IntroductionWelcome| 00:04 | Hi, I'm Jan Kabili and this is
Up and Running with Photoshop Lightroom 4.
| | 00:09 | This streamline course zeros in on
what every photographer, hobbyist or pro
| | 00:14 | needs to know to get started using
Lightroom 4 to edit, organize and share
| | 00:19 | photographs and video clips.
| | 00:21 | In this course I'll focus on core tasks,
starting with how to import your photos
| | 00:26 | into Lightroom's library.
| | 00:28 | Then I'll show you practical
techniques for organizing your growing
| | 00:31 | Photo Library so that you can
quickly find particular photos later.
| | 00:35 | Next, we'll turn to the Develop module,
the heart of Lightroom where I'll walk
| | 00:39 | you through a straightforward workflow
for editing your photographs using the
| | 00:42 | Global Controls in the Basic Panel.
| | 00:45 | We'll talk about setting white balance,
bringing detail back into highlights and
| | 00:49 | shadows and making colors pop.
| | 00:51 | I'll show you how to correct part of a
photo with the powerful adjustment brush
| | 00:55 | and graduated filters.
| | 00:57 | I'll even cover how to correct and
trim video clips right here in Lightroom.
| | 01:02 | We'll finish the course with a look
at popular ways to share your work
| | 01:05 | directly from Lightroom including
emailing, uploading to Facebook,
| | 01:10 | printing and creating stunning professionally
printed books to show off your best photos.
| | 01:15 | This course is designed to get you up
and running with Lightroom 4 with the
| | 01:18 | minimum of time and effort on your part.
| | 01:21 | So let's jump right in and get started.
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| What is Lightroom used for?| 00:00 | Everyone who takes photos professionally
or personally, is involved in an
| | 00:04 | unprecedented sea change, the mass
transition to digital photography.
| | 00:09 | That shift has changed not only the way
we shoot photos and videos but just as
| | 00:14 | importantly, the production tasks that
we photographers now face after a shoot.
| | 00:19 | With the advent of digital, we now
need intuitive, quick-to-use controls for
| | 00:24 | processing our photos in our computers.
| | 00:26 | We need an efficient digital asset
management system to organize our large and
| | 00:31 | growing volume of digital photos and videos.
| | 00:34 | And we need ways to easily share our
photographic work online as well as in print.
| | 00:40 | Lightroom was designed to do all that
for photographers, to help us with
| | 00:44 | photo management, with processing and
with sharing, and depending on which
| | 00:49 | of those kinds of tasks you're doing,
you'll work in the corresponding module
| | 00:53 | or work area in Lightroom.
| | 00:55 | The modules are listed in the module
Picker which is at the top of Lightroom's
| | 00:59 | interface in every module.
| | 01:01 | The order of these modules roughly
corresponds to a typical photo production
| | 01:05 | workflow, so you just move
through them from left to right.
| | 01:07 | Now, let's dig a little deeper into how
Lightroom fits into a typical photo work
| | 01:12 | flow so you can understand what
you can accomplish in Lightroom.
| | 01:16 | Typically after a shoot, you'll start
in a library module where you'll import
| | 01:21 | photos from your camera's memory
card into Lightroom's catalog system.
| | 01:25 | You can also import and organize your
existing photos from your computer or from
| | 01:30 | any external drives on which you store them.
| | 01:32 | After you import photos into your computer,
you're probably be eager to review
| | 01:36 | those photos in the Library module,
evaluating and marking your picks and
| | 01:40 | rejects from a shoot.
| | 01:42 | It's a good idea to also apply keywords
and organize photos and videos into
| | 01:47 | collections right after a shoot so that
those management tasks don't become so
| | 01:51 | big that they're daunting.
| | 01:53 | After you perform some management tasks,
you'll process your pictures from a shoot
| | 01:57 | in the next module, the Develop module.
| | 02:00 | Here, you can crop and straighten photos.
| | 02:03 | You'll adjust color and tonal values
globally, and you'll fine-tune some of your
| | 02:07 | photos with selective corrections to local area.
| | 02:10 | You'll often finish processing with
Lightroom's powerful noise reduction and
| | 02:15 | sharpening controls.
| | 02:16 | Now that you finished organizing and
processing photos, all that's left to do
| | 02:20 | is to output them in ways that showcase
your work in the best possible light.
| | 02:25 | Lightroom offers lots of choices
for presenting and sharing your work.
| | 02:29 | You can use maps to display your work
by location, you can make photo books
| | 02:33 | that you order as professionally printed books
or that you save as PDF's for display online.
| | 02:39 | You can create a slideshow or a Web
gallery and you can share to social media
| | 02:43 | sites and by e-mail directly from Lightroom.
| | 02:46 | That gives you a sense of the many
things you can do with your photos and videos
| | 02:50 | in Lightroom 4. In the movies to
come will be diving into many of these
| | 02:53 | capabilities in more depth so stay tuned.
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1. Importing Photos and VideoWhat is a Lightroom catalog?| 00:00 | Under the hood, Lightroom
is a system of databases.
| | 00:03 | Those databases in
Lightroom are called catalogs.
| | 00:06 | Now I'm sure you don't want to hear about
databases, you're probably eager to jump
| | 00:10 | right in and start working with your
photos but it's important to take a minute
| | 00:13 | first to understand Lightroom's
catalog system because that has important
| | 00:18 | consequences for how you'll work
with your photos and videos inside of
| | 00:21 | Lightroom, as I'll explain in this movie.
| | 00:24 | Now, the idea of a
database can be hard to grasp.
| | 00:27 | So, you might think about the Lightroom
database by analogy to do something from
| | 00:31 | a simpler time, a card
catalog in a public library.
| | 00:34 | The card catalog has a record for each
book in the library and each record or card,
| | 00:39 | contains information about the book and
also the location of the book on the shelves.
| | 00:45 | The actual books of course are not in the
card catalog, they're out on the shelves.
| | 00:49 | The information on the card helps
locate the books no matter where they're
| | 00:53 | stored and helps the librarians
organize the large collection of books that
| | 00:57 | are on or off site.
| | 00:59 | Now by analogy to Lightroom,
Lightroom also has a library.
| | 01:03 | In fact, the first module here in
the module picker is called the Library.
| | 01:07 | And the Library module displays a catalog
of photos and videos that you've brought in.
| | 01:13 | Like the card catalog in the public library,
this catalog in Lightroom's library
| | 01:18 | doesn't contain your actual photos and videos.
| | 01:20 | Those remain wherever you've chosen
to store them, which might be on your
| | 01:24 | internal drive in your computer
or on one or more external drives.
| | 01:29 | What Lightroom's catalog does contain,
again, like the public library's card
| | 01:33 | catalog is number one, information
about your photos and videos and number two,
| | 01:38 | a link to the actual photo and video
files wherever you've chosen to store them,
| | 01:43 | on internal or external drives.
| | 01:46 | What kind of information about your photos
and videos does a Lightroom catalog contain?
| | 01:50 | Well, one thing it contains is a visual
representation of each photo and video.
| | 01:55 | You can see some of those previous
right here in the Library module.
| | 01:59 | These are the thumbnail-sized previews.
| | 02:01 | If I were to double-click on one
of these thumbnails, you can see a
| | 02:05 | higher-resolution preview.
| | 02:06 | But this is still isn't the real photo,
this is just the visual representation
| | 02:10 | of the actual photo.
| | 02:12 | Another kind of information about your
files here in the Lightroom catalog is
| | 02:16 | information you can see in the
Metadata panel over on the right.
| | 02:20 | I'm going to click the arrow to the right
of that panel to expand it and here you
| | 02:23 | can see some information that came with
the photo out of my digital camera; like
| | 02:28 | the capture date and if I scroll down,
the exposure settings that I used in my
| | 02:33 | camera. ASnd some of this information, is
information that I added in Lightroom.
| | 02:38 | For example, here is a copyright which I
added when I imported the photo as I'll
| | 02:43 | show you how to do in a coming movie.
| | 02:45 | I'm going to switch to another module, the
Develop module, to show you that there
| | 02:50 | is another kind of information included
in a Lightroom catalog. And that is all
| | 02:55 | develop settings that you applied to a
photo or to a video here in Lightroom, no
| | 02:59 | matter what I do to this photo here.
| | 03:01 | For example, if I come in and change
the color temperature, if I change the
| | 03:05 | exposure, if I change the contrast,
the highlights and so on, I am not
| | 03:10 | changing the actual photo.
| | 03:12 | All I'm doing is writing a set of
instructions about how the photo should look.
| | 03:16 | And those instructions are
kept in the Lightroom catalog.
| | 03:20 | The only time that these develop settings
are applied to a photo, is if I decide
| | 03:24 | to export a copy of the actual photo.
| | 03:26 | For example, maybe I want a copy of this
raw file to use on a website, so I would
| | 03:31 | have to export it as a JPEG.
| | 03:33 | And even then, the original photo
is not altered, just the copy is.
| | 03:37 | So this non-destructive processing is
one of the core strengths of Lightroom.
| | 03:41 | And it's a consequence of the fact that
Lightroom uses catalogs or databases as
| | 03:46 | its underlying structure.
| | 03:47 | Now, I mention that in addition to
information about a file, there is also is a
| | 03:51 | link between each file
and your Lightroom catalog.
| | 03:54 | A few things to know about that link;
first, that link is established when you
| | 03:59 | import files into Lightroom.
| | 04:01 | I think that import, although it's the
official term for bringing files into
| | 04:04 | Lightroom, is kind of an unfortunate
word because you're not actually importing
| | 04:09 | physical files into the catalog.
| | 04:11 | As I've said, you're just
importing information about those files.
| | 04:14 | So, don't make the mistake of thinking
that you can throw away your actual
| | 04:18 | photos or videos because you've
somehow put them inside of Lightroom.
| | 04:22 | Again, all you have in Lightroom is
a link to the files wherever they live,
| | 04:26 | not the actual files.
| | 04:28 | Another thing about the link; once
you've established that link between
| | 04:30 | Lightroom's catalog and your files, you
want to be sure not to break it by moving
| | 04:35 | or renaming photos outside of Lightroom.
| | 04:38 | All of that work needs to
be done inside of Lightroom.
| | 04:41 | So if I go back to the Library module,
and I come down to the toolbar and click
| | 04:45 | on this Grid icon so that I can see
previews of all the photos in the catalog
| | 04:50 | and then I'm going to scroll down.
| | 04:52 | I'll click on this photo and notice
that it has a question mark on it.
| | 04:56 | That's because I renamed it outside
of Lightroom and so Lightroom doesn't
| | 05:00 | know where the file is.
| | 05:02 | Now if this does happen to you, don't panic.
| | 05:04 | Later in this chapter, there's a movie
in which I'll show you specifically how
| | 05:08 | to fix this problem of missing files.
| | 05:10 | But it's something you want to avoid.
| | 05:12 | One final thing to know about Lightroom catalogs
is that you can have more than one catalog.
| | 05:17 | I recommend that you try to stick with
one catalog keeping all your photos there.
| | 05:22 | Because one catalog is a lot easier to
manage and because Lightroom can display
| | 05:26 | and search only one catalog at a time.
| | 05:29 | Having said that, it sometimes makes
sense to have a catalog that's separate
| | 05:33 | from your main photo catalog.
| | 05:36 | One of those times is for this course.
| | 05:38 | Because you probably don't want to mix
the Exercise Files or if you don't have
| | 05:41 | those, you're in practice
files in with your personal photos.
| | 05:45 | I'm going to recommend that you do make a
separate catalog for just your exercise
| | 05:50 | or practice files, and I'll show you
how to do that in the very next movie.
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| Importing the exercise files| 00:00 | I prepared some Exercise Files to
illustrate the lessons in this course.
| | 00:04 | If you're a Premium Subscriber to the
lynda.com Online Training Library, you
| | 00:08 | have access to those Exercise Files.
| | 00:10 | If you don't have access to those
Exercise Files, don't worry you can use your
| | 00:14 | own photos and a couple of video clips to
follow along with all of the movies in this course.
| | 00:19 | In either case I suggest that you set
up a separate Lightroom catalog as I show
| | 00:24 | you how to do in this movie for the
photos that you're going to be using to work
| | 00:27 | through this course and that's whether
you're using the official Exercise Files
| | 00:31 | or your own practice files.
| | 00:33 | The reason I want you to have a separate
catalog is so that you don't mix your
| | 00:36 | Exercise Files or your own
practice files in with your personal work.
| | 00:40 | Having said that outside of this course,
I do recommend that you use one main
| | 00:44 | catalog for all your own photos.
| | 00:46 | But now let's talk about
how to use the Exercise Files.
| | 00:50 | Start by putting the Exercise
Files folder on your desktop.
| | 00:53 | I've opened my Exercise Files folder here on
my desktop so that you can see what it contains.
| | 00:58 | The exercise files folder is
divided into chapter folders.
| | 01:02 | And within each chapter folder,
there are some movie folders and within
| | 01:06 | the movie folders, there are files that
you'll see me using in that particular lesson.
| | 01:11 | Not all of the lessons have Exercise
Files so if there's a chapter or movie
| | 01:15 | missing here, that's by design.
| | 01:18 | If you haven't launched Lightroom 4 go
ahead and do that now so I can show you
| | 01:22 | how to bring the Exercise
Files into a Lightroom 4 catalog.
| | 01:26 | The first time that Lightroom 4 launches,
it creates a new catalog, a blank catalog
| | 01:30 | called Lightroom 4 Catalog.lrcat.
| | 01:35 | I don't think you should use this
catalog for your Exercise Files.
| | 01:38 | Instead, here's how to make a new
catalog for just the exercise files or
| | 01:43 | as I said, whatever practice files
you're using during this course.
| | 01:46 | I'll go to the File menu
and I'll choose New Catalog.
| | 01:50 | In the window that opens, navigate to
your desktop and then type a name
| | 01:55 | for your new Exercise Files catalog.
| | 01:57 | I'm going to call mine X files
and then I'll click Create.
| | 02:00 | And that creates a brand new blank
Exercise Files catalog re-launching Lightroom
| | 02:07 | to that catalog and you can see the
name of the catalog up here at the very top
| | 02:12 | of the Lightroom interface.
| | 02:13 | xfiles.lrcat, which is the name of
the database file that is the Lightroom
| | 02:19 | catalog as you learn more
about later in the course.
| | 02:22 | I deliberately had you put this catalog
in the same location as your actual
| | 02:26 | Exercise Files, the photos and videos
that you'll be bringing into this catalog
| | 02:31 | so that's the next step.
| | 02:33 | To bring those files into this catalog,
go up to the File menu and choose
| | 02:37 | Import Photos and Video.
| | 02:40 | That opens this Import window.
| | 02:42 | In the Import window, go to
the column labeled source.
| | 02:45 | If need be, click the arrows to the
left of the directories or folders here
| | 02:50 | until you get to a folder
that represents your desktop.
| | 02:53 | Click the arrow to the left of the desktop
folder and there you'll find two folders.
| | 02:57 | One is called X Files,
that's not the one you want.
| | 03:01 | That's the one that contains your catalog files.
| | 03:03 | Instead, look for the folder called
Exercise Files, click on that one.
| | 03:08 | As soon as you do in the main window,
you'll see all these thumbnails of photographs.
| | 03:12 | So if you don't see these here,
you've select the wrong folder.
| | 03:16 | There should be 122 photos in this folder as
reported here at the top of the Main window.
| | 03:21 | All of those will have a
check mark next to them.
| | 03:24 | Leave them checked and then go up to
the top of the Import window and make sure
| | 03:29 | that it is set to Add.
| | 03:30 | You don't want this set to Move
or Copy or anything else, just Add.
| | 03:35 | Then go over to the column on the
right and this will read To My Catalog.
| | 03:39 | Come down to the File Handling Section,
leave Render Preview set to Minimal
| | 03:45 | and then come down and it wouldn't hurt to
check, Don't Import Suspected Duplicates.
| | 03:49 | There aren't any in this folder but
just in case you have already imported
| | 03:52 | something, we don't want to
have two copies of the files.
| | 03:56 | Everything else should be left blank as you
see it here or set to None as you see it here.
| | 04:01 | And then finally, go all the way
down to the bottom of the column
| | 04:04 | on the right and click Import.
| | 04:05 | That will take you back into Lightroom
and you'll see a progress bar at the
| | 04:09 | top left as Lightroom brings all of the photos
and video clips into this Lightroom catalog.
| | 04:16 | At this point, you'll be in the Library module
and you'll be all set to start
| | 04:20 | using the exercise files to
work through this course with me.
| | 04:23 | So those are the mechanics of bringing
these Exercise Files into a Lightroom
| | 04:27 | catalog for use during this course.
| | 04:29 | This is similar to the process for
bringing your own personal files into
| | 04:33 | a Lightroom catalog which
you'll do outside of this course.
| | 04:36 | So I urge you to watch the next movies
in this chapter which explain
| | 04:40 | how to do that.
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| Organizing your existing files before importing| 00:00 | There are two sources of photos
that you might bring into Lightroom;
| | 00:03 | new items from your digital camera,
which I'll cover later in this chapter or
| | 00:07 | existing ones from a computer drive.
| | 00:09 | Let's talk about how to organize your
existing photos and videos on a drive for
| | 00:14 | import into Lightroom.
| | 00:15 | In this movie we're not going to be using
Exercise Files, instead I want to show you
| | 00:19 | how to bring files of your own into
your main Lightroom catalog when it's time
| | 00:24 | for you to do that with your personal photos.
| | 00:26 | Before you import anything into Lightroom,
I strongly suggest that you go out
| | 00:30 | to all of your various computer drives
and gather your photos, the photos that
| | 00:34 | you want to bring into Lightroom as well as your
video clips and put all of those into one folder.
| | 00:40 | You may not want to take the time to do that
now but believe me it will save you time later.
| | 00:45 | Because if the drive on which you put
that one single folder with all of your
| | 00:49 | assets gets full, you're going to have to
move those assets to another drive and
| | 00:53 | it's a lot easier to do when you're
using Lightroom if all those photos and
| | 00:57 | video files are in one single folder.
| | 01:00 | So here you can see that I have
made a single folder like that.
| | 01:03 | I call it Lightroom Photos Main,
you can call it whatever you want.
| | 01:07 | How you organize your photos
inside that one folder is up to you.
| | 01:10 | I found it helpful to organize them
by year and then inside of a year,
| | 01:15 | I organize with one sub-folder for every
shoot, which I named by the date and then
| | 01:20 | I usually add a word or two that
helps me remember what's in that folder.
| | 01:24 | It might be the location of the
shoot or the event or the people in it or
| | 01:28 | something that's meaningful to me.
| | 01:29 | Then inside of each of those shoot
folders are the actual files from that shoot.
| | 01:34 | For me, all of those are usually raw
files but I wanted to show you the various
| | 01:38 | kinds of formats that you
can import into Lightroom.
| | 01:41 | And those include TIFF, DNG which
is Adobe's universal raw format.
| | 01:46 | JPEG, PSD which is the Photoshop
document format and proprietary raw files like
| | 01:52 | these NEF files from my Nikon camera
and those usually come with what's called
| | 01:57 | sidecar files like this to
contain the Metadata for that raw file.
| | 02:01 | And you also can bring in
most formats of video clips.
| | 02:05 | So, I've got all my photos and
video assets tucked away inside my
| | 02:09 | Lightroom photos main folder.
| | 02:11 | The question is where to put that folder.
| | 02:14 | One solution is to put that folder with
all your assets in the same place as the
| | 02:19 | Lightroom catalog files.
| | 02:21 | When you first launch Lightroom, the
program makes these two Catalog files
| | 02:25 | inside of a folder that it calls
Lightroom and then it places inside the
| | 02:29 | Pictures folder in your Operating System.
| | 02:31 | If you're going to store your main folder,
the one I've called Lightroom Photos
| | 02:35 | Main that contains all your actual photo
and video files on your main computer,
| | 02:40 | then it makes sense to put that folder
along side this Lightroom folder that
| | 02:44 | contains your Catalog files. But if you
plan to shoot lots of photos and videos
| | 02:49 | and your computer drive doesn't have
a lot of free space on it then your
| | 02:53 | computer drive is going to
fill up sooner than you think.
| | 02:56 | At that point, you'll have to move your
folder of photos and videos to a larger
| | 03:01 | drive and if you have already imported
those items into Lightroom, that kind of
| | 03:05 | a move, while possible, can be challenging.
| | 03:08 | So, here's another solution to consider.
| | 03:11 | Before you import any of your photos
or videos into Lightroom, you might go
| | 03:14 | out and purchase a big external drive that
has as much storage spaces you can afford.
| | 03:19 | And put the folder containing all
your photos and videos on that drive
| | 03:24 | right from the start.
| | 03:25 | That will give you more room to grow
and you don't have to worry about moving
| | 03:29 | anything that you have already
imported to Lightroom for a while.
| | 03:32 | By the way, it's perfectly okay to
store your Lightroom Catalog files on your
| | 03:36 | main computer and store the folder with
your actual photos and videos on another drive.
| | 03:42 | Lightroom can keep track of your
photos and videos even in that case.
| | 03:46 | And even if that drive is offline,
Lightroom will still be able to display
| | 03:49 | the image previews.
| | 03:51 | Just make sure that you have that
external drive connected to your computer
| | 03:55 | if you want to process your files in Lightroom.
| | 03:58 | So, those are some ideas about how to
organize your existing photos and videos
| | 04:02 | before importing them into Lightroom.
| | 04:04 | In the very next movie, I'm
going to show you how to do that.
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| Importing from a drive| 00:00 | Let's walk through the steps for
importing into Lightroom existing photo and
| | 00:03 | video files that you've offloaded from
your camera or gotten from some other
| | 00:07 | source and are storing on a computer drive.
| | 00:10 | There are no exercise files for this
movie because I want to show you how to
| | 00:13 | import your own files into
Lightroom when you're ready to do that.
| | 00:17 | As I explained in the last movie, before
importing from a drive into Lightroom,
| | 00:21 | it's a good idea to organize all your
photos and video clips into subfolders
| | 00:26 | inside one top-level folder.
| | 00:28 | I did that in the folder I called
Lightroom Photos Main which I opted to put in
| | 00:32 | my pictures folder then I went
ahead and launched Lightroom 4.
| | 00:37 | When I launched Lightroom it opened the
last catalog that I had opened and that
| | 00:41 | was my Lightroom 4 catalog.
| | 00:43 | And I can confirm that, by looking at
the very top of Lightroom where it says,
| | 00:47 | Lightroom 4 Catalog.lrcat.
| | 00:50 | If you're following along and you see
something different there at the top of
| | 00:53 | Lightroom, you can get to your
Lightroom 4 catalog by going to the File menu
| | 00:58 | and choosing Open Catalog and
navigating to your Pictures folder into the
| | 01:02 | Lightroom folder and right to that
Lightroom 4 Catalog.lrcat file then Lightroom
| | 01:08 | will re-launch with your
Lightroom 4 catalog open.
| | 01:12 | My Lightroom 4 catalog is empty.
| | 01:14 | I want to bring in those photos and the
video that I showed you that are out on my
| | 01:19 | hard drive, so here's how to do that.
| | 01:21 | I'll go to the File menu and I'll
choose Import Photos and Video or you can
| | 01:25 | click the big Import button at
the bottom left of the interface.
| | 01:30 | That opens the Import dialog box.
| | 01:32 | Here, I'll start over on the left in
the Source panel and I'll navigate in this
| | 01:37 | list of folders to my Pictures folder
that contains that big single folder in
| | 01:42 | which I told you that I keep
my photos and video files.
| | 01:45 | Yours maybe named something different,
mine is named Lightroom Photos Main.
| | 01:50 | I'll select Lightroom Photos Main and
over here in the Image window, I see that
| | 01:55 | Lightroom isn't finding any photos there.
| | 01:57 | Well that's because, I haven't
told Lightroom to include Sub-folders.
| | 02:01 | So if that happens to you, then click
Include Sub-folders and then click Okay.
| | 02:06 | And then, you should see in this Main
window thumbnails of all the photos and
| | 02:11 | video files that are in that source folder.
| | 02:14 | By default, each of these thumbnails
is checked which means that I'll be
| | 02:17 | bringing all of them into Lightroom.
| | 02:19 | If there is a photo here that I don't want.
| | 02:22 | I might take a closer look at it by
selecting it and then clicking the Loupe View
| | 02:26 | icon and if I decide that I don't want it,
I'll just uncheck, Include and Import
| | 02:30 | and now I'll go back to Grid view.
| | 02:32 | And you can see that,
that thumbnail is unchecked.
| | 02:35 | Now this is really important.
| | 02:36 | Up at the top of the Import window I'm
going to tell Lightroom what I want it to
| | 02:40 | do with these photos.
| | 02:41 | Because I've already moved them into the
place where I want to store them,
| | 02:46 | there is no reason to move them again
or to copy them anywhere else.
| | 02:49 | What I want to do is leave them where they
are and just add information about them
| | 02:54 | to the Lightroom catalog and so
it's important that I choose Add here.
| | 02:58 | Over on the right, Lightroom is telling
me where it's going to put information
| | 03:01 | about these files and I don't have
any choice, it just says, To My Catalog
| | 03:06 | because I've chosen Add.
| | 03:08 | Next I'll go down through the panels
on the right. In the File Handling panel.
| | 03:12 | I'll specify the size of the previews
that I want Lightroom to create as it's
| | 03:17 | importing these files.
| | 03:18 | For the fastest import I'll choose Minimal.
| | 03:21 | That's particularly important if you're
importing lots of files because if you
| | 03:24 | have Lightroom render one-to-one previews
then the import can take really a lot
| | 03:28 | of time if you have a lot of files.
| | 03:30 | So I'll go with Minimal here and then
later when I actually use the files in
| | 03:34 | Lightroom I will have to wait a few
seconds while they render to larger previews
| | 03:39 | but that's okay I'd rather put the time in then.
| | 03:42 | I'll leave Don't Import Suspected
Duplicates checked if Lightroom found a file
| | 03:46 | with the same file name as another
file that I've already imported into the
| | 03:50 | same catalog, then that thumbnail would
be greyed out over here and I wouldn't
| | 03:54 | be able to import the file, so this is a
way to avoid getting duplicates in my catalog.
| | 03:59 | I'm not going to apply any Develop
settings or Metadata or keywords to these
| | 04:02 | files during import because in the
scenario that I gave you, I've gathered these
| | 04:07 | files from lots of different places
and they really don't have Develop
| | 04:11 | Metadata or Keyword setting in common.
| | 04:13 | Now that I'm done setting up the
way I'm going to import these files.
