 |
hold the Shift key and click on another
and then uncheck any one of them.
| | 02:48 |
Or if you wanted to not import photos
that weren't next to one another here,
| | 02:53 |
you could select a photo and then hold
down the Ctrl key in Windows, the Cmd key
| | 02:58 |
on MAC.
And click on another photo and un-check
| | 03:01 |
any one of them.
But I do want to import all of these
| | 03:04 |
photos so I'll go down to the Check All
button and click Check All to re-check
| | 03:09 |
them again.
Now the next thing that I'm going to say
| | 03:11 |
is really important and that is to
remember to look at the top of this
| | 03:15 |
window where you see the label add, move
copy and copy as DNG.
| | 03:20 |
This is where you will go to tell
Lightroom what you want to do with the
| | 03:23 |
photos that you're importing.
Because I've already put all of these
| | 03:27 |
photos where I want them to remain on
external hard drive, there's no need to
| | 03:31 |
move or copy or copy as DNG.
I just want to leave these photos where
| | 03:36 |
they are and add a record of each photo
to my Lightroom Catalog.
| | 03:40 |
So I want to select Add up here.
Notice that if I were to select one of
| | 03:45 |
these other options say Move or Copy or
Copy as DNG.
| | 03:48 |
That would bring up another panel down
here in the right side of the window, the
| | 03:53 |
destination panel where would I have to
choose a destination for my moved or
| | 03:57 |
copied files.
But because I'm not copying or moving
| | 04:00 |
anything, I'm just adding information
about the photos to my catalog.
| | 04:05 |
When I choose Add, I don't get that
destination panel and I don't have to
| | 04:08 |
deal with that.
So all that's left to do is to go over to
| | 04:12 |
the column on the right and take a look
at the File Handling panel.
| | 04:16 |
Here I can choose the size of the
previews that Lightroom will build for me
| | 04:21 |
as it's importing these photos into the
catalog.
| | 04:25 |
If I were in a hurry, I could choose
Minimal for the fastest possible import.
| | 04:30 |
But if I choose minimal, later when I
want to zoom in to a photo in the library
| | 04:34 |
module to evaluate it's details, I'll
have to wait while Lightroom builds a
| | 04:38 |
larger preview at that point.
Since I'm importing just a few files now,
| | 04:42 |
I'm going to go with the larger preview
and it shouldn't take too long.
| | 04:46 |
The largest preview I could choose it
1:1or often I'll go with a compromise of
| | 04:51 |
standard preview.
That will build me a preview that is 1140
| | 04:56 |
pixels on the longest edge by default.
And you can go into Light Room's catalog
| | 05:01 |
settings and change that number to up to
2,880, which you might want to do if you
| | 05:06 |
are working on a large monitor with a
larger screen resolution.
| | 05:11 |
The catalog settings where you'll find
that option are located in the Lightroom
| | 05:14 |
menu on a MAC and in the Edit menu on a
PC.
| | 05:17 |
But I'll just leave that at standard for
now and I'll continue to go through the
| | 05:23 |
settings in the column on the right.
I'm not interested in building smart
| | 05:26 |
previews of these photos.
Later I'll explain how and why you might
| | 05:31 |
want to build smart previews.
I don't have any photos in this catalogue
| | 05:35 |
yet so there's no reason to worry about
importing suspected duplicates.
| | 05:39 |
And I don't want to make a second copy of
these particular files.
| | 05:43 |
So I'll move down to the apply during
Import panel.
| | 05:46 |
And I'll expand that by clicking on its
title bar.
| | 05:48 |
Any options that I choose in this panel
will be applied to all the photos I'm importing.
| | 05:53 |
So I'm usually very conservative here.
I hardly ever will apply develop settings
| | 05:58 |
which will change the appearance of all
the photos.
| | 06:01 |
Like these develop settings for black and
white presets.
| | 06:05 |
I'll leave that set to none.
If I had taken all these photos, I might
| | 06:08 |
go to the Metadata menu here, choose New
and in the dialogue box that opens.
| | 06:13 |
Set up my own copyright and contact
information to apply to all the photos.
| | 06:17 |
But some of these photos were taken by my
partner John Lorenz.
| | 06:21 |
And some by my so there is no common
metadata that I want to apply to all of them.
| | 06:25 |
And the same goes for keywords.
These photos were taken at different
| | 06:29 |
times in different shoots and so there
really is no keyword that would apply to
| | 06:33 |
all of them.
So I'll leave all of that blank as well.
| | 06:37 |
Now if I wanted to apply the same options
in the future to different photos, I
| | 06:42 |
could save these all as an import preset
by coming down to this menu.
| | 06:46 |
Clicking here and choosing Save Current
Settings as New Preset.
| | 06:50 |
And then I could name this preset import
from drive with add.
| | 06:56 |
And click Create.
And then next time I wanted to apply all
| | 07:00 |
these settings rather then go through
them one by one as we just did.
| | 07:04 |
I could just come to this menu and choose
the import from drive with add preset.
| | 07:09 |
Finally it's time to click the Import
button.
| | 07:13 |
That switches me back to Lightroom's
Library module, closing the Import window.
| | 07:17 |
Up here at the top left you can see a
progress bar that tells me that Lightroom
| | 07:22 |
is still building those standard previews
that I selected.
| | 07:24 |
But it's already finished the initial
part of the import.
| | 07:28 |
So we can see here in the Library module
a thumbnail of each one of the photos
| | 07:32 |
that I've just imported into this
Lightroom catalog.
| | 07:36 |
So that's the process for importing
photos in place from a drive, whether
| | 07:40 |
that's an external drive like the working
drive I just used or your computer's
| | 07:44 |
internal drive.
If you've already imported the exercise
| | 07:48 |
files for this course, this process will
be familiar to you.
| | 07:51 |
Now you'll follow these same steps when
you're doing your initial import of
| | 07:55 |
existing photos into your Lightroom
catalog.
| | 07:58 |
Or if you prefer to off load photos from
your camera to a drive manually rather
| | 08:02 |
than using Lightroom to import photos
from your camera directly into Lightroom.
| | 08:06 |
And by the way, that's what I'm going to
be showing you how to do next.
| | 08:10 |
Import photos from your camera right into
Lightroom.
| | 08:14 |
| | Collapse this transcript |
| Importing photos from a camera| 00:00 |
When you finish a shoot, you can have
Lightroom both copy the photos from your
| | 00:03 |
camera's memory card to a drive and
import those photos into Lightroom.
| | 00:08 |
This process is slightly different from
the process for importing from a drive,
| | 00:12 |
that I've already shown you.
So let's see how it's done from a
| | 00:15 |
camera's memory card.
I'm working in my default Lightroom
| | 00:18 |
catalog to which I've already imported
older photos in a fairly well-organized
| | 00:22 |
folder system that I prepared outside of
Lightroom.
| | 00:25 |
And you can see that folder system here
in my folders panel in the Library module.
| | 00:30 |
Because I've got this folder system set
up, I can just slot new photos from my
| | 00:33 |
camera into this system wherever they
belong.
| | 00:37 |
I'll be importing photos from a 2012
shoot.
| | 00:40 |
So I'll import them into the 2012 folder
and I'll put them into a new sub-folder.
| | 00:45 |
Now, let's say I'm working with these
particular photos and that's when I
| | 00:50 |
decide I want to import some more photos
from my cameras memory card.
| | 00:53 |
But what I'd like to do is come right
back to this folder, that I'm working in,
| | 00:57 |
when the import is done.
In order to make that happen, there's a
| | 01:01 |
Lightroom preference that I need to
change.
| | 01:03 |
So on a Mac I'll go up to the Lightroom
menu.
| | 01:05 |
On a PC that's the Edit menu.
And if you don't see your menu bar, hold
| | 01:10 |
the Shift key as you press F a couple of
times.
| | 01:13 |
From this menu I'll choose Preferences,
and in the General tab of my Preferences
| | 01:18 |
dialogue box, I'm going to uncheck the
second option here in the import options section.
| | 01:24 |
By default, that preference was going to
cause Lightroom to show only the imported
| | 01:28 |
photos when it finished importing them.
And that isn't what I want.
| | 01:31 |
I want to go back to the folder of photos
I was working on instead.
| | 01:35 |
So now I'll Close my preferences and I
have a memory card reader that I've
| | 01:40 |
plugged into my computer.
And I'm going to take the card from my
| | 01:43 |
camera and put it in that memory card
reader.
| | 01:45 |
When you do that, sometimes Lightroom's
import window opens automatically.
| | 01:49 |
But sometimes, another program may open
on your computer and try to do the
| | 01:53 |
importing for you.
For example on a Mac, you may see iPhoto open.
| | 01:58 |
If that happens, just close that other
program and here in Lightroom's library,
| | 02:02 |
click the Import button.
This import window is the same window
| | 02:07 |
that we used when we were talking about
importing from a drive.
| | 02:09 |
And as we did there, we'll just work
through this window from left to right
| | 02:14 |
starting at the top of the column on the
left.
| | 02:16 |
Here you can see that Lightroom has
recognized the memory card from my camera.
| | 02:21 |
That card happens not to have the name,
so it says, no name here.
| | 02:24 |
But yours may be something different.
If you have more than one device plugged
| | 02:28 |
in to your computer, you may see multiple
devices here.
| | 02:31 |
And you may have to choose from among
them to get to the memory card for your camera.
| | 02:36 |
Notice that here there's a checkbox that
says Eject after Import.
| | 02:40 |
I'd like to leave that checked because
that saves me the step of having to
| | 02:44 |
manually eject my memory card from the
computer after the import is done.
| | 02:49 |
The main difference between importing
photos from a camera's memory card and
| | 02:53 |
importing photos from a drive into
Lightroom is this line at the top of the
| | 02:57 |
import dialog box.
When we're importing from a camera or its
| | 03:00 |
memory card, we need Lightroom to copy
the photos off the card.
| | 03:04 |
And so the only options available here
have the word Copy in them.
| | 03:08 |
Either Copy, or Copy.sdng.
The Move and Add options aren't available.
| | 03:14 |
There are good reasons to convert raw
files, from their proprietary raw format
| | 03:19 |
to the DNG format.
But when I want to convert photos to the
| | 03:23 |
DNG format.
I'll usually wait to do that later light
| | 03:26 |
room because it will just slow down
import process to just do it here.
| | 03:29 |
Then I will come down to this section
where I'll select which photos I want to import.
| | 03:37 |
I'll often import all of the photos from
my memory card, but here there are quite
| | 03:41 |
a few, so in the interest of time, I'm
just going to import a few of them.
| | 03:45 |
So, I'll come down to the bottom of the
window, and I'll click Uncheck All.
| | 03:49 |
And then I'm going to click on the first
photo, I'll hold the Shift key and click
| | 03:53 |
on another photo to select the range of
photos in between.
| | 03:56 |
And then I'll click the check mark on any
of those selected photos to identify
| | 04:00 |
those as the photos that I want to copy
from the card and import into Lightroom.
| | 04:05 |
Now, let's move to the column on the
right, where I'll set the destination to
| | 04:09 |
which I want to copy those photos.
Here you can see the default path, which
| | 04:13 |
is to save photos to the Pictures folder
on my computer.
| | 04:16 |
I keep my Lightroom photos on an external
drive that I call my working drive.
| | 04:20 |
So instead of that, I'm going to click
the To menu here and choose Other Destination.
| | 04:25 |
And in my operating system's Dialog Box,
I'll navigate to my working drive.
| | 04:30 |
And there's my Lightroom Photos folder.
I'll click on the 2012 sub-folder and
| | 04:37 |
then I'll click Choose.
Now I'm going to scroll down so we can
| | 04:40 |
see the destination panel.
Here, you can see where Lightroom is
| | 04:44 |
going to put these files.
Inside of my working drive, my Lightroom
| | 04:48 |
photos folder and my 2012 folder.
But by default it's going to try to
| | 04:53 |
create these sub-folders by date and this
isn't the folder organization system that
| | 04:58 |
I use.
And I actually think it's a bit confusing.
| | 05:00 |
So, what I'm going to do instead, is
scroll up to the top of the Destination panel.
| | 05:06 |
And here I'm going to change organize by
Date to organize Into one folder, and
| | 05:11 |
that would be my 2012 folder, as you can
see down here.
| | 05:14 |
And then, inside that folder, I'm going
to make my own sub-folder for these photos.
| | 05:18 |
I'll check Into Subfolder, and then I'll
enter the name of the sub-folder.
| | 05:24 |
So my system is to start with the date of
the shoot, and then add a word or two
| | 05:29 |
about the location and the subject.
And now if we scroll down, you can see
| | 05:35 |
that Lightroom is going to make a
sub-folder with exactly that name, and
| | 05:39 |
put my photos there.
Back up at the top of the column on the right.
| | 05:43 |
I have the same file handling options
that we saw when we were talking about
| | 05:47 |
importing from a drive.
I'll leave Render Preview set to Standard.
| | 05:51 |
I don't need Smart Previews at this
point, but when I import from a camera's
| | 05:55 |
memory card.
I often do check Don't Import Suspected
| | 05:58 |
Duplicates, because I may have forgotten
that I'd already imported some of these
| | 06:02 |
photos off of this particular card.
Notice when I did that, that the first 2
| | 06:07 |
photos over went to gray.
And that's because I must have already
| | 06:10 |
imported them into this catalog.
So they won't be imported again.
| | 06:14 |
I'm also going to check Make a Second
Copy To.
| | 06:17 |
Because this is my opportunity to get a
second christine copy of all of the
| | 06:22 |
original files that I'm importing in
another location to use as my safeguard.
| | 06:27 |
So I'll check Make a Second Copy To, and
then I'm going to click this arrow.
| | 06:32 |
And I'll navigate to the drive and the
folder.
| | 06:35 |
To which I want to make this second copy
of these files.
| | 06:38 |
Now that's a copy that I usually don't
touch, I just put it away for safe keeping.
| | 06:43 |
In the next panel, the File Renaming
panel, there are many templates that you
| | 06:47 |
can use to rename your files upon import.
If I check Rename Files and then click on
| | 06:52 |
the Template menu you can see some of
your options here.
| | 06:55 |
So for example, you might choose Custom
Name and Sequence and then type your own
| | 07:00 |
intial prefix for all your photos.
Which will be followed automatically by a
| | 07:04 |
sequence number.
Or you might choose Date and File Name.
| | 07:07 |
And then you can type in the date and the
photos file name will follow automatically.
| | 07:11 |
But, I actually prefer not to rename my
files upon import.
| | 07:15 |
I find it easier to keep track of them.
Particularly at the beginning of the
| | 07:18 |
process if I leave their names as they
are on the card.
| | 07:22 |
So I'm going to Uncheck Rename files and
later I can always rename my files in the
| | 07:26 |
library module.
Just as when we were importing photos
| | 07:29 |
from a drive, any thing I set up in the
Apply During Import panel will apply to
| | 07:34 |
all the photos that I'm importing.
So here I only make choices that would
| | 07:39 |
apply to all of these photos.
I usually don't change the develop
| | 07:42 |
settings upon import, and sometimes there
are no keywords that I can enter that
| | 07:47 |
would apply to all the photos.
For example, if I have multiple shoots on
| | 07:50 |
a card.
But here, there are some keywords that I
| | 07:53 |
can think of that would apply to all of
these checked photos.
| | 07:56 |
For example, if I click in the Keywords
field, I might type Paris.
| | 08:00 |
And you can see that Lightroom is trying
to autofill that for me.
| | 08:03 |
If I want to add a second keyword, I'll
type a comma and I'll add a second
| | 08:08 |
keyword, or it can even be two words like
Eiffel Tower.
| | 08:12 |
And then I'll press Enter or Return and
those keywords will be applied to all the
| | 08:16 |
photos that I'm importing.
Of course I can add more keywords later
| | 08:19 |
in the library module as we'll see.
And finally, when I am importing from a
| | 08:24 |
camera's memory card, I'll often use the
Metadata field here to apply my copyright
| | 08:29 |
and contact information to all the photos
upon import.
| | 08:33 |
To do that, I'll click the Metadata menu,
and I'll choose New.
| | 08:37 |
And here in the meta data preset window,
I'll type a name for a preset, I'll call
| | 08:42 |
this kabili 2012, and then I'll come down
to the Copyright field.
| | 08:47 |
Here, I'll enter the Copyright symbol by
pressing the Option key and the G key on
| | 08:53 |
a Mac, on a PC, I would hold the Alt key
as I type 0169 on the numeric keypad.
| | 08:59 |
And then I'll type my name and the year,
and I'll change the Copyright status to Copyrighted.
| | 09:05 |
Then I'm going to scroll down and I'll
type my name in the creator field.
| | 09:09 |
And there is more information I could add
too, but I will keep it simple and click create.
| | 09:14 |
And now I have a Metadata preset that I
could apply to other photos I am
| | 09:18 |
importing in the future by just choosing
that preset from this menu.
| | 09:23 |
Now, I am going to click the Import
button.
| | 09:25 |
And that closes the import window and
takes me back to Lightroom's library
| | 09:29 |
module where we can see a progress bar
keeping track of the import.
| | 09:34 |
And notice, that Lightroom has kept me in
the same folder that I was working in
| | 09:38 |
when I started the import process.
And that's because I changed that
| | 09:41 |
preference at the beginning of this
movie.
| | 09:43 |
Lightroom is still building the previews
for my imported photos but they're all here.
| | 09:48 |
So if I want to see them I can click on
the Catalog panel and then click on
| | 09:52 |
Previous Import.
And there are the photos that I've just imported.
| | 09:56 |
So that's how to both copy photos from
your camera's memory card and import
| | 10:00 |
those photos into your light room catalog
all at once.
| | 10:04 |
There is another option, which is to
offload photos from your camera outside
| | 10:07 |
of Lightroom.
And then import them to Lightroom using
| | 10:10 |
the Import from Drive Method that I
covered earlier.
| | 10:12 |
But, the way that I've showed you here,
lets you do it all in one efficient work flow.
| | 10:17 |
| | Collapse this transcript |
|
|
2. Managing Photos in the Library ModuleLibrary module workspace| 00:00 |
When you launch Lightroom, it opens to
the Library module which is the work
| | 00:04 |
space where you'll manage your Lightroom
photos.
| | 00:06 |
Let's take a look at the layout of the
Library module work space.
| | 00:10 |
I'm working here in my exercise files
catalog which we're going to be using for
| | 00:13 |
the rest of this course.
To open the exercise files catalog, if
| | 00:17 |
you haven't done that already, I went to
the File menu and, to Open Catalog, and
| | 00:21 |
then I navigated to my Exercise Files
Catalog folder, and, in that folder, to
| | 00:26 |
the Exercise Files Catalog.lrcat, or
Lightroom Catalog file.
| | 00:32 |
And I clicked open.
Starting at the top of the screen, you'll
| | 00:36 |
see a list of the various modules that
make up Lightroom, the Library module
| | 00:40 |
where we are now, the Develop module,
where you go to edit your photos, and
| | 00:44 |
then some output modules.
You can view your photos on a map in this
| | 00:48 |
module, you can create a photo book, a
photo slideshow, you can print photos in
| | 00:52 |
various layouts, as we'll see later in
the course, and you can create a web
| | 00:56 |
gallery of your photos.
To move from module to module, you can
| | 01:00 |
just click it's label up here.
In the center of the Library module,
| | 01:04 |
you'll see thumbnail previews of all of
the photos that are located in whatever
| | 01:09 |
folder or collection you have selected at
the moment in the color on the left.
| | 01:14 |
You can drill down through the folders in
the folders panel by clicking the arrows
| | 01:18 |
to the left of the folders and
subfolders.
| | 01:21 |
The Folders panel reflects your folder
organization on your hard drive, but it
| | 01:25 |
doesn't show all of the folders that
you're used to seeing in your operating
| | 01:28 |
system's finder or explorer.
It's just the folders that contain
| | 01:32 |
Lightroom photos, so that this list just
doesn't get too long.
| | 01:36 |
If you want to see a folder one level up,
you can go to a top level folder, like
| | 01:40 |
the Exercise Files folder.
Select it and then right-click that
| | 01:44 |
folder and choose Show Parent folder.
And that will show the folder one level up.
| | 01:50 |
In this case, my desktop.
If the list gets too long, I can hide a
| | 01:53 |
parent folder by selecting the parent
folder and right-clicking it and choosing
| | 01:58 |
Hide This Parent.
And I'll click back on this sub folder to
| | 02:02 |
see just the photos in the sub folder
here in the Grid view.
| | 02:05 |
Down at the bottom of the screen is the
film strip.
| | 02:08 |
Which is displaying the very same photos.
The film strip comes in most handy in the
| | 02:12 |
other modules.
Because it gives you a way to access the
| | 02:16 |
photos in whatever folder or collection
that you selected back here in the
| | 02:20 |
Library module.
To show you what I'm mean, I'm going to
| | 02:22 |
switch over to another module, the
Develop module.
| | 02:26 |
I can either click Develop up here in
this list, or I can press the shortcut on
| | 02:30 |
my keyboard d.
So I'll press D, and here I'm in the
| | 02:35 |
Develop module.
Down here is the very same filmstrip
| | 02:39 |
displaying the same photos.
And if I want to work on a different
| | 02:42 |
photo I'll click on its thumbnail in the
filmstrip, here in the Develop module,
| | 02:46 |
and it appears up here larger in the
window.
| | 02:48 |
Now I want to go back to the Library
module.
| | 02:50 |
So again, I could come up to this list
and click Library, or I can use the
| | 02:55 |
shortcut for getting back to the Grid
view of the Library module, and that is G
| | 03:00 |
for grid.
I'll press g on my keyboard and I'm back
| | 03:03 |
in the Library module.
There are just a few other interface
| | 03:06 |
elements in the Library module.
Above the film strip is this gray bar
| | 03:11 |
called the Toolbar, and it contains
various icons, and menus that you'll use
| | 03:16 |
as you're working with photos in the
Library module.
| | 03:19 |
For example, over here is the thumbnail
slider, and if I drag this slider to the
| | 03:23 |
right that makes those thumbnail previews
bigger, if I go to the left, they get smaller.
| | 03:27 |
You can control what features appear in
your toolbar by clicking the arrow to the
| | 03:31 |
right of the toolbar and enabling or
disabling some of these options.
| | 03:38 |
If you're ever looking for your Toolbar
and you don't see it, it could be because
| | 03:41 |
somewhere along the way you press the
letter T on your keyboard which dismisses
| | 03:45 |
the Toolbar.
So just press the letter T again and the
| | 03:48 |
Toolbar will come back into view.
There's another bar which is the filter
| | 03:52 |
bar which you can bring into view by
going to the View menu at the top of the
| | 03:56 |
screen and chose Show Filter bar.
If your menu bar isn't showing at the top
| | 04:00 |
of this screen then you use the keyboard
shortcut the backslash key which is three
| | 04:05 |
keys to the right of the P key on your
keyboard.
| | 04:08 |
So if I press the backslash key.
There's my Library filter, with its
| | 04:12 |
powerful search features, which we'll go
over later in the course.
| | 04:15 |
Again, I'll press the backslash key to
close the Library filter.
| | 04:19 |
Now you may not see the menu bar at the
top of the screen, depending on which
| | 04:23 |
screen mode you're in at the moment.
To cycle among the screen modes in
| | 04:27 |
Lightroom 5, hold down the Shift key and
press the F key on your keyboard.
| | 04:31 |
And that shortcut is slightly different
than it was in previous versions of Lightroom.
| | 04:36 |
There's one more screen mode in lightroom
5, and that's the full screen mode with
| | 04:40 |
no distractions.
To make use of that, I'll select a photo
| | 04:44 |
here in the grid, and then I'll press the
F key on my keyboard, and that shows me
| | 04:48 |
that photo, in this large full screen
view surrounded by just black.
| | 04:52 |
I'll press the F key again, to go back to
the last screen mode I was in.
| | 04:57 |
One of the challenges in Lightroom,
particularly when you're working on a
| | 05:00 |
small monitor, is to allocate the most
space to your photos rather than to the
| | 05:04 |
interface elements.
So let me show you some ways that you can
| | 05:07 |
hide the interface elements from view.
First, let's bring up some more thumbnail previews.
| | 05:12 |
If you want to see previews of all the
photos in a catalog, then go to the
| | 05:16 |
Catalog panel, click its title bar to
expand, and click on All Photographs.
| | 05:21 |
The quickest way to dismiss everything on
the screen except for the thumbnails is
| | 05:25 |
to hold the Shift key and press the Tab
key.
| | 05:29 |
And that's the view that you see, and
then you can use the scroll bar to scroll
| | 05:33 |
up and down through these photos to see
more of them.
| | 05:36 |
To bring everything back, Shift-tab
again.
| | 05:39 |
And, if you want to dismiss just the
columns on the left and right, then press
| | 05:43 |
Tab only.
Like this, and Tab again.
| | 05:47 |
The columns on the left and right, as
well as the filmstrip at the bottom, and
| | 05:50 |
this bar at the top, by default,
auto-hide and show.
| | 05:54 |
How does that work?
Well, if I go to the column on the left,
| | 05:58 |
and I click in the bar at the far left,
then the column on the left disappears.
| | 06:03 |
Then if I move off of that area and back
on it, the column on the left appears again.
| | 06:08 |
Now, some people don't like that
automatic hiding and showing behavior.
| | 06:12 |
I prefer to control the behavior of the
panels myself.
| | 06:16 |
So here's what I do.
I'm going to right-click on that far left
| | 06:19 |
bar and choose manual.
And now that column on the left will stay
| | 06:24 |
on the screen unless and until I click
anywhere in the column on the left, like this.
| | 06:30 |
And then I'll click again and the column
comes back.
| | 06:33 |
And the same is true for the column on
the right.
| | 06:35 |
So I'm going to set that up the same way.
Right-clicking on the bar on the far
| | 06:39 |
right and choosing manual.
And I'll do the same in the bar at the
| | 06:43 |
bottom to control the filmstrip.
Right-clicking on that bar at the very
| | 06:47 |
bottom and choosing manual.
And the same in the bar at the top.
| | 06:52 |
Choosing manual to control this large bar
up here that has the labels for the
| | 06:56 |
various modules.
By the way, I usually keep that closed to
| | 07:00 |
save screen space by clicking the bar at
the top like that.
| | 07:03 |
And if I don't need the film strip at the
bottom, which I often don't need in the
| | 07:07 |
Library module.
I'll go down to the bottom of the screen
| | 07:09 |
and click that bar.
And then, I'll work like this.
| | 07:13 |
So that's a look at the layout of the
Library module.
| | 07:15 |
Next we'll talk about various ways to
view photos in the Library module.
| | 07:20 |
| | Collapse this transcript |
| Viewing and sorting photos| 00:00 |
Here are some tips and shortcuts for
viewing and sorting photos in the library
| | 00:04 |
module, that will help you speed things
along when you're working here.
| | 00:07 |
These thumbnail size preview in the grid
view of the library module are useful for
| | 00:11 |
browsing through your photos.
But when you need to check the detail in
| | 00:14 |
a photo, you'll want to switch the closer
Loupe view.
| | 00:17 |
To switch the Loupe view from grid view,
you could use one of these icons in the
| | 00:21 |
toolbar at the bottom of the screen.
But this is something that you'll do so
| | 00:24 |
often, it's worth remembering a couple of
keyboard shortcuts.
| | 00:28 |
Those are E to switch to Loupe view, and
G to switch back to Grid view.
| | 00:33 |
So I'm going to press E on my keyboard,
and that takes me to Loupe view.
| | 00:37 |
This particular photo is larger than the
available viewing area in loupe view on
| | 00:41 |
my monitor.
So I'm still not looking at it in one to
| | 00:44 |
one view.
To get to one to one view, which you'll
| | 00:47 |
need if you're checking noise or
sharpening.
| | 00:50 |
Then just click once on the photo.
And then to get back to the fit on screen
| | 00:53 |
view click again on the photo.
When you're zoomed into one to one view
| | 00:57 |
like this you can click and drag in the
photo to see a different area.
| | 01:02 |
You can also access specific zoom levels
from these icons at the top of the
| | 01:06 |
navigator panel in the column on the
left.
| | 01:09 |
So if I click this menu and I choose two
to one view, that zooms me in even closer.
| | 01:14 |
I'll click again, and that takes me back
to fit on screen view, but the next time
| | 01:18 |
that I click, again, I go to two to one
view because Lightroom remembers that.
| | 01:22 |
So I'm going to go back to fit on screen,
then I'll click on one to one view.
| | 01:26 |
And that will get me back into the fit on
screen and one to one cycle.
| | 01:31 |
The panels that I have open on my screen
are constricting the size of this large
| | 01:35 |
photo on my monitor.
So here's how I like to arrange my
| | 01:38 |
panels, so I get to see my photos nice
and big and have access to the controls
| | 01:42 |
that I need most often in the library
module.
| | 01:44 |
I don't usually need the source panel on
the left to stay on the screen all the time.
| | 01:48 |
So I'm going to collapse that column by
clicking in the bar in the far left, as
| | 01:53 |
I've shown you, And I've already
collapsed the top panel and the film
| | 01:56 |
strip on the bottom in the same way.
But I do often like to keep the column on
| | 02:01 |
the right on my screen so that I have
access to the useful information about
| | 02:05 |
the photo.
I'm viewing this in the Histogram panel
| | 02:08 |
and in the Metadata panel.
I can open those panels by clicking on
| | 02:12 |
their title bars.
And in the Metadata panel, I have a menu
| | 02:15 |
here from which I can choose to view
different sets of meta-data about the
| | 02:19 |
photo, like the EXIF data from the
camera.
| | 02:22 |
Sometimes I like to see information about
a photo right on top of the photo, and I
| | 02:26 |
can do that by pressing the I key on my
keyboard.
| | 02:29 |
So if I press I once, I see this
information, the file name and the size
| | 02:34 |
of the file in pixels.
And if I click I again, I get a different
| | 02:37 |
set of information, including exposure
information.
| | 02:41 |
And I a third time, dismisses that
information overlay.
| | 02:45 |
Sometimes when I'm in Loupe view, I want
to see just my photo, without the
| | 02:48 |
distraction of any panels or interface
elements.
| | 02:52 |
To do that, I'll press the L key on my
keyboard.
| | 02:55 |
Once to dim the lights and again to turn
lights out completely.
| | 02:59 |
And then when I want to turn the lights
back on, L again.
| | 03:01 |
Now let's go back to Grid view and you
remember you do that by pressing G on the keyboard.
| | 03:08 |
Here in Grid view I can choose to view my
thumbnail previews with or without information.
| | 03:13 |
This is the thumbnails in their most
compact view, with each image surrounded
| | 03:16 |
by just a gray frame.
I can cycle through different views of
| | 03:20 |
information for these thumbnails, using
the J key on my keyboard.
| | 03:24 |
So if I press J once, now I see an index
number, on the frame for each photo.
| | 03:29 |
An if I hover over one of the photos, I
get some icons, like this flag icon, and
| | 03:34 |
these star icons.