| | 04:17 | I may want to save all these settings as
a preset so that next time I can just
| | 04:21 | come down here and choose my preset.
| | 04:23 | You can see that I already have one preset made.
| | 04:26 | If I want to save these settings as a new
preset, I'd select Save Current Settings
| | 04:31 | as new preset from this menu and now
I'm ready to click the Import button and
| | 04:36 | Lightroom goes ahead importing
all of these photos into my catalog.
| | 04:40 | It just took a few seconds because I
don't have very many files and because
| | 04:44 | I ask for only minimal previews.
| | 04:46 | Lightroom switch me over to my Library
module, which displays a thumbnail of all
| | 04:51 | the imported files here.
| | 04:53 | And over on the left in the Folders
panel I can see my Lightroom photos
| | 04:57 | main folder and if I expand that
folder, my year folders, and the folders
| | 05:02 | for the individual shoots.
| | 05:04 | You may remember that I also
had a folder for the year 2009.
| | 05:07 | That doesn't appear here
because they weren't any photos in it.
| | 05:11 | So that's how to import into Lightroom.
| | 05:13 | Information about your photo and
video files that live on a computer drive.
| | 05:17 | You may have realized that this process
is a lot like the one I showed you for
| | 05:20 | importing the exercise files as
I explained in the last movie.
| | 05:23 | Importing from a camera or a camera
memory card is almost the same but with a
| | 05:28 | few tweaks as we'll see in the very next movie.
| | Collapse this transcript |
| Importing from a camera| 00:00 | Importing photos into Lightroom from a
camera's memory card is really similar to
| | 00:04 | importing photos that you're storing on
your drive, which I covered in the last
| | 00:08 | couple of movies. But there are a
couple of things that are different,
| | 00:10 | so let me walk you through this
process of importing photos from a
| | 00:14 | camera's memory card.
| | 00:15 | As soon as you plug a card reader
with a memory card into your computer,
| | 00:19 | Lightroom's Import window may pop up.
| | 00:21 | That doesn't always happen depending on
your memory card and your card reader.
| | 00:25 | So if it doesn't, then in Lightroom's
Library, go up to the File menu and choose
| | 00:30 | Import Photos and Videos and
that will open this Import window.
| | 00:34 | This is the same window
that we saw in the last movie.
| | 00:37 | I'll start working in this window
over on the left, choosing the source from
| | 00:40 | which I'm going to import these photos.
| | 00:42 | By default, Lightroom will recognize
the card reader and will choose that,
| | 00:46 | but if I happen to have more than one
similar device plugged into my computer, I
| | 00:51 | can choose among them from this menu.
| | 00:54 | The source will be highlighted here,
and I like to keep Eject After Import
| | 00:58 | checked so that after the import
process is done, Lightroom will
| | 01:02 | automatically eject my card so I don't
have to worry about disconnecting the
| | 01:06 | card reader and harming the card.
| | 01:07 | Here in the center of the Import window,
you can see thumbnails of all of the
| | 01:11 | photos and videos on the card.
| | 01:13 | I can view those in different ways.
| | 01:15 | This is the Grid view, and then there's
a Loupe view, which will allow me to zoom
| | 01:19 | in to see one photo larger.
| | 01:21 | Over here I can change the sort order
of the thumbnails, and here I can change
| | 01:26 | the size of the thumbnails.
| | 01:27 | Dragging to the right
makes them a little bit bigger.
| | 01:30 | And then I have a scrollbar so I can
scroll to see just the ones that I want.
| | 01:33 | Notice that most of these photos have a
check mark next to them. and that means
| | 01:37 | that they'll all come in when I import.
| | 01:39 | But often there are files that are
just mistakes, like these couple of blank
| | 01:43 | files here, so I may as well
uncheck those so they won't be imported.
| | 01:47 | There are times when you won't
want to bring all the photos of a card.
| | 01:50 | Maybe I just want to select a few to bring in.
| | 01:52 | In that case, I'll click the Uncheck
All button. And then I could just check a
| | 01:57 | couple of checkboxes to bring a few
photos in or--and this is more efficient--I
| | 02:02 | could select one of the photos that I
want and then if there are others next to
| | 02:06 | it that I want as well, I'll hold the
Shift key and click on one over here and
| | 02:10 | that selects all in between.
| | 02:11 | And then if I want to add some non-
adjacent photos to this selection, I'll
| | 02:15 | hold the Command key, that's the Control key
on Windows, and click on a few other photos.
| | 02:20 | So notice I'm not clicking on
check boxes; I'm selecting photos.
| | 02:24 | Now, if I click the check box on
any one of those, that checks all of the
| | 02:28 | other selected photos.
| | 02:29 | And I'll click on a different photo so
you can see that even though these aren't
| | 02:33 | selected, they are going to come in
because they have their boxes checked.
| | 02:37 | Now here's something that's different
than from bringing photos in from your
| | 02:41 | drive, and that is what you're going to
tell Lightroom to do with these photos.
| | 02:45 | When you bring photos off of a
camera's memory card, you're not only going to
| | 02:49 | import information about them into
Lightroom, as I showed you in the last
| | 02:53 | movie for photos on your drive; you're also
going to copy the photos off the memory card.
| | 02:59 | So here you don't have the option to
add, you don't have the option to move;
| | 03:03 | the only options you have are to copy
the files or at the same time you're
| | 03:07 | copying, convert them to the DNG format.
| | 03:10 | Well these are JPEGs so that's not really
relevant, so I'm just going to choose Copy here.
| | 03:14 | Next I'll come over to the column on
the right where I'll chose the destination
| | 03:18 | for the files on my hard drive.
| | 03:20 | You can see the default path to which
Lightroom is going to import these files,
| | 03:24 | and that is My Pictures folder.
| | 03:26 | I can get more specific about exactly
where the files are going to go by clicking
| | 03:30 | this double pointed arrow and from here,
I can choose other destination. And then
| | 03:35 | in my operating system window, I can
navigate to exactly the folder in which I
| | 03:39 | want to put these files.
| | 03:40 | As I explained in the last couple of
movies, I'm keeping all of my files, the
| | 03:44 | ones on my hard drive and now the ones
I'm importing from my camera, in a folder
| | 03:48 | that I call Lightroom Photos Main.
| | 03:51 | And I happen to be storing
that in My Pictures folder.
| | 03:53 | And inside that Lightroom Photos Main
folder, I have a subfolder for each year.
| | 03:59 | So I could select the year in
which these photos were taken.
| | 04:02 | This is a really old card that I
found in a drawer, and this photos were
| | 04:05 | actually taken in 2008.
| | 04:07 | So, I could select that and then click Choose.
| | 04:09 | And you can see that the path has changed.
| | 04:12 | If I scroll down to the Destination
panel, you can say exactly where the photos
| | 04:16 | are going to go: in the 2008 folder,
in My Lightroom Photos Main folder.
| | 04:22 | I can get even more granular though.
| | 04:24 | If I want to create a subfolder in
the 2008 folder at the same time that I'm
| | 04:29 | importing these files, I can do that.
| | 04:31 | And to do that, I would check into the
subfolder, I would enter a name for that
| | 04:35 | subfolder. And my name in convention is
to put the year first, then the month,
| | 04:41 | and then the day, and then to add
a word or two about the subject.
| | 04:45 | Now, this is important: you have an
option here to have Lightroom create
| | 04:49 | subfolders by date.
But that can get really confusing,
| | 04:52 | so I recommend against that and instead,
I'll set that organized to into one folder.
| | 04:57 | And now you can see down here in the
destination panel that Lightroom is going to
| | 05:00 | create a new subfolder for me inside
the 2008 folder called 2008-10-08 cars.
| | 05:08 | And this is the one where
these photos are going to land.
| | 05:10 | I'm going to scroll up to show you
a couple of more settings here.
| | 05:14 | As I explained in the last movie,
from the Render Previews Field, I'll
| | 05:18 | specify the kind of previews that I
want Lightroom to create for me as it's
| | 05:21 | importing these photos.
| | 05:23 | The fastest import choice here
is Minimal so I'll choose that.
| | 05:26 | And because I have Don't Import
Suspected Duplicates checked, this photo
| | 05:31 | right here is grayed out.
| | 05:33 | And so it won't be imported.
| | 05:34 | If I uncheck that, you can see that that
photo is available to be imported. But I
| | 05:38 | don't want duplicates of photos on
my catalog so I'll leave that checked.
| | 05:43 | If I have an external drive on which I
archive my original photos attached to my
| | 05:47 | computer, then it's a good idea to
have Lightroom automatically make a second
| | 05:52 | copy of all of my photos to that
external drive, And then I'll put that on the
| | 05:56 | shelf and I won't touch it and just in
case, I'll have another copy of all the
| | 06:00 | originals of my photos.
| | 06:02 | I don't like to change the
names of my photos at this stage.
| | 06:05 | I may do that later in the game, but
for now, I'll leave Rename Files unchecked.
| | 06:10 | But if you like to do that, you can
check here and then choose a file-naming
| | 06:14 | algorithm from this menu.
| | 06:19 | This panel, Apply During Import,
offers some options that you can apply to all
| | 06:23 | the photos that you're importing.
| | 06:24 | One of those is to apply developed presets.
| | 06:28 | The default here is None,
but sometimes you may want all the photos you're
| | 06:32 | importing to have a particular look.
| | 06:34 | For example, you may want them all to
be a particular flavor of black and white
| | 06:38 | or a particular kind of tone.
| | 06:40 | So in those cases, you might choose
a preset to apply to all the photos
| | 06:44 | that you're bringing in.
| | 06:45 | I'm going to choose None for now.
| | 06:47 | I am going to make a choice
from the Metadata panel.
| | 06:49 | I like to apply my copyright to all
photos when I import them into Lightroom and
| | 06:54 | then I don't have to worry about that later.
| | 06:56 | I'll click on this Metadata field to
do that, and here I have a preset for all
| | 07:00 | photos that I've shot in 2011,
but I don't have a preset for 2008.
| | 07:05 | This particular card is one I found in
a drawer and it's got really old photos
| | 07:09 | on it, so I want to apply my
copyright for the year 2008.
| | 07:13 | I'll make a new preset for that
purpose by choosing New. That opens the New
| | 07:18 | Metadata Preset window where I'm
going to type a title for this preset,
| | 07:24 | Kabili2008, and then I'll come down to
the Copyright section. Because these two
| | 07:28 | fields are activated from the last
preset that I made, you can see that the
| | 07:32 | headings are red over here.
| | 07:34 | In the Copyright section, I'm going to
hold down the Option key on my keyboard as
| | 07:38 | I press G and on the PC, I would
hold down the Alt key as I press on the
| | 07:43 | numeric keypad 0, 1, 6, 9.
| | 07:46 | And then I'll type Kabili and 2008.
| | 07:50 | And I'll change the
Copyright status to Copyrighted.
| | 07:52 | I'll scroll down and I'll type
my name in the Creator field.
| | 07:57 | There are other options I could fill out here.
| | 07:58 | For example, if I wanted to apply
captions to all these photos upon import, I
| | 08:03 | could include a caption in this preset,
but I like to keep this really general and
| | 08:07 | just limit it to copyright, so I'll click Create.
| | 08:10 | And now I have that metadata preset
that will be applied to all the photos I'm
| | 08:14 | importing now, and in the future I'll
be able to choose that same preset from
| | 08:19 | this menu if I happen to import
other photos that I shot in 2008.
| | 08:23 | Later in the course, we'll be talking
about keyword tags, which are subject
| | 08:27 | matter tags that you can apply to photos,
and then later you can search for those
| | 08:30 | photos via that keyword.
| | 08:32 | When I'm importing photos off a camera's
memory card, they're often of different
| | 08:36 | subjects so sometimes there just
aren't keywords that apply to all of them.
| | 08:40 | But in this case, I'm only importing
photos of cars, so I'll click here and I'll
| | 08:44 | type "cars" and press Enter or Return.
| | 08:47 | So, now I'm finished choosing all
the options with which I'm going to import
| | 08:51 | the photos off this camera memory card, and it's
time to come down and click the Import button.
| | 08:57 | That takes me back to Lightroom's
library, and up here is the progress bar as
| | 09:02 | Lightroom copies the photos from my
memory card into the destination on the
| | 09:05 | computer that I specified in the
Import window and brings information about
| | 09:09 | those files into my Lightroom catalog.
| | 09:12 | And now, down here in the Folders panel,
in the Library module, you can see where
| | 09:16 | all these photos are located, in
the sub-folder 2008-10-08 cars.
| | 09:22 | So that's a walkthrough of how to
import photos and video files from your
| | 09:26 | camera's memory card into Lightroom 4.
| | Collapse this transcript |
|
|
2. Managing Photos and Video in the Library ModuleTouring the Library module| 00:00 | The Library module is where you'll go to view,
organize and access your photos and videos.
| | 00:05 | Let's take a quick tour of the Library module.
| | 00:07 | Once you know how this module is laid
out, you won't have any trouble getting
| | 00:11 | around in the other modules because
they are laid out basically the same way.
| | 00:14 | Up at the top of the Library module, as
with all the modules, is the Module Picker.
| | 00:19 | To get to a different module you just
click on it here on the Module Picker and
| | 00:23 | if you want to remove some of these
modules because you don't use them for
| | 00:26 | example we're not going to use the
Map module in this course you can right
| | 00:30 | click in the Module Picker and toggle
off any of these modules and you can
| | 00:34 | bring them back the same way.
| | 00:36 | Notice in the title bar at the
top of my screen, I'm working in the
| | 00:40 | Exercise Files catalog.
| | 00:41 | And it says ex_files.lrcat there, that's
how you'll know which catalog you're in.
| | 00:47 | If you're following along with the
Exercise Files and it doesn't say that at the
| | 00:50 | top of your screen, then please go back
and listen to the movie about Exercise
| | 00:54 | Files in the last chapter so
that we're on the same page.
| | 00:57 | Now here are the main
elements of the Library interface.
| | 01:00 | In the middle of the library are
thumbnails that represent each of the photos
| | 01:04 | and videos that you brought into this catalog.
| | 01:07 | And over on the left and on
the right are columns of panels.
| | 01:11 | You'll use the panels on the right to
organize and get information about the
| | 01:16 | files in this catalog.
| | 01:18 | And the panels on the left, I think of
as the Source panels because they control
| | 01:22 | which thumbnails you'll
see here in the Image window.
| | 01:25 | For example, if I click the Title bar of
the Catalog panel, that opens that panel,
| | 01:30 | and if I click on all photographs here,
then in the Main window I see thumbnails
| | 01:35 | for all the photographs and videos that
I brought into this catalog. But if I go
| | 01:39 | down to the Folders panel which is also
a Source panel and click its Title bar
| | 01:44 | and then I'll click the triangles to the
left of each of the folders here, I can
| | 01:48 | see fewer photos in my Main window.
| | 01:50 | For example, if I click on this folder
in the Folders panel, I'll see just the
| | 01:54 | thumbnails of the items
in that particular folder.
| | 01:57 | There's also a Collection Source folder
and a Publish Services Source folder and
| | 02:02 | we'll be looking at those
in more detail in the course.
| | 02:04 | Then, down at the bottom of the screen,
if I move my mouse there, a filmstrip
| | 02:08 | pops up and the filmstrip is an
alternative place from which I can access the
| | 02:12 | thumbnails in the Source folder.
| | 02:13 | You'll find the same film strip in
other modules like the Develop module so
| | 02:17 | you can quickly access photos there without
having to come back to the Library module each time.
| | 02:23 | If I move my mouse off the film strip
it pops back down and I can see another
| | 02:27 | interface element, which is the Toolbar.
| | 02:29 | The Toolbar has a variety of tools that
you'll use to work with your photo thumbnails.
| | 02:34 | Like these different view icons
that we'll explore in the next movie.
| | 02:37 | And the Thumbnail Slider that you can
use to Zoom in or out on your thumbnails.
| | 02:42 | If I click the triangle on the far left
of the Toolbar, I can choose to Add or
| | 02:47 | Remove various tools from the Toolbar.
| | 02:51 | Finally, there is a Filter bar
which is another element of the Library.
| | 02:55 | I'll press the Backslash key on my
keyboard to bring up the Library Filter bar.
| | 03:00 | We'll be working with the Library Filter
later in this chapter to see how to use
| | 03:03 | it to find particular photos.
| | 03:05 | I'll press the Backslash key again
and that closes the Library Filter.
| | 03:10 | I'd like to leave you with some
practical tips for managing some of these
| | 03:13 | interface elements because there's so
much here that I think it can tend to be
| | 03:17 | cluttered, particularly if
you're working on a small monitor.
| | 03:21 | So one thing you can do is set up
your panels so that only one opens at a
| | 03:25 | time rather than having multiple panels open
and going all the way down in these columns.
| | 03:30 | To do that I'm going right-click on the
title bar of any of the panels in this
| | 03:34 | column and from the menu that
appears I'll choose Solo Mode.
| | 03:38 | And now when I click on title of
any panel, the other panels close.
| | 03:43 | And that neatens things up a bit and you
can do the same in the column on the right.
| | 03:48 | Another thing you can do is get control
over the columns on the left and right
| | 03:52 | when they appear and disappear.
| | 03:54 | If you've noticed that as you move your
mouse toward the edges of your screen,
| | 03:58 | those columns are popping in
and out, here's what to do.
| | 04:01 | Right-click on the far right and
choose from the menu that appears, Manual.
| | 04:07 | Now, this column on the right won't
pop out and pop in unless I tell it to by
| | 04:12 | clicking in the bar on the far right.
| | 04:13 | And you can do the same thing for the
column on the far left, and you can even
| | 04:19 | do it for the filmstrip at the bottom of the
screen, and for the wide bar at the top of the screen.
| | 04:26 | You also need to know a couple of
keyboard shortcuts to get some of these
| | 04:30 | interface elements out of the way.
| | 04:32 | So, if I want to make the columns in the
left and right disappear so that I can
| | 04:36 | see more of my photos, I'll just
press the Tab key on my keyboard like that
| | 04:41 | and if I also want the film strip and the bar
at the top to disappear, I'll press Shift+Tab.
| | 04:47 | And Shift+Tab again to bring everything back.
| | 04:50 | So, I hope those tips will make your
life a little easier when you're working
| | 04:54 | here in the Library module.
| | Collapse this transcript |
| Viewing and selecting photos and video| 00:00 | There are several ways to view
previews of your photos and videos
| | 00:03 | here in the Library module.
| | 00:05 | The two views that you'll use the most
are Grid view, which you see here,
| | 00:09 | and Loupe view, which is a single photo view,
both of which I'll cover in this movie.
| | 00:13 | Here in Grid view, I've closed the column on
the right so that we can see more thumbnails.
| | 00:18 | These thumbnails represent the
selected source in the column on the left.
| | 00:22 | That source could be all the photos in
the catalog or it could be a Collection,
| | 00:28 | a subject I cover in a later movie,
or most often it's a folder like the
| | 00:32 | one that I've selected here.
| | 00:34 | In Grid view, I can get a closer look
at these thumbnail previews by dragging
| | 00:38 | the Thumbnail slider over to the right.
But if what I really want to do is see a
| | 00:42 | large view of a single photo, then
it's best to switch to Loupe view.
| | 00:46 | To switch to Loupe view, I could come
over to the Loupe view icon here in the
| | 00:50 | Toolbar or I could press the keyboard
shortcut E for Loupe view or, and this
| | 00:55 | is what I do most often, I could come up to
the Grid and just double click on a thumbnail.
| | 01:00 | And that opens that photo into Loupe view,
at just the right magnification that
| | 01:04 | the whole thing fits in the Image window.
| | 01:07 | If I want to see the image at 1:1 view,
which means that one pixel of the image
| | 01:11 | will be displayed in one pixel of my screen,
then I'll click once on the image.
| | 01:17 | Now the image is too big to see the
whole thing in the Image window
| | 01:21 | so if I need to pen around to see another
part of the image, I'll just click-and-drag.
| | 01:26 | And if I click one more time,
that takes me back to Fit view.
| | 01:30 | If you prefer instead of all these
clicking to just use an icon to move between
| | 01:35 | the different views then you can come
over to the Navigator panel and click on
| | 01:38 | Fit View Here or 1:1 view here.
| | 01:43 | In Loupe view, I can move between
images by pressing the Right and Left
| | 01:47 | arrow keys on my keyboard or you can go down
to the filmstrip and select an image there.
| | 01:54 | Click on it and that image will
appear in the Image window in Loupe view.
| | 01:58 | If I want to see the file name or other
information about a photo in Loupe view,
| | 02:02 | I'll press I on my keyboard and that
brings up an overlay of information.
| | 02:06 | In this case the file name, the capture date
and time, and the size of the photo in pixels.
| | 02:11 | And if I click I one more time,
I'll get another batch of information.
| | 02:15 | These are the camera settings
with which this photo was shot.
| | 02:18 | And if I press I one more
time, that overlay goes away.
| | 02:22 | If I want to go back to Grid view now,
I could come down to the Toolbar and
| | 02:25 | click the Grid icon.
| | 02:27 | But more likely, I'm going to use the
keyboard shortcut G. This is another one
| | 02:31 | that's worth remembering even if
you're just getting up and running with
| | 02:34 | Lightroom because you'll use it so often.
| | 02:37 | So, that takes me back to Grid view and
by the way, pressing G will also get you
| | 02:41 | back to Grid view if
you're in the Develop module.
| | 02:44 | And that can come in handy because
say that you're in the Develop module,
| | 02:47 | working on an image, and the only other
photos you can access are those down in
| | 02:51 | the filmstrip that are from whatever source
folder you have selected over in the Library panel.
| | 02:57 | Well then, you'll have to come back to
the Library panel if you wanted to select
| | 03:00 | a different source folder.
| | 03:01 | So G will get you back here to Grid
view even if you're in the Develop module.
| | 03:06 | By default in Grid view, the thumbnails
are sorted by their capture time or date
| | 03:11 | but that's not the only way to sort them.
| | 03:13 | For one thing, you can reverse the
sort order by clicking this icon on the
| | 03:17 | Toolbar or you can click on the Sort menu
and you can choose a different sort parameter.
| | 03:22 | This is just one example, I can come
down here and choose the Sort By Aspect
| | 03:27 | Ratio and then I'm going to drag the
Thumbnail slider to the left so you can see
| | 03:31 | that all of my photos are now sorted by
whether they're portrait or vertical or
| | 03:36 | whether they are landscape or horizontal.
| | 03:38 | I'll change that back to
the default of capture time.
| | 03:41 | Notice too, that each thumbnail here is
surrounded by a cell and that there's
| | 03:46 | some information about the photo at the
top of the cell like the File name,
| | 03:50 | the size, the format, or other information.
| | 03:53 | The cells take up quite a bit of room
so if you do want to see the thumbnails
| | 03:57 | without that information, without
those cells, you can go up to the View menu
| | 04:01 | and come down to Grid View Style and
choose Compact Cells instead of Expanded
| | 04:06 | Cells and this is what you'll see.
| | 04:08 | I'm going to set that back to
it's default of expanded cells.
| | 04:13 | If you want to work with particular
photos in Lightroom, you often will select
| | 04:17 | them in Grid view so let
me show you how to select.
| | 04:20 | It's actually pretty intuitive.
| | 04:22 | To select a photo, you can click on it
and then if you use the Arrow keys on
| | 04:25 | your keyboard that will cycle you
through other photos in the Grid view
| | 04:29 | selecting one at a time.
| | 04:31 | If you want to select multiple photos,
then with one photo selected, hold the
| | 04:35 | Shift key and click on another photo and
that selects all adjacent photos in between.
| | 04:41 | If you want to select non-adjacent photos,
then hold down the Command key, that's
| | 04:45 | the Control key on the PC,
and select photos in the grid.
| | 04:49 | If you want to remove a photo from a
group selection like this, again hold the
| | 04:53 | Command key or the Control key on a
PC and click on a photo to remove it
| | 04:58 | from the selection.
| | 04:59 | And, if you want to deselect all the
photos you've selected then click on a
| | 05:03 | grey area of the grid.
| | 05:05 | So, that's a look at working in Grid
view and in Loupe view in the Library module.
| | 05:10 | In the next movie, I'll show you two
other views that you'll often use when
| | 05:14 | you're reviewing and rating photos and
those are Compare view and Survey view.
| | Collapse this transcript |
| Reviewing and rating items from a shoot| 00:00 | One of the first things you'll do after a
shoot is to review and evaluate your photos.
| | 00:04 | The Library module offers rating tools
along with a couple of special views;
| | 00:08 | compare view, and survey
view, to help you do that.
| | 00:11 | The trick is having a workflow
that uses those features well.
| | 00:14 | So, in this movie I'll walk
you through a suggested workflow.
| | 00:17 | The first thing I'll do is select a
photo here in Grid view and I'll take it
| | 00:21 | into Loupe view by double-clicking the photo.
| | 00:23 | I'll go through the photos
in Loupe view one by one.
| | 00:26 | Before I do, I want to press the Shift+Tab
key to make the columns and the bars
| | 00:31 | on the top go away so I have
more room to see the photos.
| | 00:34 | So, I'll evaluate this photo and I
don't think I really like this one.
| | 00:38 | So, I'm going to give it a Black flag.
| | 00:40 | This is just a marker, it's not deleting
the photo. And I can add a Black flag
| | 00:44 | from the toolbar at the bottom of the screen.
| | 00:47 | If you don't see any black flags there,
you can add those to the Toolbar
| | 00:51 | by going to this arrow and choosing To Add
Flagging and at the same time I'm going to
| | 00:56 | add Color labels because
I might use those later.
| | 00:59 | So, I've marked this photo but
you can't see the flag on the photo.
| | 01:03 | You will see it however,
when we go back to Grid View.
| | 01:05 | Now, I'll press the Left Arrow on my
keyboard and that will take me back one photo.
| | 01:10 | I don't like this one either so it
gets a Black flag, too.
| | 01:14 | And I'll press the Left Arrow again.
| | 01:15 | Now, this photo is somewhere in between,
I don't dislike it but I don't love it either,
| | 01:19 | so I'm going to leave it without a flag.
| | 01:22 | This photo again, no flag.
| | 01:24 | This photo, no flag.
| | 01:26 | This photo I really like, so I'm going
to give it a White flag, a Pick flag.
| | 01:31 | Again, you don't see the flag
here but you will in Grid view.
| | 01:35 | I like this photo too, I'll
give it a Pick flag, Left Arrow.
| | 01:38 | This is a middling one,
I'll leave it without a flag.
| | 01:41 | I do like this one, I'll give it a Pick flag.
| | 01:44 | I do like this one, Pick flag. No flag.
| | 01:47 | Now, at this point, I know that I have a
series of photos that are very similar.
| | 01:51 | So, I'm going to leave this Loupe view,
going back to Grid view by pressing the
| | 01:56 | Grid View icon or G on my keyboard.
| | 01:59 | And here I have my series
of photos that are similar.
| | 02:01 | They are all of lavender columbines.
| | 02:03 | So, I've got one photo selected.
| | 02:05 | I'll hold the Shift key and I'll click on
this one so all five of these are selected.
| | 02:09 | And now I'm going to use that other view,
Survey view, which I can access from this
| | 02:14 | icon at the bottom of the Image window.
| | 02:17 | I'll click that and that brings up
just those selected photos side by side
| | 02:22 | soI really can compare them and see which
I like best and the answer is clear
| | 02:26 | to me right off the bat.
| | 02:27 | It's this one here so.
| | 02:29 | I'm going to move over this photo.
| | 02:31 | That brings up a Pick and
Reject flag underneath it.
| | 02:34 | I'll click on the Pick Flag.
| | 02:36 | The rest of these are kind of middling
for me so I leave those without a flag.
| | 02:40 | If there are too many here to make a
decision, I can drop one or more out of
| | 02:44 | the mix just to make it easier to see
the other photos by moving over a photo
| | 02:48 | and clicking the X. So, now I'm going to go back to
Grid view by clicking the Grid View icon again.
| | 02:54 | So, at this point I have a few photos
with a White flag, I have some photos with
| | 02:59 | a Black flag and a number of photos in between.
| | 03:02 | I'd like to see just the photos
to which I gave the White flag.
| | 03:05 | I'll press the Backslash key on
my keyboard and that brings up the
| | 03:08 | Library Filter bar.
| | 03:09 | I'll click on the Attribute Filters.
| | 03:12 | The three flag filters on the
Attribute bar are On-Off toggle switches.
| | 03:16 | All three of my flag filters are
currently toggled to the On position.
| | 03:20 | So at the moment we can see all my photos.
| | 03:23 | Those I've marked with Black flags,
with White flags, and with no flags.
| | 03:27 | Here, I'm going to click on this Black
flag to hide the black-flagged photos and
| | 03:32 | then I'll click on the Gray flag and
that will hide all of those photos that
| | 03:36 | have no flag at all and now I can see
just my photos with the White flag and
| | 03:40 | I'll make those bigger.
| | 03:42 | And yes, I really do like these.
| | 03:44 | Now, let's say that I need to pick the
best of the best and I just can't do it
| | 03:48 | when I'm looking at all of them
at once, they are too distracting.
| | 03:51 | In that case I might use yet
another view, Compare View.
| | 03:55 | Here's how that works.
| | 03:56 | I have the first photo here selected.
| | 03:58 | I'll go down to Compare View, which
is this icon in the Toolbar, and click.
| | 04:03 | Now, the photo I had selected is
over here on the left and over here is a
| | 04:06 | candidate and I have to decide if
the Candidate beats out the Select.
| | 04:11 | In this case, I'd say yes.
| | 04:13 | I like the Candidate better than the Select.
| | 04:15 | So, I'll go down to the Make Select button,
which is this icon underneath the
| | 04:21 | Candidate and I'll click Make Select.
| | 04:23 | And that moves the Candidate over and
it becomes a Select and now there's a new
| | 04:28 | candidate on the right.
| | 04:29 | So, I'll compare these two.
| | 04:31 | I think this Select still wins so I'll click
the Right arrow and that replaces the
| | 04:36 | candidate with a new candidate.
That select still wins, Right arrow.
| | 04:41 | Now, here I like these purple lupines
better than the red flower so I'm going to
| | 04:45 | move the purple image over into the
select position by clicking Make Select.
| | 04:50 | And that's the end of the photos that
I have selected for that comparison so
| | 04:55 | the purple lupines win.
| | 04:56 | I click down and just to mark this as
my very best photo, I'm going to click on
| | 05:03 | Five Stars here or I could
add a color label to it.
| | 05:06 | I'm going to go back to Grid view.
I'll close the Library Filter by pressing
| | 05:10 | the Backslash key, and I'll bring back the
columns and the bars by pressing Shift+Tab.
| | 05:16 | And then I'm going to Zoom out so you
can see the photos that I selected with
| | 05:20 | the White flags and the winner,
the one to which I gave five stars.
| | 05:24 | Now, at this point if I want it,
I could make a collection of these,
| | 05:28 | my best images, and I'll show you how to
make collections in the next movie.
| | Collapse this transcript |
| Organizing your library with collections| 00:00 | A Collection is a virtual grouping of photos.
| | 00:03 | A Collection can contain photos that are
located in different folders on your hard drive.
| | 00:07 | The photos don't have to
be all on the same place.
| | 00:10 | And including a photo in the Collection,
doesn't move it from it's original location,
| | 00:13 | it just creates a pointer to the files
wherever they originally reside.
| | 00:19 | And that means that you can have the
same photo in more than one collection.
| | 00:22 | Let me show you what I mean.
| | 00:24 | Let's say I am starting to make a
Collection of all the photos I can find
| | 00:27 | throughout my Library that have boats
in them. Maybe because I plan to make a
| | 00:31 | Photo Book of boat photos later.
| | 00:33 | I've selected a folder in the Folders panel.
| | 00:37 | This folder of photos that were
shot in Crested Butte in 2010.
| | 00:41 | Among those photos are two that contain boats.
| | 00:44 | So I'm going to select both of the boat photos.
| | 00:46 | I have one selected here, I'll hold the
Cmd key, that's the Ctrl key on a PC
| | 00:50 | and I'll select this one too.
| | 00:53 | And I'm going to create a new Collection
that contains these two boat photos.
| | 00:57 | To do that, I'll go to the Collections panel
and I'll click the plus symbol there
| | 01:00 | and I'll choose Create Collection.
| | 01:03 | Here, I'll give the Collection a name.
| | 01:05 | I'll call this Boats.
| | 01:06 | I'll come down to the Collection
options and I'll make sure that includes
| | 01:10 | selected photos is checked
and I'll click Create.
| | 01:13 | Now, that's created a collection in the
Collections panel, the Boats Collection.
| | 01:18 | That Boats Collection is selected and so in
the image window, you can see its contents.
| | 01:23 | The collection has the two boat photos
in it but making that collection did not
| | 01:27 | move those two boat photos.
| | 01:29 | They still live in the Crested
Butte folder on my hard drive.
| | 01:32 | The Collection is just a pointer to them there.
| | 01:35 | So if I go back and click on the Crested
Butte folder in the Folders panel, yes,
| | 01:39 | those two photos are still there.
| | 01:41 | Now, I can add other photos to that
collection from other locations in my Library.
| | 01:47 | For example, here I have another folder.
| | 01:49 | This is separate folder and it could be
anywhere in my library and this folder
| | 01:54 | contains photos taken in Grand Lake in 2011.
| | 01:57 | There are two boat photos in this
folder so I'll select those,
| | 02:02 | Cmd+ or Ctrl+click on this one and then
I'll click on either one and I'm going
| | 02:06 | to drag from the Image window down here
into the Collections panel and drop on top
| | 02:10 | of the Boats Collection and that adds
those two photos to the Boats Collection.
| | 02:14 | Now they haven't moved out of the
Grand Lake folder as you can see
| | 02:18 | but when I click on the Boats Collection,
you can see that those two photos here
| | 02:22 | have been added to the two photos of
the canoes in the Boats Collection.
| | 02:26 | I'll do that one more time with this folder
of photos from Italy from Cinque Terre.
| | 02:31 | I'll select some photos of boats here.
| | 02:34 | And then I'll drag into the Boats
Collection and that adds all of those
| | 02:38 | photos to the collection too, without
removing them from the Cinque Terre
| | 02:43 | folder where they reside.
| | 02:44 | Now, if I were to delete a photo
from a Collection, that's fine.
| | 02:48 | It doesn't do anything to the
actual photo on the hard drive.
| | 02:51 | So, if I decided that this really isn't
a photo of boats that there's some kind
| | 02:54 | of beach raft, I'll select the photo
of the beach rafts and I'll press the
| | 02:59 | Delete or Backspace key on my keyboard.
| | 03:02 | And that removes it from the Boats Collection.
| | 03:04 | But that photo is still on my hard drive
and it's still in the Cinque Terre folder.
| | 03:09 | I can even delete the entire collection
without harming any of the photos or
| | 03:13 | moving them or removing them from my hard drive.
| | 03:16 | So if I select the Boats Collection, and
then I go to the top of the Collections
| | 03:20 | folder and click the minus symbol,
that removes the entire collection from
| | 03:25 | my library, but when I look in these
folders, I see that those photos are fine.
| | 03:30 | They're all still there.
| | 03:33 | So that's how to work with manual
Collections in the Library module.
| | 03:37 | There's another kind of collection
and that is a Smart Collection.
| | 03:41 | Let me show you how to make a Smart Collection.
| | 03:43 | I'll go to the Collections panel and
I'll click the plus symbol there and
| | 03:46 | I'll choose this time, Create Smart Collection.
| | 03:49 | Here I'll give my Smart Collection a name.
| | 03:51 | This Smart Collection is going to
include all of the flagged photos
| | 03:55 | in this Lightroom Catalog.
| | 03:57 | So, I'll call this Flagged Photos.
| | 04:00 | And down here, I'm make a rule
that defines this Smart Collection.
| | 04:03 | I'd like this Collection to automatically
include all photos that have a Pick flag
| | 04:08 | so I'll choose Pick Flag from the
First menu that is, so I'll select Is
| | 04:14 | in the Middle menu.
| | 04:16 | And from the Third menu I'll choose Flag.
| | 04:18 | So I've created a rule that says make a
Smart Collection and include in it all
| | 04:23 | photos that have a Pick Flag that is flagged.
| | 04:26 | In other words, all the photos with
one of those White flags on it then I'll
| | 04:30 | click Create and that automatically
created the Smart Collection, it went out
| | 04:34 | to my entire Lightroom catalog and found
five photos to which I had added a White flag.
| | 04:40 | I actually did that in the last
movie if you've been following along.
| | 04:43 | And the really great thing about
Smart Collections, is that they
| | 04:46 | automatically update.
| | 04:47 | So, if later I give another photo a White flag,
for example, this photo of the lemons,
| | 04:53 | I'll click the White flag on the photo.
| | 04:57 | And now, if I go back to my Smart Collection,
the lemons have been added to
| | 05:01 | the Smart Collection.
| | 05:02 | None of these photos have been moved
from their folders, Lightroom is just
| | 05:05 | automatically including them or
linking them to this Smart Collection.
| | Collapse this transcript |
| Using keywords to organize your library| 00:00 | Keywords are subject matter tags that
you can add the photos and video clips
| | 00:04 | in the Library module.
| | 00:05 | If you're consistent about keyword tagging,
it can be the most effective thing you do
| | 00:09 | to ensure you'll find particular
photos later when you need them.
| | 00:13 | In the Library module, you can create
keywords at the same time that you apply
| | 00:17 | them to photos or you can
come up with them ahead of time.
| | 00:20 | First, let's see how you can create
and apply keywords at the same time.
| | 00:23 | Now that I've selected a Source folder,
I'm going to collapse the column on the
| | 00:27 | left by clicking in the bar over there
and then I'm going to go over to the column
| | 00:30 | on the right and I'm going to click on
the title bar of the Keywording panel and
| | 00:34 | the Keyword List panel to open both.
| | 00:36 | I'm going to select some photos in the
Image window to which I want to apply keywords.
| | 00:41 | I'll click on this one, I'll hold
the Shift key and click on this one to
| | 00:44 | select all in between.
| | 00:46 | To create and apply keywords at the
same time, I'll go to the Keywording panel,
| | 00:50 | not the Keyword List panel, and I'll
click in this narrow area where it says
| | 00:54 | click here to add keywords.
| | 00:56 | I'm going to type a keyword, I'll type
Lake and then I'm going to type a comma
| | 01:01 | so that I can type a second keyword.
| | 01:03 | A keyword doesn't have to be just
one word, it can be a couple of words
| | 01:07 | separated by spaces.
| | 01:08 | These photos were all taken in Crested
Butte, Colorado so I'll type Crested Butte.
| | 01:14 | Now I'm going to press Enter or Return on my
keyboard and that has done several things.
| | 01:19 | If you look at each of these photos,
you'll see that there's a keyword tag
| | 01:22 | symbol at the bottom right
meaning that, that photo has one or more
| | 01:25 | keywords applied to it.
| | 01:26 | I'm going to deselect these thumbnails,
pressing Cmd+ or Ctrl+D on my keyboard
| | 01:31 | which is a keyboard shortcut that you do want to
remember because you'll use it all the time.
| | 01:36 | Now, in the Keyword list, you can see that
I've started to build a list of keywords.
| | 01:41 | Here's my two-word keyword,
Crested Butte and here's Lake.
| | 01:45 | And the number to the right of each of
this keywords indicates the number of
| | 01:48 | photos to which I've
already applied that keyword.
| | 01:51 | Often, I want to see a list of the keywords
that I've applied to a particular photo.
| | 01:55 | To do that, I'll click on the thumbnail
in the Image window and then up in
| | 01:59 | the Keywording panel, here, I can see
a list of all the keywords that I've
| | 02:03 | applied to that photo.
| | 02:05 | So that's one way to create and apply keywords.
| | 02:08 | Another way is to use the Spray Can icon.
| | 02:11 | The Spray Can is located
down here in the Toolbar.
| | 02:14 | And using it us not only
fun, it's also really quick.
| | 02:17 | So first I'm going to deselect any thumbnails
I have selected now by pressing
| | 02:21 | Cmd+ or Ctrl+D on my keyboard.
| | 02:24 | I'll pick up the Spray Can by
clicking on it and now the Spray Can goes
| | 02:28 | along with my cursor.
| | 02:29 | I'll go to this menu, the Paint menu
just to the right of the Spray Can holder
| | 02:33 | and I'll choose Keywords as the
parameter with which I want to paint.
| | 02:37 | Then I'll go to this field, I'll click
and I'll enter the keywords with which
| | 02:42 | I want to load my Spray Can.
| | 02:44 | Those could be existing keywords like
Lake or Crested Butte or brand new keywords.
| | 02:48 | I'm going to enter a new keyword, the word Boat.
| | 02:51 | I'll press Enter or Return on my
keyboard and you can see the Boat keyword
| | 02:55 | over here in the Keyword List.
| | 02:57 | The Plus symbol there just means that
I still have the word Boat in this field.
| | 03:01 | Now look how quick and easy it is to
apply this keyword to multiple photos.
| | 03:06 | I'll click on this photo, and this
one, this one, this one and so forth.
| | 03:14 | I think this really comes in handy when
you have a lot of photos in your Image
| | 03:18 | window and the relevant photos
are scattered about like this.
| | 03:22 | When I'm done spraying this keyword
on multiple photos, I'll come back down
| | 03:26 | to the Toolbar and I'll click Done and that
hangs up my Spray Can back in its original spot.
| | 03:31 | Now, over on the Keyword List, you can see the
keywords boat has been applied to seven photos.
| | 03:37 | Some photographers like to build a well
organized Keyword List and later, apply
| | 03:41 | the keywords to photos.
| | 03:43 | To do that, I'll go to the Keyword List
panel and I'll click the Plus symbol on
| | 03:46 | the left side of its title.
| | 03:49 | Here, I can create a keyword.
| | 03:50 | I'm going to type Italy and then I'll click Create.
| | 03:53 | And now there's a new keyword
tag Italy in my Keyword List.
| | 03:57 | I could start building a hierarchy of
keywords by right-clicking a keyword
| | 04:01 | in the list, like Italy, and then
choosing to create a keyword tag inside of
| | 04:06 | the Italy keyword tag.
| | 04:08 | So, I'll type the name of the town in
Italy where some of this photos were taken.
| | 04:12 | And now in the Keyword List there
is a Triangle to the left of Italy.
| | 04:17 | I'll click that and you can see the
indented keyword Monterosso underneath Italy.
| | 04:22 | I could continue to do this, adding
more towns inside of the Italy keyword tag,
| | 04:27 | and then even adding more
levels to my Keyword List.
| | 04:30 | But I'm just going to stick with that for now.
| | 04:32 | If I want to apply an existing keyword
like this Monterosso keyword to multiple
| | 04:36 | photos, I'll select them in my Image window.
| | 04:39 | I'll click on this first thumbnail,
I'll hold the Shift key and I'll click
| | 04:43 | the last thumbnail in the first row
there and then I'll come down in the
| | 04:46 | Keyword List and hover to the left of
the keyword Monterosso which displays
| | 04:51 | this small Check Box.
| | 04:52 | I'll click in the Check Box, and that
quickly applies the Monterosso keyword
| | 04:56 | to all six selected photos.
| | 04:59 | If I want to also apply the higher level
keyword Italy, I'll do the same thing.
| | 05:03 | Hovering over Italy and
clicking in its Check Box.
| | 05:06 | And now I'm going to deselect all those photos
by pressing Cmd+ or Ctrl+D on my keyboard.
| | 05:11 | So, that's how to create and apply keywords.
| | 05:14 | The whole purpose of doing that is to
make it easier to find photos later.
| | 05:18 | So, how can you use keywords
to find particular photos?
| | 05:21 | One way, is to go to the Keyword List
and click on the number to the right
| | 05:25 | of the keyword. So, for example if I
click on the number seven to the right
| | 05:29 | of my Boat keyword.
| | 05:31 | In the Image window, I see just the seven
photos to which I applied the keyword Boat.
| | 05:36 | I'm going to undo by pressing Cmd+Z,
that's Ctrl+Z on a PC keyboard
| | 05:41 | and show you an even more powerful
way to search by keywords.
| | 05:44 | Because if your Keyword List is really
long, finding a particular keyword there
| | 05:48 | and clicking on this
number isn't that efficient.
| | 05:50 | So, what I'm going to do now is bring up
the Library Filter bar by pressing the
| | 05:54 | Backslash key on my keyboard.
| | 05:57 | In that bar, I'm going to click on Text
which is one of several kinds of Library Filters.
| | 06:03 | And then I'll use the fields in this bar
to formulate a Search Query by Keyword.
| | 06:08 | I'll go the First menu here and from
that menu, I'm going to choose Keywords.
| | 06:13 | I'll leave the Middle menu set to
Contain All or I could choose Contain there.
| | 06:18 | And then in this field, I'm going to
type the keywords by which I want to search.
| | 06:22 | So, I want to see all the photos
with the keyword Boat again.
| | 06:25 | I'll type Boat there and that
brings up just the images that have
| | 06:28 | the keyword Boat on them.
| | 06:30 | So, I think you can start to
see how powerful keywording is.
| | 06:33 | Now, keywording lots of
photos at once can be daunting.
| | 06:36 | But if you chip away at it, on your
initial existing photos that you've imported
| | 06:40 | into you library and then you're consistent
about keywording after every shoot,
| | 06:45 | keyword tagging can be the most
effective search tool that you have.
| | Collapse this transcript |
| Finding photos with filters| 00:00 | Lightroom's filters are very good at
what they're designed to do, which is to
| | 00:03 | help you zero in on particular assets in a
potentially large catalog of photos and videos.
| | 00:08 | We've touched on two kinds of Library
filters in earlier movies in this
| | 00:12 | chapter, the Powerful Text filter,
which I covered in the context of keyword
| | 00:16 | searching, and the Attribute filters
which I showed in the context of reviewing
| | 00:21 | photos from a shoot.
| | 00:22 | A third category of filters, the
Metadata filters, take advantage of the many
| | 00:27 | pieces of information about your
photos and videos in the active catalog.
| | 00:31 | You remember that a catalog is a
database that contains lots of pieces
| | 00:34 | of information, some of which come from
your digital camera and some of which you
| | 00:38 | add here in Lightroom.
| | 00:39 | And the Metadata filters are great
at sifting through that information.
| | 00:44 | If your Library Filter bar isn't open,
by the way, you can open it by going up
| | 00:48 | to the View menu and choosing Show
Filter bar or using the keyboard shortcut
| | 00:52 | that I've been using throughout the course so
far, which is the Backslash key on your keyboard.
| | 00:57 | So, the first step is to select
the source of files that Lightroom
| | 01:01 | is going search through.
| | 01:03 | Outside of this course, the widest net
that you could cast would be to search
| | 01:06 | your entire catalog.
| | 01:08 | And to do that, you go the Catalog
panel and choose All Photographs, but I'm
| | 01:12 | not going to do that.
| | 01:13 | To keep things simple for this course,
I've selected just a folder in the
| | 01:17 | Folders panel and so Lightroom is going to
search through just these particular photos.
| | 01:22 | I do want to mention that if you were to
choose All Photographs, that would send
| | 01:26 | Lightroom out to search just the Open Catalog.
| | 01:29 | Lightroom can only search one catalog
at a time and that's the one that's open.
| | 01:33 | And that's a good argument for using
just one catalog for all your own assets,
| | 01:38 | as I recommended earlier in the course.
| | 01:40 | So, now I'm ready to go to the
Library filter and I'm going to click on
| | 01:43 | Metadata, and that will open this
drop down table of Search Criteria.
| | 01:49 | Next, I'm going to go over to this menu
on the right and I'm going to choose the
| | 01:53 | default columns of Search Criteria, just so
that we have all the same criteria showing.
| | 01:58 | As you can see, the table is divided into
columns, each of which is a search criterion.
| | 02:02 | For example here, the criterion is
the date on which photos were shot and
| | 02:07 | Lightroom has already gone out and
search through these files to find all the
| | 02:11 | photos shot on this date, on this date,
on this date, on this date and so forth.
| | 02:18 | And if I want to see the photos shot on all
dates in this folder, I'll go back and click All.
| | 02:23 | And then over here, Lightroom has searched
these files by the camera that took the photo.
| | 02:27 | So, if I wanted to see all the photos
that were taken with my Nikon D90,
| | 02:32 | I would click on Nikon D90.
| | 02:34 | And I can narrow the search results further
by also going over and clicking on a date.
| | 02:39 | So, if I click on this date, I'm seeing
only the photos taken with my Nikon D90
| | 02:44 | on this particular date.
| | 02:46 | And then I'll go back and click all dates again.
| | 02:48 | Now, this particular columns, dates,
camera, lens, and so forth are just
| | 02:53 | the default columns.
| | 02:54 | There are other sets of columns that
you can access from this menu on the right
| | 02:58 | of the Library Filter bar.
| | 02:59 | For example, there is another set of
columns of exposure information and this
| | 03:04 | can be really useful too.
| | 03:05 | For example, if I want to see photos that
probably don't have much noise in them,
| | 03:10 | I might go to the ISO Speed column and
choose to see the photos with low ISO's.
| | 03:15 | Or I can filter by aperture so I can see
photos with more shallow depth of field
| | 03:20 | or with longer depths of field.
| | 03:23 | And as you can see, there
are other choices here, too.
| | 03:25 | I'm going to go back to that
default set of columns again.
| | 03:28 | Now here, there is one column that I'm
probably not going to use very often and
| | 03:32 | that is the Label column.
| | 03:34 | So, I might use this column
to customize even further.
| | 03:37 | If I click on any of the labels on the
columns, not just the one that's called
| | 03:42 | Label, I get this long list of criteria
on which I can search and there are some
| | 03:46 | really useful ones here.
| | 03:48 | For example, if I wanted to search by
file types so I could find just my JPEG's
| | 03:52 | or my raw files or if I had multiple
cameras of the same type I might search by
| | 03:57 | camera serial number.
| | 03:59 | If my camera gathers GPS data, I can
search by that so I can see where
| | 04:03 | particular photos were taken.
| | 04:04 | And if I search by creator, I
can search by the photographer.
| | 04:08 | Which reminds me that I want to thank
my partner, John Lorenz who is a great
| | 04:13 | professional landscape photographer for
contributing these and some of the other
| | 04:17 | photos that you've seen in this
course alongside my own photos.
| | 04:20 | Now, here's a useful tip, if I want to
do the same search in another source
| | 04:25 | folder, I need to first go up to the
Library Filter bar and click this Lock icon.
| | 04:30 | And then, I can come over to
another folder in My Folders panel or some
| | 04:34 | other source like a collection or all of my
photographs and click on that other source.
| | 04:39 | So, I'm going to click on the
folder that I used in the last course.
| | 04:43 | And now, another tip which is
that you can use Metadata filters in
| | 04:47 | conjunction with other kinds of filters like the
Powerful Text filters or the Attribute filters.
| | 04:52 | So, let's say that I want to see all of
the photos in this folder that I took that
| | 04:57 | are photos of boats.
| | 04:59 | In the Creator column, I'll click on my
name as the creator and then I'll go up
| | 05:03 | and click on the Text Category of filters.
| | 05:06 | I'll leave these fields set to their defaults.
| | 05:08 | Any searchable fields, Contain all and
I'm going to type "Boat" in this field.
| | 05:12 | If you've been following along, you
know that I added the keyword Boat to these
| | 05:16 | photos in the last movie and so these
combination of a Metadata search
| | 05:21 | and a text search brings up just
the photos I was looking for.
| | 05:24 | So, you can see that the
filters are very powerful.
| | 05:27 | I hope you'll spend some time exploring
the many filter combinations that you
| | 05:31 | can get with the Metadata, Text,
and Attribute filters in the
| | 05:35 | Library module's Filter Bar.
| | Collapse this transcript |
| Moving and renaming items| 00:00 | You may run into a situation from
time to time where the link between your
| | 00:03 | catalog and some of the files or
folders that you have imported into the
| | 00:07 | Lightroom catalog breaks.
| | 00:08 | In that case, you'll see a question
mark on the affected thumbnails out here
| | 00:13 | in the Image window and sometimes on
folders in the Folders panels as well.
| | 00:17 | In this movie I want to show you why
that happens, how you can avoid it,
| | 00:21 | and in the event that it does happen,
how tofix it so you really don't have
| | 00:25 | to worry about it, it is a fixable issue.
| | 00:27 | Here's how it happens.
| | 00:28 | You remember that Lightroom is a database
which means that it doesn't really
| | 00:32 | contain any photos, it just has records
of photos with links out to those
| | 00:36 | photos wherever they live.
| | 00:38 | That maybe on your computer
or on an external drive.
| | 00:41 | If you move files from where Lightroom
thinks they live then the link will be
| | 00:45 | broken so if you go out to your
operating system and either move or
| | 00:49 | rename a file then that would break the link.
| | 00:51 | Or if you keep your files on an external
hard drive, which I think is a good idea,
| | 00:56 | and you unplug that external hard
drive then we look at the previews
| | 01:00 | of the files here in Lightroom's library
which is still be able to see because those
| | 01:04 | are in the catalog then you'll see a
question mark because Lightroom won't know
| | 01:08 | where the original files went.
| | 01:10 | There are on an unplugged hard drive.
| | 01:11 | Well in that case the solution is easy.
| | 01:14 | All you have to do is reconnect your hard
drive and the question marks will go away.
| | 01:18 | But let's see what happens if you
inadvertently move or rename a file
| | 01:23 | in the first situation, out
on your operating system.
| | 01:25 | Here I have two files.
| | 01:27 | One is in this subfolder called horizontal.
| | 01:30 | It's a horizontal photo and it's named
O2O7H for horizontal and in the vertical
| | 01:36 | subfolder I have 2O7V, a vertical photo.
| | 01:40 | So, as much as Lightroom knows, this file
resides inside the vertical sub-folder
| | 01:45 | out on my hard drive.
| | 01:47 | If I move it from that sub-folder,
Lightroom won't know where to find it
| | 01:51 | unless I tell Lightroom where
it's gone so let's do that.
| | 01:54 | I'm going to go out to my operating system.
| | 01:56 | Here in my Mac finder, I'm going to
navigate to my desktop into my Exercise files
| | 02:01 | and down on this 0207 sub-folder and
into the vertical sub-folder there.
| | 02:07 | There is the actual file.
| | 02:08 | I'm going to click on it and I'm
going to drag it someplace else.
| | 02:12 | I'll put it in the horizontal subfolder instead.
| | 02:15 | Now let's go back to Lightroom
and see what that caused.
| | 02:18 | Notice that on the thumbnail here in the
image window there is now a question mark.
| | 02:22 | If I click on that question mark, Lightroom
tells me that it can't find the original file.
| | 02:27 | It doesn't know where it is.
| | 02:28 | Now, there's no way that I can
force Lightroom to go out and find it.
| | 02:31 | But if I know where it is or if I can
find it out of my Operating System then
| | 02:36 | I can re-point Lightroom to the new location
of the file, and everything will be fine.
| | 02:40 | So, I do happen to know
where it is. I'll click Locate.
| | 02:44 | That takes me out of my operating
system to find it and here I am in that
| | 02:47 | Vertical sub-folder where
there no longer is a file.
| | 02:50 | I'll navigate through my operating
system to the place that I know that,
| | 02:54 | that file is which is inside of the O2O7
horizontal subfolder and I'll select that
| | 03:00 | vertical file right there and click
select and that fixed the problem.
| | 03:04 | Now Lightroom recognizes that there
is nothing in the vertical subfolder.
| | 03:08 | But when I click on the horizontal
subfolder it recognizes that I have moved
| | 03:13 | that file there and there's no question
mark on the file, everything is fine.
| | 03:17 | So what is a better way to
move files around if you need to?
| | 03:21 | Well the answer is to do it from inside
of Lightroom's library module like this.
| | 03:25 | Let's say I want to move this vertical file.
| | 03:27 | I want to put it back say
in the vertical subfolder.
| | 03:31 | I'll click on its thumbnail here in
the Image window in the library and I'll
| | 03:35 | drag over to the Folders panel and
I'll drop on top of that subfolder
| | 03:39 | where I want to move the file to.
| | 03:41 | And Lightroom gives me this warning that
I'm not just making a change inside Lightroom.
| | 03:46 | This is going to cause the actual physical
file on the disk to be moved where it
| | 03:50 | says this cannot be undone, that's not
exactly true so don't worry about that.
| | 03:54 | I'll just click move.
| | 03:56 | And now the file has been moved on my hard
drive and Lightroom is happy with that move.
| | 04:00 | It no longer shows the vertical
photo here in the horizontal folder.
| | 04:04 | But if I click in the Vertical folder,
I can see my vertical file there and
| | 04:09 | the link is fine, there is no question mark.