Both of which I can use as I'm ranking my
| | 03:37 |
photos as we'll see later.
And on some of the photos, you can see a
| | 03:41 |
little badge at the bottom right corner.
This particular badge tells me that I've
| | 03:45 |
made changes to the photo in the develop
module.
| | 03:48 |
If I want to see even more information
about my thumbnail size previews, I'll
| | 03:52 |
press the J key again.
And now at the top of each frame I see
| | 03:56 |
the name of the file, the file format,
and the size of the photo in pixels.
| | 04:00 |
And I can customize the information that
I see here and the information that I see
| | 04:05 |
in Loupe view by going to the View menu
and choosing View Options.
| | 04:09 |
And that will open a large dialogue box
that you can explore that gives you lots
| | 04:13 |
of different display options.
Another thing I can do with my thumbnails
| | 04:17 |
in Grid view is sort the way that they're
displayed here.
| | 04:20 |
So if I go down to the toolbar, and if
your toolbar isn't showing, press the T
| | 04:23 |
key on your keyboard.
Here in the Sort menu, I can choose to
| | 04:28 |
Sort by the default which is Capture
Time.
| | 04:30 |
Or, I could choose any of these other
sort properties like Aspect Ratio, which
| | 04:35 |
sorts the photos so that I see the
vertical ones first and then the
| | 04:38 |
horizontal ones.
If I go back to capture time, I might use
| | 04:43 |
the A to Z icon to change the sort
direction from descending to ascending
| | 04:49 |
and back again.
You can also do a custom sort in Grid
| | 04:53 |
view, by clicking right on a thumbnail
and then clicking again and dragging that
| | 04:58 |
thumbnail somewhere else in the sort
order.
| | 05:01 |
Two caveats about doing a custom sort
like that.
| | 05:04 |
You have to click right on the image, not
on its frame in order to drag it to
| | 05:08 |
another location in the sort order.
And you can't do a custom sort order by
| | 05:12 |
dragging if you're in a folder that
contains a sub-folder.
| | 05:16 |
Now, I've mentioned a few library module
shortcuts here that I think are worth remembering.
| | 05:21 |
Even if you're just starting with
Lightroom, because you'll use them so often.
| | 05:24 |
So to quickly review those, here in the
grid view, if I want to cycle through
| | 05:28 |
information displays, I'll use the J key
on my keyboard.
| | 05:31 |
Clicking that several times.
And if I want to jump from Grid view to
| | 05:36 |
Loupe view, I'll press the E key on my
keyboard.
| | 05:39 |
In Loupe view if I want to move between
photos I'll use the arrow keys on my keyboard.
| | 05:44 |
And if I want to cycle through
information overlays on a photo in Loupe
| | 05:48 |
view, I'll press the I key on the
keyboard a few times.
| | 05:52 |
And then to jump back to Grid view I'll
press the G key.
| | 05:55 |
And if I want to cycle through the lights
out views, I'll use the L key on the
| | 05:59 |
keyboard to dim, turn out, and turn on
the lights.
| | 06:03 |
And then if I want to jump back to Grid
view, it's the G key.
| | 06:06 |
So, I hope you'll give those techniques
and shortcuts a try.
| | 06:10 |
They can help you to work fast and
efficiently when you're viewing and
| | 06:13 |
managing photos in your Library module.
| | 06:15 |
| | Collapse this transcript |
| Selecting photos| 00:00 |
It almost goes without saying that when
you're working in Lightroom, you need to
| | 00:03 |
select photos before you work on them.
But Lightroom has some quirks around
| | 00:07 |
selecting that you should be aware of.
First, let's go through the basics of
| | 00:11 |
selecting, which are much like the basics
that you may have experienced in other programs.
| | 00:15 |
If I want to select a photo, I'm going to
click on its frame.
| | 00:18 |
If I want to add more photos to that
selection, I'll hold the Cmd key on the
| | 00:22 |
Mac or the Ctrl key on the PC and I'll
click on the frames of other photos that
| | 00:26 |
don't have to be next to the first one I
selected.
| | 00:30 |
If I want to deselect everything, then
I'll either press Cmd+D on the Mac or
| | 00:34 |
Ctrl+D on the PC or I'll click in a blank
area of the preview window if that's
| | 00:39 |
available to me like this.
Now let's say I want to select photos
| | 00:43 |
that are next to one another.
I can select a whole range by clicking on
| | 00:47 |
the frame of the first photo, holding the
Shift key and clicking on the frame of
| | 00:50 |
the last photo in the range and that
selects all in between.
| | 00:54 |
And, as in other programs, if I want to
eliminate one of these photos from the
| | 00:57 |
selection, I'll hold the Cmd key on the
Mac or the Ctrl key on the PC and I'll
| | 01:02 |
click in the frame of that photo.
So right now I only have three photos
| | 01:06 |
selected the three bike photos.
And again I am going to deselect by
| | 01:10 |
clicking in this blank area.
So that is all the same as in other programs.
| | 01:15 |
Now let's see what is different about
working with multiple selections in Lightroom.
| | 01:18 |
To set that up I'm going to select four
other photos.
| | 01:22 |
I'll click on this photo, I'll hold the
Shift key and click on this one to select
| | 01:25 |
all four.
Now, what's different in Lightroom is
| | 01:28 |
that if you look closely, you'll see that
the borders around the selected photos
| | 01:33 |
aren't all the same color.
The photo that I first selected has a
| | 01:37 |
brighter frame around it than the photos
that I selected after that.
| | 01:41 |
And the reason for that is to accommodate
Lightroom syncing behavior.
| | 01:44 |
We're not going to look at syncing at
great detail in this course, but the
| | 01:48 |
upshot is that you can have Lightroom
take the settings from the most selected
| | 01:52 |
photo and automatically apply them to
other selected photos.
| | 01:56 |
So that's why there is more than one
level of syncing.
| | 01:59 |
Even if you don't plan to sync settings,
the fact that there are two levels of
| | 02:02 |
selection can get you in a jam if you're
not aware of it.
| | 02:06 |
And if you don't know how to avoid that
jam.
| | 02:08 |
So let me show you the problem and then
I'll show you the way that I recommend
| | 02:11 |
avoiding it.
Let's say that I have a number of photos
| | 02:14 |
selected like this and then I decide that
I want to convert just one of those
| | 02:18 |
photos to black and white.
Well, you might expect from working in
| | 02:21 |
others programs, that if you were to
click on the photo that you did want to
| | 02:25 |
remain selected, the others would become
deselected.
| | 02:29 |
So let's say that I want to convert only
this photo of the table to black and white.
| | 02:33 |
I'm going to click right inside the
image.
| | 02:36 |
Not on its frame, but inside the image.
And then I'll try to change it to black
| | 02:40 |
and white by going up to the Quick
Develop panel, which is in the column on
| | 02:43 |
the right side of the Library module.
I'll click the drop down menu on that
| | 02:47 |
panel, and from here I can access various
black and white, toned, and other color presets.
| | 02:54 |
And from this menu, I can select a
preset.
| | 02:57 |
So, I'll go down to the first category,
the black and white filter presets, and
| | 03:01 |
I'll choose the green filter preset.
Now remember, I only wanted to convert,
| | 03:05 |
that photo of the table to black an
white.
| | 03:07 |
But in fact, all of the photos in the
bottom row have been converted to black
| | 03:11 |
an white.
An that's because clicking inside the
| | 03:14 |
image of the table, did not actually
deselect, these other photos.
| | 03:19 |
All it did was change which photo is the
most active.
| | 03:23 |
Now here, you could pretty much see what
was going to happen.
| | 03:25 |
But imagine you had selected maybe a
hundred photos, and you couldn't see all
| | 03:30 |
of the thumbnails on your monitor.
That could cause a problem down the road,
| | 03:34 |
when you realize that you had turned all
of them to black and white.
| | 03:37 |
So how do you avoid that.
Well I think the solution is to get in
| | 03:40 |
the habit of clicking not directly on an
image but rather to click on the frames
| | 03:45 |
of images as you've may have noticed that
I was doing in this lesson.
| | 03:49 |
So lets try that instead.
I'm going to press Cmd+Z on the Mac,
| | 03:53 |
Ctrl+Z on the PC to undo that black and
white conversion.
| | 03:57 |
Now I still have multiple photos
selected.
| | 04:00 |
Let's say that I only want to convert
this photo of the river to black and white.
| | 04:05 |
I'm going to click on the frame around
the photo of the river and this time I
| | 04:09 |
get the expected behavior, which is that
I've managed to deselect all the other photos.
| | 04:14 |
The only one that remains selected is the
photo of the river.
| | 04:17 |
So that's the advantage of getting use to
clicking on the frame rather than on the
| | 04:21 |
image itself.
And now, if I were to go to the Quick
| | 04:24 |
Develop panel, and go back to that same
black and white filter preset, only the
| | 04:29 |
photo of the river is converted into
black and white.
| | 04:32 |
Now there are exceptions to every rule,
of course, one of the exceptions to
| | 04:35 |
clicking on the frame is this.
If you want to move a thumbnail, then you
| | 04:39 |
need to click not on it's frame but on
the image itself.
| | 04:43 |
And that's true whether you are moving a
photo in the sort order as I showed you
| | 04:46 |
how to do earlier.
Or if you are trying to move with
| | 04:48 |
thumbnail into another folder in the
Folders panel or into a collection in the
| | 04:52 |
Collections panel as I will show you how
to do later in the course.
| | 04:56 |
So, for example, if I wanted to move this
photo of the cherries so it appeared down
| | 05:00 |
here, I can't click and drag from the
frame.
| | 05:03 |
I have to click inside of the image
itself, and drag over here, and then
| | 05:07 |
release my mouse.
There's one other thing to keep in mind
| | 05:11 |
about multiple selections in Lightroom.
And that is that you can get different
| | 05:14 |
behaviors depending on where you make
your selections.
| | 05:18 |
You can make selections here in Grid
view.
| | 05:20 |
But you can also make selections in Loop
view in the Library module or in another
| | 05:25 |
module like the Develop module.
So let's compare the two.
| | 05:28 |
Here in the Grid view of the Library
module, I'll select these three photos of
| | 05:32 |
the bike, clicking on one, and
Shift-clicking on another.
| | 05:35 |
And then I'll go to the Quick Develop
panel, and I'm going to apply an effect.
| | 05:40 |
This time I'll go to the color presets
category of effects and choose aged photo.
| | 05:44 |
And that affects all three of the
selected photos.
| | 05:47 |
The most active selected photo, and the
other two selected photos.
| | 05:51 |
Let's deselect Cmd+D on the Mac, Ctrl+D
on the PC.
| | 05:55 |
Now let's go some place else and make a
selection.
| | 05:59 |
We'll go to the Loop view of the library
module.
| | 06:01 |
I'll press the e key to switch to Loop
view.
| | 06:05 |
In Loop view, the Develop module, and
other places, if I want to make a
| | 06:08 |
selection, I need to use the film strip
to do that.
| | 06:11 |
So I'll come down to the bottom of the
screen and I'll click the bar there to
| | 06:14 |
open the film strip.
I'm going to select the last three photo
| | 06:18 |
sin the film strip, starting with the
photo of the bottles.
| | 06:21 |
I'll click on its frame, and then I'll
hold the shift key and I'll click on the
| | 06:25 |
photo of the cherries.
If you look very closely you'll see that
| | 06:29 |
the first photo I selected, the one of
the bottles, has a brighter frame than
| | 06:33 |
the other two meaning that the bottles
photo is the most selected.
| | 06:37 |
Now let's see what happens when we apply
a quick develop preset.
| | 06:41 |
I'll go up to the quick develop panel and
this time I'm going to go to the
| | 06:44 |
Lightroom black and white toned presets
and I'll go with the cyanotype preset.
| | 06:49 |
Keep your eye on that filmstrip.
And you'll see that that blue effect has
| | 06:53 |
been applied only to the most selected
photo in my selection, and that's because
| | 06:58 |
of where I've made the selection, not in
Grid view, but here in the film strip in
| | 07:03 |
another view, Loop view.
So those are some things to be aware of
| | 07:06 |
when you're working with selections in
Lightroom.
| | 07:09 |
| | Collapse this transcript |
| Reviewing and rating photos| 00:00 |
Lightroom has lots of features that you
can use to review and rank your photos in
| | 00:03 |
the Library module.
There are star ratings and flags, color
| | 00:07 |
labels, and a couple of views that we
haven't taken a look at yet, Survey view
| | 00:11 |
and Compare view.
In this movie, we'll take a look at all
| | 00:15 |
those features and I'll suggest a
workflow that you could use as you review
| | 00:18 |
your own photos.
So, when I first import new photos from a
| | 00:22 |
shoot, I start here in the Grid view of
the Library module.
| | 00:25 |
And I just browse through the thumbnails
to see what I have.
| | 00:27 |
Then I go into Loop view pressing E on my
keyboard so that I can make my first pass
| | 00:32 |
through these photos looking at a larger
view of each.
| | 00:35 |
I'm going to dismiss the panels by
pressing Shift+Tab.
| | 00:38 |
So that I can see the photos larger and
I'm going to open my film strip by going
| | 00:43 |
to the bottom of Loop view and clicking
the bar there.
| | 00:45 |
I also have my toolbar open if your Tool
bar isn't open you can press T on your keyboard.
| | 00:51 |
Before I get started reviewing it and
ranking these photos, I would like to
| | 00:55 |
have access to not only a star ranking
system but also to color labels and to flags.
| | 01:01 |
So, I'm going to go to the right side of
the toolbar.
| | 01:04 |
And from there, I'm going to choose
Flagging, and I'll choose Color Label.
| | 01:08 |
And that adds these icons to my toolbar.
On my first pass through my photos in
| | 01:13 |
Loop view, I use a simple ranking system.
I give the best ones pick flags.
| | 01:17 |
If there are some that I really don't
care for at all I'll give those reject
| | 01:21 |
flags, and the rest I won't flag at all.
So, let's say I really like this photo,
| | 01:26 |
and I want to give it a pick flag.
There are two ways to do that.
| | 01:29 |
I can either click the Pick Flag icon
here on the toolbar, or I'm more likely
| | 01:33 |
to press the keyboard shortcut, P on my
keyboard.
| | 01:37 |
If I change my mind about that, and I
want to take that flag away, I can press
| | 01:41 |
U on my keyboard.
I'll go ahead and reapply that flag,
| | 01:45 |
pressing P, and then I'll move to the
next photo using the arrow keys on my
| | 01:49 |
keyboard, or I could click on its
thumbnail down here in the filmstrip.
| | 01:53 |
Now this is a photo that really doesn't
work.
| | 01:55 |
It was taken in the pouring rain, and the
lighting and the focus just aren't right.
| | 01:59 |
So, I'd like to mark this as a reject.
To do that, I can either click the black
| | 02:03 |
flag on the toolbar, or press the X on my
keyboard.
| | 02:07 |
And that marks that photo with a black
flag here in the film strip, and you can
| | 02:11 |
see that the photo is grayed out.
After I've finished reviewing all my
| | 02:15 |
photo's, I'll have the option to go up to
the Photo menu and choose to delete those
| | 02:19 |
I've marked as rejected photos.
And I can choose either to just remove
| | 02:23 |
those photos from my catalog, or delete
them altogether from my hard drive.
| | 02:27 |
To save space.
I'm just going to cancel out of here for
| | 02:30 |
now and go back to the reviewing process.
I'll press the right arrow key on my
| | 02:34 |
keyboard again, and now here's a photo
that's not terrible, but it's not great either.
| | 02:38 |
I'm going to leave it with no flag at
all.
| | 02:40 |
The same is true of this photo, and now I
get to a photo that starts a series of
| | 02:45 |
photos of the same subject.
I'll use this opportunity to show you
| | 02:49 |
Survey view.
So, I'm going to click on the third photo
| | 02:53 |
of the same subject.
So, all three of these are selected in
| | 02:55 |
the film strip.
And then I'm going to go into Survey
| | 02:58 |
view, by Shift+clicking this icon in the
toolbar, or pressing N on my keyboard.
| | 03:03 |
In Survey view, I can see a larger
version of all the photos I've selected.
| | 03:08 |
So, I can more easily compare them.
Right away, I can see that the first of
| | 03:11 |
these photos has composition problems, so
I'm going to take it out of this
| | 03:15 |
comparison by hovering over it and
clicking the big X.
| | 03:19 |
And that leaves me with just the two
remaining photos.
| | 03:22 |
Of these, I prefer the photo on the left,
so I'll give that one a pic flag.
| | 03:26 |
Notice that this photo is selected now it
has a white border around it.
| | 03:30 |
So, when I press the P key that adds a
pick flag to this photo.
| | 03:34 |
And now I'll go back to Loop view by
pressing E on the keyboard.
| | 03:37 |
Now I really like this photo and I think
I want to mark it as a special photo by
| | 03:42 |
adding five stars to it.
Some people use a more complex star
| | 03:46 |
rating system, ranking photos with one
star, other photos with two stars and so forth.
| | 03:51 |
I like to keep things simple, so I just
use five stars.
| | 03:55 |
And I only use five stars when there's a
photo I really like.
| | 03:58 |
I'll click the fifth star here in the
toolbar, or to add five stars, I'm more
| | 04:02 |
likely to use the keyboard shortcut.
The number fove on my keyboard.
| | 04:05 |
And if I wanted to add one star, I would
press one.
| | 04:08 |
If I wanted no stars, I would press 0,
and so forth.
| | 04:12 |
Now I'm going to go down to my film
strip.
| | 04:13 |
I have two thumbnails selected after I've
finished up with survey view, and if I
| | 04:18 |
were to use the arrows keys on my
keyboard to move, that will just move me
| | 04:21 |
between them.
So, I have to click on the next photo in
| | 04:25 |
the filmstrip to get to it.
This photo, I'll give no flags, so I'll
| | 04:29 |
move on to the next photo, clicking the
right arrow.
| | 04:31 |
Now let's say that I want to compare
these last four photos one to the other.
| | 04:35 |
I could use the survey view I just showed
you.
| | 04:37 |
Or I could use Compare view.
Let's take a look at Compare view by
| | 04:42 |
Shift+clicking to select all four of the
last photos in the filmstrip, and then
| | 04:46 |
going to the toolbar and clicking this
icon, or pressing C on the keyboard.
| | 04:51 |
Here in Compare view, the first photo
that I've selected in the film strip
| | 04:55 |
occupies the select position.
The next photo occupies the candidate position.
| | 04:59 |
I'll compare these two to each other.
And let's say that I like the photo on
| | 05:03 |
the right better than the photo on the
left, I want to promote it from candidate
| | 05:07 |
to select.
To do that, I'll go down to this icon in
| | 05:11 |
the toolbar, the XY icon with the
left-facing arrow, and I'll click to
| | 05:15 |
promote this photo to the Select.
And that puts the next photo in the
| | 05:20 |
filmstrip in the candidate position.
I'll compare these two, and this time I
| | 05:24 |
prefer the photo on the left over the
photo on the right.
| | 05:27 |
So, I'm just going to press the right
facing arrow again to put the next photo
| | 05:32 |
in the film strip into the candidate
position.
| | 05:34 |
Of these two photos, let's say I like the
one on the right better than the one on
| | 05:37 |
the left.
Again, I'll press the make select button.
| | 05:41 |
And, I like this photo the best, so I'm
going to give it a pick flag, pressing P
| | 05:45 |
on my keyboard.
In fact, I like it so much, I want to
| | 05:48 |
give it five stars too.
I can give it five stars right here in
| | 05:51 |
Compare mode, or go back to the Loop view
mode to do that.
| | 05:55 |
But I may as well do it here, by pressing
the fifth dot underneath this photo.
| | 05:59 |
And I'll press the E key on my keyboard
to go back to Loop view.
| | 06:03 |
Now you'll notice that I haven't yet used
my color labels.
| | 06:06 |
I'd like to use those for another
purpose.
| | 06:08 |
To mark photos for something special.
For example, some times I'll have
| | 06:13 |
multiple bracketed photos of the same
scene and I want to combine those as a
| | 06:16 |
HDR photo.
I might mark all of those with the same
| | 06:20 |
color label.
Or sometimes I'll take multiple photos
| | 06:23 |
that I want to put together in a
panorama.
| | 06:25 |
I might mark those in the same way.
Or maybe I know that I want to print a
| | 06:29 |
photo at a certain size.
Whatever my reason, sometimes I'll select
| | 06:33 |
one or more photos and then add a color
label.
| | 06:36 |
I can add a color label by clicking the
icons here on the toolbar.
| | 06:40 |
Or I can use keyboard shortcuts.
Six, seven, eight, or nine will add these
| | 06:45 |
first four color labels respectively.
So now let's say I'm finished reviewing
| | 06:49 |
my photos and I want to go back to Grid
view, I'll press G on my keyboard.
| | 06:53 |
Here in Grid view you can see the stars,
the flags, and the color labels that I
| | 06:57 |
applied to these photos.
And by the way alternatively, I could
| | 07:01 |
have applied any of those features here
in grid view too.
| | 07:05 |
At this point I would probably use
filters to narrow down the photos showing
| | 07:09 |
in Grid view to just those that have
stars and pic flags.
| | 07:13 |
Later in the course I'll show you the
attribute filters in the Filter bar.
| | 07:16 |
But there is another way that you can
quickly access your attribute filters,
| | 07:19 |
and that is from down here at the top of
the film strip.
| | 07:23 |
So, if I click this filter label here,
that displays these icons that I can use
| | 07:28 |
to filter the photos in the Preview
window by flags, stars and color labels.
| | 07:33 |
So, if I want to see just the photos to
which I added the reject flag, I'll click
| | 07:37 |
this black flag icon.
If I want to add to that, the photos to
| | 07:41 |
which I added the pick flag I'll click
the pick flag icon.
| | 07:44 |
And these are toggles, so I'll toggle
those off.
| | 07:49 |
And now lets say I want to see just the
photos that got no flags.
| | 07:52 |
I'll click this icon.
And I'll toggle that off.
| | 07:55 |
If I want to see the photos with five
stars, I'll click the fifth star.
| | 07:59 |
And that will show me photos that are
equal to or greater than five stars.
| | 08:03 |
And I can change that property too, by
clicking this icon.
| | 08:07 |
And choosing perhaps rating is equal to,
if I prefer that.
| | 08:11 |
And then I'll toggle off my five stars by
clicking the fifth star.
| | 08:14 |
And finally, I can narrow things down to
just the photos with color labels by
| | 08:18 |
clicking color label icons here in this
bar.
| | 08:21 |
And I'll toggle that off too.
So, that's a look at the various ranking
| | 08:25 |
and reviewing features in Lightroom's
library.
| | 08:27 |
Of course, you don't have to use all of
these features on your own photos and you
| | 08:31 |
can set up your own star ranking system
and flag ranking system.
| | 08:35 |
But this will give you an idea of how you
might use these features as you're
| | 08:38 |
reviewing and ranking your own photos.
| | 08:40 |
| | Collapse this transcript |
| Organizing with collections| 00:00 |
A collection is a virtual group of
photos.
| | 00:03 |
Those photos could be located in
different folders on your hard drive or
| | 00:06 |
even on different drives.
When you add photos to a collection in
| | 00:09 |
Lightroom, you're not moving them or
copying them, you're just setting up a
| | 00:13 |
link to them wherever they're stored.
So that you can see them all together in
| | 00:16 |
one place.
You might make a collection that's a
| | 00:18 |
portfolio of your best photos.
They're located in different shoot
| | 00:22 |
folders on your hard drive and in
Lightroom.
| | 00:24 |
But you can make them easily accessible
altogether as a collection too.
| | 00:28 |
Another common use for collections is for
photos that you plan to use in a project
| | 00:33 |
like photos for your website or photos
for a book that you're planning to make.
| | 00:37 |
So let's say I want to make a collection
of photos for a photo book about Europe.
| | 00:41 |
I'll start by going to a folder in my
folders panel in the Lightroom library
| | 00:45 |
that I know contains some photos from
Europe, this Paris folder.
| | 00:49 |
I'll select a couple of photos here.
I'll click on this photo and Shift click
| | 00:53 |
on this photo too.
And then to make a collection that
| | 00:56 |
contains those two photos, I'll go down
to the Collections panel and I'll click
| | 01:00 |
the Plus symbol on that panel.
And I'll choose Create Collection.
| | 01:04 |
In the Create Collection window that
opens, I'll give this collection a name.
| | 01:07 |
I'll call this Europe photo book.
I'm going to leave all of these options
| | 01:11 |
unchecked for now except for Include
selected photos.
| | 01:15 |
Because I'd like to include the two
photos I've already selected in this new collection.
| | 01:20 |
And then I'll click Create.
Now in the Collections panel you can see
| | 01:23 |
my new collection called Europe photo
book.
| | 01:26 |
And the number next to it tells me how
many photos are in the collection,
| | 01:29 |
currently only two.
We can see thumbnails of those two photos
| | 01:33 |
here in the Preview window.
Notice that if I go back to the Folders
| | 01:36 |
panel and I click on my Paris folder
those two photos are still here too.
| | 01:41 |
That's because putting them in this
collection hasn't moved them out of this folder.
| | 01:45 |
Either out of my hard drive or in the
folder structure reflected here in the
| | 01:49 |
Folders panel in Lightroom.
Now I'd like to add some more photos to
| | 01:53 |
this collection.
So I'll got to another folder that
| | 01:56 |
contains photos from Europe.
This photo labeled Siena.
| | 01:59 |
Sienna's in Italy.
So here I'm going to select a couple of photos.
| | 02:03 |
This one and then I'll hold the Shift key
and select this one.
| | 02:06 |
And then to get those two photos into my
Europe photobook collection, I have to
| | 02:10 |
drag them.
Now you remember that when you want to
| | 02:12 |
move photos you need to click inside the
photo thumbnail rather than on the frame
| | 02:17 |
of a photo.
So I'll click inside the photo thumbnail
| | 02:20 |
of either of these two selected photos.
And drag from the Preview window down
| | 02:25 |
into the Collections panel and on top of
my Europe photo book collection and
| | 02:29 |
release my mouse.
Now I'll select that Europe photo book
| | 02:32 |
collection in the Collections panel and
you can see that it now includes not only
| | 02:36 |
the two photos from Paris but the two
photos from Sienna, Italy as well.
| | 02:40 |
And if I go back to the Sienna folder,
those two photos are still there.
| | 02:45 |
I haven't moved them.
I've just linked them to my collection.
| | 02:48 |
Let's make another collection in the
Collections panel.
| | 02:51 |
Say I want to make a calendar of photos
from France.
| | 02:55 |
I'll go down to the Collections panel.
I'll click the Plus symbol and again I'll
| | 02:58 |
choose Create Collection.
I really don't want to include the
| | 03:01 |
selected photos so I'll uncheck that.
And I'll name this collection France
| | 03:07 |
photo calendar.
And I'll click Create.
| | 03:11 |
So this collection doesn't have any
photos in it yet.
| | 03:15 |
That's okay, you can make as many
collections as you want with no photos
| | 03:18 |
and then drag photos in.
Now I'd like to include in my France
| | 03:22 |
photo calendar some new photos as well as
some photos that I already have put into
| | 03:26 |
the Europe photo book collection.
That's okay, the same photos can appear
| | 03:30 |
in more than one collection.
So if I go to the Paris folder, I can
| | 03:34 |
select not only this photo but also these
two photos, which I've already included
| | 03:39 |
in the Europe photo book collection.
And then I can drag all three of those
| | 03:43 |
into the France photo calender
collection.
| | 03:46 |
So here is my France photo calender
collection, here is my Europe photo book collection.
| | 03:50 |
And back here you can see that those
three photos are still in the same folder.
| | 03:56 |
I'm going to close the Folders panel for
just a moment so that I can show you how
| | 04:00 |
to organize collections.
You may find that your list of
| | 04:03 |
collections is getting rather long.
To make the Collections panel shorter so
| | 04:07 |
you can see more of it on your screen,
you can organize collections into
| | 04:11 |
collection sets.
These are just virtual groupings of collections.
| | 04:15 |
To create a collection set, I'll click
the Plus symbol on the Collections panel
| | 04:19 |
and I'll choose Create Collection Set.
I'll call this Travel projects and click Create.
| | 04:26 |
So there's my new Travel projects
collection set.
| | 04:29 |
Notice that its icon appears slightly
different than the icons on the collections.
| | 04:33 |
I'd like to tuck my two collections away
inside of that collection set.
| | 04:37 |
So I'll select them both clicking on one
and shift clicking on the other and then
| | 04:41 |
I'll drag from either one up on top of my
collection set and release my mouse.
| | 04:46 |
Now if I click the arrow to the left of
the Travel projects collection set, that
| | 04:49 |
tidies up my Collections panel.
And it keeps these like collections
| | 04:54 |
together inside of this collection set.
Of course I can expand that collection
| | 04:58 |
set by clicking the arrow to the left of
it and select any one of the collections
| | 05:02 |
whenever I need to.
Now what if you want to remove one or
| | 05:04 |
more photos from a collection?
So let's say that I change my mind about
| | 05:08 |
including this photo in my Europe photo
book collection.
| | 05:12 |
I'll just make sure that that photo is
selected.
| | 05:14 |
I'll right click it and I'll choose
Remove from Collection.
| | 05:17 |
Or I could just press the Delete key on
my keyboard or the Backspace key on a PC keyboard.
| | 05:22 |
That photo is removed from the collection
but it's still here in my Folders panel
| | 05:27 |
if I go there and click on my Sienna
folder.
| | 05:30 |
I'm going to collapse the Folders panel
one more time to show you that you can
| | 05:34 |
remove an entire collection from the
Collections panel.
| | 05:36 |
So if I'm done creating my Europe photo
book there's really no need to keep this
| | 05:41 |
collection here.
And in fact keeping all collections
| | 05:44 |
around can make your Collection's Panel
really long and unmanageable.
| | 05:47 |
So I'm going to delete this collection
all together by selecting it in the
| | 05:51 |
Collection's panel.
Right clicking it and choosing Delete.
| | 05:55 |
Or with that collection selected I could
go to the top of the Collection's panel
| | 05:58 |
and click the Minus symbol.
And then I'll click Delete.
| | 06:03 |
Now if I go back into my Collections
panel you can see there is no Europe
| | 06:06 |
photo book collection.
But all the photos that were in that
| | 06:09 |
collection are still on my hard drive and
still in my Lightroom catalog reflected
| | 06:15 |
in the Folders panel.
So that's a look at manual collections,
| | 06:19 |
one of my favorite organizing features in
Lightroom.
| | 06:22 |
There's another kind of collection too,
smart collections, which I'm going to
| | 06:25 |
cover next.
| | 06:26 |
| | Collapse this transcript |
| Using Smart Collections| 00:00 |
A Smart Collection is a special kind of
collection that can be really useful
| | 00:03 |
because it populates itself
automatically, using rules that you set up.
| | 00:08 |
Any photo that meets those rules will get
automatically added to the collection at
| | 00:12 |
the time you create the collection or if
it meets those rules in the future.
| | 00:16 |
A common use for Smart Collections is to
make automatically updating portfolios of
| | 00:20 |
your best photos.