And if I go out to my Operating System again,
| | 04:14 | There is the file inside the vertical folder.
| | 04:17 | So, that's how to really go about moving files.
| | 04:20 | And what about renaming files?
| | 04:21 | Well if, instead of moving files
that are in my Operating System,
| | 04:24 | I changed the name of the file,
the same thing will happen.
| | 04:28 | I would get a question mark here and if
I click on the question mark, Lightroom
| | 04:32 | would say, I don't know where the file is.
If I knew where it was, I would go out, find it.
| | 04:36 | And that would fix things. But so how
should you rename photos if you need to?
| | 04:40 | Well again, the answer is to do it
from the inside of the Library module and
| | 04:44 | to do it like this.
| | 04:45 | So if I want to change the name of
this file I'll select it's thumbnail.
| | 04:50 | I'll go up to the library menu at the
top of the screen and choose Rename Photo
| | 04:54 | and you can do this with one or more photos.
| | 04:56 | I'll give this photo a new name.
| | 04:58 | I'll call it O2-O-7V and
I'll add renamed at the end.
| | 05:02 | I don't have to worry about the format suffix.
| | 05:04 | That would be added
automatically and I'll click okay.
| | 05:07 | And that worked fine so now I have a
file with a new name O2-O7-V-renamed.JPG.
| | 05:14 | And that change is taking place out in my
operating system, too, on the actual file.
| | 05:18 | I want to show you a couple of more
things before this movie is over.
| | 05:21 | One of those is, if you are moving
files around, doing it the right away from
| | 05:25 | inside of Lightroom, you may want to move
it to a folder that you can't see here.
| | 05:29 | For example, I know that my Exercise
Files are on my desktop but I don't have a
| | 05:33 | folder for my desktop here.
| | 05:35 | So if I wanted to put a file out
on my desktop, how would I do that?
| | 05:39 | Lightroom is trying to help you by
limiting the number of folders that appear
| | 05:42 | here by default to just those folders
that contain files that you have
| | 05:46 | imported into the program.
| | 05:47 | So, if you want to see files higher up in
the file structure, here's what you do.
| | 05:52 | I'll click on my Exercise Files folder.
| | 05:54 | I'm actually going to right click now
and that brings up this menu from which
| | 05:58 | I'll choose Show Parent Folder.
| | 06:01 | And that added the Desktop folder
here in this hierarchy of folders in the
| | 06:05 | Folders panel in Lightroom and I can
click this arrows to navigate back down to
| | 06:10 | where I was a moment ago.
| | 06:11 | Now one more thing, what if you
brought a file into Lightroom that you
| | 06:15 | really don't want there?
| | 06:16 | And you want to delete it from Lightroom
but you're afraid to delete it because
| | 06:19 | you think that might also delete
it from your hard drive permanently?
| | 06:23 | Well the answer is it doesn't.
| | 06:24 | Let me show you how to do it in a
way that will save the original file.
| | 06:28 | I'm going to go back to the horizontal
folder this time and say that I no longer
| | 06:32 | want this horizontal photo
in my Lightroom catalog.
| | 06:36 | I'll right click on its thumbnail and
I'll come down here and click delete photo.
| | 06:40 | Now don't worry that's not going to
delete the photo from my hard drive unless
| | 06:44 | I tell Lightroom that, that's what I want to
do so I'll click delete photo and here.
| | 06:49 | If I just click remove, Lightroom will
remove the record from its catalog or its
| | 06:54 | database but it will not
delete the photo from my hard drive.
| | 06:57 | That will only happen if I
click this button Delete From Disk.
| | 07:01 | So, I'll click remove, the photo no
longer exist as far as Lightroom is concerned.
| | 07:05 | There is nothing in the Horizontal
folder in Lightroom's eyes, but in
| | 07:10 | fact, that photo is still out there and
it is still in the Horizontal folder on
| | 07:14 | my hard drive. I'll show you that by
again, going out to my Operating System.
| | 07:18 | And there is that file
still in the Horizontal folder.
| | 07:22 | But Lightroom just doesn't know
about it so it's not part of my catalog.
| | 07:26 | If I wanted to bring it back,
I can even do that.
| | 07:28 | I could go through to the regular
import files process that I showed you
| | 07:32 | earlier or, because I know that it's
in this folder, I could just go to this
| | 07:36 | folder in the Folders panel, the
Horizontal folder, right-click on it and
| | 07:40 | choose Synchronize Folder.
| | 07:43 | And then click Synchronize. And that will
synchronize the actual folder out on my
| | 07:47 | hard drive with the folder, as
Lightroom sees it, here in the catalog.
| | 07:51 | So if you're not used to using a
database system like Lightroom's catalogs,
| | 07:55 | all of this can be confusing. But now that
you understand what's happening under the
| | 07:59 | hood and how it works, I hope it will
be easier for you to handle any broken
| | 08:03 | links that you may find in your own catalog.
| | Collapse this transcript |
|
|
3. Editing Photos in the Develop ModuleTouring the Develop module| 00:00 | The Develop module is the heart of Lightroom.
| | 00:02 | Its where you process your
photos to match your vision.
| | 00:05 | Every change that you make in the
Develop module is non-destructive
| | 00:08 | of the original image.
| | 00:09 | It simply kept it's instructions as
metadata which makes the Develop module in
| | 00:14 | Lightroom a great and a safe
place to work on your photos.
| | 00:16 | You may be wondering why I'm starting
in the Library Panel in the movie that is
| | 00:21 | about the interface and the mechanics
of working in the Develop module.
| | 00:25 | Well, that's because the develop workflow
usually does start in the Library module,
| | 00:28 | where you'll select a source of
the files that you are going to access
| | 00:32 | in the Develop module.
| | 00:33 | That could be a collection, that could
be all your photographs which you access
| | 00:37 | from the Catalog Panel or in many cases,
it will be a folder of files on your
| | 00:42 | hard drive from here in the Folders panel.
| | 00:45 | Once I've selected that folder, I'll
click on Develop in the Module Picker to
| | 00:49 | jump over to the Develop module.
| | 00:51 | Right now, I have no photo selected
because I haven't clicked on one of those
| | 00:54 | thumbnails back in the Library module.
| | 00:57 | I did that on purpose because I wanted
you to see that all the files in my
| | 01:01 | Source folder are displayed down
here in the film strip at the bottom of
| | 01:05 | the Develop module.
| | 01:06 | This film strip is the mirror of the
same film strip that we saw back in
| | 01:09 | the Library module.
| | 01:11 | So, if I want to work on a photo, I'll
just choose it from this film strip.
| | 01:15 | Clicking on it here and it appears up here
in the Image Window in the Develop module.
| | 01:19 | By default when an image is open for
processing here, it opens to largest
| | 01:24 | magnification at which
it will fit in this window.
| | 01:26 | If I want to view the image at 1:1 view,
which is important when you're sharpening
| | 01:30 | or working on noise reduction,
as we'll do later in the course,
| | 01:34 | then I can either just move into the image where my
cursor changes to a Zoom tool and click once
| | 01:40 | and then drag inside the image to get to the
portion of the image that I want to see or,
| | 01:44 | I can use the Navigation buttons over here
at the top of the Navigator panel
| | 01:48 | on the left side of the Develop module.
| | 01:51 | I can click Fit, to fit the entire
image in the window again or Fill, to fill
| | 01:56 | the window with the image or again,
1:1 to zoom in close to the image.
| | 02:01 | I'm going to go back to the Fit view.
| | 02:04 | Notice that the general layout of
the Develop module looks a lot like
| | 02:07 | the Library module.
| | 02:08 | In addition to the same film strip on the bottom
and in the Image window in the middle,
| | 02:12 | over on the left and right are columns
of panels and there are a lot of panels.
| | 02:17 | Notice that in the column on the left,
there is the Collections panel.
| | 02:20 | This is the same Collections panel that we
saw back in the Library module. That's a
| | 02:24 | good thing because it means that you can
access photos that you've included in
| | 02:28 | a collection in the Library module
from here in the Develop module.
| | 02:32 | So for example, here is a Smart Collection
that I made back in the Library panel
| | 02:36 | in an earlier movie.
| | 02:37 | If I click on that, I can see all the
contents of that collection down here in
| | 02:41 | the film strip and I can select a
thumbnail from there to work on.
| | 02:45 | I'd like to go back to work on that image
of the church in Lucerne, so I'm going to
| | 02:49 | click this Back Arrow in the bar at
the top of the film strip to go back.
| | 02:53 | Over in the column on the right, are the panels
that you'd use to make your photo adjustments.
| | 02:58 | The Histogram panel at the top of
this column is a bar chart of the tonal
| | 03:02 | values in the open image.
| | 03:04 | I suggest that you leave this Histogram panel
open while you're working on a photo
| | 03:07 | so that you can reference this
chart and see the effect of
| | 03:11 | the adjustments that you're making.
| | 03:12 | Below that is the Toolbar that
contains some tools you'll use as you're
| | 03:16 | adjusting an image in the Develop module;
including the Crop Overlay tool, a Spot
| | 03:21 | Removal tool and two powerful local
adjustment tools, the Graduated Filter tool
| | 03:26 | and the Adjustment Brush tool.
| | 03:28 | We'll be looking at all of
those tools later in the course.
| | 03:31 | Those tools are for making local adjustments.
| | 03:33 | But before you use those, you'll
usually make global adjustments; adjustments
| | 03:37 | that affect the entire image.
| | 03:40 | The global adjustments that we'll be focusing
on in this course are those in the Basic panel.
| | 03:44 | I'm going to close the Histogram panel
temporarily just so you can see more of the
| | 03:48 | Basic panel and I'll also make the
film strip shorter by moving over
| | 03:53 | its top border and dragging down.
| | 03:54 | So, there is the Basic panel.
We'll be looking at all of the controls
| | 03:58 | in this panel in detail.
| | 03:59 | We'll also take a look at the Detail panel
where I'll cover Sharpening and Noise Reduction.
| | 04:06 | So, those are the primary adjustment
controls that you'll use when you're
| | 04:09 | getting up and running with Lightroom 4.
| | 04:11 | Now, let's talk a bit about the mechanics
of working on an image in the Develop module.
| | 04:15 | I'm going to make some slight adjustments to
this image by dragging some of these sliders.
| | 04:20 | I'll tell you a lot more about all of
these sliders later in the course,
| | 04:24 | but I just want to make some brief adjustments.
| | 04:27 | And if you're following along,
it doesn't really matter exactly
| | 04:30 | how you drag the sliders for now.
| | 04:31 | What I wanted to show you is that
if I change my mind about a slider
| | 04:35 | I can set it back to its default
by double-clicking its label.
| | 04:38 | So, if want to set this Exposure slider
back to where I started, I'll double-click
| | 04:42 | Exposure and that doesn't
affect any of the other sliders.
| | 04:46 | If I do want to put all the sliders back to
where I stared when I first opened this image,
| | 04:49 | I'll click the big Reset button here
at the bottom at the column on the right.
| | 04:53 | I'm going to undo by pressing Cmd+Z
on my keyboard, that's Ctrl+Z on a PC
| | 04:58 | keyboard, to bring all those adjustments
back because I want to show you how
| | 05:02 | you can get a before and after view
when you're working in the Develop module.
| | 05:06 | One way to do that is to just press
the Backslash key on your keyboard.
| | 05:10 | And that gives me a before view
and there's an after view.
| | 05:14 | I can also see a comparison of both
before and after views if I come down
| | 05:18 | to the Toolbar which is this bar under the Image
window and click the Before and After View icon.
| | 05:24 | And there are different arrangements of the
before and after view that I can use as well.
| | 05:28 | The icon to the left of the Before and
After View icon is the Loupe View icon.
| | 05:33 | I'll click that to see the entire
image in the Image window again and that's
| | 05:37 | just like the Loupe View in the Library module.
| | 05:40 | Now, let's take a look at the History
panel which is the powerful place that
| | 05:44 | you can go to undo and redo changes
that you've made in the Develop module.
| | 05:48 | I'll expand the History panel by
clicking on its Title bar and here you can
| | 05:52 | see a complete history of all the
adjustments that I've made to this image and
| | 05:56 | I can go back to anyone of them.
| | 05:59 | And when I do, that changes the appearance
of the image and the changes all the sliders
| | 06:03 | over here in the panels on the right.
| | 06:06 | I can go forward on time as well, clicking
on another state higher up in this ladder.
| | 06:11 | What's great about the History panel is
that there is no limit on the number of
| | 06:14 | history states that it will keep track
of and it will always be here even after
| | 06:19 | I close Lightroom and reopen it,
whenever I open the same image to work on it.
| | 06:24 | So, that's the tour of the layout of the
Develop module and a quick look at some
| | 06:28 | of the mechanics of working here.
| | 06:29 | Now, let's jump right in and learn
how to make your photos look great
| | 06:33 | in the Develop module.
| | Collapse this transcript |
| Cropping and straightening| 00:00 | Cropping a photo hides
part of the edges from view.
| | 00:03 | You might want to do that to remove
unwanted content from the edges of a photo.
| | 00:07 | Or maybe you need to fit a photo into
a particular aspect ratio for output.
| | 00:11 | Or maybe you think that cropping
the photo will improve its composition.
| | 00:15 | Whatever your reason, when you're ready
to crop in Lightroom in the Develop module,
| | 00:19 | go to the Tool Strip above the Basic panel
and click the Crop Overlay tool.
| | 00:24 | If you're in another module at the time,
you can just press R on your keyboard
| | 00:27 | and that will take you
right into Crop Overlay mode.
| | 00:30 | That opens the Crop and Straighten panel
and it puts this boundary around your image.
| | 00:35 | This is the Crop Bounding Box.
| | 00:37 | To resize that Bounding Box, I'll
move my mouse over any of its edges
| | 00:41 | or corners and drag in.
| | 00:43 | Then to position the photo so that the
part I want is inside the Bounding Box,
| | 00:48 | I'll click inside of it and I'll drag.
| | 00:50 | And the photo moves inside the
Bounding Box which stays static.
| | 00:54 | You may have noticed that you couldn't change
the height and width of the Bounding Box.
| | 00:58 | That is true when, in the Crop and Straighten
panel, this lock icon is closed.
| | 01:03 | If you want to adjust the height and width
of the Crop Bounding Box independently,
| | 01:05 | then click this icon to open
the lock and then come in to
| | 01:10 | the image and you'll be able to change
the crop into any shape you want.
| | 01:13 | Sometimes, you need a
specific common aspect ratio.
| | 01:17 | So, in that case go to this menu
and you may find it in this list.
| | 01:21 | One x One will give you a square.
| | 01:24 | If you we're trying to print a photo
at 16x20 inches, for example then you would
| | 01:28 | choose this aspect ratio because 16x20
is the same proportion as 8x10 and 4x5.
| | 01:34 | And there are lots of other
options here too including some
| | 01:40 | aspect ratios that are common for video.
| | 01:43 | When you've got your Crop Boundary and
your photo just where you want it,
| | 01:46 | then to perform the crop, you can either
click Done at the bottom of the screen
| | 01:51 | or you can come over here in the Crop and
Straighten panel and click Close
| | 01:55 | or you can just press Enter or Return on
your keyboard and the image is cropped.
| | 01:59 | Now this is not permanent.
| | 02:00 | Just like everything that you do
to a photo in Lightroom, cropping is
| | 02:04 | non-destructive of the original image.
| | 02:06 | So, at this point I might print my square
image or output it in some other manner
| | 02:11 | and then if I needed a different copy
of this photo at a different aspect ratio,
| | 02:15 | I would come back into Crop Overlay Mode.
| | 02:19 | I could change the Bounding Box however I
wanted it to be, and perform another crop.
| | 02:24 | If I want to get back and see the entire
image again, I'll go back to Crop Overlay mode
| | 02:28 | and I'm going to click Reset and
the Bounding Box expands to encompass
| | 02:33 | the entire original image.
| | 02:34 | You may have noticed that there is a
grid of two horizontal and two vertical
| | 02:39 | lines inside the image.
| | 02:40 | That's one of the crop overlays and
that's offered in order to help you
| | 02:45 | perfect the composition as you crop it.
| | 02:47 | There are number of different crop
overlays if you press the O key on your
| | 02:51 | keyboard that will cycle through them.
| | 02:54 | Now let's talk about straightening an image.
| | 02:56 | There is a Straighten tool here in
the Crop and Straighten panel that you can
| | 03:00 | use for that purpose.
| | 03:01 | I'm going to click on it, and that picks
it up out of its location in this panel
| | 03:06 | and then when I move into the
image it goes with my cursor.
| | 03:09 | I'll move to the part of the image
that I would like to have straight,
| | 03:12 | in this case the horizon.
| | 03:14 | I'll click on the horizon and I'll drag
along it and then I'll release my mouse
| | 03:18 | and Lightroom automatically rotates the
image inside of this Crop Bounding Box
| | 03:23 | so that the horizon is straight.
| | 03:25 | I can still make the image smaller by
clicking on a Corner Anchor point and dragging.
| | 03:30 | And the horizon will still be
straight inside of this bounding box.
| | 03:35 | But I can't make the Bounding box
larger than the actual photo.
| | 03:39 | When I'm ready to straighten the image,
I'll either press this Done button at
| | 03:42 | the bottom of the screen, I'll click the
Close button in the Crop and Straighten
| | 03:46 | panel, or I'll press Return or Enter
on my keyboard. And the horizon is now
| | 03:50 | straight and the image
has been slightly cropped.
| | 03:53 | Let me show you one more thing
that I find useful when I'm cropping.
| | 03:56 | I'm going to click on the Crop Overlay
button again and I'll drag the Crop
| | 04:00 | Bounding Box to where I want it.
| | 04:02 | Lightroom dims the area around the crop
Bounding Box but it's still a little bit
| | 04:05 | hard to judge how the image is
going to look after the crop.
| | 04:09 | So here is a trick for you.
| | 04:10 | Press the L key on your keyboard and
that will take you into the Lights Dim Mode.
| | 04:16 | If you do it one more time, you'll go
into Lights Out Mode and now you can get
| | 04:20 | a better sense of how the image will look
cropped without all of the interface around it.
| | 04:25 | Again, I'll press L to take me back
into Crop Overlay Mode and I'll perform
| | 04:29 | the crop by pressing Return or Enter on my keyboard.
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| Setting white balance in the Basic panel| 00:00 | For many of you, the main reason to use
Lightroom will be to take advantage of
| | 00:03 | its powerful photo processing controls.
| | 00:06 | As you process an image, your goal is
to develop the colors and tones in the
| | 00:11 | photo to match your vision of the scene.
| | 00:13 | When you're ready to process your photos,
the Basic panel here in the Develop
| | 00:16 | module is to place the start.
| | 00:18 | And in many cases, it's
where you're going to end too.
| | 00:21 | Because the settings and just this one
Basic panel, are often all you'll need to
| | 00:26 | get the look you want in a photo.
| | 00:28 | So, I'm focusing on the Basic panel
in this processing portion of the course,
| | 00:31 | and I'm devoting the rest of this
chapter to looking at the controls
| | 00:35 | in the Basic panel.
| | 00:37 | One thing that makes the sliders in the
Basic panel so useful, is that they come
| | 00:41 | with a simple, built in workflow. And
that is, that the order in which the
| | 00:45 | sliders appear in the Basic panel is the
recommended order in which to use them.
| | 00:49 | The idea is to start with the White
Balance section at the top of the panel and
| | 00:53 | work your way down through the sliders in order.
| | 00:55 | So let's start by looking at the
White Balance Section of this panel.
| | 00:59 | The purpose of these White Balance
controls is to help you to neutralize any
| | 01:03 | unwanted overall color cast in the photo.
| | 01:06 | A color cast is the result of the color
temperature of the light in the scene you shot.
| | 01:11 | The classic example of an unwanted
color cast is if you were to shoot
| | 01:14 | a portrait under fluorescent lights
in an office building which make the
| | 01:18 | subject's skin look green.
| | 01:20 | Or if you were to shoot outside on a sunny day,
and there was snow on the ground,
| | 01:24 | the snow might look blue.
| | 01:26 | Now, every color cast is
not an unwanted color cast.
| | 01:30 | Sometimes, you want to keep that color in
the photo because it adds to the mood or
| | 01:34 | it adds a creative effect to the photo.
| | 01:36 | But if a color cast doesn't match the
way that you want to present the scene,
| | 01:41 | you can use these controls to try to
neutralize the balance of colors.
| | 01:45 | This tool, the White Balance Selector
tool, I just call it the Eye Dropper tool
| | 01:49 | can help you to evaluate a
color cast and to fix it.
| | 01:53 | To use the tool, I'll click on it here
in the Basic panel to release it and then
| | 01:57 | I'll move into the image.
| | 01:59 | As I hover over a color in the image,
this target appears and it tells me the
| | 02:04 | red, green, and blue values that
make up the color under my cursor.
| | 02:08 | If the color under my cursor is neutral,
then those three values will be equal
| | 02:13 | or approximately equal.
| | 02:14 | But as I move across this image, notice
that the blue value is higher than the
| | 02:19 | green and red value pretty much
everywhere so that's true in this clouds.
| | 02:24 | It's true here in the mountain.
| | 02:26 | It's true down here.
| | 02:28 | And what that's telling me is that there
is a blue color cast across this image.
| | 02:32 | One way that I can try to neutralize
that color cast is to click with this tool
| | 02:37 | on a part of the image that I
would like to be neutral in color.
| | 02:40 | For example, I'll go up to this cloud.
| | 02:43 | I'd like the cloud to be gray, not so blue.
| | 02:46 | So, I'm going to click.
| | 02:48 | And the result is, if you look at the
top right of the screen, just under the
| | 02:51 | Histogram, that the red, green and
blue values underneath my cursor are
| | 02:56 | now approximately equal.
| | 02:58 | And you can really see
the difference in the image.
| | 03:00 | With just one click, I've warmed the image
up, reducing some of that blue color cast.
| | 03:05 | Now often, I don't like the result that
I get on my first click with this tool.
| | 03:09 | I like to experiment clicking in
different parts of the image until
| | 03:13 | I get just the look that I want.
| | 03:14 | But I can't click again with the Eyedropper
tool until I go over to the Basic panel
| | 03:18 | and select it again and bring it out.
| | 03:20 | So to make things easier there is an option
that I'm going to uncheck in the toolbar.
| | 03:25 | First off, select the Eyedropper tool
again and then down in the toolbar,
| | 03:29 | I'm going to go to Auto Dismiss and uncheck that.
| | 03:32 | And that will cause the Eye Dropper
tool to stay out and not go back to
| | 03:36 | the Basic panel every time I'd click.
| | 03:37 | While I'm here, I'm also going to uncheck
Show Loupe and that's going to prevent
| | 03:43 | that target from following
my Eyedropper around.
| | 03:46 | I think that target is pretty big and it
sometimes gets in my way, and I can see
| | 03:50 | the RG and B values up
underneath the Histogram anyway.
| | 03:54 | So, now I'm going to come into the image
and try clicking in a few other places
| | 03:58 | just to see what result that I get.
| | 04:01 | Each time I click, the image
looks a little bit different.
| | 04:04 | So, let's say that I am pretty happy
with this result, I can still fine tune
| | 04:08 | this result by coming back over to the
Basic panel and using the Temperature
| | 04:13 | and Tint Sliders in the White
Balance section of the Basic panel.
| | 04:16 | The Temperature slider runs from blue
on the left to a gold on the right
| | 04:20 | as you can see by the slider.
| | 04:22 | So, if I want to warm the image up a
little more, I'll click on the Temperature
| | 04:25 | Slider and I'll drag it over to the right.
| | 04:28 | If I wanted to cool the image down, I
would take that slider the other way.
| | 04:32 | And again, this is subjective, so I'm just
going to put it somewhere and say this area.
| | 04:37 | There is also a Magenta to Green Tint slider.
| | 04:41 | I use this slider less often.
| | 04:43 | I find it comes in most handy if I'm
working with skin tones in a portrait say,
| | 04:48 | and I want to make the subject's face
look a little bit more red than green then
| | 04:52 | I'll drag the Tint Slider over toward magenta.
| | 04:55 | I'm going to put the Eyedropper tool
back by clicking the circle here in the
| | 04:59 | basic panel so that I can show you
another way, my favorite way, to quickly
| | 05:03 | adjust white balance.
| | 05:04 | If you're having trouble zeroing in on
the right color balance using the
| | 05:07 | Eyedropper tool and the sliders,
you mightprefer going to the Preset menu
| | 05:12 | which is right here and choosing one
of the white balance presets.
| | 05:16 | By default as shot is the preset that's chosen.
| | 05:20 | From this menu, I could just
cycle through these other options.
| | 05:24 | Auto is Lightroom's best guess as to how
the white balance should be and I think
| | 05:28 | it's done a pretty good job in this case.
| | 05:30 | And then there are some other presets
for Daylight, Cloudy, Shade, images shot
| | 05:38 | in Tungsten light which is
obviously wrong for this photo.
| | 05:42 | Images shot in Fluorescent light.
| | 05:44 | Images shot with Flash.
| | 05:46 | So after you decide which one you like best, I
actually think I like Auto best in this case,
| | 05:51 | you can select it and then use the
sliders to tweak it further. So if I want a
| | 05:55 | little less warmth, I can
drag the slider to the left.
| | 05:59 | So, that's how you can adjust white
balance on a RAW File like this one.
| | 06:04 | Things are a little bit
different if you use a JPEG.
| | 06:06 | I'm going to switch to a JPEG File. I'm
pressing the Right Arrow key on my keyboard
| | 06:10 | to go to the next file in
this folder and this is a JPEG.
| | 06:15 | So, the difference is that if I go to use the
presets with the JPEG, I just have less choices.
| | 06:21 | I simply have As Shot, Auto, and
Custom which means that I can drag sliders.
| | 06:25 | So, in this case let's see how
Auto does and it just paints the color
| | 06:29 | balance quite a bit.
| | 06:30 | And then as before, I can tweak this by
dragging the Temperature or the Tint Sliders.
| | 06:36 | So, that's how to neutralize an
unwanted color cast in a RAW File or JPEG.
| | 06:41 | The next step in processing the photo in
the Basic panel is to use the Tone Sliders.
| | 06:45 | There's a lot to tell you about the Tone
Sliders and that's just what I am going
| | 06:49 | to do in the next movie.
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| Using the Histogram to evaluate tones| 00:00 | Let's continue to explore how to process
a photo using the controls in the Basic
| | 00:05 | Basic panel in the Develop module.
| | 00:06 | In the last movie, I showed you how and
why to use the White Balance controls.
| | 00:11 | Once you've done that, I recommend you
move straight down to the next section of
| | 00:15 | the Basic panel which is a section
that contains the Tonal controls.
| | 00:19 | These controls are very powerful and
they have a big effect on the image.
| | 00:23 | So, before we start using this, I
want to make sure that you have your
| | 00:26 | Histogram panel open because that will
help you to evaluate the tonal issues
| | 00:31 | with the image as it stands and to see
what the various controls are doing to
| | 00:35 | the image as you use them.
| | 00:37 | If your Histogram panel isn't showing,
then click this triangle to reveal it.
| | 00:42 | If you're not familiar with
the Histogram, it's a bar chart.
| | 00:45 | The right side of the chart represents
the brightest possible tones in an image
| | 00:49 | and the left side of the chart
represents the darkest possible tones
| | 00:54 | with all of the grey tones across the chart.
| | 00:56 | The mounds of light gray and color
that you see in this particular Histogram
| | 01:00 | represent the tones in the open image.
| | 01:03 | So, before I get started adjusting
this image, I'd like to take a look at the
| | 01:07 | bar chart and see where the tones are falling.
| | 01:09 | I say that this image looks
pretty good in terms of a histogram.
| | 01:12 | It has tones across the histogram and
there are no high spikes on the right
| | 01:17 | which would represent a clipped
highlights or highlights that have no detail
| | 01:21 | nor on the left, which would represent
dark areas, shadows that have no detail.
| | 01:26 | And in most cases, it's a good idea to
have some highlights and some shadows
| | 01:30 | that do have detail.
| | 01:32 | But I do see that there aren't very
many bars over here on the far right
| | 01:35 | which means that there aren't any
really bright tones in the image.
| | 01:39 | So, that's something that we'll work on.
| | 01:40 | As I said the histogram can also help
to understand what the individual sliders
| | 01:45 | are doing to an image as you're using them.
| | 01:48 | In Lightroom 4, individual sliders in
the tonal area are targeted pretty tightly
| | 01:53 | to separate parts of the tonal range.
| | 01:56 | And you can see which is which by
coming up to the histogram and just hovering
| | 02:00 | over part of the histogram.
| | 02:02 | So, if I hover over this area, it gets a
little bit lighter in the chart and you
| | 02:06 | can see underneath the chart, Lightroom
is telling me that this area is going to be
| | 02:10 | controlled primarily by the black slider,
this area by the shadows slider, this
| | 02:15 | area by the exposure slider.
| | 02:17 | And that's important to know that the
exposure slider is targeted to the midtones.
| | 02:22 | This area is controlled by the highlight
slider primarily and this area by the white slider.
| | 02:28 | So, keep that in mind as we move on to
the next movie where I'm going to show you
| | 02:32 | how to use the individual controls
in the tonal area of the Basic panel.
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| Adjusting tonal values in the Basic panel| 00:00 | Now, it's time to talk about the sliders
in the Tone section of the Basic panel.
| | 00:04 | This really is the heart of the correction
that you're going to do in this panel.
| | 00:08 | These sliders affect the exposure and
the contrast that can help you to bring
| | 00:12 | back detail in highlights and shadows
and to set a bright white and a dark
| | 00:17 | black point in the image.
| | 00:18 | Before we get started with these sliders,
I want to make sure that your sliders
| | 00:22 | look just like mine.
| | 00:24 | If you're not using the exercise files
and you happen to be using an older photo,
| | 00:27 | one that may have been corrected
in an earlier version of Lightroom, then
| | 00:31 | you won't see the same sliders in your tone
section of the Basic panel that I have here.
| | 00:37 | If that's the case, you should also
see a warning square down here with
| | 00:41 | an exclamation mark on it.
| | 00:43 | You can get your sliders to look just
like mine by holding down the Option key
| | 00:47 | on the Mac or the Alt key on the PC
and clicking on that warning icon.
| | 00:51 | Now you'll be able to follow along with me.
| | 00:53 | Before we look at each of the individual
sliders here I want to mention that there
| | 00:57 | is an Auto Tone button here in the tonal area.
| | 01:00 | If you're in a hurry or you just want to
see what Lightroom would do with this photo,
| | 01:04 | you can click this button and
the result in this case is pretty good.
| | 01:09 | I like the appearance of the image and
the histogram looks pretty good to me.
| | 01:13 | So I just might go with Auto, and as
you can see clicking the Auto button has
| | 01:18 | changed each of the sliders moving it from
its midpoint of zero in the center of the scale.
| | 01:23 | I can tweak any of the sliders from
this point on or I can set them all back
| | 01:28 | to their starting point and use
the manual sliders from the get go.
| | 01:31 | I'm going to do that so that I can
show you what each slider does.
| | 01:34 | If I would click the reset button at
the bottom of this column that would reset
| | 01:38 | all of the sliders here in the Basic panel.
| | 01:41 | If I want to reset just the Tone sliders,
I can hold down the Option key on the Mac
| | 01:46 | or the Alt key in the PC. That changes
this button to reset tone and I'll click
| | 01:51 | there to set just the Tone sliders back to zero.
| | 01:54 | When I'm working with the individual
sliders in the Tone area, I usually start
| | 01:58 | with the Exposure slider and then move
right down through the sliders in the
| | 02:02 | order in which they appear here.
| | 02:03 | One reason to do that is that the
sliders are interdependent so for example,
| | 02:07 | the amount that I'll have to tweak the
Highlight slider will depend on where I set
| | 02:11 | the Exposure slider.
| | 02:13 | You may not be used to working in
this way but I think you'll appreciate it
| | 02:16 | if you give it a try.
| | 02:17 | It will also save you some time if you
get used to working from top to bottom
| | 02:21 | and you're processing a lot of photos at once.
| | 02:23 | So, starting with the Exposure slider,
this slider controls the overall
| | 02:27 | brightness of a photo.
| | 02:29 | If I want to make all the tones in the
image darker so the photo looks darker overall,
| | 02:32 | I'll drag the Exposure
slider to the left like this.
| | 02:36 | If I want to make the photo look brighter
as I do in this case, I'll drag the
| | 02:40 | Exposure slider over to the right.
| | 02:42 | Now how do I know how far to go here?
| | 02:45 | Well, what I'll do is I
concentrate on the midtones.
| | 02:48 | Remember from the last movie, or if you
just look up at the histogram you can
| | 02:51 | see this too, that the Exposure slider
is intended to correct primarily the
| | 02:57 | midtones in the photo.
| | 02:59 | So in this case I'd consider the midtones
to maybe be this building over here.
| | 03:03 | And I'll keep my eye there as I move the
exposure slider until it looks to me as
| | 03:08 | bright as I would like that area to be.
| | 03:10 | Maybe I'll go around there. I can
always come back and tweak this further
| | 03:15 | after I adjust the other sliders.
| | 03:17 | Next I'll move to the Contrast slider.
| | 03:19 | The Contrast slider controls how bright
the bright tones are going to be and how
| | 03:23 | dark the dark tones.
| | 03:25 | Now I'm not talking about the
extreme ends of the histogram but
| | 03:29 | the other dark and light tones.
| | 03:30 | Most images will look best with a little
additional contrast so I do generally
| | 03:36 | drag the slider to the right a
bit to make the image pop a little.
| | 03:39 | Let's see what happens in this photo.
| | 03:41 | As I drag to the right you can see that
I'm getting a little more punch in the image.
| | 03:45 | Now if I want to see how the image was
a few moments ago, before I adjusted
| | 03:49 | exposure and contrast to
compare it to how it is now,
| | 03:52 | I'll press the Backslash key.
| | 03:54 | There's where I started
and there is where I am now.
| | 03:57 | Next, I'll move down to the
Highlights and the Shadow sliders.
| | 04:01 | The purpose of these sliders is to bring
back detail, either in the highlights or
| | 04:05 | in the shadows, without
affecting the rest of the image.
| | 04:09 | The Highlight slider is particularly powerful.
| | 04:11 | For example, in this image when I
increased exposure I lost a little bit
| | 04:15 | of detail up here in the clouds.
| | 04:17 | I'd like to bring that back and so
I'll drag the Highlight slider to the left
| | 04:21 | and see if I can recover some more detail.
| | 04:24 | If I drag it all the way over
I think you can see that best.
| | 04:27 | Now, you can really see the detail
in the clouds up here and down here.
| | 04:31 | I don't want to take highlights all
the way over to the extreme left.
| | 04:35 | I'm going to back on off that
a bit, putting it around here.
| | 04:37 | What I love about this slider is that
it does effect the highlights bringing
| | 04:41 | detail back in without too much of an
effect on other tonal values on the photo.
| | 04:46 | The same is true of the Shadow slider which I
can use to open up the shadows in the image.
| | 04:52 | So, in this case keep your eye up here
and over here and down here in the darker
| | 04:57 | areas as I drag the Shadow slider to the right.
| | 05:00 | And that opens those up, bringing in
some more detail without really affecting
| | 05:05 | the rest of the tones in the image.
| | 05:07 | As a general rule, I try to keep the
Shadow slider and the Highlight slider
| | 05:11 | in the same neighborhood on either side of zero.
| | 05:14 | So, I might increase the Shadow
slider a bit to bring it more in line
| | 05:18 | with the Highlights slider.
| | 05:20 | Now, the image still doesn't look
great and I think what it needs is
| | 05:24 | some undertones of rich black.
| | 05:26 | For that, I can use the Black slider.
| | 05:28 | The White slider and the Black slider
are used to set the extreme whites and the
| | 05:32 | extreme blacks in the image.
| | 05:33 | I'm actually going to start with the
White slider. And in order to see what the
| | 05:37 | slider is doing in the image, I'm
going to go up and click on this Highlight
| | 05:42 | Clipping Indicator to enable it, and
then I'll go down and drag the White
| | 05:46 | slider to the right.
| | 05:47 | Now, notice that there are some red
pixels starting to appear here in the image
| | 05:51 | and those are just indicators meaning
that the pixels under the red are being
| | 05:56 | pushed toward pure white with no detail.
| | 05:58 | When I see that, I'll back off a little
bit so that I don't blow out those white
| | 06:02 | pixels, and as you can see that
highlight indicators are no longer lit up.
| | 06:06 | I'll click on it to disable it and then
I'll go over and I'll enable the Shadow
| | 06:11 | Clipping Indicator so that I can use
the black slider and see which pixels
| | 06:16 | I'm going to be pushing to pure black as I
drag the Black slider over toward the left.
| | 06:21 | I'm usually not as concerned about
sacrificing detail in some small black areas
| | 06:25 | of the photo like these, particularly where
those areas aren't very important to the content.
| | 06:30 | I'm going to click on that Highlight
Warning Indicator again to turn it off
| | 06:33 | so that I can see the result.
| | 06:35 | So, let me approach that Black
slider again so you can watch.
| | 06:38 | Here it is at zero and look how the
image pops more as I drag the Black slider
| | 06:43 | over to the left pushing some pixels to
appear black which increases contrast.
| | 06:48 | So, now that I've made the first pass
through the tonal sliders, I can always
| | 06:52 | come back and tweak something.
| | 06:54 | Maybe I want a little more contrast.
| | 06:56 | Maybe I want a little more exposure.
| | 06:59 | Maybe I want to bring back some
more highlights and so forth.
| | 07:02 | Now before I'm done there's one more
slider that is in a different section
| | 07:05 | of the Basic panel but then I really
consider it a tonal control and that is
| | 07:10 | the Clarity slider.
| | 07:11 | What this slider does is make the midtones
in a photo look more crisp and detailed.
| | 07:16 | Let's see what it does in this image as I
drag it to the right to increase clarity.
| | 07:21 | As you can see, there's now a little
more detail in the midtones and you can
| | 07:25 | see it here in the decoration
on the front of the building.
| | 07:28 | So, increasing clarity is a
nice way to finish things off.
| | 07:31 | By the way, if you ever want to soften an
image, giving it a real glow, you can
| | 07:35 | move the Clarity slider over toward the
left and you'll get an effect something
| | 07:39 | like this and this can
sometimes help to soften a portrait.
| | 07:42 | But I'm going to increase clarity in
this case to somewhere around there and it
| | 07:48 | is just a subjective decision as
to where I want to leave that slider.
| | 07:51 | When I'm all done, I want to compare
where I am now with where I started so I'll
| | 07:55 | press the Backslash key on my keyboard.
| | 07:58 | There is where I started and there is
where I am now and I think I'm going to
| | 08:02 | actually take clarity down a bit and
maybe take contrast down so that my
| | 08:07 | edges aren't as sharp.
| | 08:09 | So, those are the sliders that I think
are going to change the appearance of
| | 08:13 | your photo the most as you
process it in the Basic panel.
| | 08:17 | If you don't remember what any of these
sliders do, go back and listen to this
| | 08:20 | movie again and try out these sliders
on a number of different photos of your
| | 08:25 | own so that you can
really see what each one does.
| | Collapse this transcript |
| Controlling color intensity in the Basic panel| 00:00 | Continuing the photo processing work flow
in the Basic panel of the Develop module,
| | 00:03 | let's take a look at enhancing color
with the Vibrance and Saturation sliders
| | 00:08 | that are down at the bottom of
the Basic panel in this section
| | 00:12 | called the Presence Section.
| | 00:13 | Many photos can benefit from
an increasing color intensity.
| | 00:17 | Sometimes, but certainly less often,
you might have a photo that looks better
| | 00:20 | with color intensity turn down a notch.
| | 00:22 | Both the Vibrance and the Saturation sliders
affect the intensity, or you might say,
| | 00:27 | the vividness of color in the
photo but they do it in different ways.
| | 00:31 | With vibrance, offering a more subtle
and usually more pleasing effect
| | 00:35 | than saturation does.
| | 00:37 | I suggest you give both these sliders
a try and then choose the one that does
| | 00:40 | the best job on a particular photo.
| | 00:43 | There's almost never a
reason to apply them both.
| | 00:45 | In this photo, I've already adjusted
the white balance and the tonal controls.
| | 00:50 | The photo was taken in pretty
bright sunlight so I've turned down
| | 00:53 | the exposure and the contrast.
| | 00:55 | I've brought the Highlight slider down
to recover detail in the clouds and in
| | 00:59 | the subject's face and I dragged the
Shadow slider to the right to open up
| | 01:03 | some of the dark areas in the scenery.
| | 01:05 | I brought in some blacks for more
contrast and down in the Presence Section,
| | 01:09 | I decreased clarity to soften the subject's face.
| | 01:12 | I usually don't increase clarity when
I'm working with a portrait because
| | 01:15 | I just don't like the harsher results.
| | 01:17 | Now, let's take a quick look at what the
Saturation slider might do to this photo.
| | 01:21 | Like all the sliders, this slider
starts at the zero point in the middle.
| | 01:25 | If I drag the Saturation slider over
to the left, that reduces the intensity
| | 01:29 | of color in the photo.
| | 01:30 | If I drag it over to the right
beyond the midpoint, that increases
| | 01:34 | the intensity of color.
| | 01:36 | Well obviously, this is not a
result that I want in this photo.
| | 01:39 | The skin tones, particularly, are way
over-saturated. The Saturation slider
| | 01:44 | often fails like this, particularly on
portraits, because it saturates all
| | 01:48 | colors in a photo equally. So, this
isn't going to work in this case.
| | 01:52 | I'm going to set the
Saturation slider back to zero.
| | 01:54 | A quick way to do that is to double
click right on the head of the slider.
| | 01:59 | Instead of the Saturation slider, I'm going to
try out the Vibrance slider on this photo.
| | 02:04 | I'll click the Vibrant slider head and
drag it over to the right to about the
| | 02:07 | same place that I had the Saturation slider.
| | 02:10 | And you can see that Vibrance
does a much better job on this photo.
| | 02:13 | It has increased the intensity of
the blue in the fellow's jacket and the
| | 02:18 | background colors without making the
colors in the skin tones overly vivid.
| | 02:22 | And that's the beauty of this Vibrance control.
| | 02:25 | It adds the most saturation to the
colors that need it most in a photo rather
| | 02:28 | than saturating all colors equally
like the Saturation slider does.
| | 02:32 | And the Vibrance slider often does a good job
of protecting skin tones from over-saturation.
| | 02:38 | So, that's the last step to
work through in the Basic panel.
| | 02:42 | Often running a photo through the
controls, in the white balance, the tonal
| | 02:46 | area, and the presence area of the
Basic panel is all you need to do
| | 02:50 | to get the color and tone in a photo
looking the way you want it.
| | 02:53 | And that's true whether you're
working with RAW files or with JPEGs.
| | 02:56 | From here, all that's left to do in a
typical simple photo processing work flow
| | 03:01 | is to check for and reduce any noise in
the photo and then sharpen the photo for
| | 03:05 | your intended output as I'll show
you how to do in the next movies.
| | Collapse this transcript |
| Reducing digital noise | 00:00 | Lightroom can help you to reduce
digital noise in a photo, those small specks
| | 00:03 | that you may see in a photo,
particularly when you shot
| | 00:06 | in low light with your camera's
ISO set relatively high.
| | 00:10 | Under the histogram, you can
see some of your Camera settings.
| | 00:13 | These are the settings with which I
shot this photo, and as you can see,
| | 00:17 | the ISO was way up at 3200
for this night scene in Venice.
| | 00:21 | You won't often notice digital noise
when you zoomed out on a photo in Lightroom
| | 00:25 | to this extent so that you can see
the whole thing in the Document window.
| | 00:28 | To evaluate noise you want to
zoom in to the One to One view.
| | 00:32 | I'm going to do that by going over to the
Navigator panel and clicking 1:1.
| | 00:36 | When you zoomed in this far, the photo
is larger than the image window, so if you
| | 00:40 | want to see a particular part of the photo
you have to pan the image around in the
| | 00:44 | window either by clicking and dragging
in the window or to get a particular area
| | 00:48 | by using the Navigator panel.
| | 00:50 | I'll click inside of the white box
there and I'll drag the part of
| | 00:54 | the image that I want to see down here.
| | 00:56 | Lightroom's controls for handling digital
noise are located not in the Basic panel,
| | 01:00 | which we've been working in so far,
but in another panel, the Detail panel,
| | 01:04 | over in the column on the right.
| | 01:07 | In order to make room for the Detail panel,
I'm going to close my Histogram panel
| | 01:10 | by clicking the triangle on
the top right of the Histogram panel.
| | 01:14 | I'll do the same with the Basic panel
and then I'm going to click the arrow
| | 01:18 | to the right of the Detail
panel to expand that panel.
| | 01:21 | And I'll scroll down so you
can see all of that panel.
| | 01:23 | Up here at the top of the Detail panel,
there is a preview that you can use
| | 01:27 | instead of this large Image window, if
you want a smaller preview of what you're
| | 01:31 | doing while you're reducing
noise or sharpening a photo.
| | 01:34 | If you don't see this preview at all,
click this black arrow in the Detail panel.
| | 01:39 | If you want to get to a particular part
of the image, in the Detail panel click
| | 01:42 | this target symbol and then in the image click
on what you want to see inside of that preview.
| | 01:48 | The Detail panel has both sharpening
and noise reduction controls.
| | 01:53 | You want to reduce noise before you
sharpen that image so that you don't
| | 01:56 | end up sharpening the specks of noise.
| | 01:58 | So, we're going to talk about noise
reduction in this movie first
| | 02:02 | and then sharpening in the next movie.
| | 02:03 | There are two flavors of digital noise
and so there are two parts of the noise
| | 02:07 | reduction area of this panel.
| | 02:09 | One kind of digital noise is Color Noise,
which shows up as blobs of color in an image,
| | 02:14 | and the other is Luminance Noise which
shows up as grey scale specs in the image.
| | 02:19 | And, you can see the Luminance
Noise here in all these little specs.
| | 02:22 | You can't see the Color Noise right now
because by default, the Color slider is
| | 02:27 | enabled and set to a value of 25, and in
this case that's sufficient to do away
| | 02:32 | with the Color Noise.
| | 02:33 | If that's the case in a photo of your
own that you're working on, you can just
| | 02:36 | leave the color and its detail slider
at their defaults and go on and deal
| | 02:40 | with Luminance Noise.
| | 02:42 | But I do want to show you what Color Noise
looks like so I'm going to take that Color
| | 02:46 | slider and drag it all the
way back over to the left.
| | 02:49 | Now if you look closely, you can see
the pink and green and blue specks
| | 02:54 | in this image and that's Color Noise.
| | 02:56 | The way to reduce that Color Noise is
to drag the color slider to the right.
| | 02:59 | So, I'll just drag that over to the right
until I no longer see that Color Noise.
| | 03:04 | Now sometimes, dragging the color slider
to the right can cause a small loss of
| | 03:08 | detail or maybe color saturation at color edges.
| | 03:12 | And so there is a Color Detail slider
here that you can use to bring back some
| | 03:17 | of that detail and saturation
at fine color edges.
| | 03:20 | I'm going to zoom in closer so you
can see what I'm talking about.
| | 03:23 | I'll zoom in to 3:1 by clicking that
here in the Navigator panel and then
| | 03:28 | I'm going to drag in the image over
here to the edge of this model's hair
| | 03:33 | where there is a blue flower.
| | 03:34 | Now again, I'm going to take that Color
slider and drag it all the way over to the left.
| | 03:38 | So now there is no color noise reduction.
| | 03:40 | Keep your eye up in this area as I drag
the Color Noise Reduction slider to the
| | 03:45 | right and you may see a little bit of
loss of blue saturation here in the edge.
| | 03:51 | So, to try to bring that back, I'll drag
the Color Detail slider over to the right.
| | 03:56 | And that does bring back a bit of
that detail but, this is all very subtle.
| | 04:00 | These are minor differences.
| | 04:02 | So again, with regard to Color Noise,
the best way to go is to set your screen
| | 04:07 | to a 1:1 view and then just check to see
if you can see any Color Noise with the
| | 04:12 | Default settings of the Color
slider and the Color Detail slider.
| | 04:16 | And if you can't, just leave things as they
are and go on to deal with Luminance Noise.
| | 04:21 | Now even if there is no Color Noise
there is likely to be some Luminance Noise
| | 04:25 | in an image shot with a high ISO like this one.
| | 04:28 | The way to reduce that is to take the
Luminance slider and drag it to the right.
| | 04:33 | Keep your eye in the image as I do that.
| | 04:36 | And you can see that I've smoothed away
those grey scale specks of Luminance Noise.
| | 04:40 | But at the same time,
I've blurred the image.
| | 04:44 | I'll drag back over to another part of
the image so you can see that there as well.
| | 04:47 | And I'm actually going to go out
to 1:1 view so we can see this better.
| | 04:53 | Now, once again, I'll take the
Luminance slider back to where it was at zero,
| | 04:57 | you can see the Luminance noise.
| | 04:59 | Watch what happens when
I increase the luminance.
| | 05:02 | Everything is smoothed out.
| | 05:04 | The grey specks go away but I've also
blurred the colors in this wall and
| | 05:09 | over in this fabric as well.
| | 05:10 | To try to fix some of that blurring
and smoothing, as soon as I activate
| | 05:14 | the Luminance slider by dragging it to the
right, I get a Detail and Contrast slider
| | 05:18 | lighting up as well.
| | 05:20 | They are no longer grayed out
and I can use them.
| | 05:22 | So I'm going to try dragging the Luminance
Detail slider over to the right
| | 05:26 | to try to bring back some more detail.
| | 05:28 | I'll take it way over and yes, I can
see more detail here in these white areas
| | 05:34 | and in this fabric but at the same time I've
introduced some artifacts which you can see here.
| | 05:40 | So as with many things in
Lightroom I'll have to make a compromise.
| | 05:43 | I'll back off a bit on the Detail slider.
| | 05:46 | To get to a point where I've done away
with most of the Luminance Noise
| | 05:49 | but I still have some of the detail that I'd lost.
| | 05:52 | Another way to deal with the blurring
and smoothing of the Luminance slider
| | 05:56 | is to drag the Contrast slider over to the right.
| | 05:59 | Now this is very subtle but, if you
look at some of these fabric right here,
| | 06:03 | as I drag the contrast slider over to the
right, you may see it get a little bit
| | 06:07 | darker in the dark areas and a
little bit lighter in the light areas.
| | 06:10 | So again, that's how it was.
| | 06:13 | And that's how it is when I drag to the right.
| | 06:15 | So Lightroom does a pretty terrific
job of handling digital noise that comes
| | 06:19 | from the camera sensor, particularly on
RAW images shot in low light at a high ISO.
| | 06:25 | Once you've minimize that noise using
the Color and Luminance noise sliders,
| | 06:28 | you're ready for the last step in our
photo processing work flow which is also
| | 06:32 | done right here in the Detail panel
as I'll explain in the next movie.
| | Collapse this transcript |
| Sharpening| 00:00 | The very act of capturing a photograph digitally
introduces some softness into the photo.
| | 00:04 | If you shoot JPEGs, your digital camera
probably tries to correct for that.
| | 00:09 | But if you shoot RAW photos those
come out of your camera uncorrected
| | 00:13 | and without sharpening treatment.
| | 00:14 | To compensate for the inherent softness
in a digital photo, particularly a
| | 00:18 | RAW photo, you can specify sharpening
settings here in the Detail panel
| | 00:22 | of Lightroom's Develop module.
| | 00:24 | This is the same Detail panel that I showed
you in the last movie on noise reduction.
| | 00:28 | If your Detail panel isn't open, you can
open it by clicking the triangle on the
| | 00:32 | right of the Detail header.
| | 00:34 | Before you start with the sharpening
settings you do want to come down to the
| | 00:37 | Noise Reduction section and tweak those
settings, because otherwise you might
| | 00:41 | end up sharpening specks of digital noise.
| | 00:43 | Now before I show you how to change
the sharpening settings, keep in mind
| | 00:48 | that its fine in many cases to leave
these settings at their defaults.
| | 00:51 | There are couple of reasons for that.
| | 00:53 | First of all if you're working with a RAW file,
| | 00:56 | the sharpening controls are on and by
default they are applying some sharpening.
| | 01:00 | And if you're working with a JPEG, as I
said, your camera probably already applied
| | 01:04 | some sharpening. And in that case the
default for the sharpening controls will be
| | 01:08 | zero for that reason.
| | 01:10 | Moreover, this is just the
first stage of sharpening.
| | 01:13 | This is sometimes called capture sharpening.