Perhaps those you've marked with a pic
| | 00:23 |
flag, for example.
Before I show you how to do that, let's
| | 00:26 |
take a look in the Collections panel at
the Smart Collections Collection set.
| | 00:31 |
If yours isn't expanded, click the arrow
to the left of Smart Collections.
| | 00:34 |
These are the Smart Collections that come
with Lightroom.
| | 00:38 |
This Smart Collection includes all photos
to which I haven't yet added keywords.
| | 00:42 |
So, this one can show you how much
keywording work you have left to do.
| | 00:45 |
Now you're not stuck with just these
pre-built Smart Collections, you can
| | 00:49 |
create your own.
Before we make a Smart Collection, let's
| | 00:52 |
go back to All Photographs and scroll up
to the top.
| | 00:56 |
Where I'm going to select a couple of
photos to add a pick flag to, just in
| | 00:59 |
case you haven't added pick flags to
other photos during the course.
| | 01:03 |
So, I'll select this photo and this
photo, and then I'll press P on my
| | 01:07 |
keyboard, and that adds this little white
pick flag to those two photos.
| | 01:10 |
And then I'll deselect the photos by
pressing Cmd+D on the Mac, Ctrl+D on the PC.
| | 01:16 |
If you've been following along, you
probably have a couple other photos that
| | 01:19 |
have the pick flag on them as I do too.
Now let's make a Smart Collection that
| | 01:24 |
will automatically include just photos
with pick flags.
| | 01:27 |
I'll go to the Collections panel, I'll
click the plus symbol on its title bar,
| | 01:31 |
and I'll choose Create Smart Collection.
I'll name my Smart Collection, I'll call
| | 01:36 |
this My pics.
And I would like to locate the Smart
| | 01:40 |
Collections inside the smart collections
collection set.
| | 01:44 |
So I'll check inside a Collection Set and
I'll leave this set to Smart Collections.
| | 01:49 |
Then I'll come down I'll create a rule
for this collection set.
| | 01:53 |
Basically I'm going to be creating a
sentence.
| | 01:56 |
The first part of that sentence will be
the criterion that I'm going to use as
| | 02:00 |
the basis for this collection set.
I'd like that criterion to be Pick Flag.
| | 02:04 |
Now, before I choose that, take a look at
how many options you have here.
| | 02:07 |
You could make a Smart Collection based
on photos that have Smart Previews, a
| | 02:12 |
subject I'll cover later in the course.
You could make a Smart Collection just of
| | 02:16 |
particular file types, like only RAW
photos are only JPEGS.
| | 02:20 |
You could make a Smart Collection based
on the size of photos or the bit dept of
| | 02:25 |
photos, and lots more.
I'm going to choose Pick Flag as the
| | 02:28 |
criteria for this Smart Collection.
Then I'll go to the next field, which
| | 02:32 |
happens to be a drop down menu for this
rule.
| | 02:34 |
And I'll chose is or is not.
So, I want Pick Flag is.
| | 02:39 |
And then Pick Flag is what.
Pick flag is flagged from the third menu.
| | 02:45 |
So that's the rule.
This Smart Collection will contain all
| | 02:48 |
photos that have a pick flag that is set
to flagged, great.
| | 02:53 |
Let's click Create.
And now in the Collections panel, you can
| | 02:57 |
see my new Smart Collection called My
Pics.
| | 03:00 |
And when that Smart Collection is
selected in the Collections panel, over
| | 03:04 |
here in the Preview window.
You can see all the photos in this entire
| | 03:07 |
catalog to which I've added a pick flag.
Now let's say a little time goes by, and
| | 03:13 |
I've run through my photos again and I've
found some more photos to which I've
| | 03:16 |
added a pick flag.
Let's go ahead and do that.
| | 03:18 |
I'll go back to All Photographs and I'll
add a pick flag to this photograph.
| | 03:23 |
Selecting it and pressing P on the
keyboard.
| | 03:25 |
So, remember that's the pink building
with the laundry.
| | 03:28 |
Now when I go back to My Pics, Smart
Collection, you can see that it
| | 03:33 |
automatically has added that pink
building to the collection of My Pics.
| | 03:38 |
And so you can see that this is a great
way to keep an ongoing portfolio of all
| | 03:43 |
photos to which you've added a pick flag,
all of your best photos.
| | 03:47 |
But that's not all, you can make a much
more granular Smart Collection than this.
| | 03:51 |
For example, you may have one Smart
Collection for fashion photographs.
| | 03:55 |
That would be made up of all photos with
a pick flag that also has the keyword fashion.
| | 04:00 |
Let's see how we can get a bit more
granular, by editing this particular
| | 04:04 |
Smart Collection.
To edit a Smart Collection, I'll
| | 04:06 |
right-click it in the Collections panel
and I'll choose Edit Smart Collection.
| | 04:11 |
And here, I see my initial rule, Pick
Flag is flagged.
| | 04:16 |
I want to add a rule on top of that.
So I'll go to the right side of that rule
| | 04:20 |
and I'll click the plus symbol.
And that begins a second rule.
| | 04:24 |
On this second rule, I'll go the first
field, this drop-down menu, where I'll go
| | 04:28 |
down to the size category.
And I'll choose Aspect Ratio as the criterion.
| | 04:33 |
Then, I'll go the second menu, I want
this to be set to is.
| | 04:38 |
And then I'll go to the third menu and
I'm going to set this to portrait.
| | 04:42 |
So that I get just photos that are in the
portrait orientation.
| | 04:46 |
Now this is important and it's something
you might miss.
| | 04:48 |
Above the rules there's this label, Match
all of the following rules, or Match any
| | 04:55 |
of the following rules, or none.
If this is set to all, the default, and
| | 04:59 |
then I click Save.
That changes the Smart Collection, so
| | 05:03 |
that it only shows photos in this catalog
that have a pic flag and that are in the
| | 05:08 |
portrait orientation.
Let's see what happens if I change that
| | 05:12 |
to any rather than all.
So again, I'm going to edit the My Pics
| | 05:16 |
Smart Collection.
And I'll change this menu from All to Any.
| | 05:20 |
Now, I'm going to get a much broader
range of photos.
| | 05:25 |
Now in the My picks Smart Collection we
have any photos that either are in
| | 05:29 |
portrait orientation like these, or have
a pick flag.
| | 05:34 |
So that's going to include photos that
have a Pick Flag, even if those photos
| | 05:38 |
are not in portrait orientation like this
one.
| | 05:40 |
And of course, it will also include
photos are in portrait orientation and
| | 05:44 |
have a Pick Flag like this one here.
Now one thing about a Smart Collection is
| | 05:49 |
you can't just delete a photo from it.
If I try to delete this photo and I
| | 05:53 |
choose Remove Photo, I get this message
explaining that you can't delete a photo
| | 05:57 |
directly from a Smart Collection.
And that's because the photo meets the rule.
| | 06:02 |
You can, however, delete an entire Smart
Collection.
| | 06:05 |
So if I no longer wanted this Smart
Collection, I could select it in the
| | 06:08 |
Collections panel and click the minus
symbol.
| | 06:12 |
So I think you can see how powerful Smart
Collections can be.
| | 06:15 |
And the advantage that they offer when
you're trying to keep an automatically
| | 06:19 |
updating collection.
| | 06:20 |
| | Collapse this transcript |
| Keywording| 00:00 |
Adding keyword tags to a photo is the
single most powerful thing you can do in
| | 00:04 |
Lightroom's library module, to increase
the odds you'll be able to find that
| | 00:07 |
photo in the future.
I think the trick is to use keywords that
| | 00:11 |
are meaningful to you, and to be
consistent about applying them to all
| | 00:14 |
your photos.
If you are not sure in advance what
| | 00:17 |
keywords you will need, Let your photos
suggest keywords to you.
| | 00:20 |
So, let's say that I want to add keywords
to a couple of these photos.
| | 00:24 |
I'll select some photos here in the grid,
this one and this one, and then I go over
| | 00:30 |
to the column on the right.
I am going to expand this panel, the
| | 00:33 |
Keywording panel, and I will come down
here and click in the field that says
| | 00:37 |
Click Here to Add Keywords.
Then I'll think about some words that I
| | 00:41 |
might use to find these particular
photos.
| | 00:43 |
I might type fountain.
And to add second keyword, I'll type a
| | 00:48 |
comma, which is what you use to separate
keywords here, and I'll type water comma.
| | 00:53 |
I'll type France, since this is where
these photos were taken and they were
| | 00:57 |
taken in a town called (UNKNOWN), so I'll
type that.
| | 01:01 |
And notice that a keyword tag can be made
up of more than one word like (UNKNOWN).
| | 01:06 |
When I'm done, I'll press Enter or Return
on the keyboard, and that's done a couple
| | 01:10 |
of things.
Down here on the bottom right of each of
| | 01:12 |
these thumbnails, there's a new badge,
which means that these photos have
| | 01:16 |
keywords applied to them.
And over in the keyword list, you can see
| | 01:20 |
a list of the keywords that I just made
as I apply them to those photos.
| | 01:24 |
The number to the right of each keyword
tag represents them number of photos to
| | 01:28 |
which I've applied that keyword.
Another way to create and apply keyword
| | 01:32 |
is by using the spray can.
It's quick and kind of fun too.
| | 01:37 |
To use the spray can, I'll go down to my
tool bar in the library module.
| | 01:41 |
If your Tool bar isn't showing then press
"T" on your keyboard.
| | 01:45 |
I'll click on the Spray Can icon to pick
up the spray can, and when I do I see
| | 01:50 |
this menu that says paint.
I'll click the Paint menu and here I can
| | 01:54 |
see a list of the various properties that
I could spray on the Thumbnails in the
| | 01:58 |
Grid View.
So this is another quick way to add flags
| | 02:02 |
or ratings to photos, I want to add
keywords.
| | 02:05 |
So I'll leave it set to keywords.
And then I'll go to the field that says
| | 02:08 |
enter keywords here, and I'll type the
keyword that I want to spray on to some photos.
| | 02:14 |
You can create a new keyword, or you can
use an existing one.
| | 02:17 |
I'll create a new one.
I'll type Paris and press Enter or Return
| | 02:22 |
on the keyboard.
And now you can see there's a new
| | 02:24 |
keyword, Paris in the keyword list.
The plus symbol means that this is the
| | 02:29 |
keyword that's loaded into my spray can.
Now I'll go into the image.
| | 02:33 |
And to apply the Paris keyword to
multiple photos, I'll just click on each
| | 02:37 |
one of those photos.
It's quick and it's easy.
| | 02:40 |
Now here's something you might forget to
do.
| | 02:45 |
When you're done applying keywords with
the spray can, you have to come back down
| | 02:50 |
to the Tool bar and click in the spray
can circle to put the spray can back.
| | 02:55 |
Now, some photographers like to build a
well organized keyword list in the
| | 02:59 |
Keyword List panel, and then apply their
keywords.
| | 03:03 |
So here's how you can build a keyword
list.
| | 03:05 |
In the Keyword List panel, I'll click the
plus symbol.
| | 03:08 |
In the window that opens, I'll type a
keyword in the keyword name field.
| | 03:12 |
I'm going to type places, and then I'll
click Create.
| | 03:16 |
And that creates a brand new keyword
here.
| | 03:18 |
Now, I'm going to use this as a higher
level keyword in which to organize other keywords.
| | 03:23 |
So, I'll select the keyword places in the
Keyword List panel, I'll click the plus
| | 03:27 |
symbol on the keyword list panel.
And this time, I'm going to create the
| | 03:31 |
keyword Europe.
And down here, I'll leave put inside
| | 03:35 |
places checked.
And I get that Option because I'd
| | 03:38 |
selected the keyword places before I
created this new keyword tag.
| | 03:42 |
I'll click Create, and if I go to the
places keyword in the Keyword List panel
| | 03:47 |
and click the triangle next to it, I can
see my Europe keyword indented under the
| | 03:51 |
places keyword.
I can also drag keywords in the keyword
| | 03:55 |
list to create hierarchy of keywords.
So, I might take the France keyword and
| | 04:00 |
drag it down on top of Europe.
And now when I click the triangle next to
| | 04:04 |
Europe, you see France indented there.
And then I'll take the Paris keyword and
| | 04:08 |
drag that down into France, and as you
can see, I'm building this nice hierarchy
| | 04:13 |
of keywords.
One reason to do this is that it helps
| | 04:16 |
you keep your keyword list organized and
manageable.
| | 04:18 |
Because if I close Places, then my
keyword list gets shorter.
| | 04:22 |
And I can apply any of these keywords to
photos by selecting photos.
| | 04:27 |
I'll just select all of these.
And then clicking to the left of the keyword.
| | 04:31 |
These were all taken at various placed in
Europe, so I'll apply the keyword Europe
| | 04:34 |
to all of the photos.
And then I'll press Cmd+D on the Mac or
| | 04:38 |
Ctrl+D on the PC to deselect.
So those are some different ways to
| | 04:42 |
create and apply key words.
The whole point of applying key words to
| | 04:45 |
photos is to make it easier to find
photos later, and that's what we'll talk
| | 04:49 |
about next.
| | 04:50 |
| | Collapse this transcript |
| Finding photos by keyword| 00:00 |
Lightroom's library module has powerful
search features that you can use to find
| | 00:04 |
just the photos you're looking for.
That's particularly true if you've added
| | 00:07 |
keywords to your photos.
But there are lots of other properties
| | 00:10 |
you can search on too.
I happen to be working here with some
| | 00:13 |
photos to which I've already added
keywords.
| | 00:15 |
Let's add a couple more keywords.
I'm going to select this photo and the
| | 00:18 |
one next to it, and then I'm going to go
to my keyword list and click the Plus symbol.
| | 00:22 |
I'll type the new keyword, Italy, and
I'll make sure that Add to Selected
| | 00:27 |
Photos is checked and click Create so
that my new Italy keyword is
| | 00:32 |
automatically added to the two selected
photos.
| | 00:34 |
I'll leave those photos selected, and I'm
going to add another key word to them.
| | 00:38 |
I happen to have the key word fountain
already in my key word list, I've already
| | 00:42 |
applied that to two other photos.
To apply it to these two photos, I'll
| | 00:46 |
click the checkbox to the left of the
word fountain in the key word list.
| | 00:50 |
Now, I'd like to have just the second
folder selected here.
| | 00:53 |
So, I'm going to hold down the Cmd key or
the Ctrl key on the PC and click right
| | 00:58 |
inside the image thumbnail of the first
photo.
| | 01:00 |
Not on the frame, but on the image
thumbnail and that will remove that photo
| | 01:05 |
from my selection.
So, now I have just the second photo
| | 01:08 |
selected, I want to do one more thing to
it, I want to add a Pick flag to it, so
| | 01:12 |
I'll press P on my keyboard.
And now you can see the little Pick flag
| | 01:16 |
icon here.
If you can't see that, just use the J key
| | 01:19 |
to cycle to the view that shows you the
Pick flags.
| | 01:22 |
Now, I'm going to deselect again, Cmd+D
or Ctrl+D on the PC.
| | 01:27 |
And let's say that in the future, I'm
working with all my photographs.
| | 01:30 |
I'll click all photographs in the Catalog
panel.
| | 01:34 |
And I decide that I need to see just the
photos to which I've added the keyword fountain.
| | 01:39 |
Now, there are several places I can go to
search by keywords.
| | 01:41 |
One of those places is the Library
filter.
| | 01:44 |
This gray bar that's open at the top of
my previews.
| | 01:47 |
If your library filter isn't open, you
can open it by going to the View menu and
| | 01:51 |
choosing Show Filter Bar, or pressing the
back slash key on your keyboard, which is
| | 01:55 |
near the P key.
We'll take a look at the filters in the
| | 01:58 |
Library filter in just a moment.
But, first I want to show the very
| | 02:01 |
simplest way by searching by keyword, if
you need to search by just one keyword.
| | 02:06 |
You can come down to the keyword list,
find that keyword like the fountain
| | 02:10 |
keyword hover over it to bring up an
arrow on the far right of that keyword.
| | 02:14 |
And then click that arrow and that will
display just the photos that have that
| | 02:19 |
keyword that are in the selected source
whether that's a folder or in this case
| | 02:23 |
all photographs in the catalog.
And it also drops down the metadata filters.
| | 02:29 |
We'll be taking a closer look at metadata
filters in just a moment.
| | 02:31 |
For now, I'm going to deselect, because I
see one of these photos is selected, by
| | 02:35 |
pressing Cmd+D or Ctrl+D.
And, I'm going to clear this search by
| | 02:40 |
clicking None, which temporarily disables
my filters.
| | 02:43 |
Now let's say I want to do a more complex
keyword search.
| | 02:47 |
I want to search by multiple keywords.
For example, I'd like to see just the
| | 02:51 |
fountains in Italy.
Now, I could do that in my metadata
| | 02:55 |
filters, but I thin a simpler way is to
use the text filter, so I'll click text
| | 03:00 |
here on the Library filter bar.
And that drops down this grey text bar.
| | 03:03 |
I can use the text filters to search by
any text that's in the metadata of my photos.
| | 03:09 |
So, if I click this first menu, you can
see that that might be File name, Copy
| | 03:14 |
name, Title, Caption, or Keywords.
Or I could search by any searchable text field.
| | 03:20 |
I'll come down here, and choose to search
just by keywords.
| | 03:23 |
I'm going to search by more than one
keyword, and I want photos to come up
| | 03:27 |
that meet both those keyword criteria, so
I'm going to leave the second menu set to
| | 03:32 |
contain all.
And then I'll type my keywords here in
| | 03:35 |
the third field.
I'll type fountain, and right away you
| | 03:39 |
can see all the photos that have the
founding keyword.
| | 03:42 |
And then, I'll skip a space and type
another keyword, Italy.
| | 03:46 |
And that narrows down the results.
You don't have to type commas between
| | 03:49 |
these two words.
By the way, if I had set this menu in the
| | 03:53 |
middle to contain rather than contain
all, it would be like doing an or search.
| | 03:58 |
Telling Lightroom 2, show me photos that
contain the keyword fountain or the
| | 04:02 |
keyword Italy.
But when I put this at contains all, then
| | 04:06 |
I'm asking for an and search.
In other words, photos that contain the
| | 04:09 |
keywords fountain and Italy.
I could narrow these search results even
| | 04:13 |
further by combining them with another
kind of search, an attribute search.
| | 04:17 |
I'll click the Attribute tab here in the
Library Filter bar, and that opens a
| | 04:22 |
second filter bar containing the
attribute filters.
| | 04:25 |
These filters are similar to the filter
that we saw earlier at the top of the
| | 04:28 |
filter bar.
Here you can filter photos by their flag
| | 04:31 |
rating, by their star rating, by their
color labels and or by their status.
| | 04:36 |
So here for example, you could filter
down to video files, or virtual copies,
| | 04:41 |
which we'll talk about later.
So, what I want to do is narrow down my
| | 04:46 |
search results to those photos that are
of fountains in Italy and that have a
| | 04:51 |
Pick flag.
So, here I'll click on the first flag,
| | 04:54 |
the white flag, and that gives me just
the result I was looking for.
| | 04:57 |
If I click that flag again, that toggles
that Pick flag attribute filter off.
| | 05:03 |
By the way, if I had opened my attribute
filters without having a search result in
| | 05:07 |
view, then I would just see one bar here,
just the Attribute filters.
| | 05:12 |
I'm going to close both of these bars by
clicking Attribute.
| | 05:15 |
And before I close my text filter, I'm
going to clear this search by clicking
| | 05:20 |
the x on the third field, and then, I'll
click text to close that bar.
| | 05:25 |
Now there's one more category of filter
in the library filter bar and that is
| | 05:29 |
metadata filters.
The metadata filters are the powerful
| | 05:33 |
ways to search by multiple keywords and
lots of other properties too.
| | 05:36 |
We'll take a look at metadata filters
next.
| | 05:40 |
| | Collapse this transcript |
| Finding photos with the Metadata filter| 00:00 |
A Lightroom catalog contains lots of
metadata or information about your photos.
| | 00:04 |
Including information that you add to
photos like keywords and information that
| | 00:10 |
comes from your digital camera like all
this exposure information that you see in
| | 00:13 |
my metadata panel.
The meta data filter up here on the
| | 00:17 |
library filter bar is a powerful way to
use meta data to find particular photos.
| | 00:22 |
Let's see how it works.
I've gone over to the Catalog panel and
| | 00:26 |
selected all photographs so that I use
the meta data filter to search through
| | 00:29 |
all of the photographs in this catalog.
Keep in mind that you can only search
| | 00:33 |
through one catalog at a time, the active
catalog.
| | 00:36 |
I've opened my library filter bar by
pressing the Backslash key on my keyboard.
| | 00:41 |
And I'm going to click on the Meta Data
tab to open this panel of meta data columns.
| | 00:46 |
Each of the columns represents a
different kind or a category of meta data.
| | 00:51 |
These are the default columns.
If your columns don't look like this,
| | 00:55 |
then go over to the right side of the
library filter bar and from this Drop
| | 00:59 |
down menu, you can choose default
columns.
| | 01:02 |
So when I'm ready to filter through all
the photos in this catalog, I'll start
| | 01:06 |
over in the left hand column.
Let's say I want to see all the photos
| | 01:09 |
taken on a particular date.
I'll click on that date here.
| | 01:12 |
And underneath the Metadata panel you can
see the results of this search.
| | 01:17 |
Now I don't have to search on date
initially.
| | 01:20 |
I could choose a different category of
metadata.
| | 01:23 |
I'll go up to the header of this first
column and I'll click on the
| | 01:26 |
double-pointed arrows next to date.
And that opens a menu of all the many
| | 01:30 |
categories of metadata on which I could
search.
| | 01:33 |
Everything from file type to exposure
information, to Location, to Creator,
| | 01:38 |
Aspect Ratio, Smart Preview Status and
more.
| | 01:43 |
I'm going to choose Keyword because the
metadata filter is another place that I
| | 01:47 |
could go to search by keyword.
And if I change the second column to
| | 01:51 |
keyword too, I could search on a
combination of two keywords and so forth.
| | 01:56 |
I'm actually going to change the keyword
column to none so that I see just the
| | 02:00 |
photos down here that I haven't keyworded
yet.
| | 02:03 |
And I'll use other kinds of metadata to
search through those.
| | 02:06 |
I'll go to the second column and here you
can see a list of all six cameras that
| | 02:11 |
were used to shoot the photos in this
catalog.
| | 02:14 |
If I click on one of these, say the EM5,
which is my Olympus camera, now down here
| | 02:19 |
I see just the photos shot with that
particular camera.
| | 02:22 |
I can change the category of metadata for
any of these columns.
| | 02:25 |
So for example if I go to the third
column and click Next to the Lens
| | 02:30 |
Category, I might choose to change that
to ISO speed for example.
| | 02:34 |
And now I can see all of the different
ISOs with which I shot photos using the
| | 02:38 |
Arobis camera.
And I know that that particular camera is
| | 02:41 |
likely to produce digital noise at ISO's
higher than say 400.
| | 02:46 |
So I may stick with just the photos in
these categories if I'm looking for
| | 02:50 |
photos that I want to print.
I'll go to the last column here and I'm
| | 02:53 |
going to change that category to File
type.
| | 02:57 |
And now I can zero in on photos taken
with a particular camera at a particular
| | 03:02 |
ISO and the file type.
Either these RAW files or these JPEGs.
| | 03:07 |
And I can even add more columns.
I can go up to the top of any one of the
| | 03:11 |
columns, hover over it and that brings up
a little menu on the right side.
| | 03:15 |
If I click that Drop down menu, I can
choose Add Column.
| | 03:18 |
And that will add a column to the right
of the selected column.
| | 03:22 |
And I'll choose a metadata category for
that last column.
| | 03:26 |
Let's go with Aspect Ratio.
And that breaks things down even further
| | 03:30 |
into those photos that meet all these
other criteria and are in the Landscape
| | 03:36 |
mode or the Portrait mode.
Now once I've got my columns set up the
| | 03:40 |
way I like them, if I think I want to use
these again in the future.
| | 03:43 |
I can save this arrangement as a pre-set
by going up to this menu on the far right
| | 03:47 |
of the library filter and choosing Save
Current Settings as New Pre-Set.
| | 03:52 |
Another thing I can access from this menu
are some of the preset combinations of columns.
| | 03:56 |
For example, if I change this to exposure
info, that changes all of these columns
| | 04:02 |
to these different categories of
metadata.
| | 04:05 |
So I'm just going to create a search
result here by clicking arbitrarily on
| | 04:10 |
some of these categories.
Let's say that I'd gone through my search
| | 04:13 |
using these various metadata criterion
and these are the photos that are produced.
| | 04:18 |
And I want to keep these photos so I that
I can quickly access them later.
| | 04:21 |
At that point, I would come down and
create a collection in my Collections
| | 04:25 |
panel as I've shown you hot do earlier
and drag those photos into that collection.
| | 04:30 |
When I'm done with the metadata filters,
I'll come back up here and I'll set them
| | 04:34 |
back to their defaults or to my preset,
whichever I like.
| | 04:38 |
And then I'll close the metadata panel by
clicking on the Metadata tab in the
| | 04:42 |
Library filter bar.
So I think you can see that the metadata
| | 04:46 |
filter is a very flexible and very
powerful filter that offers you lots of
| | 04:50 |
ways to find just the photos you're
looking for.
| | 04:52 |
| | Collapse this transcript |
| Moving files and folders| 00:00 |
One thing that can be really
disconcerting for a Lightroom user is
| | 00:03 |
when files and folders go missing from
your Lightroom catalog.
| | 00:07 |
And you usually see a warning from
Lightroom that a file is missing, you
| | 00:10 |
can't work on it, or you'll see a
question mark on a folder.
| | 00:14 |
In this movie, I want to explain why that
happens and help you to avoid the problem.
| | 00:19 |
And to fix it when it does happen.
One of the most common reasons that you
| | 00:23 |
might have files or folders go missing in
Lightroom, is that you've moved them,
| | 00:27 |
from outside of Lightroom, out in your
Operating System.
| | 00:31 |
So, let's go out to my operating system.
An let's say that I'm tidying things up,
| | 00:36 |
an I realize that this particular photo,
this vertical photo that's in my Paris
| | 00:40 |
folder, really doesn't belong there.
That photo was taken in Sienna, so I want
| | 00:45 |
to put it in the Sienna folder.
If I move that photo in my operating
| | 00:49 |
system, here on the Mac I can just drag
it, lightroom won't know where it is.
| | 00:54 |
And let's say I go a step further and I
move an entire folder.
| | 00:58 |
Maybe I'll take that Sienna folder and
I'll move it up into my chapter 02
| | 01:03 |
folder, at the top level Now let's go
back into Lightroom.
| | 01:07 |
Here in Lightroom, I'm in the Paris
folder, and you can see that there is now
| | 01:12 |
an exclamation mark at the top right of
that photo that I moved outside of
| | 01:16 |
Lightroom, from the Paris folder into the
Sienna folder.
| | 01:19 |
And, when that thumbnail is selected,
over in the bar under the Histogram, you
| | 01:23 |
can see a notation that the photo is
missing.
| | 01:25 |
And I won't be able to edit that photo in
the Develop module, at least if I haven't
| | 01:29 |
made Smart Previews, a subject I'll
explain later.
| | 01:32 |
Now, take a look in the Folders panel in
Lightroom's Library module, and you'll
| | 01:36 |
see something else that's missing.
That entire Sienna folder is missing,
| | 01:40 |
because, you'll remember, that I moved it
outside of Lightroom Into another location.
| | 01:45 |
Now when I have a folder missing, if I
click on that folder, then you'll see
| | 01:50 |
that all of the photos in the folder are
marked as missing too.
| | 01:53 |
They both have exclamation marks.
In this case the best idea is to try to
| | 01:58 |
fix the folder, not the individual
photos.
| | 02:00 |
It's a lot more efficient.
So what I need to do is tell Lightroom
| | 02:05 |
where I moved this whole Siena folder to.
And that will get rid of this question mark.
| | 02:10 |
In other words, I'm reestablishing the
link between the LIghtroom catalog and
| | 02:14 |
the actual location of this folder.
To do that, I'll right-click on the
| | 02:18 |
folder, I'll choose Find Missing Folder,
and I'll go out and find where I've put
| | 02:23 |
the folder.
Now this isn't something that Lightroom
| | 02:25 |
can do for me automatically.
I have to remember where I put the folder.
| | 02:29 |
Or if I don't know I'll use the search
mechanisms in my operating systems to go
| | 02:33 |
out and find the folder by name.
And then when I right click on the folder
| | 02:38 |
in the Folder's panel in lightroom that
opens this window.
| | 02:41 |
And in this window I will just navigate
to the new location of the Sienna folder
| | 02:44 |
and I'll click Choose.
So that fixes that problem, now the
| | 02:49 |
Sienna folder has no question mark on it.
And when it's selected, the photos in
| | 02:53 |
that folder don't have an exclamation
mark.
| | 02:55 |
When I click on one of these, you can see
over here that the notation is now that
| | 03:00 |
this is the original photo.
And I could work on this photo or this
| | 03:03 |
photo in the develop module in lightroom.
Now, let's click on the Paris folder.
| | 03:08 |
You'll remember it, that I took one of
the photos from this folder.
| | 03:11 |
This photo of the fountain in Siena.
And I moved in into the Siena folder.
| | 03:17 |
And now, Lightroom is confused.
It thought that this photo was in the
| | 03:20 |
Paris folder, and now it's not there.
No problem, I can just re-point Lightroom
| | 03:25 |
to the current location of this
particular photo, and to do that I'll
| | 03:29 |
come up to the exclamation mark on the
photo.
| | 03:32 |
I'll click that exclamation mark and I
get this message telling me the name of
| | 03:36 |
the photo and asking if I can locate the
photo.
| | 03:38 |
Now we know where the photo is, so we can
do that, but if you didn't know where a
| | 03:42 |
particular photo was.
You can simply copy the name from here
| | 03:46 |
and using the search mechanisms in your
Operating System.
| | 03:49 |
You can search for the photo's new
location, and when you knew where it was,
| | 03:53 |
click locate and navigate to that
location.
| | 03:56 |
So I'm going to go here.
And then here to my Chapter Two folder.
| | 04:01 |
And there is that vertical photo, here in
the Sienna folder.
| | 04:05 |
I'll select that.
I'll leave find nearby missing photos
| | 04:09 |
checked, because if I had multiple
missing photos.
| | 04:12 |
Relocating just one of them for Lightroom
can sometimes re-point Lightroom to the
| | 04:16 |
others as well.
And I'll click Select.
| | 04:18 |
Now Lightroom knows that that vertical
photo is not in the Paris folder, so that
| | 04:24 |
photo is disappeared from the Paris
folder.
| | 04:25 |
If I click on the sienna folder, you can
see that Light Room now knows where the
| | 04:30 |
photo is.