As I said, its purpose is just
| | 01:17 | to compensate for the softness that
you get by shooting a photo digitally.
| | 01:21 | Later, when you're ready to output a
copy of the photo for print or for viewing
| | 01:26 | online, you'll do more sharpening.
| | 01:28 | And that sharpening will be geared
specifically toward that particular
| | 01:31 | kind of output that you have in mind.
| | 01:33 | You might be doing that in Lightroom's
Print module or Lightroom's Export Dialog box,
| | 01:37 | both of which are covered later
in this course. Or if you brought
| | 01:41 | your photo into Photoshop to do your
final work there, you'll do some export
| | 01:45 | sharpening in Photoshop.
| | 01:46 | So here at the capture sharpening stage,
you can often just stick with the defaults.
| | 01:50 | But if you do want a photo to look
sharper here on your screen at this
| | 01:54 | stage, here's how to work with the
Detail panel's Sharpening controls.
| | 01:58 | The first thing you want to
do is set up your previews.
| | 02:01 | You have your preview of your sharpening, a live
preview, here at the top of the Digital panel.
| | 02:06 | And if you don't see it, you can click
this black triangle to open the Preview area.
| | 02:10 | I can set this Preview to any part of
the photo by clicking on the target
| | 02:14 | and then clicking on the area of the
photo that I want to see in this preview.
| | 02:18 | And I can even come in and
click-and-drag to move that around.
| | 02:22 | By default, this small preview
is set to 1:1 view.
| | 02:26 | That's really important because
you cannot accurately preview sharpening
| | 02:30 | unless you're viewing the photo at one-to-one.
| | 02:33 | And that's also true in the other preview
that you have, which is out in the Image Window.
| | 02:38 | Your Image Window has to be set to
1:1 view as well in order for you
| | 02:42 | to judge your sharpening here.
| | 02:44 | So, I'm going to go up to the Navigator panel
and I'll click the 1:1 button there.
| | 02:49 | And then I'll use this small square in
the Navigator panel to drag the image in
| | 02:54 | the image window to the part of the
photo that I want to see as I'm sharpening.
| | 02:58 | Now, let's talk about what sharpening does.
| | 03:00 | Sharpening looks for edges in a photo.
| | 03:02 | The edges between dark and light tones, like
this edge here at the corner of the building.
| | 03:07 | And then when you sharpen, that adds
light pixels on one side of the edge and
| | 03:11 | dark pixels on the other.
Those are called Sharpening Halos.
| | 03:15 | These halos increased contrast at the edges
and that creates the illusion of sharpness.
| | 03:21 | To see that better, I'm going to go over
to the Sharpening settings and I'm going to
| | 03:25 | drag the amount slider way over to the right.
| | 03:28 | And, then I'm also going to zoom in.
I normally wouldn't do this when I'm
| | 03:32 | sharpening but I want you to see that
along that edge, there are some white
| | 03:36 | pixels and along the other side
of the edge, some dark pixels.
| | 03:40 | And those are the halos I just mentioned
that create the illusion of sharpness.
| | 03:44 | This Amount slider determines the
strength of sharpening, how brighter,
| | 03:48 | how dark the sharpening halos are.
| | 03:50 | The next slider, the Radius slider,
determines the thickness or spread
| | 03:54 | of the sharpening halos.
| | 03:56 | How far out from an edge a sharpening
effect extends so you can see that if
| | 04:00 | I drag the Radius slider to the right
keeping your eye on these halos, they're
| | 04:04 | going to move out from that
edge as I increase radius.
| | 04:08 | And if I decrease radius, those
halos go back in toward the edge.
| | 04:13 | Now if the Radius slider is up too high,
you're going to see a kind of a ghostly
| | 04:17 | glow on the edge of the building
when I go back in to a 1:1 view.
| | 04:21 | I'm going to do that now.
| | 04:23 | Coming up to the Navigator
panel and clicking 1:1.
| | 04:26 | So you can see I've still got that glow
along the edge of the building and that
| | 04:29 | means that my Radius slider is up too high.
| | 04:32 | So, I'm going to drag it down.
| | 04:34 | Now, there is no formula about where
to put any of these sliders,
| | 04:37 | but in general, you want the radius
slider to be less than 2.0.
| | 04:42 | In this case, I'm going to drag it
over to the left until I see a lot of that
| | 04:47 | glow disappear, and I'm going to
take it down pretty far, maybe 2.6.
| | 04:52 | And then I'm going to go
back up to the Amount slider.
| | 04:54 | And I'll move that back over to the left
until I just like the amount of sharpening.
| | 04:59 | And as I said, there is no perfect
number and it's different on every image.
| | 05:04 | This is really a subjective decision.
| | 05:06 | But you do want to be careful not to
over-sharpen at this capture stage because,
| | 05:10 | as I said, later you will be sharpening
again when you output a copy of this photo.
| | 05:15 | In this case I'm going to bring
that all the way down to around 50.
| | 05:20 | There are two more sliders here,
the Detail slider and the Mask slider.
| | 05:24 | The Detail slider determines
which edges are being sharpened.
| | 05:28 | If I drag the Detail slider to
the right, more edges get sharpened.
| | 05:31 | And if I drag it to the left, fewer
edges get sharpened. Now that's a little bit
| | 05:36 | difficult to see. So I want to show you
a kind of a map of which edges are being
| | 05:40 | sharpened here as I drag the Detail slider.
I can do that by holding down the
| | 05:45 | Opt key on the Mac, or the Alt key on a PC,
and dragging that Detail slider
| | 05:49 | over to the right, and now you
can see what's being sharpened.
| | 05:52 | If I go in the other direction, you can
see that fewer details are being sharpened.
| | 05:57 | So I'm going to release the Opt or Alt
key to go back and view the image and
| | 06:01 | I'm just going to drag the Detail slider to
taste until the sharpening looks right to me.
| | 06:06 | Now by dragging the Detail slider over
to the right, I've manage to sharpen lots
| | 06:10 | of fine details including some that
I really don't want to sharpen;
| | 06:14 | here in the background in the hills
and a little bit in the sky as well.
| | 06:18 | And in that case I can use the
Masking slider to protect areas that
| | 06:22 | really aren't edges from sharpening.
| | 06:25 | Again, I'm going to hold down the
Opt key on the Mac, or the Alt key in the PC,
| | 06:29 | as I drag the Masking slider to the right.
| | 06:31 | And this is showing which parts of the
image are being sharpened, the white parts.
| | 06:35 | And as I drag the Masking
slider over to the right,
| | 06:38 | the parts that are turning black
are being protected from sharpening.
| | 06:42 | So, I'm protecting the sky and some of
those hills in the background as well.
| | 06:47 | I'll release the Opt or Alt key
so I can see my image again.
| | 06:50 | And then I can tweak that masking
slider I'm looking at the image,
| | 06:54 | maybe I'll drag it back a little bit.
| | 06:56 | As I said, there really are no formulas.
| | 06:58 | But in general, if I'm working on a
scenic image like this, an image with a lot
| | 07:02 | of fine detail, I will increase the Detail
slider quite a bit and I may not have any masking.
| | 07:08 | If I do, it will be fairly low.
| | 07:10 | But, I were working on a portrait,
someone's face, then I'd probably would
| | 07:14 | lower the Detail slider and increase the
Masking slider because I don't want
| | 07:18 | every little detail in a subject's skin
to be exaggerated by sharpening.
| | 07:22 | Now I want to mention that these Sharpening
controls affect the entire image.
| | 07:26 | But if you want to apply more or less
sharpening to a specific area you can
| | 07:30 | do that using one of the two local tools
which I'll cover in the next chapter;
| | 07:34 | the Adjustment brush and the Graduated filter.
| | 07:37 | And I'll also mention that sometimes
you can apply a sharpening preset
| | 07:41 | and that will do all the work for you.
| | 07:42 | Lightroom does shift with the number of presets.
| | 07:45 | Those are located over here in the left
column in the Presets panel
| | 07:48 | which I'll open by clicking this triangle.
| | 07:50 | The presets in Lightroom 4 are
inside of Subject Matter folders.
| | 07:55 | These are User Presets and in the
User Presets there is a folder of
| | 07:59 | Lightroom General Presets.
| | 08:00 | And here, I have two Sharpening
presets that come with the program.
| | 08:04 | A Sharpening preset for faces and
another for scenes like this one.
| | 08:09 | You can certainly try those out, at least
as the starting place, and then you can
| | 08:12 | tweak the sliders to taste.
| | Collapse this transcript |
| Working with video| 00:00 | These days everyone is shooting video,
| | 00:02 | not just with video cameras
but with still cameras, too.
| | 00:05 | Everything from high end DSLRs to
point-and-shoots, to camera phones.
| | 00:09 | So you'll be happy to know that there's
a lot you can do with your video clips
| | 00:12 | here in Lightroom 4.
| | 00:14 | For one thing, I can import off my
memory card, video clips that I've taken
| | 00:18 | with my still camera right along with my
still photos like the two JPEGs here.
| | 00:23 | Right next to those, I have this .MOV
video clip here in my Lightroom library.
| | 00:28 | If I want to see what's in that video clip,
I can just hover over the clip
| | 00:32 | and move back and forth.
| | 00:34 | If I want to see the clip larger, I'll
select it by clicking in that frame and
| | 00:38 | then I'll go down to the Loupe View icon
at the bottom of the Library and click.
| | 00:42 | I can allocate more room to the video
clip by going over to the far left and
| | 00:46 | clicking in this bar to
collapse the left hand panel.
| | 00:49 | In Loupe View, I have a controller.
| | 00:51 | I can click the Play button on the
controller and that will allow me to view
| | 00:55 | the video and even hear the sound.
| | 01:04 | And I'll move my mouse over the clip
and click again to stop playing it.
| | 01:08 | Now, I only need a few seconds of this video.
| | 01:10 | So, I want to trim away the end and I'll
trim away part of the beginning, too.
| | 01:14 | To do that, I'll go over to the Gear icon
at the far right of the Controller and
| | 01:18 | I'll click and that opens the
controller to this Frame view.
| | 01:21 | Then I'm going to take the Playhead and
drag it all the way over to the left to
| | 01:24 | the beginning of the video, and I'm just
going to scrub that Playhead to where
| | 01:28 | I want my video to start.
| | 01:30 | Let's say I'm going to start there.
| | 01:33 | Now, I'll go to the Trimming bar
right here and drag that Trimming bar over
| | 01:38 | until it touches my Playhead and I've just
trimmed away the beginning of this video.
| | 01:42 | Now, this is not a permanent change.
| | 01:44 | Like every change that I make in
Lightroom, this is non-destructive
| | 01:47 | of the original video.
| | 01:48 | So, if I changed my mind about where
I want the video to start, I can always
| | 01:52 | come back and just move that trim head
over and move the Playhead over a little
| | 01:57 | bit and do it again.
| | 01:59 | I'll also trim off the end of this video.
| | 02:01 | So, I'll take that Playhead and
I'll run it through a little further.
| | 02:05 | Maybe just until that wave disappears
and then I'll take the Trim bar at the
| | 02:10 | far right and I'll drag that over to meet
the Playhead, trimming away the end.
| | 02:15 | Now, I'll scrub back to beginning of the
part that I've clipped and I'll play just that.
| | 02:26 | Great.
| | 02:26 | Now, I have just a few seconds of this video.
| | 02:29 | By the way, you can only trim from the
beginning or the end of a video clip
| | 02:33 | in Lightroom 4, you can't
take out frames in the middle.
| | 02:36 | And that's not all that I can do
with video clips in Lightroom 4.
| | 02:39 | I can capture a still frame
from a video clip as a JPEG.
| | 02:43 | To show you that, I'm going to take the
Playhead back until I get to a frame in
| | 02:47 | this movie that I particularly like.
| | 02:51 | And then, I'm going to go to this
Rectangular icon at the bottom of the
| | 02:54 | Controller and I'll choose Capture Frame.
| | 02:57 | I'm going to make the filmstrip taller by
moving my mouse over its top border and
| | 03:02 | then dragging up so that you can see
that I now have not only the video here,
| | 03:07 | but right next to it, I have a JPEG which I
captured from a frame in the video
| | 03:13 | and I can use this to JPEG like any JPEG.
| | 03:15 | I could e-mail it, I can post
it on my website and so forth.
| | 03:19 | I can also capture another
frame to use as the Poster frame.
| | 03:22 | The Poster frame is the first frame
that appears on the video thumbnail.
| | 03:26 | It's what's appearing
here now in this thumbnail.
| | 03:28 | And this particular frame isn't
telling me much about this video.
| | 03:32 | In fact, I have actually cut this part
off of the actual video.
| | 03:36 | I'd rather have a more representative frame.
| | 03:38 | I can use the frame that I have up there now
or I can pull the Playhead to some other frame.
| | 03:42 | And then I'll go to the Rectangular
icon on the controller and this time I'll
| | 03:46 | choose Set Poster Frame.
| | 03:48 | And that captures that particular
frame and sets it as a Poster frame
| | 03:52 | on the thumbnail for this video.
| | 03:54 | But that's not all that you
can do with video in Lightroom 4.
| | 03:57 | You can also process a video,
changing its appearance.
| | 04:00 | You can even take a color video like
this and convert it into black and white.
| | 04:04 | I'll show you how to do that
in the very next movie.
| | 04:06 | But for now, let's assume that you're
done trimming, creating poster frames,
| | 04:11 | and even processing your video and you're
ready to export a copy of it so that
| | 04:16 | you can upload it to the Web or
maybe send it to someone by e-mail.
| | 04:20 | To do that, you go the File menu at
the top of the screen and choose Export.
| | 04:24 | That opens the Export Dialog Box.
| | 04:26 | I'm going to be covering this Export
Dialog Box in detail in the later movie
| | 04:30 | in this course but for now, I just
want to show you the Video settings here.
| | 04:34 | So, I'm going to scroll
down to the Video section.
| | 04:38 | Here, when you're exporting a video, you
want to make sure to check Include Video Files.
| | 04:42 | In the Format menu, you could
choose to export the original.
| | 04:46 | In that case, you would get a copy of
this video with none of the changes that
| | 04:50 | you've included at the original size.
| | 04:53 | But if I want to copy, say, to upload to the
Web, I'll choose H.264 as my video format.
| | 05:00 | That brings up this Quality menu.
| | 05:02 | And from here, I can choose exactly
which quality I want for compression.
| | 05:06 | So, if I want the movie that I'm exporting
to be the same size as the original,
| | 05:11 | you can see over here that the target,
the movie I'm exporting is going to be
| | 05:15 | 1920 by 1080 pixels and that's the
same as the source, the original.
| | 05:20 | I'll come to this menu and I'm
going to choose Medium instead.
| | 05:24 | Now, Lightroom tells me that this video
will be suitable for sharing on the Web.
| | 05:28 | Well, that's great.
| | 05:29 | That's what I want to do.
| | 05:30 | And notice that the size of the target,
the movie I'm exporting, is going to be
| | 05:35 | smaller than the original.
| | 05:37 | And if I were exporting a movie for viewing
on a mobile device, I might choose Low.
| | 05:41 | Lightroom tells me this movie will be
suitable for mobile devices and you can
| | 05:45 | see the target's size is much smaller.
| | 05:47 | And then when I click Export, that will
export a copy of the movie with all of
| | 05:51 | the changes that I've made
to it here in Lightroom 4.
| | 05:54 | In the next movie, I'm going to show
you how you can change the appearance
| | 05:58 | of a movie using Processing settings in Lightroom 4.
| | 06:01 | So, stay tuned for that one.
| | Collapse this transcript |
| Enhancing video| 00:00 | One of my favorite features in
Lightroom 4 is the ability to change
| | 00:03 | the appearance of a video clip.
| | 00:05 | You can do everything from modifying exposure
to making a color video look black and white.
| | 00:10 | Here's how it's done.
| | 00:11 | I'm working in the Library module that
is because even though I'm going to be
| | 00:15 | processing this video, I can't
process video in the Develop module.
| | 00:19 | So here in the Library module I'm going
to go over to the Quick Develop Header
| | 00:24 | and I'm going to click the arrow to the right
of that to open the Quick Develop panel
| | 00:27 | and I'll be using these
controls to process this video clip.
| | 00:31 | I'm going to scroll down so you can see
everything in that Quick Develop panel.
| | 00:35 | Then I'm going to take a look at the controls here.
| | 00:37 | This is a subset of the same controls
that we saw in the Basic panel in the
| | 00:41 | Develop module for processing still images.
| | 00:44 | You have controls for adjusting white
balance, exposure, contrast, white point,
| | 00:50 | black point, vibrance and if I hold
down the Opt or Alt key, the Vibrance
| | 00:54 | control changes to Saturation but I
don't have access to the clarity, shadows,
| | 01:00 | or highlights controls here.
| | 01:01 | Let's see how to apply
these settings to a video clip.
| | 01:04 | If for example, I want to make the entire clip
darker, I would come to the Exposure controls.
| | 01:09 | To do that in small chunks, I'll use
the single pointed arrows so I'm going to
| | 01:13 | click the left facing single arrow and that
decreases the exposure in a third of a stop.
| | 01:18 | If I wanted to decrease exposure in a
larger chunk by about a full stop,
| | 01:23 | then I would click this double left facing
arrows and this change effects not just the
| | 01:28 | frame that you see here but the entire video.
| | 01:30 | So, if I click the Play button,
you can see that, that's true.
| | 01:36 | I'm going to take the
Playhead back over to the left.
| | 01:41 | Now, if I didn't like this result and
I want to set my exposure changes back
| | 01:44 | to zero I can just click on the Title Exposure.
| | 01:48 | These controls are cumulative so let's
say that I do decrease exposure and then
| | 01:53 | I also want to make the entire video
cooler or more blue, I'll go up to the
| | 01:57 | Temperature control and I'll click
the double pointed arrow there as well a
| | 02:01 | couple of times and that's the result.
| | 02:03 | Now, if I wanted to reset all of that
back to zero, then I would come down to
| | 02:08 | the bottom of the Quick
Develop panel and click Reset All.
| | 02:12 | Another way to change the appearance
of a video clip is to use a preset.
| | 02:16 | I'm going to go to the Saved Preset menu
and here I have categories of presets that
| | 02:21 | shipped with Lightroom.
| | 02:22 | And if I had created my own
presets they would appear here too.
| | 02:25 | Notice that there is a category down
here for Lightroom Video Presets and these
| | 02:29 | are specifically made to apply the video.
| | 02:32 | So, I can try out some of these like
Video B&W High Contrast or
| | 02:40 | Video Cross Process.
| | 02:42 | And these apply to the
entire video not just this frame.
| | 02:46 | There are other categories of presets there.
| | 02:48 | I can apply them but I won't know if the
entire preset is being applied. Here's why.
| | 02:53 | I'm going to go ahead and choose the
B&W Toned Presets and I'll go over
| | 02:58 | and choose one of those like Sepia Tone.
| | 03:00 | That brings up this message that
tells me that not all the settings in the
| | 03:04 | Develop module are supported for video files.
| | 03:07 | So, if this preset, which was created
in the Develop module, contains some
| | 03:11 | controls that can't be applied to video,
those parts of the preset won't be applied.
| | 03:16 | The parts that will be applied
are listed in this message.
| | 03:19 | Once you've seen this message, if you
don't want to see it next time,
| | 03:23 | you can just click Don't Show Again.
| | 03:24 | But I'll just click Okay and that will
apply at least the parts with the preset
| | 03:28 | that can apply the video and
I'll play a little of that for you.
| | 03:35 | After you apply a preset to a video clip,
you can tweak the way it looks on this
| | 03:39 | clip by using the controls here or,
if you want to go back to the beginning,
| | 03:43 | you don't like the way the preset looks
on this clip you can click Reset All.
| | 03:47 | I'm going to go ahead and drag that
Playhead all the way back over to the left
| | 03:51 | again because I want to show you one more
way to change the appearance of a video clip.
| | 03:56 | Let's say that there's a particular
black and white look that I want for this
| | 03:59 | video clip and I'm just not able to
achieve it using the chunky controls in
| | 04:03 | the Develop panel in the Library module or
in the presets that are currently available.
| | 04:08 | What I really want is access to more
controls, those fine tuning sliders that
| | 04:13 | I have in the Basic panel of the Develop
module for example, but I can't bring a
| | 04:17 | video clip into the Develop module.
| | 04:19 | So, here is a work around.
| | 04:21 | I'm going to go down to the film strip
and make that taller so you have a better
| | 04:24 | view of the thumbnail there.
| | 04:26 | With that thumbnail selected, I'm going to make
a JPEG copy of one of the frames in this movie.
| | 04:32 | I'll go up to the Image window and to
the controller for the movie and I'll
| | 04:36 | click Direct Angle and choose Capture Frame
just like I showed you in the last movie.
| | 04:41 | And that creates a JPEG, a still from whatever
frame is showing in the video at the moment.
| | 04:48 | Now, I'm going to click on that JPEG and I'm
going to take that into the Develop module.
| | 04:53 | I'll go up to the Module
Picker and I'll click Develop.
| | 04:57 | Here in the Module Picker, if my Basic panel
isn't open, I'll click the arrow to expand it.
| | 05:00 | I still have my JPEG selected
in the filmstrip and I am going to
| | 05:05 | apply some settings to the JPEG.
| | 05:07 | I'll make the JPEG look just the
way I'd like the video to look.
| | 05:10 | I'm going for a high-key kind
of ethereal black and white look.
| | 05:14 | So, I'll click Black and White here at
the top of the Basic panel and then I'll
| | 05:18 | come down to the Exposure slider and
I'm going to drag that over to the right
| | 05:22 | increasing exposure.
| | 05:23 | I'm going to decrease the contrast
and then I'm going to come down to the
| | 05:30 | Clarity slider to finish this off.
| | 05:32 | If I pull the Clarity slider to the left,
that adds this soft, defused kind of dreamy
| | 05:38 | look and that's really important to
the look that I'm after in this case.
| | 05:42 | Now, if you look at the filmstrip,
you'll see that the JPEG is now black
| | 05:46 | and white but the video clip is
still color as it was a moment ago.
| | 05:50 | What I want to do is take the settings
that I just applied to the JPEG and
| | 05:54 | synchronize them over to that video clip.
| | 05:56 | So, I'll leave the JPEG still selected
in the film strip and I'll hold down the
| | 06:01 | Shift key on my keyboard as I click
on the thumbnail for the video as well.
| | 06:06 | Now, this button reads Sync.
| | 06:08 | I'll click the Sync button and that
opens the Synchronized Setting window
| | 06:12 | where I see a list of all the settings
that are going to be synchronized from
| | 06:16 | the JPEG still image over to my video.
| | 06:18 | As you can see that includes Exposure
and Contrast which I did tweak but
| | 06:23 | the Clarity Setting is grayed out.
| | 06:25 | So, I'm only going to get part of the look
that I'm after transferred over to my video clip.
| | 06:30 | I'll click Synchronize and now you can see
that the video clip also looks black and white.
| | 06:35 | I can't check the video clip
here in the Develop module.