And there is no exclamation mark on it.
| | 04:33 |
And I could work with this photo.
So that's what to do when your photos or
| | 04:37 |
folders go missing.
Well how do you avoid them going missing
| | 04:40 |
in the first place if you do want to
rearrange them?
| | 04:43 |
If you want to rearrange photos or
folders and you're just working with a
| | 04:46 |
finite number of photos or folders.
Then I suggest that you do that from
| | 04:50 |
inside the Folders panel in Lightroom.
For example, if I wanted to move this
| | 04:55 |
whole folder I would select it in the
Folders panel and drag it where I wanted
| | 04:59 |
it to go.
Inside the 02/10 folder, for example,
| | 05:02 |
where it started, and Lightroom tells me
that that's fine, I can do that.
| | 05:06 |
But that's going to actually move the
folder with it's files out in my
| | 05:10 |
Operating System.
So, be aware that if you move photos or
| | 05:13 |
folder inside of Lightroom that will
actually move them out on your hard
| | 05:17 |
drives as well.
I'll click move and in just a moment the
| | 05:21 |
Sienna folder is where it started inside
the 02_10 folder.
| | 05:26 |
Now, let's say you want to move one or
more files.
| | 05:28 |
Can you do that?
Yes, the same way.
| | 05:30 |
You can select files here.
And I need to click right on the image
| | 05:34 |
thumbnails if I'm going to move them.
Not on their frames.
| | 05:37 |
And then I'll click on either one of
those thumbnails, and I'll drag.
| | 05:40 |
I'll just put these in the Paris folder.
That will move them on the hard drive as
| | 05:44 |
well, as inside of Lightroom.
That's okay with me, I'm going to click, Move.
| | 05:47 |
And now, I've moved those two files, this
one and this one, into the Paris folder.
| | 05:54 |
And I did that from inside Lightroom.
So, that's just generally how I'd suggest
| | 05:58 |
that you move files and folders from
inside Lightroom, however, there's one
| | 06:01 |
exception to that rule.
Let's say, as I suggested you do at the
| | 06:05 |
beginning of the course.
All of your Lightroom photos are on a
| | 06:08 |
single hard drive and they're inside a
parent folder, like the Exercise files
| | 06:12 |
folder here or a folder called my
Lightroom photos.
| | 06:16 |
And your drive fills up.
And so, you go out and purchase a larger
| | 06:19 |
hard drive.
And you want to move all of your
| | 06:22 |
Lightroom photos onto that larger hard
drive, but you want Lightroom to know
| | 06:25 |
where they've gone.
You could do that from inside the Folders
| | 06:29 |
panel here but that's a little
complicated.
| | 06:31 |
You'd have to have at least 1 photo on
that new hard drive and you would have to
| | 06:35 |
import that one photo into your Lightroom
catalog.
| | 06:38 |
Then you could take your umbrella folder,
your parent folder and drag it until the
| | 06:42 |
new hard drive which would appear here in
this list.
| | 06:45 |
However, I don't suggest you do that,
because there's kind of a delay if your
| | 06:49 |
moving a lot of files from one hard drive
to another.
| | 06:51 |
And when it's all of your photos, you
want to be sure you know what's happening.
| | 06:55 |
So in that case, I would actually, move
the entire parent folder outside of Lightroom.
| | 07:01 |
And then just repoint Lightroom to the
new location.
| | 07:03 |
So, that's a look at missing files and
folders in Lightroom.
| | 07:07 |
There's one other thing that can cause
files or folders to go missing and that
| | 07:11 |
is if you rename them outside of
Lightroom.
| | 07:14 |
And that's what we're going to talk about
next.
| | 07:15 |
| | Collapse this transcript |
| Renaming photos| 00:00 |
We've seen that one thing that can make
files or folders go missing from inside Lightroom.
| | 00:05 |
Is if you move those files or folders
outside of Lightroom in your operating system.
| | 00:09 |
The same is true if you rename files or
folders in your operating system.
| | 00:13 |
Let's see if we can simulate that
problem.
| | 00:16 |
And see how to fix that from inside of
Lightroom.
| | 00:19 |
So here, I have this vertical photo of
bottles.
| | 00:21 |
Let's say that out of my operating
system, I changed the name of this file
| | 00:27 |
from the one that you see here to
something like bottles.
| | 00:30 |
By the way, if you don't see the file
names on these thumbnails, just press the
| | 00:34 |
J key to cycle through the thumbnail
styles until you see a file name here.
| | 00:38 |
Now I'm going to go out to my operating
system, and I'll locate that photo of
| | 00:42 |
bottles, which is this one here, in the
02_11 folder.
| | 00:46 |
I'm going to select it and I'm just going
to type a different name for it.
| | 00:50 |
I'll type bottles, and Enter or Return on
my keyboard, and that's renamed the photo
| | 00:54 |
in the operating system.
Let's go back to Lightroom.
| | 00:57 |
Here in Lightroom you can see that there
is now an exclamation mark on the photo
| | 01:01 |
and if I hover over that, Lightroom is
telling me that the photo is missing.
| | 01:04 |
That's because it doesn't know about it's
new name.
| | 01:08 |
If I click on the photo over here, under
the Histogram again.
| | 01:11 |
I see that the photo is missing, and I
can't work on this photo on my operating
| | 01:15 |
system unless or until I repoint
Lightroom to the photo with it's new name.
| | 01:20 |
So I'm going to do that by clicking on
the exclamation mark on the photo and
| | 01:24 |
here Lightroom is telling me that it
can't locate the photo for me.
| | 01:27 |
I have to do it myself.
Now, this can be a problem if I'd renamed
| | 01:31 |
this photo a while ago and I really
didn't remember the new name.
| | 01:34 |
So you want to be careful when you're
renaming photos to do that inside
| | 01:38 |
Lightroom as I'll show you in a moment.
However, I do happen to know the new name
| | 01:42 |
of this photo I'm going to click Locate,
and here it is on my hard drive, so I'll
| | 01:48 |
select it with its new name.
I'll leave this checkbox checked and I'll
| | 01:52 |
click Select.
Now Lightroom tells me, well, gee, the
| | 01:55 |
photo you selected has a new name, a
different name than the one you were
| | 01:58 |
trying to locate.
Are you sure that this is correct?
| | 02:01 |
Yes I am, so I'll click Confirm.
And now the exclamation mark is gone from
| | 02:06 |
the photo and if I click off it and back
on, you can see over here that Lightroom
| | 02:11 |
recognizes it as an original photo.
It doesn't see it as a missing photo.
| | 02:15 |
So in order to avoid that problem, what's
a better way to rename photos?
| | 02:19 |
Well, I suggest that if you're just
renaming one photo, you select the photo
| | 02:23 |
here in your Lightroom Library, and then
go to the Metadata panel.
| | 02:28 |
Go to the File Name field in your
Metadata panel, and just type over the
| | 02:31 |
existing file name.
So I'm going to type bike for example,
| | 02:35 |
and press Enter or Return.
And you can see that the name of the file
| | 02:40 |
has changed here inside Lightroom to
bike.
| | 02:42 |
And it has also changed out in my
operating system.
| | 02:45 |
Here in my finder you can see, my bike
photo, with it's new name.
| | 02:49 |
So that's a better way to do things if
you're just renaming one file.
| | 02:52 |
What if you're renaming, a whole lot of
files at once.
| | 02:56 |
To do that, say I want to rename these
three files I'll select them all and then
| | 03:01 |
I will go up to the Library menu and I'll
chose Rename Photos.
| | 03:05 |
Here in the Rename window I will go to
the file naming menu and here I have a
| | 03:09 |
choice of a number of different preset
file saving conventions.
| | 03:13 |
I can choose from any one of these.
Perhaps I'll go with custom name sequence.
| | 03:18 |
Here I can type into the custom text
field, any name that I want to appear in
| | 03:22 |
all three photos.
So I'll type, bruges_bikes, because these
| | 03:30 |
photos were taken in Bruges Belgium and
they're all of bikes.
| | 03:33 |
Here, I can see what my new filenames are
going to look like.
| | 03:36 |
This is just an example of one of the
files.
| | 03:39 |
Each will have a different sequence
number.
| | 03:41 |
And I can choose the starting sequence
number over here.
| | 03:44 |
So I want the first of these to start
with the number one.
| | 03:46 |
And I'll click OK.
And you can see that's renamed all three
| | 03:50 |
of these photos bruges_bikes-1,
bruges_bikes-2, and bruges_bikes-3.
| | 03:55 |
Now there's a lot that you can do to
customize those file naming conventions.
| | 03:59 |
But I suggest that you start with some of
the presets and then go in and explore
| | 04:02 |
further inside of the renaming dialogue
box if you want custom names.
| | 04:07 |
But when you are renaming files like
this, or if you want to rename a folder.
| | 04:11 |
I strongly urge you to do it from inside
of Lightroom so that you don't get files
| | 04:15 |
missing inside your Lightroom Library.
| | 04:17 |
| | Collapse this transcript |
| Working with Smart Previews when traveling| 00:00 |
If you like the idea of being able to
actually edit your photos in Lightroom's
| | 00:03 |
Develop module, when you're away from
your office.
| | 00:06 |
You'll really appreciate smart previews,
in Lightroom 5.
| | 00:10 |
Smart previews are low resolution
representation of your original photos,
| | 00:14 |
that you can edit in Lightroom when the
originals are offline.
| | 00:17 |
Later, when your originals are back
online again, any edits that you made to
| | 00:21 |
the smart previews will automatically
apply to the originals.
| | 00:25 |
So, here's a scenario in which smart
previews come in really handy.
| | 00:28 |
Let's say that I travel a lot, and I
often work outside my office, so my
| | 00:32 |
laptop is my primary working computer.
In fact, I keep my Lightroom catalog
| | 00:37 |
files on my laptop, so I always have my
catalog with me.
| | 00:41 |
I've got the Lightroom application and
the catalog files on my laptop.
| | 00:45 |
Let's assume that's what you see open
here.
| | 00:47 |
But there isn't enough room on my laptop
to store all the large raw files that I
| | 00:51 |
shoot and import to Lightroom.
So I keep my big collection of Lightroom photos.
| | 00:56 |
On a large external desktop hard drive,
my working drive, as I suggested that you
| | 01:01 |
do earlier in the course.
Here in Lightroom, you can see my working
| | 01:05 |
drive in the Folders panel of this
catalog.
| | 01:07 |
And here you can see the Lightroom photos
that I've imported into this Lightroom catalog.
| | 01:13 |
Now, I would love to be able to edit
these photos in Lightroom here on my
| | 01:16 |
laptop even when I'm not sitting at my
desk, tethered to that external hard drive.
| | 01:20 |
And I can do that if I've made smart
previews of my photos beforehand.
| | 01:25 |
So the first step is to make smart
previews of your original photos, and you
| | 01:28 |
can do that either while you're importing
photos here in your import window where I
| | 01:33 |
can check build smart previews.
I'm going to cancel out of here, or you
| | 01:37 |
can build your smart previews after
you've imported photos into a Lightroom library.
| | 01:42 |
Just select the photos here in the
library, and then go up to the Library
| | 01:45 |
module and down to previews, and choose
Built Smart Previews.
| | 01:50 |
When the progress bar is finished I get
this message that the smart previews are
| | 01:53 |
built, so I'll click OK.
I'm going to deselect by pressing Cmd+D
| | 01:58 |
on the Mac or Ctrl+D on the PC, and I'm
going to click on just one of these photo thumbnails.
| | 02:03 |
And you can see over here under the
histogram, this label indicating that the
| | 02:07 |
selected photo has both an original and a
smart preview.
| | 02:10 |
If I select multiple photos here, I'll
press Cmd+A, that's Ctrl+A on the PC, to
| | 02:16 |
select all of these.
Under the histogram, the second icon,
| | 02:20 |
shows me the total number of originals
and smart previews, that I have selected.
| | 02:24 |
By the way, if you ever want to delete
your smart previews, you can do that by
| | 02:27 |
clicking this icon, while your photos are
online, and choosing to discard the smart
| | 02:32 |
previews from the selected photos.
But I'm going to cancel out of this, and
| | 02:36 |
keep my smart previews.
And once again, I'm going to deselect Cmd
| | 02:41 |
or Ctrl+D.
Now let's say that I'm leaving the office.
| | 02:45 |
Maybe I'm off to the airport for a long
trip.
| | 02:47 |
Or I'm just going to the local coffee
shop with my laptop.
| | 02:50 |
My external working drive, with the
original photos on it, is going to stay
| | 02:54 |
at the office.
So I'm going to take it offline by
| | 02:56 |
ejecting it from my laptop.
I'll do that from my finder on a Mac or
| | 03:00 |
from the status bar on Windows.
Now, let's say that I'm on the airplane
| | 03:05 |
or I'm down at the coffee shop and I'm
ready to work on my photos.
| | 03:08 |
I'll launch Lightroom on my laptop and
here in the folders panel, I can see that
| | 03:13 |
my working drive is offline.
It doesn't have the little green mark
| | 03:16 |
next to it that means it's online.
And the folders located on the working
| | 03:20 |
drive have question marks on them Because
the originals are missing.
| | 03:25 |
However, if I click on one of the
thumbnails in the Library module, over
| | 03:29 |
here under the histogram I see a label
telling me that I have a smart preview.
| | 03:33 |
And that means that I can work on this
photo even though my originals are offline.
| | 03:39 |
And that's because the smart previews,
which are much smaller than my original
| | 03:42 |
photos, are stored in my catalog files,
which I have with me.
| | 03:46 |
So let's see how we can work with these
files here in Lightroom, even though the
| | 03:50 |
originals are offline.
I've got one of the files selected here
| | 03:53 |
in the Lightroom Library module.
I'll go up to the module picker and click
| | 03:57 |
Develop, to open that photo in the
Develop module.
| | 04:00 |
We'll be taking a look at lots of the
features here.
| | 04:03 |
But for now I'm just going to quickly
convert this photo to black and white by
| | 04:07 |
coming over here to the HSL, Color, B and
B panel.
| | 04:10 |
And clicking B and W for black and white.
Now let's go back to the Library module,
| | 04:15 |
by clicking Library, and you can see, the
change on that photo.
| | 04:18 |
I could also make changes here in the
Library module.
| | 04:21 |
So if I select the next photo, I could go
over to the Quick Develop panel.
| | 04:26 |
Click the preset menu there and apply one
of these toned presets.
| | 04:30 |
Let's see how this one looks with sepia
toning.
| | 04:32 |
And I can manage photos here in the
Library module too.
| | 04:35 |
So I might add five stars to this photo
by clicking on the fifth dot under the
| | 04:40 |
photo and if you don't see those dots,
press the J key on your keyboard until
| | 04:44 |
you do.
With the originals offline like this I
| | 04:47 |
could even use this smart previews to
publish files to facebook or it export
| | 04:51 |
copies of my raw photos as jpeg's.
Subjects I'll be covering later in the course.
| | 04:56 |
Now lets say that I'm back in my office
where I have my working drive with the
| | 05:00 |
originals on my desk.
I'm going to plug that drive into my laptop.
| | 05:05 |
Now over in the Folders panel, you can
see that my working drive is back online.
| | 05:09 |
The folders are no longer missing, and
all of the changes that I made to the
| | 05:12 |
smart previews when these originals were
offline, have been automatically applied
| | 05:17 |
back to the originals, now that they're
online again.
| | 05:20 |
Now there is one thing to keep in mind.
If while you're working on smart
| | 05:23 |
previews, you use the sharpening or noise
reduction controls in the detail panel of
| | 05:28 |
the Develop module, which requires
zooming in to a 100%.
| | 05:31 |
Then it's a good idea to zoom into the
photos to a 100%, after the originals are
| | 05:35 |
back online, and tweak those sharpen or
noise reduction settings if necessary.
| | 05:40 |
Because the smaller smart previews would
have probably looked different at 100%
| | 05:44 |
then the originals do here.
So, I think you can see that smart
| | 05:48 |
previews and the new workflow they offer
can be a real time saver if you're often
| | 05:52 |
on the go.
If you're following along, you can copy
| | 05:55 |
some of the exercise files to an external
drive, like, My working drive, build
| | 05:59 |
smart previews of them, and then, take
that drive offline from your computer to
| | 06:03 |
explore smart previews for yourself.
| | 06:05 |
| | Collapse this transcript |
|
|
3. Editing Photos in the Develop ModuleDevelop module workspace| 00:00 |
The Develop module is where all the magic
happens in Lightroom.
| | 00:03 |
Let's take a look at the Develop module
and it's controls.
| | 00:06 |
As you can see the Develop module is set
up a lot like the Library module.
| | 00:10 |
There are bars at the top and bottom, the
same ones that we saw in the Library module.
| | 00:13 |
And columns of panels with controls on
the right and left.
| | 00:17 |
And, you can hide and show these bars and
panels just like in the Library module.
| | 00:21 |
So if I want to hide the module picker in
the bar at the top, I can click the thin
| | 00:26 |
bar at the top of the screen.
If I want to dismiss the columns of
| | 00:30 |
panels, I can press the Tab key on my
keyboard.
| | 00:33 |
To bring them back, I'll press Tab again.
If I press Shift+Tab, that dismisses all
| | 00:38 |
the panels and bars.
And I can turn the lights out by pressing
| | 00:41 |
the L key on my keyboard.
Once, and then twice, and then bring the
| | 00:45 |
lights back by clicking the l key again.
And I'll press Shift+Tab to bring
| | 00:50 |
everything back into view.
Down at the bottom of the screen is the
| | 00:53 |
film strip.
And from here, I can access photos to
| | 00:56 |
work on in the Develop module.
The thumbnail displays all of the photos
| | 01:00 |
in whatever source I selected back in the
Library module.
| | 01:03 |
I happen to have a folder with just two
photos in it selected.
| | 01:06 |
But if I had selected all photographs in
the catalog panel in the library module,
| | 01:11 |
then we would see thumbnails of all the
photos in the catalog here in the filmstrip.
| | 01:15 |
And I could click on any of those photos
to work on it in the Develop module.
| | 01:19 |
I also can access the same collections
that we saw how to make in the Library
| | 01:23 |
module from here in the Develop module.
by clicking on the Collections panel in
| | 01:27 |
the column on the left and then selecting
a collection there.
| | 01:30 |
At the top of the film strip there are
some arrows that come in handy to move
| | 01:34 |
backward and forward in time.
So if I wanted to go back to the last
| | 01:37 |
view that I had I would click the back
arrow here.
| | 01:40 |
And once again I'm looking at the film
strip with the two photos In the source
| | 01:44 |
folder that I selected in the Library
module.
| | 01:47 |
When I hover over a thumbnail in the film
strip, keep your eye on the Navigator
| | 01:51 |
panel at the top left.
And you see a preview of that photo.
| | 01:55 |
And then if you want to work on that
photo, you can click on it and it appears
| | 01:58 |
here in the preview window.
This is a live preview, so any changes
| | 02:02 |
that I make using the controls in the
panels on the left will immediately
| | 02:06 |
appear here in this preview.
Notice at the top of the Navigator panel,
| | 02:09 |
we have the same zoom icons that we saw
in the Library panel.
| | 02:13 |
And you can click on these icons here, or
if you want to zoom in to 100%, you can
| | 02:17 |
just click in the image.
And this is something you'd want to do to
| | 02:20 |
check focus or the sharpen or to reduce
noise.
| | 02:24 |
And then to get back to the fit on screen
view, you can click again.
| | 02:28 |
Over in the column on the right there are
a number of panels that contain controls
| | 02:32 |
we'll be looking at in this course.
We'll spend a lot of time in the basic panel.
| | 02:36 |
Let's take a look at that panel, which I
can open by clicking on it.
| | 02:40 |
All the sliders in this panel default to
zero in the middle of each slider and if
| | 02:45 |
I want to add more or less of a quality,
I'll drag its slider.
| | 02:48 |
So here I'm changing the temperature to
make it cooler.
| | 02:51 |
To add a little magenta.
I might brighten the exposure, and the
| | 02:55 |
contrast, and so forth.
Now, if I change my mind about what I"ve
| | 02:59 |
done with these sliders, and I want to
get everything back to where I started.
| | 03:03 |
I can press the big Reset button here at
the bottom of the Basic panel.
| | 03:07 |
And that resets not only changes I've
made in the Basic panel but changes I
| | 03:11 |
made in any of the panels.
What if I make some changes in the Basic panel.
| | 03:15 |
I'll just quickly drag these sliders.
And I decide that I want to reset just
| | 03:22 |
the sliders in a particular section.
So if I'd also move this slider and I
| | 03:26 |
didn't want to effect that.
But I wanted to reset all the Tone
| | 03:29 |
sliders, then I would double-click the
Tone label at the top of this section.
| | 03:33 |
And that sets just those sliders back to
their defaults.
| | 03:36 |
It often helps to compare a before and
after view, how the image looks now with
| | 03:41 |
all the changes and how it looked when
you started.
| | 03:44 |
To do that, you can press the Backslash
key on your keyboard.
| | 03:47 |
That's the key near the p key.
So there's a before view and there's an
| | 03:51 |
after view with the few changes that I've
made.
| | 03:54 |
Another way to compare a before and after
view is to press Y on the keyboard or
| | 03:59 |
click this icon in the toolbar, the icon
with the Y's on it.
| | 04:02 |
And if I wanted to see this bigger I
would press Tab on my keyboard to dismiss
| | 04:07 |
the left and right columns.
And then if I want to get back to just
| | 04:10 |
the after view, I can press the Y key on
my keyboard again.
| | 04:13 |
And to bring those columns back or press
Tab.
| | 04:16 |
We'll spend a lot more time working with
the sliders in the Basic panel but first
| | 04:21 |
I want to show you how I like to set up
these panels.
| | 04:23 |
There are so many panels and they're so
long and have so many controls that I
| | 04:28 |
find that it helps to set them up so that
are only one panel is open at a time.
| | 04:32 |
To do that you can right click on the
toggle bar on any of the panels and
| | 04:36 |
choose Solo mode.
Now I'm going to close the Basic panel by
| | 04:39 |
clicking on it and let's say that I have
another panel open like the tone curve panel.
| | 04:44 |
And then I want to open the HSL panel.
Instead of HSL panel opening and then I'd
| | 04:49 |
have to scroll down to get to it's
controls.
| | 04:51 |
Now when I click on the HSL panel, the
tone curve panel closes, an just this one
| | 04:56 |
panel stays open.
An we'll be looking at the controls in
| | 04:59 |
this panel to.
For now, I'm going to click the big Reset
| | 05:02 |
button, and reset this photo to the way
it was when we started.
| | 05:06 |
So that's an overview of the Develop
module and how to work with some of the
| | 05:09 |
controls in this module.
Now let's drill down and take a closer
| | 05:13 |
look at the many ways you can enhance
your photos here in the Develop module.
| | 05:18 |
Now let's take a look over in the column
on the right at the History panel.
| | 05:21 |
If I click the History panel you can see
a long list of all of the things that I
| | 05:26 |
just did to this photo.
And I can go back to any one of these
| | 05:29 |
stages by just clicking it here in the
History panel.
| | 05:32 |
I can go back in time and then forward as
well.
| | 05:35 |
And this history stays with the image
even after I have closed Lightroom and
| | 05:39 |
re-opened it.
And if there's a particular state that I
| | 05:42 |
like and I think I might want to keep,
even though I'm going to experiment with
| | 05:46 |
other sliders, I can save it as a
snapshot.
| | 05:49 |
I'm going to close the Navigator panel a
minute so we can see the Snapshots panel here.
| | 05:53 |
And click the + symbol there to keep a
snapshot of the way the image looks at
| | 05:57 |
this stage and click Create.
And now no matter what else I do to this
| | 06:01 |
photo I can always get back to this view
by clicking this snapshot.
| | 06:05 |
So that's an overview of the Develop
panel and it's controls.
| | 06:09 |
Now let's drill down and see how we can
use these controls to enhance our photographs.
| | 06:13 |
| | Collapse this transcript |
| Cropping and straightening| 00:00 |
There are many reasons to crop a photo.
Maybe you want to remove some distracting
| | 00:04 |
content around the edges or maybe you
just want to improve the composition.
| | 00:07 |
Or maybe you need a photo to be in a
particular aspect ratio because you need
| | 00:11 |
a print of a certain size that also has
that same proportion.
| | 00:15 |
In any of those cases, you can access the
Crop tool either by pressing the R key on
| | 00:20 |
the keyboard.
Or by going over to the Toolbar under the
| | 00:23 |
Histogram and clicking the Crop Overlay
icon in that toolbar.
| | 00:28 |
That opens the Crop and Straighten panel.
Now to start cropping a photo, I'll just
| | 00:32 |
come in and click on any of its edges or
any of its corners, and drag.
| | 00:37 |
And by default, that makes the crop
bounding box smaller in the same
| | 00:41 |
proportions as the height and width of
the original photo.
| | 00:44 |
If I want to be able to drag these edges
independently of one another, I'll come
| | 00:48 |
back to the Crop and Straighten panel,
and I'll click this lock to unlock it.
| | 00:52 |
And now, I can drag any of the edges
without dragging the other edges.
| | 00:57 |
I can also take a horizontal crop like
this and swtich it to a vertial crop.
| | 01:02 |
To do that I'm going to press the X key
on my keyboard.
| | 01:06 |
And if I want to crop in the same
proportions over a different area of the
| | 01:09 |
photo, I'll click inside the bounding box
and drag.
| | 01:12 |
And the photo will move leaving the
boudning box stationary.
| | 01:16 |
I notice that the area outside the crop
bounding box is a little dimmer than the
| | 01:20 |
area inside.
That can help you to judge the
| | 01:22 |
composition inside the bounding box, that
here's the check that I like that helps
| | 01:26 |
me even more and that is to dim the
lights.
| | 01:29 |
So, I am going to press L on my keyboard
and now the lights are dim.
| | 01:32 |
But I can still see the outside of the
bounding box and some of the controls.
| | 01:36 |
So I could easily move over any of the
edges of this bounding box and drag.
| | 01:41 |
And I get a better sense of how the
photo's going to look, after it's cropped
| | 01:45 |
this way.
I'll press the L key on the keyboard
| | 01:47 |
again to turn the lights out completely,
and one more time to turn them back on again.
| | 01:52 |
Now sometimes, you need the crop bonding
box to be a particular ratio.
| | 01:56 |
If I go to the menu to the left of that
lock symbol, from there I can choose any
| | 02:01 |
one of a number of common crop ratios.
1 x 1 gives me a square crop, I can crop
| | 02:07 |
in a 4 x 5 ratio, which I would do if I
wanted an 8 x 10 print, for example.
| | 02:12 |
And there are even some common crop
ratios for video here.
| | 02:16 |
If I'm satisfied with my crop, I'll press
Enter or Return on my keyboard and that
| | 02:21 |
commits the crop.
But like everything in Lightroom,
| | 02:24 |
cropping isn't permanent.
So at anytime in the future, I can
| | 02:28 |
re-crop this image because all of the
original photo is still there.
| | 02:31 |
So I can come back to the Crop tool by
pressing R on my keyboard.
| | 02:35 |
Again, I'm going to press X so that I get
a Portrait orientation crop, and I'll
| | 02:39 |
press Enter or Return again for a very
different crop of the same image.
| | 02:44 |
Now let's take a look at another image
down in the filmstrip.
| | 02:47 |
I'm going to press the left arrow key on
my keyboard to move to the thumbnail on
| | 02:51 |
the left.
This photo obviously needs a straighter horizon.
| | 02:54 |
And that can be done from the Crop and
Straighten panel also.
| | 02:57 |
To open the Crop and Straighten panel
again, I'll press R on my keyboard.
| | 03:02 |
You can immediately see an overlay on top
of the photo.
| | 03:04 |
That overlay is meant to help you with
composition, and you can control the
| | 03:09 |
appearance of the overly by going down to
the tool overlay menu in the toolbar.
| | 03:14 |
And if you don't want to see the overlay,
you can set this to Never.
| | 03:16 |
Or if you want to see the overlay only
when you hover over the photo, you can
| | 03:20 |
set that to Auto.
And then as you press O on the keyboard,
| | 03:23 |
that will switch between different kinds
of overlays, including this Aspect ratio
| | 03:28 |
overlay in Lightroom 5.
I'm actually going to turn those off, by
| | 03:32 |
choosing Never for the time being.
And let's say I want to straighten the
| | 03:35 |
horizon on this photo.
There are several ways to do that, one of
| | 03:39 |
them is just to move the cursor outside
of one of the corner anchor points and
| | 03:42 |
drag like this.
Or, I can use the angle tool, here in the
| | 03:46 |
Crop and Straighten panel.
I'll click on the angle tool to pick it
| | 03:49 |
up and then I'll move into the image.
I'll click on an area I think should be
| | 03:53 |
straight, like this horizon, and I'll
drag.
| | 03:56 |
And then I'll release my mouse and
Lightroom rotates the photo, so that the
| | 04:00 |
horizon is straight.
I could still make the crop bounding box
| | 04:03 |
bigger or smaller by clicking on any of
its corner anchor points and dragging.
| | 04:07 |
But I can't drag the bounding box larger
than the image itself.
| | 04:12 |
If I'm satisfied with the straightening,
I'll press Enter or Return on my keyboard.
| | 04:16 |
Now, there's another way that you can
straighten photos automatically, and
| | 04:20 |
that's using the Upright feature in
Lightroom 5, which I'll show you next.
| | 04:24 |
| | Collapse this transcript |
| Fixing perspective with Upright| 00:00 |
The Upright Corrections.
Which you'll find in the Lens Corrections
| | 00:03 |
Panel in Lightroom 5, is a great way to
straighten a photo vertically,
| | 00:06 |
horizontally or both.
You can use it to automatically
| | 00:09 |
straighten a crooked horizon.
Or to fix the keystoning effect that
| | 00:12 |
makes tall buildings look like they're
leaning back.
| | 00:15 |
When you shoot up at them.
Before I apply any upright corrections, I
| | 00:18 |
like to turn on the grid overlay that's
available in Lightroom five.
| | 00:22 |
That will help me judge what's straight
and not straight as I'm evaluating the
| | 00:25 |
photo, and as I'm applying the upright
corrections.
| | 00:27 |
To enable the Grid Overlay you can go up
to the View menu, and down to Loop
| | 00:32 |
Overlay, and select Grid.
Or there's a keyboard shortcut, which is
| | 00:36 |
Cmd + Opt+ O on the Mac, or Ctrl +alt+ O
on the PC.
| | 00:42 |
You can customize this grid by holding
the Cmd key on the Mac or the Ctrl key on
| | 00:47 |
the PC to bring up this overlay at the
top of the screen.
| | 00:50 |
And then, with that key still held down,
if I wanted to change the size of the
| | 00:54 |
grid squares, I could click and drag.
On the size label here and if I wanted to
| | 00:59 |
change to opacity of the grid making it
easier to see.
| | 01:02 |
Or allowing me to see the photo better I
would drag to the right or left respectively.
| | 01:08 |
Another thing I will do before actually
clicking any of the upright buttons is to
| | 01:12 |
go through the options at the top of the
Lens Correction panel.
| | 01:15 |
The Upright Correction does the best job
if you've already enabled Lens Profile Corrections.
| | 01:20 |
So, here, I'm going to check Enable
Profile Corrections and keep your eye on
| | 01:24 |
the photo as I do this.
And you can see a slight change.
| | 01:28 |
I'll do that again turing that off and
then back on.
| | 01:32 |
If you don't see a change when you enable
Profile Corrections here, then go to the
| | 01:36 |
profile tab of the Lens Correction panel.
And come down to the lens Profile menu,
| | 01:41 |
and choose the combination of camera and
lens that you've used to take a
| | 01:45 |
particular photo.
As you can see, this photo was taken with
| | 01:48 |
an Apple iPhone.
I'm going to go back to the Basic tab and
| | 01:51 |
I'm also going to check Remove Chromatic
Aberration.
| | 01:55 |
In case there is any chromatic aberration
along the high contrast edges of this photo.
| | 01:59 |
And you probably have to zoom in closer
to see that, but I always just go ahead
| | 02:03 |
and check this anyway.
Now, I'm going to leave constrain crop
| | 02:06 |
unchecked for now.
And I'm going to come down to the upright
| | 02:09 |
buttons, and give each one a try on this
photo.
| | 02:12 |
If all you need to do is straighten a
crooked horizontal or vertical element in
| | 02:16 |
a photo, then you can try out the Level
button here.
| | 02:20 |
Keep your eye on this photo as I click,
Level.
| | 02:23 |
And after just a second, there is a
slight change.
| | 02:26 |
I'll do that again.
I'll click Off and then Level.
| | 02:30 |
But Level doesn't try to fix perspective
or converging horizontal or vertical lines.
| | 02:35 |
So if a photo needs both leveling and has
a perspective problem like that.
| | 02:39 |
Then there are three other options that
you can try, each of which has a slightly
| | 02:43 |
different effect.
For example, you might try the Vertical option.
| | 02:47 |
I'll click the Vertical button.
Keep your eye on the photo.
| | 02:50 |
And you see quite a change this time
between level and vertical.
| | 02:53 |
Vertical not only tries to level the
photo, but it also tries to fix that
| | 02:57 |
perspective problem.
And it did such an extreme job here that
| | 03:01 |
we now have some white pixels on the
bottom right and the bottom left.
| | 03:05 |
And I'll talk about how you can crop
those away in just a moment.
| | 03:07 |
But first, let's take a look at what
these other options do to this photo.
| | 03:12 |
In many cases, the best option is the
Auto option.
| | 03:15 |
Let's click that.
An you can see that we get quite a
| | 03:18 |
different effect on this photo.
The photo is more straight than in the original.
| | 03:22 |
Let's click off here and then we'll click
Auto again.
| | 03:24 |
And you can see there is a difference
there, but it still is not perfectly vertical.
| | 03:29 |
Because what Auto does is a relatively
conservative job of fixing perspective.
| | 03:34 |
It tries to retain some of the natural
perspective that you might've seen when
| | 03:38 |
shooting an image like this from street
level.
| | 03:41 |
Now, if this correction isn't strong
enough, then you might try Full.
| | 03:44 |
So I'm going to click the Full button and
that gives me quite a different result
| | 03:48 |
than Auto.
Full not only levels and corrects
| | 03:50 |
converging lines, or the perspective
problem, it also applies a full
| | 03:54 |
three-dimensional correction.
In this case, it's quite similar to the
| | 03:58 |
Vertical option, but on other photos,
you'll see a difference between Full and
| | 04:01 |
Vertical too.
So, what's the best choice?
| | 04:04 |
Well that just depends on the photo
you're working with, and your own
| | 04:07 |
personal tastes.
I usually try out all these buttons
| | 04:10 |
before choosing the one I like best on a
particular photo.
| | 04:13 |
In this case, I'm going to stick with
Full.
| | 04:15 |
Now, by the way, you may be wondering
what this message means at the bottom of
| | 04:18 |
the basic tab in the Lens Correction
panel.
| | 04:21 |
This means that if you've applied a crop
or any manual transforms to a photo.
| | 04:25 |
Before choosing one of those upright
options, your crop or manual transforms
| | 04:29 |
will automatically be removed from the
photo.
| | 04:31 |
If you don't want that to happen, then
hold the Opt key on the Mac or the Alt
| | 04:35 |
key on the PC while clicking on one of
the Upright buttons, but that wasn't the
| | 04:40 |
case here.
Now if I'm still not satisfied with the
| | 04:43 |
results of this automatic upright
correction.
| | 04:46 |
There's one more thing that I can do and
that is to tweak these results manually
| | 04:49 |
using the sliders in the Manual tab of
the Lens Corrections panel.
| | 04:53 |
So I'll click that Manual tab and here I
have all these sliders to work with
| | 04:57 |
including in Lightroom 5 this aspects
slider.
| | 05:00 |
If I drag that to the left the building
looks a little bit wider and if I drag it
| | 05:05 |
to the right It looks thinner.
So the right gives me a kind of a
| | 05:08 |
slimming effect that may come in handy on
other kinds of photos too, like photos
| | 05:13 |
with people in them.
In this case, I might drag the aspect
| | 05:16 |
slider just slightly to the left.
Because I remember, particularly this
| | 05:19 |
round area of the building, being a
little wider than it looked after
| | 05:23 |
applying the Automatic Upright
Correction.
| | 05:25 |
Finally, often but not always, an Upright
correction will tilt the image so far
| | 05:31 |
that there are blank pixels at some of
its edges.
| | 05:33 |
Those are the white areas that we see
here on the right and the left in this case.
| | 05:37 |
If that occurs, you can have Lightroom
crop those away by checking Constrain
| | 05:41 |
Crop here in the Manual tab or back in
the Basic tab.
| | 05:46 |
So let's see what happens if I click
Constrain Crop here.
| | 05:50 |
And then I'm going to turn off the Crop
Overlay so we can see the photo better,
| | 05:53 |
pressing Cmd+ Opt +O.
So, as you can see, the photo looks quite straight.
| | 05:59 |
But this automatic constrain crop has
cropped away a lot of content on the bottom.
| | 06:04 |
So I'm going to undo and see if I can get
a better result by cropping myself, which
| | 06:08 |
is always an option.
So press Cmd+ Z on the Mac or Ctrl+ Z on
| | 06:12 |
the PC or you could step back in the
History panel.
| | 06:16 |
And then, I'll come up and open the Crop
Overlay panel, either by clicking this
| | 06:20 |
Crop tool in the toolbar, or by pressing
R on my keyboard.
| | 06:24 |
I'm going to make sure that the Lock icon
is unlocked by clicking it.
| | 06:29 |
And that allows me to move each of the
Crop boundaries independently, as I
| | 06:33 |
explained earlier when we were talking
about cropping.
| | 06:35 |
So I'm going to take this boundary and
move it over to the left.
| | 06:39 |
And this boundary and move it to the
right, and that way I can get rid of the
| | 06:42 |
white pixels on the left.
And the right that were caused by the
| | 06:45 |
upright correction, but I still have my
content down here at the bottom.
| | 06:49 |
I really like this statue down here, so I
want that in the photo.
| | 06:52 |
And then I'll press Enter or Return on my
keyboard to confirm that crop.
| | 06:56 |
I can always go back in and adjust that
crop, like any crop that I make in Lightroom.
| | 07:01 |
Now the outbreak correction in Light Room
5 works better on some images than others.
| | 07:05 |
But in many cases, like this, it can save
you the time and effort of trying to fix
| | 07:09 |
perspective and straighten a photo
manually.
| | 07:11 |
And, as with all adjustments that you
make in the Develop module, Upright
| | 07:15 |
corrections are non-destructive and
re-editable in the future.
| | 07:18 |
| | Collapse this transcript |
| Setting white balance| 00:00 |
When you have a photo to process in
Lightroom, often the best place to start
| | 00:03 |
is in the Basic panel on the right side
of the Develop module.
| | 00:06 |
I've opened my Basic panel and as you can
see, it's got three different sections.
| | 00:11 |
In many cases, you can just start at the
top of this panel and work your way down
| | 00:15 |
through the various sliders.
The first section of the Basic panel is
| | 00:18 |
the white balance section.
The controls in this section can help you
| | 00:22 |
to neutralize an unwanted color cast in
an image.
| | 00:25 |
So what is a color cast?
Well here you can see an extreme example.
| | 00:29 |
The temperature of the light in which you
shoot a photo can add a color that
| | 00:32 |
effects the entire photo.
And sometimes you want that color cast
| | 00:36 |
for example if you're shooting a sunset.
But sometimes it just doesn't look right
| | 00:39 |
as in this photo which was shot at dusk.
And I think that the controls on my
| | 00:43 |
camera were fooled by the different
temperature of the light inside the
| | 00:46 |
building and outside.
If you start raw you have lots of lead
| | 00:50 |
way to fix the white balance.
You can even fix white balance on a JPEG.
| | 00:54 |
Although you have less latitude when
you're correcting color in a JPEG because
| | 00:58 |
its baked into the file.
Now, there are several different ways
| | 01:01 |
that you can use the controls in the
white balance section.
| | 01:04 |
I could just use the temperature intense
sliders by dragging them.
| | 01:07 |
The Temperature slider goes from cool
blue on the left toward warmer gold on
| | 01:11 |
the right.
And the Tint slider is another color
| | 01:14 |
access from green toward magenta.
So, let's see what happens if I drag the
| | 01:18 |
Temperature slider toward gold.
When I do that the photo starts to look
| | 01:23 |
more natural.
And if I think it needs a little magenta
| | 01:25 |
I can drag that slider too.
So, that's not a bad result but there are
| | 01:30 |
a couple of other controls in the white
balance section of the Basic panel that
| | 01:34 |
often come in handy.
So, I'm going to go ahead and put these
| | 01:37 |
sliders back to their defaults by double
clicking the WB for white balance header
| | 01:41 |
at the top of this section.
And that will set the sliders just in the
| | 01:45 |
white balance section back to their
defaults.
| | 01:48 |
I'll start with this tool, the White
Balance Selector, or I call it the Eye
| | 01:51 |
Dropper tool.
This tool can help you to evaluate a
| | 01:54 |
color cast and also to fix it.
When I click on this tool, I pick it up
| | 01:58 |
from its circle here.
And I'll drag it over the photo.
| | 02:02 |
You can see that this large target comes
along with it.
| | 02:05 |
And this target is telling me the RGB
values, the red, green, and blue values
| | 02:09 |
of the pixels just underneath my eye
dropper.
| | 02:13 |
Obviously pretty much anywhere I go in
this image the B for blue is going to be
| | 02:17 |
higher than the R and G for red and
green.
| | 02:19 |
So, this confirms that there is quite a
blue color cast anywhere in this photo.
| | 02:24 |
Now sometimes things aren't this obvious
and that's when this tool helps to
| | 02:27 |
evaluate the presence of the color cast.
If you want to dismiss that large target.
| | 02:32 |
You can come down to the toolbar at the
bottom of the screen.
| | 02:34 |
You can actually change the scale of the
chips in the target.
| | 02:38 |
Or, if you don't want the target at all,
you can uncheck Show Loop.
| | 02:42 |
Another purpose of this Eyedropper tool,
is to help correct color cast.
| | 02:46 |
So, what I'll do is look at the image,
and find something I think should be
| | 02:50 |
neutral in color.
Maybe these gray paving stones.
| | 02:53 |
And then I'll click there.
And that will set the pixels just under
| | 02:57 |
my Eyedropper to neutral.
And all the other colors will fall into
| | 03:01 |
line around that one.
So, that's not a bad result.
| | 03:05 |
If I want to try clicking somewhere else
in the photo, then I need to go all the
| | 03:08 |
way back over to the Basic panel and pick
up the Eyedropper tool again.
| | 03:11 |
And move into the image.
And I could try clicking on something
| | 03:15 |
else that I think should be gray.
Maybe here.
| | 03:17 |
Now if you don't like having to go back
to the Basic panel every time you want to
| | 03:21 |
try another spot with the Eyedropper
tool, you can get the Eyedropper tool.
| | 03:25 |
And then go down to the toolbar and
uncheck Auto Dismiss.
| | 03:29 |
And now the Eyedropper tool will stay out
of its slot, and I can try clicking on
| | 03:33 |
several different places here until I get
the result that I like.
| | 03:38 |
When I'm done with the tool, I'll place
it back in it's spot in the Basic panel.
| | 03:43 |
There's another feature that I sometimes
use when I'm trying to correct white balance.
| | 03:47 |
And that is this drop-down menu of white
balance presets.
| | 03:51 |
As shot is the way the photo started
right out of the camera.
| | 03:54 |
You can cycle through these until you
find one that you like.
| | 03:57 |
So, here's Lightroom's best guess as to
what the white balance should be here.
| | 04:00 |
And there are some other presets that you
can try out.
| | 04:04 |
And whatever you choose here, just
changes the values of the Temperature
| | 04:07 |
Intense slider.
I think I like Auto best here, and then I
| | 04:11 |
can always tweak these sliders, dragging
them by hand.
| | 04:15 |
So, that's how to reduce an unwanted
color cast in a photo using the controls
| | 04:18 |
in the white balance section of the Basic
panel.
| | 04:20 |
And of course, that isn't all I would do
to a photo like this, I would continue to
| | 04:24 |
go down through the controls in the Basic
panel, as I'll show you how to do in this course.
| | 04:28 |
And then, I would use some of the local
adjustment tools, like the Adjustment
| | 04:32 |
Brush here.
To enhance some local areas of this photo.
| | 04:35 |
For example, this overly saturated window
here.
| | 04:38 |
All that's to come in the movies to
follow.
| | 04:40 |
| | Collapse this transcript |
| Using the histogram to evaluate tones| 00:00 |
The histogram, which you'll find here in
the Develop Module and in the Library
| | 00:04 |
Module, can help you to do two important
things.
| | 00:06 |
It can help you evaluate a photo and,
when you're working on a photo in the
| | 00:10 |
Develop Module, confirm what your
adjustments are doing.
| | 00:13 |
So it's a good idea to keep the histogram
open, particularly when you're adjusting
| | 00:18 |
total values in the Basic panel, as we'll
be doing shortly.
| | 00:21 |
The histogram is a chart of the
distribution and frequency of total
| | 00:25 |
values in a photo.
The width of the chart represents black
| | 00:29 |
on the far left, through shades of gray
in the middle, to white on the far right.
| | 00:33 |
And under the chart, here is some useful
information about the exposure settings
| | 00:38 |
with which you took a photo.
An in Lightroom 5, you'll find a status
| | 00:42 |
indicator, indicating whether the photo
is an original, an original plus a smart
| | 00:46 |
preview, or a missing photo.
Now back to the histogram chart.
| | 00:51 |
The actual tones in the selected photo
are represented by this mound inside the histogram.
| | 00:56 |
If you could pull this mound apart, you'd
see that it consists of a vertical bar
| | 01:00 |
for each tone.
The taller a bar, the more tones of that
| | 01:03 |
value there are in the photo.
So in this case, the histogram is telling
| | 01:07 |
us that there's a full range of tones
across the tonal range.
| | 01:10 |
Including some dark tones, a full range
of grey tones and some light tones.
| | 01:15 |
In many cases, but not all, a photo will
look best with a full range of tones like
| | 01:19 |
this in it's histogram.
But the shape of the histogram will be
| | 01:23 |
different for each photo.
Let's take a look at another photo, which
| | 01:27 |
you can select down in the film strip, or
by using the arrow keys on your keyboard.
| | 01:32 |
Now in this case the histogram reflects
what we can see in the photo.
| | 01:35 |
That the photo is very dark and so the
bars are clustered on the left, or dark
| | 01:39 |
side of the histogram.
And we can see in the histogram that
| | 01:42 |
there are hardly any mid tones or bright
tones in this photo.
| | 01:45 |
That's okay because in this case we are
looking at a low key tone photo of five
| | 01:51 |
In other cases, this may mean that a
photo is underexposed.
| | 01:54 |
Let's take a look at another photo.
I'll use the arrow keys on my keyboard a
| | 01:58 |
couple times, to go to this photo, which
is a high key, or a light photo.
| | 02:01 |
And so the bars in the histogram are
clustered over on the right side of the histogram.
| | 02:06 |
And let's go back to another photo.
Now, when I look at this photo, I can see
| | 02:10 |
that it's rather flat-looking.
But I may not know exactly what's wrong
| | 02:14 |
with it or how to fix it unless I look at
the histogram.
| | 02:16 |
And the histogram tells the story that
most of the tones in this image are
| | 02:21 |
located in the center portion of the
histogram, so they're mostly grays.
| | 02:25 |
There are no light tones, no bright
whites and very few dark tones.
| | 02:30 |
So, if I wanted to give the photo more
punch, I would focus on using the sliders
| | 02:34 |
in the Basic panel to make the darker
tones darker, the brighter tones brighter.
| | 02:38 |
And that would extend the range of tones
in the photo further across this histogram.
| | 02:43 |
By the way, each of the sliders that
we'll work with in the Basic panel
| | 02:46 |
shortly, primarily affects a different
area of the histogram.
| | 02:49 |
An you can see which slider that is, by
moving over the histogram.
| | 02:53 |
So if I hover over the center of this
histogram, you can see right underneath
| | 02:57 |
the histogram the word exposure.
And that means that the Exposure slider
| | 03:01 |
is going to affect this area of the
histogram the most.
| | 03:04 |
If I move over here to the left you can
see that label changes to blacks for the
| | 03:08 |
black slider.
This area is controlled by the Shadow
| | 03:11 |
slider, over here by the Highlight
slider, and here by the White slider.
| | 03:15 |
And you can see the same thing if you
move down to the sliders.
| | 03:18 |
So if I hover over the Exposure slider, I
see the label Exposure under the
| | 03:22 |
histogram and there's a slight overlay on
top of the area most affected By the
| | 03:26 |
Exposure slider.
Now the histogram will change as I move
| | 03:29 |
the sliders.
It's a live preview.
| | 03:31 |
So if I were to take the Exposure slider
and drag it slightly over to the right,
| | 03:36 |
you can see those tall bars that were in
the center of the histogram moving
| | 03:40 |
farther over to the right.
And that's brightening up the entire photo.
| | 03:44 |
Of course, there's more that I would do
this photo in the Basic panel.
| | 03:47 |
And we'll be taking a look at the other
sliders here shortly.
| | 03:51 |
Now that you know the basics of reading a
histogram, you can use the histogram on
| | 03:54 |
your own photos, in an informed manner,
to evaluate where the photo may be lacking.
| | 03:59 |
And confirm the affect that your
adjustments are having, as you're working
| | 04:02 |
on the photo here in the develop module.
| | 04:04 |
| | Collapse this transcript |
| Adjusting tone and color in the Basic panel| 00:00 |
The controls and the tone in present
sections of the Basic panel are really essential.
| | 00:04 |
These are the controls that you'll use to
adjust the overall appearance of almost
| | 00:08 |
every photo you work on in the Develop
module.
| | 00:10 |
With these sliders you can adjust
exposure, contrast, recover hidden detail
| | 00:16 |
in highlights and shadows and control mid
tone contrast and color saturation all globally.
| | 00:21 |
If you want to short cut the process of
setting each tone slider individually,
| | 00:25 |
you could just click the Auto button at
the top of the tone section.
| | 00:29 |
Like this that automatically sets each of
the sliders in this tone section to
| | 00:33 |
Ligtrooms best guess of where they should
be.
| | 00:36 |
But I often can do better then this,
adjusting each of the sliders on my own.
| | 00:40 |
So I'm going to reset these sliders back
to their defaults of 0.
| | 00:44 |
I can do that by going down to the bottom
of this column and clicking the big Reset
| | 00:48 |
button but that would reset all settings
in the Develop panels.
| | 00:51 |
So just to be safe, if I just want to
reset the tone sliders I can come to his
| | 00:56 |
tone label at the top of this section and
double click it.
| | 01:00 |
When you're adjusting the sliders in the
tone in the present sections individually
| | 01:04 |
an efficient approach is to start with
the Exposure slider.
| | 01:07 |
And just work your way down through the
sliders in order.
| | 01:10 |
Then you can go back and tweak a
particular slider if you need to.
| | 01:14 |
But you'll get the same results
regardless of the order in which you
| | 01:17 |
adjust the sliders.
Each of the sliders in the tone section
| | 01:20 |
primarily affects a particular section of
the tonal range as I've explained.
| | 01:24 |
The first slider, the exposure slider
targets the mid-tones in the photo as you
| | 01:29 |
can see by that pale overlay in the
histogram as I hover over the Exposure slider.
| | 01:33 |
Dragging the Exposure slider to the right
brightens the photo overall and dragging
| | 01:38 |
it to the left darkens the photo overall.
I'll put it back to 0.
| | 01:42 |
A quick way to do that is to double-click
the Exposure label as I've explained.
| | 01:46 |
This photo could be a little brighter I
think so I'm going to drag the Exposure
| | 01:50 |
slider slightly to the right, which
simulates opening the F Stop in your
| | 01:54 |
camera, in this case about half a stop to
let in more light.
| | 01:57 |
By the way, if you're working along with
me don't feel bound to use the same
| | 02:01 |
values that I'm using for the sliders.
Either in this movie or any of the
| | 02:05 |
lessons in this course.
My values will probably look different on
| | 02:08 |
your monitor than they do on mine since
our monitors are probably calibrated differently.
| | 02:13 |
So the direction of my moves may be
helpful but use the values that look best
| | 02:17 |
to you on your monitor.
Now let's move to the next slider, the
| | 02:21 |
Contrast slider.
Many photos look better with a little
| | 02:24 |
increase in contrast, which brightens the
bright tones and darkens the dark tones.
| | 02:28 |
But in this case, I think there's too
much contrast.
| | 02:31 |
And that's obscuring some of the detail
in the photo like in this area.
| | 02:34 |
So I'm going to decrease the contrast
slightly.
| | 02:38 |
Now I could just drag the Contrast slider
to the left but if you want more control
| | 02:43 |
as you're moving sliders.
Then you can click the label on a slider
| | 02:47 |
once and then you can use the Plus and
Minus keys on your keyboard to set the
| | 02:52 |
value of that slider.
So I'll press the Minus key on my
| | 02:55 |
keyboard a couple of times reducing the
value of this slider.
| | 02:58 |
If I want to move a slider in even
smaller controlled increments I can click
| | 03:03 |
in the field to right of the slider and
then I can use the arrow keys on the keyboard.
| | 03:07 |
So if I want to decrease contrast even
more I'll press the Down arrow key on my
| | 03:12 |
keyboard a few times, like this and then
I'll press Enter or return on the keyboard.
| | 03:17 |
The next slider is the Highlight slider.
Dragging this slider to the right would
| | 03:21 |
brighten the three-quarter tone
highlights.
| | 03:23 |
But more often I find myself dragging the
Highlight slider to the left of 0, which
| | 03:28 |
is a great way to recover highlight
detail.
| | 03:30 |
For example, keep your eye on the lemons
as I drag this slider to the left.
| | 03:35 |
And you can see more detail coming into
the bright area of the lemons.
| | 03:39 |
The next slider is a shadow Slider which
focuses on the three quarter tone dark
| | 03:44 |
areas of a photo.
I often use the Shadow slider to open up
| | 03:48 |
dark areas.
So here if I drag the shadow slider to
| | 03:51 |
the right keep your eye on the wine
bottles and you'll see more detail
| | 03:55 |
appearing there.
Sometimes increasing the shadow slider
| | 03:59 |
like this can lower the contrast so that
the photo looks a little duller or muddy.
| | 04:02 |
If that happens, you can often bring back
some punch by going down to the Black
| | 04:07 |
slider and dragging the Black slider to
the left.
| | 04:09 |
Which makes the very darkest tones in a
photo black.
| | 04:13 |
I'll go ahead and do that.
Now notice that there is a spike here on
| | 04:17 |
the left side of my histogram.
That spike represents the very dark tones
| | 04:21 |
that are pure black now.
If you do see a spike like this be aware
| | 04:24 |
that you're losing detail on the darkest
shadows.
| | 04:26 |
But in this case, I really don't think
that matters because the wine is so dark
| | 04:31 |
anyway and I like this result so I'm
going to leave that spike there.
| | 04:35 |
The next slider, the White slider affects
primarily the brightest tones in a photo.
| | 04:40 |
Dragging it to the right both brightens
the brightest tones and expands the tonal range.
| | 04:45 |
As you do that, you want to be careful
not to blow out bright highlights, losing
| | 04:49 |
detail there.
For example, that's what happens if I
| | 04:51 |
drag the slider too much.
I'm losing detail here in these lemons.
| | 04:56 |
So I'll put it back to 0 by
double-clicking its label and when I'm
| | 05:00 |
ready to drag the white slider I'll
usually go up to the Histogram panel and
| | 05:04 |
turn on the highlight clipping warning
like this.
| | 05:07 |
Now when I drag the white slider to the
right, when I start going so far that I'm
| | 05:11 |
blowing out detail in the brightest
tones, I'll see these red marks on the
| | 05:15 |
photo in those areas.
And then I'll just drag back to the left
| | 05:19 |
until those red marks just disappear.
And then I'll turn off the highlight
| | 05:23 |
clipping warning.
Now we've worked our way through all of
| | 05:25 |
the sliders in the tone section.
Let's compare the way things look now
| | 05:29 |
with the way things looked when we
started by pressing the Backslash key.
| | 05:33 |
So there's the before view and here's the
view with just these changes.
| | 05:37 |
And you can see again before and after,
we've made the photo brighter, we've
| | 05:41 |
added some contrast and we've brought in
some detail in both the highlights and
| | 05:45 |
the shadows areas.
Now let's move down to the important
| | 05:48 |
presence area.
Here you'll find a few sliders that you
| | 05:52 |
can often use to bring more punch to a
photo.
| | 05:54 |
The first of those is the Clarity slider.
Clarity controls midtone contrast and
| | 05:59 |
this is one of my favorite sliders.
If I'm working on a portrait, I'll
| | 06:03 |
sometimes drag clarity to the left like
this to get a kind of soft diffuse glow.
| | 06:07 |
But when I'm working on an image with
detail like this, I find it's useful to
| | 06:12 |
drag the Clarity Slider to the right like
this.
| | 06:16 |
And that will bring out detail in the
mid-tones as you can see here in the
| | 06:19 |
lemons if you look closely.
By the way this is also a great way to
| | 06:22 |
bring out the clouds in a sky.
Now let's take a look at the Vibrance and
| | 06:26 |
Saturation sliders, both of which
increase the intensity of color but do it
| | 06:30 |
in different ways.
If I drag the Saturation slider to the
| | 06:33 |
left then that reduces the color in the
image.
| | 06:36 |
And this is one way to make a color image
black and white but it's not the best way.
| | 06:40 |
I'll show you a better way later in the
course.
| | 06:43 |
So I'm going to put saturation back to 0
by double clicking its header.
| | 06:46 |
And watch what happens if I drag the
saturation slider to the right.
| | 06:50 |
All the colors in the photo get saturated
and that's fine for some of the colors
| | 06:54 |
but it's making the lemons look too
intense.
| | 06:57 |
And that's what often happens when you
increase the Saturation slider because it
| | 07:01 |
effects all the colors to the same
degree.
| | 07:03 |
So again I'll put saturation back to 0 by
double clicking its label.
| | 07:08 |
And I'm going to use the Vibrant slider
instead dragging that slightly to the right.
| | 07:12 |
That does intensify the colors but it
does it more subtly because vibrance has
| | 07:16 |
a stronger effect on colors that are less
saturated to start with.
| | 07:20 |
And if you're working with a portrait,
vibrance will protect the colors common
| | 07:24 |
in skin tones so your subjects won't look
sunburnt.
| | 07:28 |
Now one more thing.
I'm going to switch to another image to
| | 07:30 |
show you what to do if you open a photo
in the Develop module and you find that
| | 07:34 |
the sliders don't look like the ones that
I just showed you.
| | 07:37 |
That's because I've already adjusted this
particular image in an earlier version of
| | 07:41 |
Lightroom, Lightroom 3 before Adobe had
updated the technology.
| | 07:45 |
Underline the Develop module sliders.
The current technology introduced in
| | 07:49 |
Lightroom 4 and here in Lightroom 5 is
known as Process Version 2012.
| | 07:54 |
If you adjusted a photo using an older
process version than Process Version
| | 07:58 |
2012, you'll see this flash like symbol
under the histogram in Lightroom 5.
| | 08:04 |
And that's a different symbol and in a
different place than it was in Lightroom 4.
| | 08:08 |
If you want to update the photo to
Process Version 2012 so that you have
| | 08:12 |
access to the same sliders we just went
through, click this flash symbol and in
| | 08:16 |
this window click Update.
And now I have current sliders.
| | 08:20 |
But you may have also noticed that that
changed the appearance of the photo,
| | 08:24 |
which sometimes is the case when you
update the process version.
| | 08:27 |
So now I would just come over and tweak
these sliders to get the look that I want
| | 08:32 |
in this photo.
So that's how to make global or overall
| | 08:36 |
adjustments to a photo in the Basic
panel.
| | 08:38 |
Next we'll get more granular, looking at
how to adjust individual colors in a
| | 08:42 |
photo in the HSL panel.
| | 08:44 |
| | Collapse this transcript |
| Fine-tuning colors in the HSL panel| 00:00 |
You can adjust a particular color
wherever it appears in a photo using the
| | 00:04 |
sliders in the HSL panel.
HSL stands for Hue Saturation and
| | 00:09 |
Lightness, the three properties that
Lightroom uses to describe color.
| | 00:13 |
Here you can see a tab for each of those
three properties.
| | 00:16 |
Saturation means the intensity of color
and using the sliders in the saturation
| | 00:20 |
section of this panel I can change
individual color ranges separately.
| | 00:24 |
So, let's say I want to make the yellows
in the image less intense, but not affect
| | 00:28 |
the other colors.
I'll take that yellow saturation slider
| | 00:31 |
and drag it over to the left.
And that's desaturating the lemons.
| | 00:36 |
But, notice that it's also desaturated
yellow wherever else it appears in this
| | 00:40 |
image, here and here, and even the
yellows in the basket and in the mat.
| | 00:45 |
And, if I take that slider and go the
other way, all the yellows become more intense.
| | 00:50 |
I might increase the saturation of the
yellows just a little bit like this.
| | 00:53 |
So, dragging that slider has affected
yellows wherever they are in the image
| | 00:57 |
and not just one shade of yellow.