| | 06:38 | If I try to select just the video clip
thumbnail, I'll get a message up here
| | 06:42 | in the Image window that the
Develop module doesn't support video.
| | 06:45 | So, I'm going to go back to the Library module
by clicking Library in the Module Picker.
| | 06:50 | I'll click Off of both these thumbnails
into a blank area to deselect them both,
| | 06:54 | and then I'll click once on the video thumbnail.
| | 06:57 | And here is my black and white video.
| | 06:59 | I'm going to play a part of it for you.
| | 07:04 | And if you look closely, you can see
that although it's a high-key video,
| | 07:09 | in other words, the exposure is up and the
contrast is down, I don't have that soft
| | 07:14 | ghostly diffused look that I have on the JPEG.
| | 07:17 | I'll switch over the JPEG so you can see that.
| | 07:20 | But I was able to apply some of the
settings from the JPEG back to the video.
| | 07:25 | So, those are some of the exciting
options for changing the appearance of
| | 07:28 | your video clips here in Lightroom 4.
| | Collapse this transcript |
|
|
4. Correcting Part of a PhotoMaking local adjustments with the Adjustment Brush| 00:00 | Many photographers use Lightroom to make
global adjustments to their photographs.
| | 00:04 | Those are adjustments that affect an
entire photo like, the controls in the
| | 00:08 | Basic panel of the Develop module
that we saw in the last chapter.
| | 00:12 | But Lightroom is capable of way more than that.
| | 00:14 | It includes powerful local tools that
you can use to apply processing effects
| | 00:19 | to just part of a photo.
| | 00:20 | My favorite of those tools is the
Adjustment Brush which you can use
| | 00:24 | to paint effects in to part of a photo.
| | 00:26 | There are many practical
uses for the Adjustment brush.
| | 00:29 | You can use it to fix the white balance on
a photo taken in mixed lighting like this one.
| | 00:34 | It can be used as a local
Dodging and Burning tool.
| | 00:37 | You can paint away digital noise in part of
an image or add sharpening to the focal part.
| | 00:42 | Let's see how the Adjustment brush works.
| | 00:44 | Before I make local adjustments with
the Adjustment brush, I usually make
| | 00:48 | my global adjustments.
| | 00:50 | So, I'll go into the Basic panel with
this image and I'll go to the Exposure slider
| | 00:53 | and drag it slightly to the
right to brighten up the entire image.
| | 00:57 | But I can't go too far or I'll end up
blowing out this highlights on the wall.
| | 01:01 | What I'd like to do is to make my face brighter.
| | 01:04 | This is me sitting on the couch and I'd
also like to make my face a little warmer.
| | 01:08 | This area of the photo is already warm
so I need to use a local adjustment tool
| | 01:13 | to make those changes.
| | 01:14 | I'll go over to the column on the right
and I'm going to click on the brush icon
| | 01:18 | in the Tool Strip just above the Basic panel.
| | 01:21 | That opens this panel of effects of
which I can load my Adjustment brush.
| | 01:26 | This effects look a lot like
the controls in the Basic panel.
| | 01:29 | They are not an exact mirror of the
Basic panel but I think the two panels look
| | 01:33 | enough alike that you want to double
check that you're in the panel that
| | 01:36 | you mean to be before you start working.
| | 01:38 | I'm going to start here by setting all of
these effects back to their zero points
| | 01:42 | because the effects are sticky.
| | 01:44 | If I wanted to set just one effect back
to zero, I can just double click its title.
| | 01:48 | To set all of them back to zero,
I'll hold down the Opt key on the Mac,
| | 01:52 | or the Alt key on the PC, that changes this
label to reset and I'll click the Reset label.
| | 01:58 | The next thing I'm going to do is
work on my brush size and softness.
| | 02:02 | I'm going to be painting over my face here and
I think the brush is a little small for that.
| | 02:06 | I'd like to make it bigger so I'll
move back to the Brush panel and here
| | 02:10 | I'll drag the Size Slider over to the right and
you can see the brush get bigger as I do that.
| | 02:14 | Another way to change the size of
the brush is to do it on the fly
| | 02:19 | by pressing the right Bracket key on
your keyboard to make the brush bigger,
| | 02:22 | the left Bracket key to make it smaller.
| | 02:24 | The Bracket keys are located to the
right of the P key on your keyboard.
| | 02:28 | I can also change the amount
of feather on this brush.
| | 02:31 | That means the softness of the brush edge.
| | 02:33 | I'm going to leave that where it set now at 50.
| | 02:36 | As I paint with my brush, it's going
to work somewhat like an air brush.
| | 02:39 | Each time I add a stroke the effect
will build up, and this flow slider
| | 02:44 | controls how fast an effect builds up.
| | 02:46 | The Density slider here controls
the opacity of a brush stroke.
| | 02:49 | If you don't see an effect applied as
you paint it's often because your
| | 02:53 | Density slider is not far enough to the right.
| | 02:55 | I'm going to leave Flow and Density at 100
for this video to make it easier for you
| | 02:59 | to see what I'm doing.
| | 03:00 | I'm also going to leave Auto Mask unchecked.
| | 03:03 | The only time I might check Auto Mask
is if I were trying to effect a real
| | 03:06 | specific area of the photo
that had very hard edges.
| | 03:09 | Now I'm going to load my brush with an effect.
| | 03:12 | I want to make my face brighter
so I'll come up to their Effects.
| | 03:15 | I'll go to the Exposure effect and I'm
going to drag that slider over to right.
| | 03:19 | Now I really have no idea
where to out this but that's fine.
| | 03:22 | This is just a starting point and then
I'll fine tune after I apply the effect.
| | 03:26 | Now, I'll come into the image
and I'm going to paint over my face.
| | 03:31 | And yes it is brighter but
it's really much too bright.
| | 03:34 | That's okay because I can come back over
to the Exposure slider and drag it down
| | 03:38 | until I like the effect.
| | 03:39 | Then you may notice that when I move my
mouse near my face, this black pin appears.
| | 03:45 | When you apply a brush, you get a pin
with each different brush you use.
| | 03:49 | And if you want to go back and change a
particular brush, all you have to do is click
| | 03:53 | on that pin to activate that brush area.
| | 03:55 | If the brush is in the way, you can
come down to the toolbar at the bottom
| | 03:58 | of the screen and where it says Show Edit
Pins, you can click and say Never,
| | 04:04 | but I like to leave mine set to Auto so that
theyappear when I hover over them in the image.
| | 04:08 | I'm also going to check Show Selected
Mask Overlay for just a second
| | 04:12 | because I want you to see what has
happened when I painted with this brush.
| | 04:16 | I actually was creating a mask that
defines the area where my effects are
| | 04:20 | going to be applied and if I click that Show
Selected Mask Overlay I can see where the mask is.
| | 04:26 | That sometimes comes in handy if I'm
not sure which areas of an image I happen
| | 04:30 | to affect with the particular brush.
| | 04:32 | I'm going to uncheck that for now.
| | 04:34 | I can apply the same brush to other areas
of the photo by just painting over them.
| | 04:39 | I'm going to move over the image
| | 04:40 | to light up that pin again.
| | 04:42 | As long as I've got that pin selected
I can apply the same effect to other
| | 04:47 | parts of the image by just painting.
| | 04:49 | So here I can apply it to my hand and
this cup and I'll move over and
| | 04:53 | apply it to the rug as well.
| | 04:54 | Now, if I decide that I don't want that
effect applied to the rug. I can erase it.
| | 04:59 | To do that, I'll hold down the Opt key,
| | 05:01 | that's the Alt key on a PC, and that
changes to the erase brush. Or I could come
| | 05:06 | over to the panel and click on Erase and
then I'll just click and drag with this brush.
| | 05:11 | And I'll remove the effect from all
the places that I don't want it.
| | 05:14 | I can make this brush smaller too
using the left Bracket key and I'll come in
| | 05:19 | and remove the effect all around here.
| | 05:22 | I can also add additional effects to the
same brush so with this pin active I'll
| | 05:28 | come back over to the panel and I'm
going to go up to the Temperature slider.
| | 05:31 | I'd like to warm up my face a bit so I'm going to
move the temperature slider over to the right.
| | 05:37 | And I might add a little bit of magenta tint
as well which I sometimes do on people's faces.
| | 05:41 | If I want to see a before and after,
I'll come down to the bottom
| | 05:46 | of this panel and click this toggle.
| | 05:48 | So there is how things looked before
I applied the adjustment brush but
| | 05:52 | after I made my global edits.
And here's how they look now.
| | 05:55 | Now I'd like to do something different
to another part of the image and I can do
| | 05:59 | that by creating a brand new brush.
| | 06:01 | So, I'll go up to the top of
this panel and I'll click New.
| | 06:04 | And now I'll choose some different settings.
| | 06:06 | I'd like to lower the exposure on a
different part of this image so, I'll direct
| | 06:10 | my Exposure Slider over the left.
Then I'll come in to the image and
| | 06:14 | I'm going to paint with the second brush
over this photograph which is kind of
| | 06:18 | blown out because it was too bright.
| | 06:19 | Notice that there is now a second pin
identifying this second brush.
| | 06:24 | With that pin active, I can come in
and maybe add another effect.
| | 06:28 | I'll lower the Highlight slider to
bring back some of the highlights and maybe
| | 06:32 | I will back off on the decrease in exposure,
bringing in a little more light to that painting.
| | 06:38 | There is one more thing that I want to
check and that is the amount of Noise,
| | 06:42 | particularly around my face, which is now
lighter and more likely to show the noise.
| | 06:47 | So I'll move over the image and I'm
going to activate the pin on my face and
| | 06:51 | then I'm going to zoom into this area by
holding the Spacebar on my keyboard and clicking,
| | 06:56 | Because, remember, you can
only evaluate noise when you're at a 100
| | 07:00 | percent view like this.
| | 07:01 | So, I do see too much noise around my face.
| | 07:04 | I've already got the pin activated for
my face so all I have to do is come over
| | 07:08 | to the panel and drag the Noise slider
over to the right to reduce the digital
| | 07:12 | noise there and I get the added bonus
of softening my face so we can hide some
| | 07:17 | of those laugh lines.
| | 07:18 | I'll move back in the image, hold the
Space Bar and click again to fit the
| | 07:22 | entire image in view.
| | 07:24 | When I'm done using Adjustment brushes,
I can close this panel by coming down to
| | 07:28 | the bottom of the panel and clicking Close.
| | 07:30 | If I decide that I want to change
anything about the Adjustment brushes,
| | 07:34 | I can always open that panel again by
clicking on an Adjustment brush and then
| | 07:38 | when I move into the image, I'll see my pins
and I can select a pin and make a change
| | 07:42 | in the panel or if I want to remove a
pin altogether I can just select it
| | 07:47 | and press the Delete key on my keyboard.
| | 07:50 | And that pin and all of the adjustments
I'd applied to it are now gone.
| | 07:53 | So there are more places that
you can use the adjustment brush
| | 07:56 | on this particular image.
| | 07:57 | Maybe you want to paint in some
exposure adjustments and some temperature
| | 08:01 | adjustments here on the wall or
over here in the rest of the image.
| | 08:05 | So I'll leave it to you to experiment
further with this brush but it really is
| | 08:09 | one of my favorite features in Lightroom.
| | 08:11 | Please be sure to give it a try.
| | Collapse this transcript |
| Making variable adjustments with the Graduated Filter tool| 00:00 | Another tool that you can use to adjust
particular parts of an image rather than
| | 00:03 | the entire image is the Graduated Filter tool.
| | 00:06 | That tool is located right next to
the Adjustment brush in the tool strip
| | 00:10 | above the Basic panel.
| | 00:12 | I'll click the Graduated Filter tool
and that opens this list of effects that
| | 00:15 | you can apply with the Graduated Filter.
| | 00:18 | If you watch the last movie you'll know
that these are the same effects you can
| | 00:21 | apply with the Adjustment brush.
| | 00:23 | Only this time instead of painting the
effects in as we did with the adjustment
| | 00:27 | brush we're going to apply them in a
graduated fashion and that really comes
| | 00:31 | in handy with an image that's shot outside
the landscape like this where you often
| | 00:35 | get a well exposed sky but the foreground
is too dark. or the foreground might be
| | 00:40 | well exposed but the sky is too bright.
| | 00:42 | In that case you're going to want to load
the graduated filter with an exposure.
| | 00:47 | So, I'm first going to come in to the
Graduated Filter panel and I'm going to
| | 00:51 | set all of the controls or all of the
effects back to their default of zero.
| | 00:56 | As with the Adjustment brush, I'll do
that by holding the Opt key, that's the
| | 00:59 | Alt key in a PC, and clicking the Reset button.
| | 01:02 | And then I'm going to going to drag
the Exposure slider over to the right.
| | 01:05 | Now I really have no idea how far to go
so I'll just set it and then I'll come
| | 01:09 | in and tweak it later.
| | 01:10 | Now that the Graduated Filter is loaded
I'm going to come in and I'm going to start
| | 01:14 | at the bottom of this image and drag up.
| | 01:17 | And you can see that the bottom is
brighter and that brightness effect is slowly
| | 01:21 | fading off as I pull out the graduated filter.
| | 01:24 | The width of the filter that I applied,
as well as the place that I applied it,
| | 01:28 | affects what the effect
will look like on the image.
| | 01:30 | Now, obviously, this is too bright at
the bottom so, I'm going to come up to the
| | 01:34 | Exposure slider and I'm going to pull it back.
| | 01:37 | And then, I'll move over the image and
when I do, the pin that represents this
| | 01:41 | particular graduated filter lights up.
| | 01:44 | I'll click on that pin and
I'll drag down to reposition it.
| | 01:48 | As with the Adjustment brush, the
graduated filter can take more than one effect.
| | 01:53 | So for example, I'd like to get more
detail in the mid tone down at the bottom
| | 01:56 | here, so I'll go back to the panel
and I'm going to increase clarity.
| | 02:00 | You can see that it really did bring a lot
more detail into the buildings and the grass.
| | 02:05 | I might want to open up the
highlights in this area.
| | 02:07 | So, I'll drag the Highlight
slider over to the right a bit.
| | 02:10 | I can even add color to a graduated
filter by coming down to this color box
| | 02:15 | and clicking on it and here I can
choose a color from one of these presets.
| | 02:19 | You may have noticed that, that
warmed up the bottom part of this
| | 02:23 | graduated filter a bit.
| | 02:25 | If I choose blue, that cools it
down or I can click on a color here.
| | 02:29 | I'm actually going to stick with white in
this case so I'll click this X to close that.
| | 02:34 | Another way that I can change color
in a graduated filter is to use the
| | 02:37 | Temperature and Tint sliders here.
| | 02:39 | So if I wanted to warm up the bottom
of the image I could just pull that
| | 02:42 | Temperature slider over to the right
and the effect is again gradual as you
| | 02:47 | moved up from the bottom of the image.
| | 02:49 | I not only can reposition this
graduated filter but I can rotate it.
| | 02:52 | So in some cases I might
want to have a vertical filter.
| | 02:55 | I'm just clicking near the center
line and dragging to rotate this filter.
| | 02:59 | In this case I think I like it the way
that it is, but I could actually turn the
| | 03:03 | entire filter on its head
by dragging it upside down.
| | 03:07 | I can have more than one graduated
filter in an image. To make a new graduated
| | 03:11 | filter, just like with the adjustment brush,
| | 03:13 | I'll come over and click the new
button at the top of the panel and
| | 03:16 | then I'll come in and I'll click-and-drag
another graduated filter,
| | 03:20 | this one having its greatest
effect at the top of the image.
| | 03:24 | This is too bright so I'll drag the
Exposure slider back over to the left.
| | 03:28 | This time, maybe I want to make the
top of the image soft, so I'll grab the
| | 03:32 | Clarity slider and I'll
drag that over to the left.
| | 03:35 | If I decide that I don't like the
effect of the particular graduated filter,
| | 03:39 | I can always delete it by moving into the
image, making sure that I have selected
| | 03:43 | the pin I want to delete, and then
pressing the Delete or Backspace key on my
| | 03:46 | keyboard and the graduated
filter disappears in a puff smoke.
| | 03:50 | If I want to see a before-and-after view,
I'll come down to this toggle at the
| | 03:54 | bottom of the panel, turn
off that graduated filter.
| | 03:57 | So, here is where I started
and here is where I ended up.
| | 04:00 | And when I'm done on this panel I can
close it by clicking the Close label here.
| | 04:04 | So that's how to use a graduated filter
to make local adjustments on your image.
| | 04:09 | I think you'll particularly enjoy
using it on your landscape photos.
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| Removing spots| 00:00 | The Spot Removal tool is another one of
the local adjustment tools in Lightroom 4.
| | 00:04 | It comes in so handy for removing
blemishes on a portrait, for removing
| | 00:09 | distractions like this bird that flew
into my photograph, or even for quickly
| | 00:13 | removing spots caused by dirt on your
camera lens or your sensor, for multiple
| | 00:17 | photographs at once.
| | 00:19 | So first let's see how it works and
then I'll show you how to quickly
| | 00:22 | apply it to multiple photos.
| | 00:23 | I'll move over to the column on the right.
| | 00:26 | And I'll click the Spot Removal tool
which is here in the tool strip above the
| | 00:29 | Basic panel and that
opens the Spot Removal panel.
| | 00:32 | Here, I'll make sure that Heal is selected.
| | 00:35 | In most cases, that works better
than the other option which is Clone.
| | 00:38 | What Heal is going to do is copy some
content from one area of the photo and
| | 00:43 | place it down on top of the thing that
I want to remove, the bird, and then it's
| | 00:48 | going to blend those good pixels in with
the surrounding area so you won't see a scene.
| | 00:52 | That works well most of the time.
Sometimes the spot removal with heal selected
| | 00:57 | may pick up some pixels that you don't want.
| | 00:59 | In that case you can get a little more
control by choosing Clone instead but the
| | 01:04 | Clone option doesn't try to blend the
good pixels in with the surrounding area,
| | 01:08 | so I like to go with Heal most of the time.
| | 01:10 | I'll leave these other options as you
see them and I'll move into the image.
| | 01:14 | I'll put my cursor on top of
the thing that I want to get rid of.
| | 01:17 | I'm actually going to zoom
in so you can see this better.
| | 01:19 | I call this the target circle and I
want that target circle to be just a little
| | 01:26 | bit bigger than the item that I want to remove.
| | 01:29 | So I'm going to press the Left Bracket key on
my keyboard which is right next to the P key.
| | 01:34 | The Left Bracket key makes the brush
circumference smaller, the Right Bracket
| | 01:37 | key makes the brush circumference
larger just like the Adjustment brush tool
| | 01:41 | that I covered earlier in this
chapter then I'll click on top
| | 01:45 | of this bird that I want to remove.
| | 01:47 | And that's all I have to do and it's gone.
| | 01:49 | This other circle that has appeared
is a source area from which the tool
| | 01:54 | is taking the good pixels and then it's
pasting those on top of the bad pixels,
| | 01:58 | or the target circle.
| | 01:59 | Now if there was something else over
here maybe a white cloud I might want it
| | 02:03 | to sample the good pixels from another
area and then I could just click on the
| | 02:06 | source circle and move it and the Spot
Removal tool would resample from that new
| | 02:11 | source area. So that's how easy it
is to remove small bits of content.
| | 02:15 | Now let's see what we can do about spots
caused by dirt on a camera's lens or sensor.
| | 02:20 | I'm going to select another photo down
here in the film strip and I'll zoom out so
| | 02:24 | that you can see the photo and
notice that there's a spot over here.
| | 02:28 | And I've seen the spot show up
on multiple photos in the series.
| | 02:31 | To remove that spot I'm going
to do what I just showed you.
| | 02:34 | I'll just move over the spot with
the Spot Removal tool and I'll click.
| | 02:38 | And now if I zoom in, you'll
see that, that spot is gone.
| | 02:44 | Now I can close the Spot Removal panel
by clicking the Close button and the
| | 02:47 | target circles disappear.
| | 02:49 | Now I'm really excited to share a technique
that's going to save you a lot of time
| | 02:53 | if you got a problem with your sensor
or lens and that is how to quickly apply
| | 02:57 | that fix to lots of photos at once.
| | 02:59 | I'm going to zoom back out.
| | 03:02 | I want to show you the other photos
that I have here in the film strip.
| | 03:06 | This photo also has the same spot in
the same location and here's another
| | 03:10 | one, and another one.
| | 03:12 | To get rid of that spot on all these
photos at once, I'll go back and click
| | 03:16 | again on the first photo,
the one I already corrected.
| | 03:19 | Then, I'm going to hold down the Shift key.
| | 03:21 | And I'm going to click on the
last photo in that series.
| | 03:24 | Now, if you look at the film strip,
you'll see that the photo that I already
| | 03:28 | corrected is a little
brighter than the other photos.
| | 03:31 | This is the most selected photo,
the one that is the active photo.
| | 03:35 | And now that I've selected multiple
thumbnails over here in the column on the
| | 03:39 | right this button has changed to now read Sync.
| | 03:42 | If your button is labeled Auto Sync
rather than sync, click the small toggle
| | 03:46 | switch just to the left of the Auto Sync
button and the button will change to read Sync.
| | 03:51 | So I'm going to click Sync and that
opens the Synchronized settings dialog box.
| | 03:56 | Now here I can see a list of all of
the effects that I could synchronize
| | 04:01 | from this active photo to the other three photos.
| | 04:03 | So if I've made other corrections to
this photo I could synchronize those other
| | 04:07 | corrections as well but I don't want to.
| | 04:10 | I just want to synchronize the spot
removal so I'm going to Check None, and then
| | 04:15 | I'm going to check Spot Removal
only and then I'll click Synchronize.
| | 04:20 | In just a moment, the work is done.
| | 04:21 | I'll click off of all of those photos and now
I'm going to click on each one of them in turn.
| | 04:26 | The second photo now has no spot.
| | 04:28 | The third photo has no spot
and the fourth photo has no spot.
| | 04:33 | So, you can imagine that if you shot a
100 photos with the same flaw in the same
| | 04:37 | place, you can quickly and easily
remove it from all of them using the Spot
| | 04:41 | Removal tool in Lightroom 4.
| | Collapse this transcript |
|
|
5. Sharing and Printing PhotosSetting up a connection to Facebook| 00:00 | Sharing photos on Facebook
is all the rage these days.
| | 00:03 | Lightroom 4 gives you a way to share
your photos and videos directly from
| | 00:06 | Lightroom to Facebook.
| | 00:08 | You'll do that from the Publish
Services panel here on the left side
| | 00:11 | of the library module.
| | 00:12 | The first time you try to share to
Facebook you have to go through a set up
| | 00:16 | process to authorize Lightroom to have
access to your Facebook account and to
| | 00:20 | set some parameters for how your photos
are going to be uploaded to Facebook.
| | 00:24 | To do that I'll go to the Facebook button in
the Publish Services panel and I'll click Set Up.
| | 00:29 | That opens Lightroom's Publishing Manager.
| | 00:31 | The first thing I'll do here is to go
to this section where I'll authorize
| | 00:35 | Lightroom and Facebook to talk to one another.
| | 00:37 | I'll click authorize on Facebook.
| | 00:40 | And then I'll click OK.
| | 00:43 | That opens by default Web browser to
the Facebook log in page where I'll type
| | 00:47 | my Facebook log in here and my Facebook
password down here and then I'll click Log in.
| | 00:53 | That takes me back to Lightroom where
I'll complete the hand shake between
| | 00:57 | Lightroom and Facebook by clicking Done.
| | 01:00 | I'm going to minimize my Web browser
back here just to unclutter things.
| | 01:04 | Now I'm going to go through the fields in
the publishing manager setting up the way
| | 01:08 | that I want to have photos
uploaded to this Facebook account.
| | 01:12 | This is not something that you need to
do every time that you upload to Facebook.
| | 01:15 | Although you can come back in here
and edit the settings that you enter.
| | 01:19 | First of all, I'm going to give this
Facebook publish service a name because
| | 01:22 | I could have more than one Facebook
publish service with different settings.
| | 01:26 | I'm going to call this My Author
Facebook Publish Service.
| | 01:30 | And I don't want to press Enter
or Return on my keyboard yet.
| | 01:33 | Instead I'm going to come down
to the Facebook album section.
| | 01:37 | Here I'm going to choose which Facebook
album is going to contain my Lightroom photos.
| | 01:42 | I could click Create a New Album or I can go
with an album that I already have on Facebook.
| | 01:47 | I'm going to choose my existing
Lightroom pics album there.
| | 01:50 | I'll come down to the Facebook title section.
| | 01:52 | Here I'm going to specify what title will
appear under each photo that I upload to
| | 01:57 | Facebook from Lightroom.
| | 01:58 | The default is IPTC Title.
| | 02:01 | If you happen to type the title into
the IPTC area of the Metadata panel over
| | 02:06 | in Lightroom's Library module then that
would make sense but I don't usually do
| | 02:10 | that, so I'm going to use as my title file
name, or I could just leave that area blank.
| | 02:16 | Here I can specify how to name a photo if it is
a photo that is an update of a previous upload.
| | 02:22 | So if I have a photo that I want to
modify in some way and then re-upload to
| | 02:26 | Facebook I could either use the
existing title or replace that title.
| | 02:31 | I'll go with Replace Existing Title.
| | 02:33 | I'm going to scroll down and
here are some more settings.
| | 02:37 | Here I can specify how I want the files
that are uploaded to Facebook to be named.
| | 02:41 | I could just leave them with their original
names, the names that they have in Lighroom,
| | 02:45 | or if I want to rename them I can
click this check box and here I have
| | 02:49 | a lot of different options for renaming.
| | 02:51 | I could choose to keep the file name
and add a sequence number, to type in a
| | 02:56 | custom name and then have that followed
by the original file number, or type in a
| | 03:00 | custom name and have that followed
by a sequence number and so on.
| | 03:04 | I'd like the idea of keeping the original
file numbers somewhere in the new file name
| | 03:07 | so I'm going to choose
Custom Name>Original File Number.
| | 03:11 | And then as the custom part of those
names, I'm going to type FB for Facebook
| | 03:16 | and then here you can see how the
file names are going to look.
| | 03:20 | I'll come down to the video section.
| | 03:22 | I can upload video clips to Facebook
from Lightroom so I want to be sure to
| | 03:26 | keep Include Video Files checked.
| | 03:28 | The best format for that is H.264.
| | 03:31 | And here I can specify the amount of
compression or the quality of those
| | 03:36 | video clips that I upload to Lightroom.
| | 03:38 | This probably doesn't need to be at max.
| | 03:40 | I'm going to set it to medium and if
I find that I don't like the way my videos
| | 03:44 | looked I can always come back
in here and edit that setting.