But a range of yellows.
| | 01:00 |
And the same is true if I were to drag
one of these other sliders.
| | 01:04 |
So, if I took this green slider and
dragged that all the way to the left, I
| | 01:07 |
desaturate color not only in the leaves,
but also in the wine bottles here.
| | 01:11 |
So, I'm going to put the green back to
its default by double clicking it's label.
| | 01:15 |
Now let's look at the Luminance tab,
clicking on that tab, at the top of the
| | 01:19 |
HSL panel.
The sliders look the same, but these
| | 01:23 |
sliders will affect just the brightness
of colors.
| | 01:26 |
Not the saturation or the hue.
So, if I go to the yellow slider for
| | 01:30 |
example, and drag that to the right, all
of the yellows throughout the image get brighter.
| | 01:34 |
And if I go the other way to the left,
all the yellows get really dark.
| | 01:38 |
So, I might decrease the luminance of the
yellows just a bit, somewhere like that.
| | 01:44 |
And now let's go to the Hue slider here,
and again I'm going to drag the yellow slider.
| | 01:50 |
If I go to the left, I can almost turn
those lemons into oranges and of course
| | 01:55 |
that change effects all the yellows in
the image.
| | 01:58 |
The yellows and the label here as well as
the yellows in the basket.
| | 02:01 |
So, you do want to be careful when you're
using any of the HSL sliders that you're
| | 02:06 |
not effecting part of an image.
That you didn't mean to.
| | 02:09 |
Now sometimes there's a color that you do
want to change, but you're not sure what
| | 02:13 |
the color is.
For example, let's say that I want to
| | 02:16 |
take the saturation out of this blue
basket, because it's kind of directing my
| | 02:19 |
attention to a part of the image that's
not the focus.
| | 02:22 |
I'll go to the Saturation tab, and I'm
not exactly sure which slider to move.
| | 02:27 |
Is it the blue slider, the aqua slider,
the purple slider?
| | 02:30 |
Is there some magenta in that basket?
I'm not sure.
| | 02:33 |
So, I'm going to go up to the Targeted
Adjustment tool which is this small
| | 02:37 |
circle at the top of this panel.
When I click on that circle, you'll see
| | 02:41 |
that it now has a triangle above and
below it and that means that the tool has
| | 02:45 |
been activated.
And so when I go into the image and I
| | 02:48 |
click somewhere, like on this box, and
drag the corresponding sliders for me.
| | 02:55 |
So, as I drag down, I'm removing the
saturation from that box.
| | 02:59 |
Notice, that not only dragged the blue
slider, but the purple slider to the left
| | 03:03 |
as well.
When I'm done using the Targeted
| | 03:06 |
Adjustment tool, again I'll click on its
icon.
| | 03:08 |
And now it's no longer active.
And you will notice that each of the HSL
| | 03:12 |
tabs, the Hue tab and the Luminance tab
have a Targeted Adjustment tool.
| | 03:18 |
So, that's how to use the controls in the
HSL panel to adjust specific colors
| | 03:22 |
everywhere that they occur in a photo.
If you want to adjust color in just a
| | 03:26 |
particular spot in a photo, then it's a
better idea to use Lightroom's local
| | 03:30 |
adjustment tools, like the Adjustment
Brush tool, which I'll cover a little
| | 03:33 |
later in the course.
| | 03:34 |
| | Collapse this transcript |
| Converting to black and white| 00:00 |
When you want to convert a color image to
black and white, you'll go to the HSL
| | 00:04 |
color BMW panel.
This is the same panel that we used
| | 00:08 |
earlier when we were talking about
adjusting the hue, saturation and
| | 00:11 |
luminance of individual colors in a color
image.
| | 00:15 |
When you want to use this panel to
convert an image to black and white, just
| | 00:18 |
click on BMW in the Title bar of the
panel.
| | 00:20 |
And that does an automatic black and
white conversion.
| | 00:23 |
What Lightroom has done is taking each
color in the image and assigned it a
| | 00:28 |
particular brightness value.
You can see that brightness value over
| | 00:31 |
here to the right of each of these color
sliders.
| | 00:34 |
But that's just the beginning, I can now
come in and customize this color to black
| | 00:38 |
and white conversion by dragging
individual sliders here.
| | 00:41 |
So for example, I remember that there was
blue in the sky here.
| | 00:44 |
If I'd like that blue to be darker.
I'll move to the blue slider and I'll
| | 00:48 |
drag it to the left like this.
Now that darkens the blue not only right
| | 00:52 |
here in the sky but it would darken the
blue anywhere that it appeared in this image.
| | 00:56 |
Now often after you've made the black and
white conversion, you may not remember
| | 01:00 |
exactly what color something is.
For example, is this water aqua or blue?
| | 01:04 |
Does it have green in it?
I really don't remember.
| | 01:07 |
So instead of just dragging the sliders
in this panel, I'm going to use the
| | 01:11 |
targeted Adjustment tool.
The targeted Adjustment tool is this
| | 01:14 |
little dot at the top of this panel.
If I click on that dot, it activates it
| | 01:19 |
and I know it's activated because now I
see two triangles above and below the tool.
| | 01:23 |
And if I come into the image and click
somewhere, say on the water and then drag
| | 01:28 |
up, that will lighten the corresponding
colors.
| | 01:31 |
Notice as I'm dragging that the green and
yellow sliders are moving to the right.
| | 01:35 |
And you might not have thought that the
water has yellow in it but in fact it does.
| | 01:39 |
If I go the other way that darkens the
water.
| | 01:41 |
I think I'm going to actually brighten it
up a bit.
| | 01:44 |
And then I'll move my tool over this
building and I'll drag to the right.
| | 01:48 |
And that's making the building lighter
and moving the yellow and orange sliders.
| | 01:52 |
And I might darken this area here.
Now that takes the same yellow and orange
| | 01:57 |
sliders and drags them back to the left.
And remember whenever those sliders move,
| | 02:01 |
it's affecting all of the yellows and
oranges everywhere in the image.
| | 02:05 |
So this is actually darkening the
building again.
| | 02:07 |
So if I want the building lighter I'll go
back and brighten it up again.
| | 02:11 |
When I'm done with the targeted
adjustment tool, I'll remember to come
| | 02:13 |
over and click on the tool to deactivate
it.
| | 02:16 |
Now I'm not limited to just using the
sliders in the Black and White panel on
| | 02:20 |
the black and white converted image.
I can go up to the Basic panel, for
| | 02:24 |
example and here I might use the exposure
slider to brighten the black and white image.
| | 02:30 |
I might come down and increase the
clarity in the image like this.
| | 02:34 |
So that's how to make a black and white
conversion starting with a color image in Lightroom.
| | 02:39 |
By the way remember that any change that
you make in Lightroom is non-destructive
| | 02:43 |
of the original.
So if I wanted to get my color image back again.
| | 02:47 |
All I would have to do is come down and
click the Reset button at the bottom of
| | 02:50 |
the column on the right and my black and
white is once again a color image.
| | 02:54 |
And if I wanted to go back to black and
white, then I would press Cmd+Z on my Mac
| | 02:59 |
that's Ctrl+Z on a PC to undo my last
step, which was to go back to color.
| | 03:05 |
And once again I have a black and white
image.
| | 03:07 |
Now let me show you one more image.
Here I'd like to apply a special partial
| | 03:12 |
black an white effect.
So once again I'm going to go down to the
| | 03:16 |
HSL B&W panel and this time I'm not going
to click BMW.
| | 03:21 |
I'm going to leave this set to HSL.
An what I'm going to do is go to the
| | 03:25 |
saturation tab and then drag all the
sliders to the left to remove all the
| | 03:30 |
colors except for red an orange.
I'll take the yellow slider to the left,
| | 03:35 |
the green slider aqua, blue, purple and
magenta.
| | 03:38 |
And now the only colors left in the image
are red and orange.
| | 03:42 |
Everything else has been pulled out and
made black and white.
| | 03:45 |
So you can get this partial black and
white, partial color effect for a sort of
| | 03:49 |
a hand-painted look.
So those are a couple of ways that you
| | 03:52 |
can use Lightroom to convert color images
to black and white.
| | 03:55 |
| | Collapse this transcript |
| Using virtual copies| 00:00 |
The changes that you make to the photo in
Lightroom don't change the pixels in the image.
| | 00:04 |
They're simply instructions about how to
display the image.
| | 00:07 |
So that means that know matter what you
do to a photo you can always get back to
| | 00:10 |
the original as you've heard me say.
Sometimes I like to keep the original as
| | 00:14 |
it is and try out some alternative looks
on a photo, and in that case, I'll use
| | 00:19 |
virtual copies.
A virtual copy is simply instructions
| | 00:23 |
about other ways to display the same
photo.
| | 00:25 |
You can create a virtual copy in the
Library module, or in the Develop module.
| | 00:29 |
Let's make a virtual copy of one of these
images in the Library module, by
| | 00:34 |
selecting it.
And then, you can either go up to the
| | 00:36 |
Photo menu and choose Create Virtual
Copy, or you can use the keyboard
| | 00:40 |
shortcut Cmd + Apostrophe, that's Ctrl +
Apostrophe on the PC.
| | 00:44 |
And now in the grid in the Library
module, I see the original photo here.
| | 00:49 |
And right next to it.
Another copy of the same photo.
| | 00:53 |
You can see the label up here, copy one.
And I know that this is a virtual copy
| | 00:58 |
rather than an actual, physical copy on
my hard drive, because the left-hand
| | 01:02 |
corner of this image is turned up.
So that's the sign of a virtual copy.
| | 01:07 |
Now with that virtual copy selected I'm
going to go into the Develop module
| | 01:11 |
pressing D on my keyboard and I'll make
it change to the virtual copy.
| | 01:15 |
Lets do something we've already covered,
lets convert this image to black and
| | 01:19 |
white by going to the HSL, Color, B and W
panel and clicking black and white there.
| | 01:24 |
I'll just go with this automatic black
and white conversion for now.
| | 01:27 |
Now lets go back to the Library module by
pressing G on the keyboard.
| | 01:31 |
To go to the Grid view of the Library
module, and you can see that I now have
| | 01:35 |
two versions of the same image.
The original color image, and right next
| | 01:39 |
to it the black and white.
And I can make more virtual copies too.
| | 01:43 |
So this time I'll make a virtual copy of
the copy, by selecting it, and then
| | 01:48 |
pressing Cmd + Apostrophe on my keyboard,
that's Ctrl + Apostrophe on the PC.
| | 01:53 |
Now I've got a second black and white.
And if I select that one and go to the
| | 01:57 |
Develop module pressing D on the
keyboard, I'll go back and click on HSL
| | 02:02 |
at the top of the HSL panel.
And this time I'm going to use that
| | 02:05 |
effect that I showed you how to do
earlier in the course where I drag all
| | 02:09 |
the sliders except for the red and orange
opver to the left.
| | 02:13 |
So I have this partial black and white,
partial color photo.
| | 02:16 |
Now let's go back to the grid in the
Library module one more time pressing G
| | 02:20 |
on the keyboard.
And you can see that I have three
| | 02:23 |
alternative displays of the same photo,
color, black and white, and my partial
| | 02:28 |
black and white.
But notice, if I go out to my operating
| | 02:31 |
system and I look in the folder that
contains the two color images I started
| | 02:35 |
with, this one and this one, there are
only two images there.
| | 02:39 |
The virtual copies are not physical
copies on my hard drive.
| | 02:42 |
They are just displays in Lightroom based
on instructions in the catalog.
| | 02:46 |
So let me close my finder and we'll go
back into the Lightroom library.
| | 02:51 |
To show you one more thing about virtual
copies, when you make virtual copies,
| | 02:54 |
they're automatically stacked together.
And I know that I have the stack here
| | 02:58 |
because if you look closely, you can see
that there are two lines over on the left
| | 03:02 |
of the first of the three images and two
lines over on the right of the last of
| | 03:07 |
the three images.
And If I click on those two lines that
| | 03:11 |
collapses the three images into one
stack, so they take up so much room in my
| | 03:15 |
library, and if I want to expand those
images I can click on those three lines again.
| | 03:20 |
So that just helps to keep your library
organized.
| | 03:24 |
Now, let say that I don't want to have
this virtual copy anymore I can delete
| | 03:28 |
one or more of them by selecting them
here.
| | 03:30 |
And then pressing the delete, or
backspace key on my keyboard, and yes I
| | 03:34 |
do want to remove the two virtual copies,
and doing that does not effect the original.
| | 03:38 |
It is still there, in my Lightroom
catalog, as well as on my hard drive.
| | 03:42 |
| | Collapse this transcript |
| Reducing digital noise| 00:00 |
The process of digital capture inevitably
creates noise in a digital photo.
| | 00:05 |
That's particularly true if you're
shooting with a high ISO in your camera.
| | 00:08 |
Fortunately, you can take advantage of
the powerful noise reduction controls, in
| | 00:12 |
Lightroom's Develop module, to reduce
that digital noise.
| | 00:16 |
Now you can't evaluate or use the noise
reduction controls unless you're looking
| | 00:20 |
at an image at 100% view, that's the one
to one view in Lightroom.
| | 00:24 |
Up here, in my Navigator panel, you can
see that I'm currently zoomed out to the
| | 00:28 |
Fit on screen view.
So, before I work with the noise
| | 00:31 |
reduction sliders, I'm going to zoom into
100% view by clicking in the image.
| | 00:35 |
And, I'm also going to close this panel
on the right, so I have more room to work.
| | 00:40 |
The detail panel is located over here in
the develop module and in that panel,
| | 00:44 |
there are two sections.
One for capture and creative sharpening
| | 00:48 |
that we'll look at later, and another for
noise reduction.
| | 00:51 |
And at the top of the panel, you can
click this triangle to bring up a little
| | 00:55 |
preview area here which is displaying a
small section of the image at 100%.
| | 01:00 |
If I want to see a different section of
the image there, I'll click on this icon,
| | 01:04 |
and click to a different part of the
image, right here for example.
| | 01:07 |
And then I could use my large preview, to
click and drag somewhere else on the
| | 01:11 |
image, so I'm actually looking at two
separate parts of the photo.
| | 01:15 |
Now I'm going to come down to the Noise
Reduction sliders.
| | 01:18 |
Notice that there are two section here,
the Luminance sliders and the Color sliders.
| | 01:22 |
That's because there are two different
kinds of digital noise, Luminance noise
| | 01:26 |
and Color noise.
By default, the Color sliders aren't set
| | 01:30 |
to zero, so the color noise in the image
is already almost being eliminated here.
| | 01:35 |
But, if I take that color slider and drag
it all the way over to the left, you can
| | 01:39 |
clearly see the specks of color.
Particularly in the dark areas of this
| | 01:42 |
photo when zoomed into 1 to 1 view.
And you can see them here, in the preview
| | 01:46 |
as well.
So, I generally leave the Color sliders
| | 01:50 |
set to their defaults, I'll double-click
the Color label to put it back to its default.
| | 01:54 |
What the detail slider does here is try
to bring back some of the detail in an
| | 01:58 |
image that you can lose when you're using
the color noise reduction slider.
| | 02:02 |
Now let's go up to the Luminance Sliders
in the Noise Reduction Panel.
| | 02:05 |
By default, the Luminance Slider is set
to zero.
| | 02:08 |
If I take that slider and drag it way
over to the right it does get rid of that
| | 02:12 |
Luminance noise.
Which are those little gray scale specs
| | 02:15 |
that we saw a moment ago.
But it also takes a toll on the image It
| | 02:19 |
makes it look very soft, without detail,
almost painterly.
| | 02:22 |
So this is way too much luminance noise
reduction for this photo.
| | 02:25 |
I'm going to take that slider and drag it
back.
| | 02:28 |
And sometimes it takes a minute to
resolve.
| | 02:30 |
And I'm going to have to compromise
between some luminance noise and enough
| | 02:34 |
detail to make the image look good.
I also can take advantage of the Detail
| | 02:38 |
slider and the Contrast slider underneath
the luminance slider.
| | 02:41 |
To bring back some of the detail that you
do lose when you use the luminance noise
| | 02:45 |
reduction slider.
So I can try dragging those over to the
| | 02:48 |
right a bit too.
Before I zoom back out, I'll Click and
| | 02:52 |
Drag in the image to pan to other areas,
to make sure that I'm happy with the results.
| | 02:57 |
So, when I come down here, I see there's
still a little bit too much noise there.
| | 03:00 |
So I'm going to take that luminance
slider and drag it a bit more to the right.
| | 03:05 |
And now I'll zoom out clicking once on
the image to fit it on screen.
| | 03:08 |
But again, you can't really see how much
noise is in the image or whether you've
| | 03:13 |
done too much noise reduction when you're
zoomed out to this level.
| | 03:17 |
So that's how to use the Noise Reduction
sliders in Lightroom to reduce the levels
| | 03:21 |
of Luminous and Color noise in your
photos.
| | 03:23 |
| | Collapse this transcript |
| Sharpening| 00:00 |
Another consequence of the digital
capture process is that it softens photos.
| | 00:04 |
So photographers will often sharpen their
photos and you can do that at more than
| | 00:09 |
one point in your work flow.
So many photographers will sharpen upon
| | 00:13 |
capture using the sliders in the detail
panel in Lightrooms develop module.
| | 00:18 |
And they also may sharpen during their
workflow and then they might sharpen
| | 00:21 |
again when they output a photo and that's
called Output Sharpening.
| | 00:24 |
And I cover that elsewhere in the course
when we're talking about exporting a photo.
| | 00:29 |
So let's talk about capture or creative
sharpening here in the Detail panel in
| | 00:32 |
the Develop module.
The first thing to remember about
| | 00:35 |
sharpening is that you can't evaluate the
sharpness of an image.
| | 00:39 |
Nor the effects of the sharpening sliders
unless you zoomed in to one to one view.
| | 00:44 |
And you can do that both in this small
preview here at the top of the Detail
| | 00:47 |
panel, which you can access by clicking
this triangle.
| | 00:50 |
And in the large preview in the work area
itself.
| | 00:54 |
So here I've set my small preview just at
the area of this small dot in the sky.
| | 00:58 |
And here you can see it's a bird.
But I'm also going to zoom in over here
| | 01:02 |
in the large preview area.
Now normally I would zoom to just 100%.
| | 01:07 |
But I'm actually going to zoom in a
little closer so that you can really get
| | 01:10 |
a sense of what's happening as I explain
what sharpening is.
| | 01:14 |
When Lightroom is sharpening a photo it
looks for edges where there are bright
| | 01:17 |
pixels next to darker pixels.
And then it brightens the bright pixels
| | 01:21 |
and darkens the dark pixels at those
edges.
| | 01:24 |
And that increase in contrast gives the
illusion of sharpening.
| | 01:27 |
Now before I sharpen a photo I'll be sure
to do some noise reduction.
| | 01:32 |
I covered noise reduction elsewhere in
this course.
| | 01:34 |
So for now I'm just going to come over to
the Noise Reduction sliders and drag the
| | 01:38 |
Luminous slider over to the right to
reduce some of the noise that I see in
| | 01:42 |
the image.
And then I'll go to the sliders in the
| | 01:45 |
sharpening table of the detail table.
The Amount slider and the Radius slider
| | 01:49 |
work together.
What the Amount slider does is control
| | 01:52 |
the brightness and darkness of the pixels
at those sharpened edges.
| | 01:56 |
We call that the sharpening haloes.
And the Radius slider determines the
| | 02:00 |
width of those sharpening haloes.
So I'll often approach these sliders by
| | 02:04 |
dragging the Amount slider all the way
over to the right.
| | 02:06 |
And now you can really see those
sharpened edges or sharpening halos.
| | 02:11 |
And along the snow here there's a kind of
a ghost like effect.
| | 02:15 |
if I take the Radius slider and drag that
to the right you can see the sharpening
| | 02:19 |
halos get thicker and thicker.
Now I usually keep the Radius slider
| | 02:23 |
pretty low.
So I'm going to drag that over to the
| | 02:25 |
left reducing the width of my sharpening
halos.
| | 02:28 |
And then I'll take the Amount slider and
drag that back to the left to taste.
| | 02:32 |
So I want these edges and these details
to look sharp but I don't want to see so
| | 02:37 |
much of those sharpening halos.
And there really are no formulas for
| | 02:41 |
these sliders.
The settings you choose will be different
| | 02:44 |
for each image.
There are two more sliders here, the
| | 02:46 |
Detail slider and the Masking slider.
If I drag the detail slider over to the
| | 02:50 |
right, you can see I am bringing back
some more of the detail in the bricks.
| | 02:55 |
That's a little bit to far maybe ill put
that about there.
| | 02:58 |
And the amount of detail for each image
varies with the image too.
| | 03:01 |
So when you're working on a portrait you
may not want to bring out all the detail
| | 03:05 |
in the model skin you might have your
Detail slider over to the left more.
| | 03:09 |
And notice that sharpening has brought
back some of the noise in the sky.
| | 03:13 |
I can use the Masking slider to protect
large open areas like that from sharpening.
| | 03:18 |
To show you what this slider does I'm
going to hold the Option key.
| | 03:21 |
That's the Alt key on the PC as I drag
the masking slider to the right.
| | 03:25 |
And as I do, you can see that the sky and
part of the bricks is covered in black.
| | 03:30 |
The black areas of this mask are
protecting those areas from sharpening.
| | 03:34 |
I'll release the option or Alt key and
you can see the result.
| | 03:37 |
You can no longer see all of that noise
in the sky.
| | 03:39 |
But now the bricks look too soft.
So I'm going to compromise dragging back
| | 03:44 |
on the masking slider a bit to just about
there.
| | 03:47 |
Now I want to be sure to view the image
at 100%.
| | 03:50 |
So I'm going to click in that bar on the
left to bring back the panels on the left
| | 03:53 |
side of the develop module and I'm going
to click on the one to one view.
| | 03:56 |
And I'll evaluate my sharpening at this
view.
| | 03:59 |
And if I'm satisfied then I'll go back to
the fit on screen view like this.
| | 04:04 |
So that's how to use the sharpening
sliders in the Detail panel for capture
| | 04:08 |
and creative sharpening during your
workflow.
| | 04:11 |
| | Collapse this transcript |
|
|
4. Correcting Part of a PhotoTargeting edits with the Adjustment Brush| 00:00 |
After you've made adjustments that affect
a photo globally, you may see specific
| | 00:04 |
areas of the photo that need further
individual edits.
| | 00:07 |
Lightroom 5 has a toolbar of local
Adjustment tools that you can use to make
| | 00:11 |
targeted adjustments.
In this chapter we'll look at some of
| | 00:14 |
those tools.
The Spot Removal tool, the Graduated
| | 00:17 |
Filter tool, the Radial Filter tool, and
in this movie, the Adjustment Brush tool.
| | 00:22 |
The Adjustment Brush tool is perhaps the
most useful of all these local Adjustment tools.
| | 00:26 |
Because you can use it to paint in
combinations of adjustments.
| | 00:30 |
Wherever you need them in a photo.
To start using the Adjustment Brush tool,
| | 00:33 |
I'll click it's icon in this toolbar.
An that opens a panel with controls for
| | 00:38 |
the Adjustment Brush tool.
This panel looks similar to the Basics panel.
| | 00:43 |
You know you're in the Adjustment Brush
panel, rather than the Basics panel,
| | 00:46 |
because here at the top left it says,
Mask.
| | 00:49 |
An the reason it reads Mask here, is that
under the hood the adjustment brush tool
| | 00:52 |
uses a mask, to define areas, affected by
the settings that you choose with these sliders.
| | 00:59 |
The first thing that I usually do in this
panel is to set all these sticky or
| | 01:02 |
persistent effects to back to zero by
double clicking the Effect label here.
| | 01:07 |
I'm going to close the histogram so we
can see more of the Suggestiveness panel.
| | 01:11 |
Because I want to show you down here
there are controls for the brush tip in
| | 01:15 |
which you are going to paint in effects.
So here I can adjust the size of the
| | 01:19 |
brush, the feather of the brush which is
the softness of it's edge .
| | 01:23 |
The flow which controls how fast
adjustments build up as I paint multiple
| | 01:27 |
times over the same area with a brush.
And the density which controls the
| | 01:31 |
strength of a brush.
I'm going to leave everything at it's
| | 01:33 |
defaults for now then I'll move over into
the image.
| | 01:36 |
And I'm going to move my cursor over an
area that I want to paint.
| | 01:41 |
I want to work on the color and the
clarity, or sharpness, of the leaves here
| | 01:44 |
at the left side of the basket.
So I want my brush to be a little bigger
| | 01:48 |
than it is now.
I'll use the right bracket key on my
| | 01:50 |
keyboard several times to increase the
size of this brush.
| | 01:54 |
And if you look closely, you can see that
there are two rings around the brush The
| | 01:58 |
outer ring represents the amount of
feathering on the brush.
| | 02:01 |
So if I don't want the edge of this brush
so soft, then I'll come back over and
| | 02:05 |
I'll reduce the Feather slider a bit.
And before I paint on the image, I'm
| | 02:09 |
going to come down and check Show
Selected Mask Overlay.
| | 02:12 |
Now you don't always have to do that, but
I want to do that this time so you can
| | 02:16 |
see exactly where I'm painting.
So as I paint, the red represents a mask
| | 02:21 |
that I'm creating under the hood.
If I go too far by mistake and I paint in
| | 02:25 |
here, on a lemon for example, I'll hold
down the Option key or the Alt key on a PC.
| | 02:30 |
And that changes my brush to an eraser so
I can erase away the part of the mask
| | 02:34 |
where I don't want to change the
appearance of the image.
| | 02:37 |
Now I'm going to un check Show Selected
Mask Overlay, and I'm going to come over
| | 02:41 |
to the controls on the right.
And make some changes here that will
| | 02:44 |
affect just the area where I just
painted.
| | 02:47 |
I'll go to the Exposure slider and I'm to
drag that slightly to the left, because I
| | 02:50 |
want to darken those leaves.
Maybe that's a bit too much, I'll put it
| | 02:54 |
just about there.
And I want to change the color of the
| | 02:57 |
leaves too.
There are two ways that you can change
| | 03:00 |
the color of an area you've painted with
this brush.
| | 03:03 |
One is to come down to the color field
here, click in this box and choose a
| | 03:07 |
color here.
I'm going to close this box to show you
| | 03:10 |
another way, which is to come up to the
tint and temperature sliders and change those.
| | 03:14 |
So here, if I want more green in just
that area.
| | 03:17 |
I'll move the tint slider over to the
left.
| | 03:20 |
If I want a little blue, I'll move the
temperature slider to the blue.
| | 03:24 |
And I'd like to bring out those water
droplets on those leaves a bit.
| | 03:27 |
So I'll move down to the clarity slider,
and I'm going to drag that to the right.
| | 03:32 |
Now I'd like to add that same effects to
other leaves in the image.
| | 03:35 |
I can extend the area effected by these
adjustments by making sure that I have
| | 03:40 |
the pin that represents these adjustments
selected.
| | 03:42 |
You can see that that pin is black down
here, which means it is selected.
| | 03:45 |
And then I'll click up here and I'll drag
over these leaves to add that adjustment
| | 03:50 |
up there as well.
And notice that those two areas don't
| | 03:53 |
have to be next to one another in the
photo.
| | 03:55 |
Now you can add multiple pins in a photo
each with its' own effects.
| | 03:59 |
So let's say I want to do something else
now, I want to draw attention to the
| | 04:02 |
label on this bottle.
So I go over to the Adjustment Brush
| | 04:05 |
panel and I'm going to click at the top
where it says new to create a brand new brush.
| | 04:10 |
All the sliders are now set back to zero,
I'm actually going to just increase the
| | 04:14 |
exposure a bit, I can always tweak that
later.
| | 04:17 |
And I'm going to increase saturation and
maybe clarity and maybe sharpness.
| | 04:22 |
And because I'm painting over a very
defined area here with clear edges, I'm
| | 04:26 |
going to check Automask.
And that will help me to stay within the
| | 04:29 |
lines as I'm painting over this label.
I'll make my brush tip smaller by
| | 04:33 |
pressing the left bracket key on my
keyboard and maybe I'll reduce the
| | 04:36 |
feather a bit too.
And then I'm going to click and drag over
| | 04:39 |
this wine bottle label.
And you can see that as I do, I'm
| | 04:43 |
brightening it up, increasing the
clarity, and increasing the saturation a bit.
| | 04:49 |
Now, I think I need to back off on those
settings so I'll go to the Exposure
| | 04:53 |
slider and I'm going to take that back
maybe to about here.
| | 04:57 |
And I might take the saturation and the
clarity back down a bit.
| | 05:01 |
And I see I may have missed some here
when I was painting, so I'll come back in
| | 05:05 |
and paint a little further.
And what I'm doing is creating a separate
| | 05:08 |
mask with it's own settings.
If I check Show Selected Mask Overlay,
| | 05:12 |
you can see that mask here, and I'll un
check that.
| | 05:16 |
Now if I want to see a before and after
comparison, of just the changes I've made
| | 05:20 |
here in the Adjustment Brush panel.
I'll come down to the toggle at the
| | 05:23 |
bottom of the Adjustment Brush panel, and
I'll click that Toggle.
| | 05:27 |
So that's how the image looked when we
started this lesson, and here's how it
| | 05:30 |
looks with these changes.
By the way if I press the backslash key
| | 05:33 |
on my keyboard that will show me how the
image looks without any changes.
| | 05:37 |
These Adjustment brush changes and any
overall changes I've made earlier.
| | 05:42 |
So that's where I actually started with
this image before this movie.
| | 05:45 |
And here's where I've taken it now.
I can come back into the Adjustment brush
| | 05:49 |
now or in the future and edit the
controls on any of the pins that I've added.
| | 05:54 |
So for example, if I come over and click
on this pin I can come in and maybe open
| | 05:59 |
up the exposure a bit on those leaves.
And if I don't like an adjustment, I can
| | 06:04 |
delete a pin altogether.
For example, I'll select this pin on the
| | 06:07 |
label and then I'll press the Delete or
Backslash key on my keyboard.
| | 06:11 |
And the pin and its effects go up in a
puff of smoke.
| | 06:15 |
When I'm done here with the adjustment
brush, I'll go up to the Tool bar under
| | 06:18 |
the histogram and click on the Adjustment
brush icon to close the Adjustment brush panel.
| | 06:22 |
And now what you're looking at is the
Basic panel with changes that I've made
| | 06:27 |
globally to the image.
Of course I can come back in and open up
| | 06:30 |
the Adjustment brush panel again at any
time by clicking the Adjustment brush icon.
| | 06:34 |
And I can combine my Adjustment brush
changes.
| | 06:37 |
With other changes using any of the other
local Adjustment tools like the Radio
| | 06:42 |
Filter tool here, which I'll show you
next.
| | 06:44 |
| | Collapse this transcript |
| Spotlighting and vignetting with the Radial filter| 00:00 |
The Radial Filter tool in Lightroom 5
lets you make adjustments in oval or
| | 00:04 |
circular areas.
It's useful for making customized
| | 00:07 |
vignettes or adding spotlights with
different effects to individual areas of
| | 00:11 |
a photo.
I'm going to start with this photo of
| | 00:13 |
this big beautiful clock that we took in
the Orsay Museum in Paris.
| | 00:17 |
I'd like to make a custom vignette around
the edges of this photo.
| | 00:20 |
Now you may be wondering why I don't just
use the Post-Crop Vignetting in the
| | 00:23 |
effects panel of the Develop module.
Or, the Vignette sliders in the Lens
| | 00:27 |
Correction panel.
And the reason is that with the Radial
| | 00:30 |
Filter, I have a lot more flexibility to
place a vignette off-center and to add
| | 00:35 |
just the effects that I want.
So for example, I'll select the Radial
| | 00:39 |
Filter tool in the Tool bar under the
histogram by clicking its icon here.
| | 00:43 |
If you've been following along, you may
notice that the center portion of this
| | 00:47 |
panel, the Effect portion, has the same
controls that we saw when we were talking
| | 00:51 |
about the Adjustment Brush filter.
I'm going to start here by setting all of
| | 00:55 |
these controls back to zero by
double-clicking the Effect label at the
| | 00:58 |
top of this section of the Radial Filter
panel.
| | 01:02 |
Now, I know that I want to darken the
corners of this image, so I'm going to
| | 01:05 |
start by just dragging the Exposure
slider over to the left.
| | 01:08 |
I don't care where I'll tweak that in
just a moment.
| | 01:10 |
Then I'll come into the image and I'm
going to click off center and I'm going
| | 01:14 |
to click out and start dragging out an
oval boundary.
| | 01:17 |
And as I do it may look like I'm
lightening the area in the center of this boundary.
| | 01:21 |
But actually what I'm doing is making the
area outside of the boundary darker.
| | 01:25 |
I can re-position the boundary by
clicking inside of it and dragging it.
| | 01:29 |
I can change the shape of the boundary by
clicking on any of the anchor points.
| | 01:33 |
I can rotate the boundary by moving my
cursor outside of it and dragging.
| | 01:38 |
So, I get it just the way I want it.
And then I'll come back over to the
| | 01:43 |
Radial Filter panel and I'm going to
customize the effects on this vignette.
| | 01:47 |
So I don't want the exposure as dark as
it is now.
| | 01:50 |
Instead I'll put it about a stop under
its default.
| | 01:53 |
Now there are other things that I can do
to the area outside of this boundary.
| | 01:57 |
For example, I could fade from color to
black and white in the photo.
| | 02:01 |
By going to the saturation slider and
dragging that all way over to the left.
| | 02:05 |
Or I'll double-click the Saturation
slider.
| | 02:08 |
I could change the color outside the
boundary.
| | 02:11 |
I could come up the Temperature slider
and drag that over to the right to add
| | 02:15 |
some gold to my vignetted corners.
I'm going to close the histogram so
| | 02:19 |
there's more room to see the rest of this
panel.
| | 02:21 |
And I'll move down to the bottom of the
panel and I'm going to click this toggle
| | 02:25 |
icon, which will turn off all of the
changes that I've made in the Radial
| | 02:29 |
Filter panel.
So that's how I started, and here's how
| | 02:32 |
the photo looks now.
I can always come back in and adjust my
| | 02:36 |
filter, so I might want to rotate it this
way and maybe drag it over this way more.
| | 02:42 |
You can have more than one Radial Filter
in a photo.
| | 02:45 |
So I want to add a couple more to focus
attention on the big, beautiful clock here.
| | 02:49 |
So I'm going to go back to the Radial
Filter panel and click New.
| | 02:53 |
And again, I'll double-click the effect
label to set all of the sliders back to zero.
| | 02:57 |
Now, this time I know that I want to
increase exposure.
| | 03:00 |
So I'm going to drag the Exposure slider
over to the right and I can customize
| | 03:04 |
that later.
Then, I'll move into the image.
| | 03:06 |
I'm going to click right in the center of
the clock and I'm going to drag out a
| | 03:10 |
second Radial Filter.
Now by default, this Radial Filter is
| | 03:14 |
affecting the area outside of this
boundary, but I actually want to affect
| | 03:18 |
the area inside the boundary.
So I'll come over to the Radial Filter
| | 03:21 |
panel, and I'm going to check Invert Mask
here at the bottom of the panel.
| | 03:26 |
And that really changes the effect.
While I'm here, I'm also going to get the
| | 03:30 |
Feather slider here, and drag it toward
the left.
| | 03:33 |
Right now, there is a large feather or
soft edge on the mask that's defining the
| | 03:38 |
area affected.
To make that edge left soft, I'll drag
| | 03:42 |
the Feather slider toward the left.
And that's spreading out the effect so
| | 03:46 |
that it's brightening more of the clock.
And then I'll move into the center of
| | 03:50 |
this boundary and I'll click and drag to
get it just where I want it.
| | 03:54 |
And I can use these anchor points to
reshape the boundary.
| | 03:57 |
Now I'm going to customize my settings
for this particular Radial Filter.
| | 04:02 |
So I'll bring the exposure down a bit.
Its higher than when I started but not as
| | 04:06 |
bright as it was a moment ago.
There is some detail in the darker areas
| | 04:10 |
of the clock that I would like to bring
out.
| | 04:12 |
So I'll go to the shadow slider and I'm
going to drag that to the right.
| | 04:16 |
And then to emphasize all of the gorgeous
detail there, I'm going to drag the
| | 04:20 |
Clarity slider over to the right too to
increase the mid tone contrast.
| | 04:23 |
Finally another interesting thing that
you can do with Radial Filters is to
| | 04:28 |
duplicate Radial Filters.
You might want to do that if you've maxed
| | 04:31 |
out your sliders and yet you want more of
an effect.
| | 04:34 |
So, let's duplicate the Radial Filter
that I just added to the clock.
| | 04:38 |
The way to do that is to move over the
image, to select the pin that represents
| | 04:42 |
the clocks.
And then to hold the Cmd key and the
| | 04:45 |
Option key, that's the Ctrl key and the
Alt key on Windows.
| | 04:49 |
And click right on that pin.
And that duplicates the pin, and the
| | 04:52 |
amount of effect on that pin.
Now, you can only see one of the two
| | 04:56 |
duplicate pins right now, because they're
right on top of one another.
| | 04:59 |
So if I click on this pin and drag, now
you can see that there really are two
| | 05:03 |
pins there.
What I want to do with this second pin,
| | 05:06 |
the duplicate pin is to invert it so that
it's affecting just the outside of this
| | 05:11 |
boundary, because I want to soften
everything except for the clock.
| | 05:15 |
So, I'm going to go back over to the
Radial Filter panel with that duplicate
| | 05:18 |
pin selected and uncheck invert mask.
And then I'll go up and double-click the
| | 05:24 |
effect label to set the sliders back to
ground zero for this third pin.
| | 05:28 |
And I"ll direct the Clarity slider all
the way over to the left.
| | 05:31 |
Softening everything outside the clock.
Now, let's use the toggle at the bottom
| | 05:36 |
of the Radial Filter panel.
To compare a before and after view of
| | 05:40 |
just the changes made in this panel.
So, here's the before view, and here's
| | 05:44 |
the after view.
Finally, when I'm done in the Radial
| | 05:47 |
Filter panel, I can click the Close
button on the panel.
| | 05:50 |
Keeping in mind, that I can come back in
and reopen that panel at any time to
| | 05:54 |
re-edit those pins that I've already
added.
| | 05:57 |
Or to add more Radial Filters to this
photo.
| | 05:59 |
| | Collapse this transcript |
| Gradual editing with the Graduated filter| 00:00 |
The Graduated Filter tool in the toolbar
here in Lightroom's Develop panel, offers
| | 00:04 |
yet another way to apply an effect or a
combination of effects to just isolated
| | 00:09 |
areas of a photo.
Here for example, I'd like to brighten up
| | 00:12 |
the buildings without blowing out the
sky.
| | 00:14 |
And I think I can accomplish that with a
couple of Graduated filters, which apply
| | 00:18 |
effects in a graduated falloff pattern.
I'll click on the Graduated Filter tool
| | 00:23 |
in the toolbar under the histogram, and
that opens the Graduated Filter panel.
| | 00:27 |
If you've been following along, you may
recognize the controls in the effects
| | 00:30 |
section of this panel.
They're the same as the controls in the
| | 00:34 |
Adjustment brush and the Radial filter.
I usually start here by double-clicking
| | 00:38 |
the effect label to set the persistent
settings back to their defaults.
| | 00:43 |
And just so you can see what the
Graduated filter does, I'm going to take
| | 00:46 |
the Exposure slider and drag it way over
to the left.
| | 00:49 |
And then, I'll come into the image and
I'm going to start at the right side of
| | 00:52 |
the photo and drag.
And you can see that as I do, the area to
| | 00:57 |
the right of this pen is really dark and
then that dark effect is fading off from
| | 01:02 |
the center line over toward the line on
the left.
| | 01:05 |
Like any of the filters, you can delete a
filter.
| | 01:08 |
I'm going to do that by making sure this
filter is selected, and then pressing the
| | 01:12 |
Delete or Backspace key on the keyboard.
Because what I really want to do is add a
| | 01:17 |
Graduated filter that comes in from the
bottom corner right, and is bright to
| | 01:21 |
start with.
So, I'll take the Exposure slider, and
| | 01:24 |
I'm going to drag that over past zero.
And then I'll start at the bottom right
| | 01:28 |
corner, and I'm going to drag out a
Graduated filter.
| | 01:32 |
So, this filter is brightening the bottom
right corner.
| | 01:34 |
I'd like it to brighten more of the
buildings, and to have a less gradual
| | 01:38 |
falloff here.
So, I'll click on the top line and drag
| | 01:42 |
down toward the pin, to make the falloff
area more narrow.
| | 01:46 |
And then I'll click on the pin, and I'll
drag up, to move my Graduated filter up
| | 01:51 |
to about here.
I can also rotate the Graduated filter,
| | 01:54 |
by moving my cursor over the center-line
and dragging.
| | 01:58 |
And it doesn't take much to rotate this
filter.
| | 02:01 |
And then maybe I'll take the pen and put
it about here.
| | 02:04 |
So that's a good start on opening the
dark areas of these buildings.
| | 02:09 |
Lets fine tune those settings.
I'll go to the Shadow slider and I'm
| | 02:12 |
going to drag that to the right to open
up the darkest areas that are affected by
| | 02:17 |
this Graduated filter.
And I want to bring some detail into the
| | 02:20 |
facades of the buildings.
So I'm going to take the clarity slider
| | 02:23 |
and drag that over to the right.
I'll also increase saturation a bit.
| | 02:29 |
And I remember that these buildings were
more gold than blue, so I'll come up to
| | 02:33 |
the Temperature slider and I'm going to
drag that slightly to the right as well.
| | 02:37 |
So that's a start, but I also notice that
this building over here on the left is
| | 02:41 |
quite dark.
I could try to fix this with the
| | 02:44 |
Adjustment Brush tool, or I might try
adding a second Graduated filter.
| | 02:48 |
Lets try that.
I'll go to the Graduated Filter panel,
| | 02:51 |
and I'll click the new label there to
create a brand new Graduated filter.
| | 02:55 |
This time I'll move over to the left, and
I'm going to hold the Shift Key to
| | 02:59 |
constrain the Graduated filter so it
comes in straight.
| | 03:02 |
And then I'll click on it's pen and I'll
drag it over this way.
| | 03:05 |
Again, I might open up the Shadows a bit,
I might increase clarity a bit,
| | 03:10 |
saturation and I might try to tilt this
filter, so it's having more of an effect
| | 03:17 |
on the tops of these buildings.
But then I don't like what it's doing up
| | 03:20 |
here to the clouds, it's blowing them
out.
| | 03:22 |
So, I'll take the Highlight slider and
drag that over to the left to bring back
| | 03:25 |
detail in the clouds.
And by the way, this is one of my
| | 03:28 |
favorite uses for the Highlight slider,
both in the Adjustment filters and in the
| | 03:32 |
Basic panel.
Now, if I want to compare a before and
| | 03:34 |
after view of how the image looks, with
and without these changes.
| | 03:38 |
First, I want to hide the Graduated
filters buy moving my cursor outside of
| | 03:42 |
the preview window.
And then I'll go to the bottom of the
| | 03:45 |
Graduated Filter panel, and I'll click
the Toggle Off and then On.
| | 03:49 |
And when I'm done, I'll click the Close
button to close this panel.
| | 03:53 |
I can always come back in, in the future
and reopen the panel, by clicking its
| | 03:57 |
icon to tweak either of my existing
Graduated filters, to delete them, or to
| | 04:02 |
add additional Graduated filters.
| | 04:04 |
| | Collapse this transcript |
| Removing dust spots with Spot Removal circles| 00:00 |
The Spot Removal tool in Lightroom 5 can
be used to hide two kinds of content,
| | 00:05 |
circular spots and non circular elements
in the photo.
| | 00:08 |
In this movie I'll show you how to use
the Spot Removal tool to hide spots
| | 00:11 |
caused by dust on your lens or in your
cameras sensor.
| | 00:14 |
Which is does by applying circular
patches.
| | 00:17 |
And after that, we'll look at how you can
use the same tool to add non-circular
| | 00:21 |
content in a photo, by just brushing it
away.
| | 00:23 |
So, let's hide some dust spots.
I'm going to select the Spot Removal
| | 00:27 |
tool, which is in the toolbar, just under
the Histogram in the Develop module.
| | 00:31 |
The shortcut for this tool is Q.
And that opens this panel with a couple
| | 00:36 |
of options for this tool.
There are also some options down here, in
| | 00:39 |
the toolbar underneath the preview area.
If your toolbar isn't showing, then press
| | 00:43 |
T on your keyboard.
Now, if you look closely at this photo,
| | 00:46 |
you'll see a couple of spots here and
here.
| | 00:49 |
Let me zoom in a little so you can see
those better.
| | 00:52 |
These spots were caused by dust on this
camera's sensor.
| | 00:55 |
An so all of the photos that were taken
that day, have the same dust spots.
| | 00:59 |
But depending on the content of the
photos, those spots aren't always easy to see.
| | 01:03 |
Here, you can clearly see this darker
spot, but there's also a really light
| | 01:07 |
spot down here.
So, to help you visualize spots in an
| | 01:11 |
image, in Lightroom 5 there is a
Visualize Spots option in the toolbar.
| | 01:16 |
I'm going to check visualize spots in the
toolbar and now we get this contrast mask
| | 01:21 |
on top of the image that shows up those
dust spots over here and over here as
| | 01:25 |
white dots.
If you're not seeing those dust spots
| | 01:28 |
then you can drag the Threshold slider
just to right of the visualized spots
| | 01:32 |
check box.
So, if that sliders over to the left you
| | 01:35 |
may not see those spots, but as you drag
it to the right, they come into view
| | 01:40 |
pretty clearly.
And you could use the Spot Removal tool
| | 01:42 |
here in this Mask view to remove those
spots.
| | 01:45 |
But I'm going to uncheck Visualize Spots
to go back to the Regular view, so I can
| | 01:49 |
show you more about how the spot removal
tool works.
| | 01:52 |
I'm going to leave all of the options at
the defaults here in the panel for this
| | 01:56 |
tool, and move my cursor into the image.
What I want to do is make this circle,
| | 02:00 |
that represents the Spot Healing Brush
tool tip, just a little bit bigger than
| | 02:04 |
the spot that I want to cover or hide.
To do that I'd like to use the left and
| | 02:08 |
right bracket keys on my keyboard.
Because then I can do it when I'm right
| | 02:12 |
on top of that spot.
So, I'll press the left bracket key a
| | 02:15 |
couple of times.
That's the key right next to the P key on
| | 02:18 |
my keyboard.
And each time I do that makes the brush
| | 02:21 |
tip circle smaller.
And when it's just a little bit bigger
| | 02:23 |
than that circle, I'm going to click
once.
| | 02:27 |
Now I have two white circles in my photo.
The one down here is the source circle.
| | 02:32 |
And what Lightroom is doing is taking
pixels from inside this source circle and
| | 02:37 |
patching over that dust spot up here
under the second circle.
| | 02:40 |
And when it does the patching, it blends
the patch in nicely with the surrounding area.
| | 02:45 |
Now, sometimes you may not like the
result that you get, so there are a
| | 02:48 |
couple things you can do.
For one thing, you can move the source circle.
| | 02:52 |
So, let's say that the source circle has
landed in an area that doesn't really
| | 02:56 |
match these clouds, maybe down here.
Well, then the patch wouldn't match, obviously.
| | 03:01 |
So, I can just move my cursor inside of
the source circle and drag, putting it
| | 03:05 |
somewhere that's a better match for the
patched area.
| | 03:09 |
The other thing that I can do is change
the size of these circles, and to do
| | 03:13 |
that, I'll hover over the outside of
either circle and drag.
| | 03:16 |
So as I drag the source circle, you can
see the patch getting bigger, too.
| | 03:21 |
And then I'll go back the other way,
because that's obviously not right.
| | 03:25 |
You can have more than one circle too, so
that you can cover up all the dust spots
| | 03:28 |
in your image.
So, if I come over this circle, I'll
| | 03:31 |
click, and that dust spot is gone, and
let's do that one more time over here.
| | 03:35 |
Now, you can delete any of these circles,
so if I really don't want that last one,
| | 03:40 |
I'll click on that spot to make sure it's
selected, and then I'll press the Delete
| | 03:44 |
or Backspace key on my keyboard.
Like that.
| | 03:47 |
Now, if you want to see the results of
your patchwork without the circles in the
| | 03:51 |
way, come down to the Tool Overlay menu
here.
| | 03:54 |
If it's set to Auto, then when you move
your cursor out of the Preview window,
| | 03:58 |
those circles disappear.
And we can see that the tool did a great
| | 04:01 |
job of hiding those two dust spots in
this photo.
| | 04:04 |
When I move back over the photo, those
circles appear again.
| | 04:07 |
And there other options in this Tool
Overlay Menu that you can use.
| | 04:11 |
Now you remember I said at the beginning
of this movie.
| | 04:13 |
That all the photos that were taken that
day ended up with the same dust spots on them.
| | 04:18 |
So, here's a little trick.
You can take one photo from which you've
| | 04:22 |
removed dust spots.
And if those spots are in the same
| | 04:25 |
location on other photos, you can
synchronize that adjustment to the other photos.
| | 04:29 |
So, here for example, I have one other
photo from the same shoot, that same day.
| | 04:34 |
And you can see that it has those two
spots on it.
| | 04:36 |
So, I'm going to come down to the film
strip and click off of both of those
| | 04:39 |
photos so neither is selected.
Then I'll click right in the image
| | 04:43 |
thumbnail on the first photo and then I'm
going to hold the Cmd key or the Ctrl key
| | 04:47 |
on the PC and click on the frame of the
second photo.
| | 04:50 |
And that assures that the first photo is
the most selected, the active selection.
| | 04:56 |
The other photo is selected to, but as
you can see, the frame around the first
| | 04:59 |
photo is brighter.
An that's important because I want to use
| | 05:02 |
the most selected photo as the source of
these changes, an apply them to the
| | 05:07 |
lesser selected photo.
So, now I'll go over to the big sync
| | 05:10 |
button at the bottom of the column on the
right of the Develop module, an I'll click.
| | 05:14 |
An you can see that my synchronize
settings box, is set to synchronize all
| | 05:18 |
the settings on the first photo to the
second.
| | 05:21 |
Well, I really don't want to do that.
For example I had cropped the first
| | 05:24 |
photo, maybe I don't want to crop the
second one.
| | 05:26 |
So, I'm going to click check none, and
then I'll come up and just check spot
| | 05:31 |
removal, and then I'll click synchronize.
Now let's deselect both photos in the
| | 05:36 |
film strip.
I'll click on the first one, this is the
| | 05:39 |
one that we changed a moment ago using
the spot removal tool.
| | 05:41 |
And now I'm going to click on the second
one, and as you can see the spots are
| | 05:45 |
gone from that one too.
Now sometimes when you synchronize spot
| | 05:49 |
removal like this, you may have to move
the source circles, particularly if the
| | 05:53 |
second photo has different content than
the first.
| | 05:55 |
But this can be a real time saver.
So, as you've seen, clicking with the
| | 06:00 |
Spot Removal tool is a quick way to hide
dust spots or any content that you can
| | 06:04 |
cover with a circular patch.
Next, we'll see how to use the same tool
| | 06:09 |
to hide non-circular content in a photo.
| | 06:11 |
| | Collapse this transcript |
| Removing content with Spot Removal brushstrokes| 00:00 |
In Lightroom 5, the Spot Removal tool can
be used for more than just removing dust
| | 00:04 |
spots or other circular areas.
You can use it to remove non-circular
| | 00:08 |
content by Clicking and Dragging with it,
using it as a brush.
| | 00:11 |
So, I'm going to use the spot removal
tool to try and hide not only these
| | 00:17 |
circular spots here.
But also these non-circular reflections
| | 00:21 |
that you see in the glass here and here.
And this crack in the glass, up here on
| | 00:24 |
the top left.
So, I'll go over to the Toolbar,
| | 00:27 |
underneath the Histogram, and I'll click
on the Spot Removal tool.
| | 00:30 |
I'll leave all of the options at their
default for now, and just to make sure
| | 00:33 |
that there aren't any hidden spot, I'm
going to come down and check visualize spots.
| | 00:38 |
And then I'll drag the slider next to
visual spots over to the right and we can
| | 00:42 |
start to see some of the imperfections
here.
| | 00:45 |
Now there actually are more than I could
see with my naked eye, but I'm just going
| | 00:48 |
to concentrate for now on the ones in
this area on that crack.
| | 00:51 |
So, here I've got some spots that I can
probably hide with a Circular approach to
| | 00:57 |
the Spot Removal tool.
So I'll just hover over one of these
| | 00:59 |
spots, making sure that my brush tip is a
little bigger than that spot, and click.
| | 01:03 |
And I'll do that with this spot too.
So as you can see, I can do my Spot
| | 01:07 |
Removal right here inside of the
visualize spots mask.
| | 01:11 |
And if I want to move any of these source
areas, I can just Click and Drag to a
| | 01:15 |
different area.
There's also a little spot up here that I
| | 01:19 |
can now see, and on here too.
Now let's exit the mask by unchecking
| | 01:25 |
Visualize Spots.
What I want to do now is to use this tool
| | 01:29 |
to try to hide this crack in the glass
here.
| | 01:31 |
So, I'm just going to come up to the top
of that crack.
| | 01:34 |
I'll make sure that my brush tip is a
little bit bigger than the width of the crack.
| | 01:39 |
I'll use the right and left bracket keys
on my keyboard to size the brush tip.
| | 01:43 |
Pressing the left bracket key once will
make that brush tip smaller, and then I'm
| | 01:47 |
going to click and drag over that crack
in the glass.
| | 01:51 |
When I release my mouse, you can see that
there are now two marks on the photo.
| | 01:55 |
The one at the right is the patch and the
one at the left is the source area that's
| | 02:00 |
being used to make that patch.
If I move my cursor off of the image,
| | 02:04 |
that hides those overlays for a moment so
we can see the results.
| | 02:07 |
And that's pretty good.
Now, if you get a patch that isn't
| | 02:10 |
matching correctly, you can move the
source area.
| | 02:13 |
I'll hover over the pin on the left and
then I'll Click and Drag when my cursor
| | 02:17 |
changes to a hand.
And now I'm sampling pixels from a
| | 02:20 |
slightly different area of the sky.
I'll move my cursor off so you can see
| | 02:24 |
the result.
I'm needing to tweak that one more time
| | 02:27 |
so I'm going to move that up there,
great.
| | 02:30 |
So now let's go over to the right-hand
window where there are some reflections
| | 02:35 |
that I'd like to remove.
I'll just click and drag over this
| | 02:38 |
reflection and this one, removing this
non-circular content by just brushing
| | 02:44 |
over it.
Now here I've got a reflection that a
| | 02:47 |
relatively straight line across the
glass.
| | 02:50 |
When you do get a straight line like this
sometimes a telephone wire might be
| | 02:54 |
straight for example then you can try
this technique.
| | 02:57 |
I'm going to click on 1 side of that
reflection and then release my mouse.
| | 03:01 |
And then I'm going to come over to the
other end of that reflection, hold down
| | 03:05 |
the Shift key and Click.
And that creates a patch in a straight line.
| | 03:08 |
I'll move my cursor out of the image, so
that we can see what a great job that did
| | 03:13 |
of patching.
Not only the spots, but also the areas
| | 03:16 |
where I brushed with the Spot Removal
tool.
| | 03:19 |
| | Collapse this transcript |
|
|
5. Sharing and Printing PhotosExporting photos| 00:00 |
When you're done processing a photo in
Lightroom, you may be wondering how to
| | 00:03 |
get a copy of the photo with your
adjustments to use outside of Lightroom.
| | 00:07 |
Your first instinct may be to try to save
a copy of the photo in whatever format
| | 00:11 |
and size you need at the moment.
But as you may have noticed, there is no
| | 00:15 |
Save button in Lightroom.
Instead, you'll use the Export command.
| | 00:19 |
Which I'm going to cover in this movie.
I'll start by selecting the files that I
| | 00:22 |
want to export either here in the Library
module grid view or if I were in another
| | 00:26 |
module in the film strip.
I'll click on this photo and shift click
| | 00:30 |
on this one.
And then I'll open those into the Export
| | 00:32 |
dialogue box by going up to the File menu
and choosing Export.
| | 00:37 |
Or here in the Library module there's a
big Export button at the bottom of the
| | 00:40 |
column on the left.
Here in the Expert Dialogue box, I could
| | 00:44 |
start with any of the presets that come
with Lightroom.
| | 00:47 |
These are just combinations of the
settings on the right.
| | 00:50 |
So, let's create our own settings this
time, walking through the settings in the
| | 00:54 |
sections on the right.
First I'll go the Export to menu and I
| | 00:58 |
usually leave this set to hard drive.
But if you want you can export directly
| | 01:03 |
to Email attaching these photos to an
Email message in your default Email client.
| | 01:07 |
Or you can burn the exported photos
directly to a CD or DVD.
| | 01:11 |
I'll leave the set to hard drive.
Next I'll choose the destination to which
| | 01:15 |
I'm going to export these photos.
From this first menu, I can choose to
| | 01:19 |
export to a specific folder or to put
this in the same folder as the original.
| | 01:24 |
By the way, it's okay to export to the
same folder as the original because
| | 01:28 |
Lightroom will not write over your
originals.
| | 01:31 |
I'm going to choose Specific folder and
then I click Choose to specify a folder.
| | 01:36 |
I'd like to export to my desktop, so I'll
navigate there and then I'll click Choose.
| | 01:41 |
Now, rather than have the exported photos
scattered around my desktop, I can create
| | 01:45 |
a sub-folder to put them in from right
here in the Export dialogue box.
| | 01:49 |
So I'll check Put in Sub-Folder.
And I'll create a new sub-folder, I'll
| | 01:54 |
call this one Website photos, because I'd
like to create some jpegs to put on my website.
| | 02:00 |
And, then I'll click add to catalog and
this will add the exported photos to my
| | 02:05 |
Lightroom catalog; in addition to the
originals that are already there.
| | 02:09 |
This saves me the step of having to do
that later by importing the exported jpegs.
| | 02:14 |
In the next section, I have the option to
rename the exported files.
| | 02:17 |
If I do that it won't change the name of
the originals.
| | 02:21 |
I'll check rename to, and then I'll click
this menu where I have a choice of a
| | 02:25 |
number of different file naming formulas.
These are the same formulas that we saw
| | 02:29 |
when we were talking about renaming
photos inside Lightroom.
| | 02:32 |
When I'm renaming photos on Export, I
think it's a good idea to keep the
| | 02:36 |
original file number in the new file name
so that I know which photo goes with which.
| | 02:41 |
So, I might choose Custom name, original
file number here.
| | 02:45 |
And then in the custom text field, I'll
type some text that will appear at the
| | 02:49 |
beginning of the new name of each
exported file.
| | 02:52 |
So, I might type my name in some
circumstances, and underscore, or a
| | 02:57 |
hyphen, and maybe what the photos are
for.
| | 03:01 |
What you type here depends on what you
plan to do with the photos.
| | 03:04 |
And here you can see an example of how
the photos will be named, with the file
| | 03:08 |
number of each photo inside the new name
for the exported photos.
| | 03:12 |
I'm going to scroll down.
In the next section there are some
| | 03:15 |
settings for exporting video, but I'm not
exporting video right now so I'll skip
| | 03:19 |
over that.
In the file setting section, I'll choose
| | 03:22 |
the format of the exported copies of my
photos.
| | 03:25 |
From the image format menu I see I have a
choice of JPG, PSD or Photoshop document
| | 03:31 |
format, TIF format, DNG format.
Which is Adobe's Open Source RAW format
| | 03:37 |
or original, which would keep the format
of the exported files the same as the originals.
| | 03:43 |
I'll go with JPG because I'm trying to
prepare some photos to post on my website.
| | 03:48 |
Depending on which format you choose, you
may have some other options to set here
| | 03:51 |
in the file setting section.
For JPGs, you can choose Image Quality.
| | 03:56 |
And this sets the JPG compression
quality.
| | 03:59 |
You can leave this at 100, or if you want
your files to be smaller, you can move it down.
| | 04:02 |
I'll go with around 80, as a compromise
between file size and quality.
| | 04:07 |
Now if you need your files to be no
bigger than a certain file size in terms
| | 04:12 |
of size on disk.
Then you can check limit file size too
| | 04:15 |
and type a number here, and that will
cause light room to change the
| | 04:19 |
compression quality to meet that
restriction.
| | 04:21 |
That isn't the case here so I'll uncheck
that.
| | 04:25 |
And then I'll go to the colored space
field where I'll choose a color profile
| | 04:28 |
to be imbedded in my exported files.
If I were exporting a copy for print, or
| | 04:33 |
maybe to bring into Photoshop for further
editing.
| | 04:36 |
I would choose adobe RGB or pro photo
RGB, both of which are wide color spaces.
| | 04:41 |
But a file with either of those two color
spaces can look flat when you put it on
| | 04:45 |
the web.
So I'm going to chose sRGB, when I'm
| | 04:49 |
exporting a photo for online use.
That brings us to the image sizing section.
| | 04:54 |
Here, I can restrict the size of the
exported photos if I've chosen JPEG,
| | 04:58 |
TIFF, or PSD as the export format.
To do that, I'll check resize to fit, and
| | 05:04 |
then I can choose from the options in
this menu.
| | 05:06 |
I'm going to choose long edge and I'm
going to specify a size in pixels.
| | 05:11 |
I'll type 400 here.
And I'll make sure that this menu is set
| | 05:14 |
to pixels because I'm preparing these
photos for the web.
| | 05:18 |
If I were preparing photos for print,
then I could choose inches here.
| | 05:21 |
But I'll go with pixels.
And the long edge choice guarantees that
| | 05:25 |
whether I'm exporting a landscape or
portrait orientation photo, its longest
| | 05:29 |
edge won't be longer than 400 pixels.
And it'll have the same aspect ration of
| | 05:34 |
width to height as my original.
If I happen to be exporting some really
| | 05:38 |
small files, maybe some thumbnails to
start with, I would check Don't Enlarge.
| | 05:43 |
So that they wouldn't be enlarged to 400
pixels, but I'll leave that unchecked
| | 05:47 |
because I'm starting with large DNG RAW
files here.
| | 05:51 |
Now because I'm exporting images that I'm
sizing in pixels.
| | 05:54 |
It doesn't matter what's in the
resolution field here.
| | 05:57 |
Because here, resolution refers to the
number of pixels per inch.
| | 06:01 |
That would be allocated if this photo
were going to print.
| | 06:04 |
So if I were going to print this photo on
my desktop Ink Jet printer.
| | 06:07 |
I might type 300 pixels per inch here.
Since it's going to the web it really
| | 06:11 |
doesn't matter what's here.
I'll just leave it at it's default.
| | 06:14 |
Now I'll come down to the output
sharpening field.
| | 06:17 |
Almost every photo can benefit from a
little sharpening, before output.
| | 06:21 |
Output sharpening is in addition to any
sharpening you've already done, back in
| | 06:25 |
the detail panel in the develop module.
So, you don't want to have gone too far
| | 06:29 |
with sharpening there.
The amount of sharpening that's applied
| | 06:32 |
upon an output, depends on the size of
the file, and it's destination.
| | 06:37 |
So I'll check sharpen for and then I'll
specify what I'm going to use this file for.
| | 06:41 |
I'm putting it on the web, so the answer
is screen.
| | 06:44 |
If I were printing, I would choose either
matte paper or a glossy paper.
| | 06:48 |
And I'll leave the amount of sharpening
set to standard.
| | 06:51 |
Then I'll scroll down more.
And here, I can specify the amount of
| | 06:55 |
metadata to include in the exported
copies.
| | 06:57 |
I can choose between all meta data, a
smaller sub set of meta data, copyright
| | 07:02 |
and contact information only or copyright
only.
| | 07:05 |
I'll go with copyright only.
And that will embed copyrights in the
| | 07:09 |
files but keep in mind that that doesn't
print copyright information on the
| | 07:13 |
surface of the photos.
If I want to do that, then I'll come down
| | 07:17 |
to the watermarking section and check
watermark.
| | 07:20 |
And if I leave that set to simple
copyright watermark, Lightroom will add
| | 07:25 |
on the surface of each exported photo a
copyright symbol and my name.
| | 07:29 |
If I want a more elaborate watermark, I
can come to this menu and choose Edit Watermarks.
| | 07:33 |
And that will open a large dialogue box
where I can create my own custom
| | 07:37 |
watermark that will appear on the surface
of every exported photo.
| | 07:41 |
Now come down to post processing and here
I'll tell like what I want it to do when
| | 07:45 |
its finished exporting this photos.
I'd like to see the exported photos in
| | 07:49 |
the finder so I'll choose Show in Finder.
Now if I thought I might want to apply
| | 07:54 |
all these settings to other photos in the
future and not have to go through all
| | 07:58 |
these sections one by one.
I might save this combination of settings
| | 08:02 |
as a preset.
To do that I click the Add button.
| | 08:05 |
I'll give my new preset a name.
I'll call this website photo's.
| | 08:10 |
And I'm going to store this in my user
presets.
| | 08:13 |
And I'll click Create.
And here you can see my new user preset.
| | 08:16 |
And next time I want to apply this, I can
do that from here inside the Export
| | 08:21 |
window or from the File menu.
Now that I've set all these options, I'm
| | 08:25 |
going to come down and click the Export
button.
| | 08:28 |
Here you can see a progress bar that
tells me that Lightroom is exporting
| | 08:32 |
those photos.
And applying all the settings that I
| | 08:34 |
chose to the exported copies.
When the export is finished, Lightroom
| | 08:39 |
opened my finder window, so that I can
see the exported copies of these photos.
| | 08:43 |
With the format, the naming convention,
and the size that I specified in the
| | 08:48 |
export dialogue box.
Back in Lightroom, you can see my
| | 08:52 |
original photos here, and here, my new
folders of the exported copies of those photos.
| | 08:58 |
In the future, if I wanted other copies
of my originals in a different format, or
| | 09:02 |
with different names.
I would just come back to my folder and
| | 09:05 |
export these again, with different
settings.
| | 09:08 |
So that's how you can get copies of your
processed files out of Lightroom.
| | 09:12 |
Now, you may think of the Export command
as a sort of Save as command.
| | 09:15 |
Because this is a way that you can get
copies of your processed files out of
| | 09:19 |
white room, for use elsewhere.
| | 09:21 |
| | Collapse this transcript |
| Setting up a connection to Facebook| 00:00 |
You can share photos and video clips from
Lightroom directly to Facebook and other
| | 00:04 |
social media sites online.
The first step in sharing to Facebook is
| | 00:08 |
to set up the connection between
Lightroom and Facebook.
| | 00:11 |
I'll show you how that's done at the time
that I'm recording this movie, although
| | 00:14 |
the details of this process could change
in the future.
| | 00:17 |
The general approach that I show you here
should work for you.
| | 00:19 |
I'll start here in the publish Services
panel in the column on the left of the
| | 00:24 |
Library module.
I'll click the Facebook connection Set Up
| | 00:27 |
button and that opens the Lightroom
Publishing Manager.
| | 00:30 |
Where I'll fill in the fields over here
for the Facebook account.
| | 00:34 |
I'll start at the top in the Publish
Service section and I'll type a
| | 00:37 |
description for this particular publish
service.
| | 00:39 |
Because you can have more than one
Publish Service.
| | 00:41 |
So, I'm going to type lr5 to fb for
Lightroom 5 to Facebook.
| | 00:47 |
Then, I'll go to the Facebook account
section, and I'll click on the Authorize
| | 00:51 |
on Facebook button to set up the
connection between lightroom and Facebook.
| | 00:56 |
I'll click OK, and that launches my
default web browser where I log into Facebook.
| | 01:03 |
On the next screen, I'll click the
Connect button.
| | 01:06 |
If you see another connect button you can
click that one too.
| | 01:08 |
Otherwise just continue through the
prompts.
| | 01:12 |
And now I have a message that the
connection is successful and I can return
| | 01:16 |
to my device, which in this case means
Lightroom.
| | 01:18 |
Back in Lightroom, the Lightroom
Publishing Manager is still open.
| | 01:22 |
And here I'll continue to fill out the
fields choosing paramenters for the way
| | 01:27 |
that I'm going to be uploading photos to
my Facebook acoount.
| | 01:30 |
And the Facebook Album section, if you
already have some albums set up in your
| | 01:34 |
Facebook account, as I do.
You can choose one of those albums from
| | 01:37 |
this menu.
Or you can click, Create a New Album,
| | 01:40 |
let's do that.
I'll create a new Album for photos from Belgium.
| | 01:45 |
There are some other fields that you can
fill in at your option.
| | 01:48 |
You can also set the Privacy settings for
this Album.
| | 01:51 |
So if I want only my friends to see these
photos, I can choose Friends Only, for example.
| | 01:56 |
And I'll click OK.
In the next section I can choose the
| | 02:00 |
title that will appear on each photo that
I upload to Facebook.
| | 02:03 |
I'm going to change that to File Name,
which will be taken automatically from
| | 02:07 |
the Metadata for each photo.
And here I can choose what I want to
| | 02:10 |
happen if and when I update photos that
I've already uploaded to Facebook.
| | 02:15 |
I'll leave that at it's default, too.
Then I'm going to scroll down.
| | 02:18 |
And in the file naming section, I have
the option to change the name of the
| | 02:22 |
photos that are being uploaded to
Facebook.
| | 02:25 |
If I check this box, then I can click
this menu and choose from these various
| | 02:29 |
file naming conventions that we've seen
in other places in Lightroom earlier in
| | 02:33 |
the course.
Like the Export window and Lightroom's
| | 02:37 |
Rename command.
If I'm going to change file names, then
| | 02:39 |
I'm going to keep the original file
number in the new name.
| | 02:42 |
So I might chose this file name
convention, for example.
| | 02:46 |
Custom Name plus Original File Number.
And then here in the Custom Text field,
| | 02:51 |
I'll type some text that will appear in
every file name before the file number.
| | 02:54 |
So I'll type fb for Facebook.
And here I can see an example of how my
| | 03:00 |
files will be named.
If I'm planning on uploading video clips,
| | 03:03 |
I'll make sure to keep, include video
files checked, and I'll leave the video
| | 03:07 |
format at h.264 and the quality edits
default.
| | 03:12 |
If you want your video files to be
smaller, you can choose a lesser video
| | 03:15 |
quality from this menu.
I'll scroll down and notice that in the
| | 03:19 |
File Settings section, Image Format is
grayed out.
| | 03:22 |
That's because all photos on Facebook are
JPEGs, so I can't choose a different file
| | 03:27 |
format, but I can start with a different
file format in Lightroom.
| | 03:30 |
For example, I can upload a raw file from
Lightroom and it will be automatically
| | 03:34 |
converted to a JPG.
Here I can choose the Compression Quality.
| | 03:39 |
If I want my file sizes to be smaller, I
can lower that quality.
| | 03:42 |
But the lower the quality, the more the
risk of downgrading the appearance of the files.
| | 03:48 |
So I wouldn't make quality too much less
than the default.
| | 03:51 |
An here I can choose to limit the total
file size of the files.
| | 03:54 |
You may want to check Facebook's help
files at the time that you're uploading
| | 03:58 |
photos, to see if there are any
limitations to file size.
| | 04:01 |
I'm just going to leave that unchecked
for now.
| | 04:03 |
And then, in the next section, I can
specify the maximum dimensions of the
| | 04:07 |
photos that I'm uploading to Facebook.
Again, you may want to look at Facebook's
| | 04:12 |
Help file at the time you're uploading to
see what the limits are on file size.
| | 04:16 |
I'll leave this set as you see it here
with long edge set to 960 pixels.
| | 04:21 |
And I will check don't enlarge in case
I'm uploading a really small photo, I
| | 04:26 |
don't want to enlarge it's dimensions.
Then I'll come down to Output Sharpening.
| | 04:30 |
Even if I've made changes in Lightroom's
Sharpen section of the Detail panel, I
| | 04:35 |
usually like to do Output Sharpening as
well.
| | 04:37 |
So I'll check Sharpen For and leave this
set to its default of Screen.
| | 04:42 |
And I'll leave the Amount set to the
default of Standard.
| | 04:45 |
I'll scroll down a bit more.
And here, I can specify how much Metadata
| | 04:49 |
I want included in the photos that I
upload to Facebook.
| | 04:52 |
If I leave this set to All Metadata or I
change it to All Except Camera And Camera
| | 04:57 |
Raw Info.
Then I have the option to remove any
| | 05:00 |
location information in the Metadata
which you might want to do for privacy reasons.
| | 05:04 |
But I'm actually going to upload with
less than all Metadata, I'm just going to
| | 05:09 |
go with Copyright Metadata Only.
To keep things small and simple.
| | 05:13 |
Finally, I can choose to include a
Watermark on top of each photo that I
| | 05:17 |
upload to Facebook.
I usually leave this unchecked, but, if
| | 05:21 |
you like you can check this and go with
the Simple Copyright Watermark.
| | 05:25 |
Or you can come to this menu and choose,
Edit Watermarks, and here you have lots
| | 05:29 |
of options for setting up whatever
watermark appearance you prefer.
| | 05:33 |
You can have a Text watermark, upload a
photo and have a Graphic watermark.
| | 05:38 |
And here you can see a preview of what
the watermark is going to look like.
| | 05:42 |
So this is what the Simple Watermark
would look like if I left it at that.
| | 05:46 |
I'm going to Cancel out of this and I
will leave that set to Simple Copyright
| | 05:49 |
Watermark for now.
So when I'm all done filling out the
| | 05:53 |
fields in the Lightroom Publishing
Manager.
| | 05:54 |
I'll click Save.
And that will close the publishing
| | 05:57 |
manager and over in the Publish Services
Panel, you can see the lr5 to facebook
| | 06:03 |
publishing service that I just sat up.
And beneath that, the name of the album
| | 06:07 |
or collection, that will contain the
photos that I upload from Lightroom to Facebook.
| | 06:12 |
Now that you know how to setup the
connection between Lightroom andFacebook.
| | 06:16 |
I'll walk you through the process of
uploading your photos, from inside
| | 06:19 |
Lightroom, to Facebook.
| | 06:22 |
| | Collapse this transcript |
| Sharing photos to Facebook| 00:00 |
Now that we've established a connection
between Facebook and Lightroom, and
| | 00:03 |
created this published service that's
going to upload photos from Lightroom to
| | 00:07 |
my Belgium album in Facebook.
Let's walk through the process of
| | 00:11 |
uploading photos from Lightroom to
Facebook.
| | 00:14 |
I have a folder of photos selected here,
I'm going to select a couple of those.
| | 00:18 |
I'll click on this one, and this one, and
then I'm going to drag those two photos
| | 00:23 |
from inside the image thumbnail of either
one on top of Belgium in the publish
| | 00:27 |
services panel.
Now, if I click on Belgium, you can see
| | 00:31 |
that those two photos are in a collection
called New Photos to Publish.
| | 00:35 |
They haven't yet been published to
Facebook.
| | 00:38 |
They are still here in my Lightroom
catalog in this virtual collection, and
| | 00:42 |
we talked about collections earlier as
well as physically in the original folder.
| | 00:47 |
I could continue to add more photos to
this folder over time, when I'm ready to
| | 00:51 |
publish, I will either click the Publish
button here or the Publish button down here.
| | 00:56 |
At the top of the library we can see a
progress bar, as Lightroom prepares these
| | 01:00 |
photos for uploading to Facebook with the
settings that I chose and Lightroom's
| | 01:04 |
publishing manager, and uploads those
photos.
| | 01:07 |
When it's done, you can see that the
title of the collection they're in has
| | 01:11 |
changed to Published Photos, and this
tells me that these photos have been
| | 01:15 |
published to Facebook.
Now let's go out to Facebook to see them there.
| | 01:19 |
Here in my web browser, I've logged into
my Facebook account.
| | 01:22 |
I'm going to click on my photos and my
albums, and here is my Belgium album.
| | 01:28 |
If I click on that, you can see the two
photos that were uploaded from Lightroom
| | 01:33 |
into this album on Facebook.
I'm going to select one of the photos
| | 01:37 |
here on Facebook to see a larger view of
it.
| | 01:40 |
Now, let's say that I'm someone else
viewing this photo for the first time and
| | 01:43 |
I like it.
So, I could click the Like button here
| | 01:46 |
and I could write a comment about the
photo here in Facebook.
| | 01:50 |
I'll type great color.
And I'll press Enter or Return on the keyboard.
| | 01:54 |
Now let's go back to Lightroom, because
what's really interesting is, that I'll
| | 01:58 |
be able to see that comment, when I'm
working on the photo in Lightroom.
| | 02:02 |
Here in Lightroom, I'll select that photo
of the cherries that I uploaded to Facebook.
| | 02:07 |
Notice that on the right there's a panel,
by default it's labeled no comments.
| | 02:11 |
If I click this Refresh button on that
panel, up here is a progress bar that
| | 02:15 |
tells me comments are being downloaded,
and if I expand that panel, I can
| | 02:21 |
actually see the comment that someone
left on Facebook.
| | 02:24 |
And I can see the Like count which is
keeping track of the like that was just
| | 02:28 |
given to that photo on Facebook.
And there's more, I can reply to this
| | 02:32 |
comment from right here in Lightroom.
And my reply will show up in Facebook.
| | 02:36 |
So if I click up here and I type thanks
and press Enter or Return.
| | 02:42 |
If I go back to Facebook, you can see my
reply here on the photo in Facebook.
| | 02:47 |
I'm going to close this large window in
Facebook to go back to my album and I'm
| | 02:52 |
going to go back to Lightroom one more
time.
| | 02:54 |
Now in Lightroom, I could add more photos
to this publish service.
| | 02:58 |
I can even change some photos that I've
already uploaded.
| | 03:01 |
So let's add one more photo by going to
this folder.
| | 03:05 |
I'll click on this photo and I'll drag it
onto Belgium in publish services.
| | 03:09 |
Then I'll click on Belgium.
I'm going to make my thumbnail smaller so
| | 03:13 |
you can see that I now have two
collections.
| | 03:16 |
This collection of published photos and
this collection of new photos waiting to
| | 03:20 |
be published.
Before I publish this new photo, I'm
| | 03:23 |
going to make a change to one of the
published photos.
| | 03:26 |
I'll click on that photo of the cherries
and I'll convert it to black and white.
| | 03:30 |
I can do that in the Develop module or I
can do that here in the Quick Develop
| | 03:33 |
panel in the Library module by clicking
this drop-down menu and choosing from one
| | 03:38 |
of the preset black and white
conversions.
| | 03:41 |
Now you can see there are three
collections of photos.
| | 03:44 |
Here's my published photo, the vertical.
Here's the modified version of that other
| | 03:49 |
photo that I'd already published, the
cherries.
| | 03:51 |
It's in a collection called Modified
Photos to Republish.
| | 03:55 |
And then there's that new photo of the
statue that I haven't published yet.
| | 03:58 |
But it's waiting to be published.
Let's see what happens when I click the
| | 04:02 |
publish button.
The progress bar tells me that photos are
| | 04:05 |
being uploaded.
There's a message here, which basically
| | 04:08 |
is saying that we can't get rid of the
old version of the cherry photo from
| | 04:12 |
Facebook, from here within Lightroom.
And that the new version, won't
| | 04:15 |
automatically have the Like an the
comments on it.
| | 04:18 |
That's okay.
I'm going to click upload anyway.
| | 04:20 |
When the upload is done, here we see
three photos in the published photos collection.
| | 04:25 |
Let's go out to Facebook and see what we
have there.
| | 04:28 |
In Facebook, I'm in my Belgium album.
I'm going to refresh this page in my web browser.
| | 04:34 |
And as you can see, there are now four
photos in my Belgium album on Facebook.
| | 04:39 |
The first two are those I originally
uploaded.
| | 04:42 |
And next to that is the new photo of the
statue that I just uploaded along with
| | 04:46 |
the modified version of the cherries.
If I click on the modified version of the
| | 04:49 |
cherries, you can see that it doesn't
have a Like, it doesn't have comments,
| | 04:53 |
but that first version of the cherries
photo, still has the comments and the Like.
| | 04:59 |
Now if I didn't want to have both this
original version of the cherries, and the
| | 05:02 |
modified version of the cherries, in my
Facebook album, I would have to delete
| | 05:06 |
the original from here inside Facebook.
So I'll go ahead and do that.
| | 05:10 |
Of course, I'll lose the Like and the
Comments when I do this.
| | 05:13 |
And now, my Facebook album matches my
published photos collection back in Lightroom.
| | 05:21 |
So that's how you can publish photos to
Facebook directly from Lightroom.
| | 05:24 |
You can also publish to other social
networks from Lightroom.
| | 05:27 |
Here you can see in the Publish Services
panel, you can publish to Behance, and to Flickr.
| | 05:32 |
And if you click this button, find more
services online that will take you to
| | 05:36 |
Adobe's website, where you can download
other plugins, for publishing directly
| | 05:41 |
from Lightroom to services online.
| | 05:43 |
| | Collapse this transcript |
| Printing photos| 00:00 |
There are several ways that you can print
photos that you've edited in Lightroom.
| | 00:04 |
You can use Lightroom's Print Module,
which we'll look at in this movie, where
| | 00:07 |
you have complete control over the Print
Layout style.
| | 00:10 |
From there, you can can send your photos
in their print layouts to your desktop
| | 00:13 |
printer, or you can create JPGs to send
to a print service bureau for printing.
| | 00:17 |
Another way to print is to export an
edited photo, as I showed you how to do
| | 00:22 |
earlier when we were talking about
exporting.
| | 00:24 |
And then, you could use that exported
photo to print from another program like Photoshop.
| | 00:28 |
Now, before we get started looking at the
details of the Print Module, a caveat.
| | 00:34 |
The Print settings that you'll see on
your computer may look different than
| | 00:37 |
those you see here on my computer, and
that's because print setting depend on a
| | 00:41 |
number of variables.
Including what platform you're using, Mac
| | 00:45 |
or Windows; what operating system you're
using on that platform; what brand
| | 00:49 |
printer you have; and what printer
drivers you have.
| | 00:52 |
So, although your settings may look
different than mine, you can apply the
| | 00:55 |
general principles that I'll share with
you here.
| | 00:58 |
I usually start my print work flow in the
library module, selecting a source of photos.
| | 01:03 |
That could be all the photographs in my
catalogue.
| | 01:05 |
It could be a collection of photos that
I've pulled together from various
| | 01:08 |
folders, or it can be a folder, here in
the Folders panel.
| | 01:12 |
So I've selected this folder.
And I'm going to take these photos into
| | 01:16 |
the Print module by going up to the
module picker at the top of the screen,
| | 01:19 |
and if your's isn't showing, click the
top bar in the Library module.
| | 01:23 |
And there, I'll go over and click on the
Print module label.
| | 01:27 |
You can see that the Print module is set
up a lot like the Library module.
| | 01:30 |
There are panels of controls on the right
and on the left, and in the center is a
| | 01:35 |
preview window; under that is a tool bar
and under that is a filmstrip.
| | 01:39 |
If your filmstrip isn't showing, then
click the bar at the bottom of your Print
| | 01:44 |
module to bring it up.
A good place to start in the Print module
| | 01:48 |
is to choose the paper size and
orientation in which you're going to
| | 01:51 |
print, which is represented by this white
rectangle in the Print Preview area.
| | 01:55 |
To access your page orientation and size
settings, go to the Page Set-up button at
| | 02:00 |
the bottom of the column on the left.
Here, I can choose the paper size, and I
| | 02:05 |
can set this to Portrait Orientation or
Landscape Orientation.
| | 02:09 |
I'm going to go with portrait.
Now, this is one of the places where what
| | 02:12 |
you see in Windows is going to look quite
different.
| | 02:15 |
Your Page Set-up window will probably
have a different layout and different
| | 02:18 |
settings than you see here.
If you don't see settings for paper size
| | 02:22 |
and orientation but you do have a
Properties button there, click the
| | 02:25 |
Properties button and then try to find
your paper size and orientation settings,
| | 02:29 |
and choose the ones you want there.
I'm going to close this Dialogue box by
| | 02:34 |
clicking OK.
Next, if I wanted to create a page layout
| | 02:37 |
from scratch, I would come over to the
column on the right and start working my
| | 02:41 |
way through the many panels and settings
found over here.
| | 02:44 |
But there are so many Options here, that
I think is easier and more efficient to
| | 02:49 |
start with one of the many templates that
come with the Print module.
| | 02:52 |
And those are located over here in the
Template browser.
| | 02:55 |
As I hover over different templates in
this list, keep your eye on the Preview
| | 02:59 |
panel above, and you'll see a preview of
what each template looks like.
| | 03:03 |
If I click on a template like this one or
this one, it changes the appearance of
| | 03:09 |
the print preview.
And over here in the Layout Style panel,
| | 03:12 |
I can see what kind of a template this
is.
| | 03:14 |
So this happens to be a single image
template, which means that I'll get a
| | 03:18 |
single image from among those in my
filmstrip, each printed on a separate page.
| | 03:22 |
And if I use this arrow on the toolbar to
cycle through these photos, you can see
| | 03:27 |
how each is going to print.
Now, if I didn't want to print all five
| | 03:31 |
of these, I could just select the one or
the ones that I do want to print and
| | 03:35 |
change the Use menu in the toolbar to
Selected Photos.
| | 03:38 |
Nnd now I'll only get this one photo
printed on one page.
| | 03:42 |
There are other kinds of templates, too.
If I click on this template for example,
| | 03:46 |
I get a picture package style template,
which gives me the same photo, printed in
| | 03:51 |
multiple sizes, on a single page.
And, if I scroll down in the Template
| | 03:55 |
browser, and go to one of the contact
sheet templates, I get a traditional
| | 04:00 |
contact sheet.
Now, in this case I'm going to use all of
| | 04:03 |
the film strip photos, by changing the
Use menu in the toolbar, so you can start
| | 04:07 |
to see what a contact sheet would look
like.
| | 04:10 |
That isn't the only kind of contact
sheet, though.
| | 04:12 |
This is also a contact sheet, it just has
different size cells.
| | 04:16 |
And this is a contact sheet too.
Now let's scroll down in the Template
| | 04:20 |
browser, to take a look at another kind
of page layout.
| | 04:23 |
One of these Custom page layouts.
I'll go with this Custom Overlap times three.
| | 04:28 |
And what you'll see is, when I go to this
kind of layout, the Custom Package
| | 04:32 |
layout, that no photos show up in the
print preview.
| | 04:34 |
That's because the Custom packages offer
place holders into which you have to drag photos.
| | 04:40 |
So I'll go down to my filmstrip.
I'm going to deselect all the photos by
| | 04:44 |
clicking in a blank area there, and then
I'll select one of these photos and I'll
| | 04:48 |
drag it up and into a placeholder.
And I'll take another photo for this
| | 04:52 |
place holder and another one here.
There is even a place holder into which I
| | 04:55 |
could put a photo behind all of these,
but I think that's to much pattern for
| | 04:59 |
these particular photos.
There is a lot you can do to customize
| | 05:03 |
any of these templates, and the Options
that you have over in the columns on the
| | 05:06 |
right, depend on what kind of template
you're working with.
| | 05:10 |
So, these happen to be the Options that I
get when I'm working with a Custom
| | 05:13 |
Package template.
It's just an example of the kinds of
| | 05:16 |
settings that you can vary.
Here, I could check Photo Border to add a
| | 05:21 |
border around all of my photos, and I can
change the width of that border.
| | 05:24 |
If I want to add an inner stroke, a
stroke right against the photos.
| | 05:29 |
I could check inner stroke.
I could change the color of the inner stroke.
| | 05:33 |
I'll get a black inner stroke, and I
could change the width of that inner
| | 05:37 |
stroke too.
So, it could be wide like this or narrow
| | 05:40 |
like this.
And there are many other Options, that I
| | 05:43 |
have access to as I work my way down
through these panels.
| | 05:47 |
An these Options are different depending
on which kind of template you're working with.
| | 05:50 |
So I'm not going to go through each of
these with you; I'll let you experiment
| | 05:54 |
with them.
I do want to show you that you can also
| | 05:56 |
make changes to a Custom package here in
the Print preview.
| | 06:00 |
So, let's say I want to make this
selected place holder and this photo larger.
| | 06:04 |
I'll hold the Shift key and I'll click on
one of the corner anchor points, and I'll
| | 06:08 |
drag to make that photo larger.
And maybe I'll make this photo smaller,
| | 06:11 |
selecting it and then dragging down.
I can also change the position of each
| | 06:16 |
placeholder and it's photo by clicking
inside of the placeholder and dragging.
| | 06:21 |
And I can change the arrangement of the
placeholders and their photos from front
| | 06:25 |
to back.
So, if I wanted to bring this placeholder
| | 06:28 |
forward, then I would right click and
choose Send Forwards.
| | 06:33 |
So, there's a lot you can do to customize
these layouts.
| | 06:36 |
When you are done getting your layout
just the way you want it, then go over to
| | 06:40 |
the column on the right and scroll down
to the Print Job panel.
| | 06:44 |
In the Print Job panel, if you're
printing to your own desktop printer,
| | 06:47 |
then leave the print to field set to
printer.
| | 06:49 |
JPG is for if you're going to send your
photo and its layout to a print service
| | 06:54 |
bureau for printing.
Make sure to set the print resolution to
| | 06:58 |
the appropriate number for your
particular printer.
| | 07:01 |
Most desktop inkjet printers do well with
a print resolution of 300 pixels per
| | 07:06 |
inch, so you can come in here and type
300.
| | 07:09 |
Many photos can benefit from a little
sharpening when they go to print.
| | 07:12 |
So, I usually will go to the Print
Sharpening area and change it to standard.
| | 07:17 |
And, after I print, if I find that that's
too much or too little sharpening, I can
| | 07:21 |
change this setting and print again.
The amount of sharpening depends on the
| | 07:25 |
kind of paper you're printing to.
So from here, choose Matte or Glossy,
| | 07:29 |
depending on your paper type.
Next, I'm going to go down to the color
| | 07:33 |
management area.
I'm going to click Manage By Printer and
| | 07:37 |
go to other, and that opens this Choose
Profiles dialogue box.
| | 07:41 |
Now, in my case, I happen to have
installed some profiles that represent
| | 07:46 |
the particular printer I'm using, the
apps in Artisan, the ink set and the kind
| | 07:51 |
of paper that I'll be using for this
print job.
| | 07:53 |
So, I can choose that here and then click
OK.
| | 07:56 |
But, if you haven't installed printer
profiles, and sometimes they are
| | 08:00 |
installed with your printer driver.
Or, if you don't really understand what
| | 08:04 |
printer profiles do, then I suggest that
you leave this set to Manage By Printer.
| | 08:08 |
And in that case, the color management
settings in you printer driver will
| | 08:13 |
control color management.
If you do choose a particular printer
| | 08:16 |
profile as I've done here, then you
want to be sure to go into your printer
| | 08:20 |
driver settings and turn off color
management there, or your printer driver
| | 08:25 |
colors management might compete with the
color management settings in Lightroom.
| | 08:29 |
You also have the Option to set the
rendering intent here, which controls the
| | 08:32 |
way that colors outside the color space
will be handled.
| | 08:36 |
In most cases, you can just leave this at
its default.
| | 08:39 |
Now, if you find that all of the prints
from your printer are coming out too
| | 08:42 |
bright or too dark, or have too much or
too little contrast, then you can turn on
| | 08:47 |
this check box, and you can adjust the
brightness and contrast to taste.
| | 08:51 |
I usually leave this off, at least for
the first print.
| | 08:55 |
So, now I'm done setting up my layout and
my print Options, and I'm ready to print.
| | 08:59 |
I'll come down and click the Print button
here to make that happen.
| | 09:03 |
So that's a general approach to printing
directly from Lightroom.
| | 09:07 |
Do take some time to explore the many
options here and in your Printer Driver settings.
| | 09:11 |
| | Collapse this transcript |
|
|
ConclusionNext steps| 00:00 |
Thanks for joining me for Up and Running
with Lightroom 5.
| | 00:03 |
In this stream line course I've focused
on what I'll think you'll use most in
| | 00:07 |
Lightroom 5.
Once you've got these basics under your
| | 00:10 |
belt, you can start experimenting with
some of he other modules in Lightroom 5.
| | 00:14 |
The Matt module, the Book module, the
Slideshow module, and the Web module.
| | 00:18 |
And you'll find lots of information in
the other Lightroom courses that you'll
| | 00:22 |
find here in the lynda.com training
library.
| | 00:25 |
| | Collapse this transcript |
|
|