| | 03:47 | In the File Setting section I really
have no choice of image format.
| | 03:51 | When you're uploading to Facebook, the only
thing you can upload in terms of still
| | 03:55 | images are JPEGs but here I can
choose the compression quality.
| | 03:59 | The higher the compression quality,
the better the photos will look but
| | 04:03 | the bigger they'll be.
| | 04:04 | I usually leave that set to about 80.
| | 04:06 | I don't want to limit the file
size of my uploads to Facebook.
| | 04:10 | Currently you can upload photos that
are as big as 15 megabytes and I don't
| | 04:14 | think that is going to be a problem for me.
| | 04:15 | My camera doesn't capture anything that big.
| | 04:17 | I'll scroll down to the image sizing area.
| | 04:22 | Sometimes I start with really big files,
RAW files. I don't need to upload files
| | 04:26 | that big, so I do like to check
Resize to Fit and from this menu I can
| | 04:31 | choose whether I want to specify within
height, short edge, megapixels, or long edge.
| | 04:37 | I'm going to go with long edge and
I'll leave that set to 720 pixels.
| | 04:42 | Although you can upload larger images
to Facebook, I like to stick with that.
| | 04:46 | And just in case I happen to start with
a small image, I don't like to enlarge
| | 04:50 | small images so I'll make sure
that this is checked, Don't Enlarge.
| | 04:54 | I'll come down to the Output Sharpening section.
| | 04:57 | Earlier in the course, I showed you
how to do capture sharpening at the
| | 05:00 | beginning of processing your photos.
| | 05:02 | Now, when it's time to output for Facebook,
I do like to sharpen the photos once
| | 05:06 | more to adjust the amount needed for
display on screen and I'll leave the
| | 05:11 | actual amount set to Standard.
| | 05:13 | In the Metadata section, I can decide
how much information to send with the file.
| | 05:18 | I can either send all the metadata or
all the metadata except the information
| | 05:23 | that comes from my digital camera
about the shooting settings for example, or
| | 05:27 | I can send even less information, just my
copyright and contact information, or copyright only.
| | 05:33 | I'm going to go with Copyright
and Contact Information Only.
| | 05:37 | If I did leave this set to All or All
Except Camera and Camera Raw info then
| | 05:42 | I also would have this option to Remove
Location Info and I would do that in that
| | 05:46 | case just for privacy reasons.
| | 05:48 | Finally I'll come down to
the Watermarking section.
| | 05:51 | Here I can choose to have a Simple
Copyright Watermark at the bottom of
| | 05:55 | each image or I could create a more
elaborate water mark. Just to show you what this
| | 06:00 | looks like, I'm going to choose Edit Watermarks.
| | 06:03 | And that opens this editor where you
can see that by default each image is
| | 06:07 | going to have my copyright information
down here and that information comes
| | 06:11 | from the Metadata on each photo because
when I import my photos from my camera
| | 06:15 | card I do add copyright.
| | 06:17 | I'll just leave the watermark at that
and if you don't want to have any watermark
| | 06:21 | on top of your photos
then you can uncheck Watermark.
| | 06:25 | Now that I've set all those
parameters I'm going to click Save.
| | 06:29 | Now in the Publish Services panel
you can see the customized Facebook
| | 06:32 | service that I just set up including
the destination album for my Lightroom
| | 06:37 | pictures inside of Facebook.
| | 06:39 | Now that I've got all that set up it's
going to be a breeze to upload photos
| | 06:42 | from Lightroom to Facebook whenever I want to.
| | 06:45 | I'll show you how to do that in
the very next movie so stay tuned.
| | Collapse this transcript |
| Sharing photos and video on Facebook| 00:00 | In the last movie, I showed you how
to make a customized Publish Service,
| | 00:04 | a connection between Lightroom and
Facebook that specifies how you want
| | 00:08 | your Lightroom photos to be as
you upload them to Facebook.
| | 00:10 | In this movie, I want to show you how
to use that Publish Service to quickly
| | 00:14 | and easily upload photos to Facebook
and to communicate with your Facebook
| | 00:18 | friends about those photos.
| | 00:20 | Here in the Publish Services panel,
you can see the customized Facebook
| | 00:24 | connection that I setup in the last
movie and it includes the destination folder
| | 00:28 | in Facebook to which I want to upload my photos.
| | 00:30 | The zero over on the right here
indicates that I haven't yet uploaded
| | 00:34 | any photos to that album.
| | 00:36 | When I'm ready to do that, I'll just
select the photos that I want to upload
| | 00:40 | either here in the Library's Grid
view or down here in the filmstrip.
| | 00:44 | I'll select this photo and then I'll
hold the Command or Control key and I'll
| | 00:48 | click on one more photo.
| | 00:49 | Then I'll click on either one and I'll
drag right on top of the Lightroom pics
| | 00:54 | entry in my Facebook Publish Service.
| | 00:57 | And now, I'm going to click on
that Lightroom Pics album.
| | 01:00 | And here in the Image window, you can
see that I have two new photos to publish.
| | 01:05 | They haven't yet been published.
| | 01:07 | They haven't been sent up to Facebook yet.
| | 01:09 | When I'm ready to do that, I'll select
the ones that I want to upload and then
| | 01:14 | I'll click the Publish button down here
at the bottom of the column on the left
| | 01:17 | or the Publish button up here on the top right.
| | 01:20 | Either way, that sends those two
photos up to Facebook and you can see
| | 01:24 | the Progress Bar right here as Lightroom
processes those photos with my settings
| | 01:29 | and uploads them to Facebook.
| | 01:31 | Now, the header at the top of the Image
window says Published Photos instead of
| | 01:35 | New Photos to Publish.
| | 01:37 | Now, let's go over to Facebook
and take a look at the photos.
| | 01:40 | Here's my Facebook page and if I come
down here where it says Photos and click,
| | 01:45 | I can see my albums on Facebook including my
Lightroom Pics album and if I click on that album,
| | 01:49 | I can see the two photos that I just
had Lightroom upload to Facebook.
| | 01:56 | I'll click on one of
those and that opens it larger.
| | 01:58 | So, here you can see the copyright
symbol that I included in my Publish Service
| | 02:03 | as I explained in the last movie and
that will be automatically appended to
| | 02:07 | every photo that I upload
with this Publish Service.
| | 02:09 | And then if I come over here, there is
a place in Facebook where any viewer can
| | 02:14 | write a comment or click on Like.
| | 02:17 | So, I can do this or someone else
could do this, I'm going to like this photo
| | 02:21 | and then I'll write a comment here.
| | 02:23 | That was a great day in Lucerne.
| | 02:28 | And I'll press Enter to post that comment.
| | 02:30 | Now, I want to go back to Lightroom
because I want to show that you'll be able
| | 02:34 | to see this comment and this
Like right in Lightroom.
| | 02:38 | In Lightroom, I still have the
Lightroom Pics album selected over here
| | 02:42 | in Publish Services and in the Image window,
I'll click on that photo that I just
| | 02:47 | commented on in Facebook.
| | 02:49 | Then I'll go to the column on the right.
| | 02:51 | I'm going to close my Metadata panel and
down here there is a Comments panel.
| | 02:56 | But right now, it says No Comments
but watch what happens if I click the
| | 02:59 | Refresh button right here.
| | 03:02 | In just a moment, you can see the
comment that I wrote on Facebook as well as
| | 03:06 | the Like count which is now
one because I liked the photo.
| | 03:09 | Now, if there is for someone else
who had commented, I might want to reply.
| | 03:12 | And I can reply from right here in Lightroom.
| | 03:15 | I don't have to go into my
Web browser into Facebook.
| | 03:18 | So, I can just click up in this area and
I'll say, we really enjoyed Switzerland
| | 03:28 | and press Enter or Return.
| | 03:30 | The comment appears here and now, if
I go back to Facebook and refresh my
| | 03:35 | Browser window, here is that comment
that I just wrote in Lightroom up on
| | 03:39 | Facebook for all of my friends to read.
| | 03:42 | Back in Lightroom, that Publish Service
is keeping track of what I've uploaded
| | 03:46 | to Facebook and what I haven't.
| | 03:48 | So, if go to a folder and I drag
another picture on top of the album
| | 03:54 | in the Facebook Publish Service,
the number there is now three.
| | 03:58 | If I click on that album and I'll make
my filmstrip shorter so you can read this.
| | 04:02 | In the Image window, I see that I have two
Published Photos and one New Photo to Publish.
| | 04:07 | So, I can just keep filling up this
Ligthroom pics album here in Lightroom
| | 04:13 | and I don't have to bother uploading until
I get a number of photos there and then
| | 04:16 | I could upload them altogether.
| | 04:18 | The other thing that the Publish
Service is doing is keeping track
| | 04:22 | of any modifications that I make to a photo.
| | 04:24 | So, let me scroll down so you
can see the published photos again.
| | 04:27 | Let's say that I have already
published these to Facebook and
| | 04:31 | I'll make a change to one of them.
| | 04:32 | So, I'm going to select this image of the
Lucerne train and then I'll come up and
| | 04:36 | click on the Develop module to
open that photo there for editing.
| | 04:40 | Let's say that I make the color
temperature a little warmer, dragging the
| | 04:43 | Temperature slider over to the right in
the Basic panel of the Develop module.
| | 04:47 | Now, I'm going to go back to the Library
and with the Lightroom pics album selected
| | 04:52 | over here in Publish Services, I see
that it's keeping track of the fact that
| | 04:57 | I've modified this particular photo
and so it's making it available for me to
| | 05:01 | republish to Facebook. Or if I decide
that I don't want to republish the modified
| | 05:06 | one, I can just right click on this
thumbnail and choose Mark As Up to Date and
| | 05:11 | the Publish Service counts
it as a published photo again.
| | 05:14 | So, I think you can see how powerful the
Publish Services feature in Lightroom 4 is.
| | 05:19 | It's a great way to connect Lightroom 4
to Facebook as well as to Flickr and
| | 05:23 | hopefully the other online services in
the future helping you to keep track of
| | 05:27 | what you uploaded to Facebook and
letting you interact with friends on
| | 05:31 | your social networks right from Lightroom.
| | Collapse this transcript |
| Printing photos| 00:00 | Lightroom has lots of options that you
can use to make great looking prints
| | 00:03 | from your desktop ink jet printer,
or to prepare JPEG's that you can take
| | 00:08 | to a print service bureau and have
them do the printing for you.
| | 00:11 | Your first step will be to think about the
source of the images that you want to print.
| | 00:15 | Before I came in to this Print module,
back in the Library module,
| | 00:19 | I selected a folder of images.
| | 00:20 | And so here in the Print module,
I can see and access the contents
| | 00:25 | of that folder down here in the film strip.
| | 00:27 | Another way to access photos in the
Print module is from the Collections panel
| | 00:31 | over here in the column
on the left of this module.
| | 00:34 | This is the same Collections panel
that you can see in the Library module.
| | 00:37 | So, if you have made a collection in the
Library module, you'll be able to click
| | 00:41 | on it here and then you would see all of
the photos in that collection down here
| | 00:46 | in the film strip and you would be
able to choose photos from here to print.
| | 00:49 | I'm going to stick with the folder that I
selected, and I'm going to select an image
| | 00:54 | from the film strip and when I do,
you'll see it appear up here in this
| | 00:58 | Print Layout in the Image window.
| | 01:00 | This is only one of many print layouts
that you can make here in the Print module.
| | 01:05 | If you look at the Layout Style panel
on the top right of the Print module,
| | 01:09 | you'll see various categories of layouts.
| | 01:11 | There are single image layouts,
contact sheets, picture packages, and even
| | 01:15 | custom arrangements of multiple images.
| | 01:18 | So, there are so many options in
this print module which, by the way,
| | 01:21 | you access by clicking Print up here in the Module
Picker that often you won't know when to start.
| | 01:26 | I think a great place to start is
over here in the Template browser.
| | 01:30 | I'm going to click the arrow to the
left of that and I'll make sure that the
| | 01:33 | Lightroom Templates category is open
and then I'll keep my eye up here in the
| | 01:38 | Preview panel as I just hover over
these different templates of print layouts.
| | 01:43 | And I'll often do that, scrolling down
until I see one that suits my purposes.
| | 01:48 | So, let's say I like this 2x2 cell
layout which is essentially a
| | 01:52 | contact sheet with big cells.
| | 01:54 | I'll select that, and now I can see
that layout here in the Image window.
| | 01:58 | This particular layout has four cells
so I could select three other images
| | 02:03 | and have them appear here too.
| | 02:04 | I'm going to hold down the Command key,
that's the Control key on the PC,
| | 02:09 | and select three other images from my
film strip to add to this layout.
| | 02:14 | Now, I'm not stuck with this
particular template the way it is,
| | 02:17 | it actually doesn't look great yet.
| | 02:18 | There's a lot that I can do to customize it.
| | 02:21 | There are so many options that I can't
tell you all of them, but what I can do
| | 02:24 | is just give you a flavor of the kinds
of things that you can do to customize
| | 02:28 | a layout and where to go to do them.
| | 02:30 | So, the first thing I'll usually do is
to choose the page size and orientation
| | 02:35 | that I'm going to use because that
will make the layout look different.
| | 02:38 | I'll go down to the Page Setup
button here, I'll click it and then the
| | 02:41 | Page Setup dialog box, I'm going to choose my
paper size and the orientation of the paper.
| | 02:48 | I'll choose Landscape or Horizontal
this time and click Okay.
| | 02:52 | And now that same layout looks a lot different.
| | 02:54 | Then I'll come over to the column on the
right and I'll just go through the many
| | 02:58 | settings here choosing those that suit
the look I want to get as I customize
| | 03:03 | the layout I am working with.
So, to give you a taste of what's here.
| | 03:06 | In the Image Settings panel, I can do
things like add a stroke border around
| | 03:10 | each photo cell and change
the width of that stroke.
| | 03:15 | I can zoom each image in to fill its cell.
| | 03:18 | If I scroll down, in the Layout panel,
I can really customize the layout by
| | 03:23 | changing the margins, the number of
rows and columns in the layout, the amount
| | 03:28 | of space between the photo cells,
and the size of the photo cells.
| | 03:32 | And if I move down further, I have
access to show or hide the guides
| | 03:37 | that you see here in the lay out which
I can use to find tool in the layout,
| | 03:41 | as well as the rulers.
| | 03:42 | So, if I don't want to see those, I'll
uncheck Show Guides and now I can better
| | 03:46 | see how the images will look
on the page when it's printed.
| | 03:49 | Scrolling down, there are options for
changing the page background color,
| | 03:53 | for adding and identity plate of text,
for adding a watermark, for adding options
| | 04:00 | like page numbers and crop marks.
| | 04:04 | Here, if I click Photo Info, I can choose
to show under each photo in the layout
| | 04:09 | the file name or custom text, anything I
want to type, the date on which the photo
| | 04:14 | as taken, or other options.
| | 04:17 | I'll uncheck that for now.
| | 04:20 | The Print Job panel is really important.
| | 04:23 | Here, I'll choose whether I want to print
to a desktop printer or whether I want to
| | 04:27 | create a JPEG file to
take a print service bureau.
| | 04:30 | If I am going to take a JPEG to the
print service bureau and I want a copy
| | 04:34 | for myself, then I might turn on Draft Mode
Printing just to make a quick copy for my printer.
| | 04:39 | Otherwise, I'll leave that off if I'm
making my final print for my desktop printer.
| | 04:43 | And then in the rest of this Print Job
panel, I'll choose the proper resolution
| | 04:47 | for my printer, I'll decide on how
much output sharpening I want and that
| | 04:51 | depends on the media type as well,
the kind of paper in which I'm going to
| | 04:55 | print, and I'll come down and I'll
make some choices about color management.
| | 04:58 | If you're just starting out, you may
want to leave that set to manage by printer,
| | 05:02 | but there are other options too.
| | 05:04 | And those topics are big topics in
themselves so they are really outside the
| | 05:08 | scope of this particular course.
| | 05:10 | There is one more option I want to mention
and that is the Print Adjustment option.
| | 05:13 | This is usually off by default.
| | 05:15 | What you can do with this
is adjust all of your prints.
| | 05:19 | So, if you find that your particular
printer is always turning out darker prints
| | 05:23 | than those you see on your screen,
you might want to check print adjustment
| | 05:27 | and then drag the Brightness
slider over a little bit.
| | 05:29 | You won't see any difference here in
the preview in the Print module but you
| | 05:34 | will see a difference on your prints and
you can just make test prints, changing
| | 05:37 | these sliders until your prints
look the way that you want them.
| | 05:40 | When you're all done setting up these
many options for your print layout and
| | 05:44 | your print settings, then you click the
Print button at the bottom of the column
| | 05:48 | in the right, and that will open up
other windows with more print options
| | 05:52 | that are specific to your kind of
printer and your printer driver.
| | 05:55 | So, that's an overview of what
the Print module has to offer.
| | 05:59 | I hope that gives you a road map that
you can follow as you explore these many
| | 06:03 | options making your own prints.
| | Collapse this transcript |
| Creating a photo book| 00:00 | There's no denying the power of a photo book.
| | 00:02 | Paging through a book of photographs
that is tastefully designed and
| | 00:05 | professionally printed is an unbeatable
way for a pro photographer to show off
| | 00:09 | his portfolio or deliver photos to a
client, or for anyone who enjoys taking
| | 00:14 | pictures to share his or her work.
| | 00:16 | Lightroom 4 makes it straight-forward
for you to design a sophisticated looking
| | 00:20 | photo book right inside Lightroom.
| | 00:22 | The design process which I'll show you
in this movie begins with one of many
| | 00:26 | customizable templates so you
don't have to start from scratch.
| | 00:29 | But from there you have lots of flexibility
to design your book just the way you want it.
| | 00:34 | And when you're done with the layout,
Lightroom takes care of uploading your
| | 00:37 | design directly to Blurb, Adobe's
current book making partner,
| | 00:42 | to have the book professionally
printed, bound and sent back to you.
| | 00:45 | I started my book making
workflow in the Library module.
| | 00:48 | Here I've selected a folder full of images.
| | 00:51 | If I were to jump to the Book module now,
I would see all of the images in that
| | 00:54 | folder down in the film strip at the
bottom of the Book module, which is a mirror
| | 00:58 | of the film strip that you see here in
the library and I'd be able to access the
| | 01:02 | photos for my book from there.
| | 01:04 | Even better, you can make a collection
of photos that are located in
| | 01:07 | different folders and you'd be able
to access that collection in the Book
| | 01:11 | module because the Book module has a
Collections panel that's a mirror of the
| | 01:15 | one here in the Library module.
| | 01:17 | Now I know you are eager to jump into
the Book module but before you do,
| | 01:20 | I suggest that you take some time in the
Library module to sequence your photos.
| | 01:24 | Dragging them into the approximate order
that you want them to appear in the book.
| | 01:28 | I say that because I think it's easier
to see and drag thumbnails around in Grid
| | 01:32 | view here in the Library module and
because if you get your photos in roughly
| | 01:36 | the order you want them in the book
then the auto layout feature that I'm going
| | 01:40 | to show you in a moment will give you the
best head start on filling the pages of
| | 01:44 | your book with photos in
the order you want them.
| | 01:46 | So for example, if I would like to have
this photo as the cover of my book
| | 01:51 | I'm going to put it up to beginning of this
sequence by just dragging it here in the
| | 01:54 | grid and releasing it at the beginning.
| | 01:57 | Now, I'm going to jump over to the Book
module to start designing the book.
| | 02:00 | I'll click Book in the Module Picker
and here in the Book module,
| | 02:04 | I've closed the tips that were here the
first time that you used the program.
| | 02:07 | I have also collapsed the column on the
left and I pressed I on my keyboard to
| | 02:11 | dismiss an overlay that appeared
when I first came in to this module.
| | 02:15 | The first place I'll go here is to the Book
Settings panel in the column in the right.
| | 02:19 | Here I'll choose some
general settings for my book.
| | 02:22 | I do want to make a printed Blurb book
not just a PDF copy of the book which
| | 02:27 | I can also do so I'll choose Blurp.
| | 02:29 | And then I'm going to choose the size and
shape of the book from these options.
| | 02:33 | Everything from a small square book
to a large landscape horizontal book.
| | 02:38 | I'll go with the standard landscape size.
| | 02:40 | Here I'll choose the cover.
| | 02:41 | I'd like to have my photo printed right
on the cover of the book so I'll go with
| | 02:45 | Hardcover Image Wrap.
| | 02:47 | A Hardcover Dust Jacket model has a
paper dust jacket around a hardcover book
| | 02:51 | and then there's the Softcover option too.
| | 02:54 | For paper type, I really love the
ProLine Pearl photo paper but that's
| | 02:59 | a little more expensive so I'm going to
stick with Premium Lustre.
| | 03:01 | I'd like to use either Premium Lustre,
Premium Matte or ProLine Pearl photo when
| | 03:06 | I'm printing photos rather than uncoated paper.
| | 03:09 | I'll leave the logo page on.
| | 03:11 | That means there will be a small Blurb
logo on the last page of my book and that
| | 03:15 | does lower the price a
little bit and it's okay with me.
| | 03:18 | And here is the estimated price of the book
that I will have to pay the Blurb to get a copy.
| | 03:23 | The next step in the Photo Book making
layout is to create some more pages for
| | 03:26 | the book and to put photos on the pages.
| | 03:28 | I really recommend that you start
that process with Auto Layout which
| | 03:33 | I'll access from the Auto Layout panel
here in the column on the right.
| | 03:36 | What Auto Layout does is automatically
create enough pages for my photos,
| | 03:41 | add a default layout to each page, and
flow my photos directly onto the pages.
| | 03:45 | Before I click Auto Layout here, I'm
going to go to the Preset menu and I'll choose
| | 03:50 | which Auto Layout preset I am going to use.
| | 03:52 | I have a choice of one of these three
that comes with Lightroom or if I choose
| | 03:57 | Edit Auto Layout Preset I can create my own.
| | 04:00 | I'm going to go with Left Blank Right One
Photo and you'll see what that does in
| | 04:04 | just a second when I click Auto Layout.
| | 04:07 | Depending how many photos you have in
your Source folder, it takes just a short
| | 04:11 | while for Lightroom to create enough
pages for all those photos to add a default
| | 04:15 | layout to each page and to put my
photos directly on to the pages in the order
| | 04:19 | that I had them in the Source folder.
| | 04:21 | I'll scroll up to the top so you can
see that there are quite a few pages
| | 04:25 | here each with a single photo on the right
hand page and a blank cell on the left hand page.
| | 04:34 | And up here is the front
cover and the back cover.
| | 04:36 | There are several different ways to
view the pages of the book in the image
| | 04:40 | window and those are controlled with these
three icons down here at the bottom left.
| | 04:44 | Right now we're looking at the multi-page
or really the multi-spread view.
| | 04:48 | If I click the next icon spread view
that shows me just one spread at a time and
| | 04:53 | then I can use these
arrows to cycle through them.
| | 04:59 | If I go to the next icon, that shows me
single page view and again I'll use these
| | 05:04 | arrows to cycle through the pages of the book.
| | 05:06 | Notice that this page has an exclamation
mark on it and that just means that the
| | 05:10 | photos I'm using aren't really
large enough for this size book.
| | 05:13 | If you get an icon like this then it's
important to go back and find some larger
| | 05:17 | versions of your photos.
| | 05:19 | I'm going to go back to the multi-spread
view and again I'll scroll up to the
| | 05:23 | beginning of the book.
| | 05:24 | There is a lot that can be done to
customize the appearance of this book.
| | 05:28 | Auto Layout is just the beginning.
| | 05:30 | I can do everything from changing the
layout of individual pages to swapping
| | 05:34 | out photos to adding text and I'll
introduce some of those customizing options
| | 05:39 | in the very next movie.
| | 05:40 | I'm also going to show you there how
to finish up your book, sending it up
| | 05:43 | to Blurb for printing and
outputting a copy as a PDF.
| | 05:47 | So stay tuned for the next movie.
| | Collapse this transcript |
| Customizing a photo book| 00:00 | In the last movie I showed you how to
create a photo book in Lightroom 4's book module.
| | 00:04 | Using the Book settings to choose the
size, the cover, and the paper and then
| | 00:08 | moving to Auto Layout to automatically
create an initial layout for the book.
| | 00:12 | In this movie I'll introduce some
ways that you can customize that initial
| | 00:15 | preset layout to make it your own.
| | 00:18 | For one thing I'm not wedded to the
initial sequence of the photos in this layout.
| | 00:22 | I can swap photos between pages by
clicking on a photo on a page and dragging
| | 00:27 | it on top of a photo on another page like
that and that swaps the two photos.
| | 00:32 | Or if I want to replace a photo with another
photo from my source folder, I'll go down
| | 00:36 | to the film strip at the bottom of the screen.
| | 00:38 | I'll click on its top border and I'll
drag it up to make it larger and then
| | 00:43 | I'm going to scroll and find a photo.
| | 00:44 | I'll select a photo in the film strip
and I'll drag it up and I'm going to drop
| | 00:48 | this on my front cover and that replaces
the photo that was on the front cover.
| | 00:53 | I'm going to scroll up again
to the top of my screen.
| | 00:56 | I also can delete a photo altogether so
if I didn't want this photo on the back
| | 01:00 | cover I could select it and press the
Backspace or Delete key on my keyboard.
| | 01:05 | I'm going to scroll down so that you can
see that all of the double-page spreads in
| | 01:10 | this layout are the same.
| | 01:12 | Each spread has a photo on the right hand
page and then has a blank page on the left.
| | 01:17 | And that's due to the preset design
that Auto Layout applied in the last movie
| | 01:21 | but I'm not stuck to that payout on every page.
| | 01:24 | You can change the layout of individual pages.
| | 01:27 | For example I'd like to change the
layout of this page so I'll select it and
| | 01:31 | then for a closer view I'll come
down and click the spread view icon here
| | 01:36 | and now we can see just that one
double page spread with the page that
| | 01:39 | I want to change selected.
| | 01:41 | The yellow frame around the
page means that it is selected.
| | 01:44 | I'll click the arrow at the bottom right
of that yellow frame and this brings up
| | 01:47 | a menu of lots of different page templates
that I can choose from for this page.
| | 01:51 | The templates are organized into
categories so these are all one photo templates.
| | 01:56 | The grey boxes in these templates
represent the photo place holders and
| | 02:00 | the lines represent areas for text.
| | 02:02 | I'm going to click on the 2 Photos category
and then I'm going to scroll down here
| | 02:07 | and I'll choose this page layout.
| | 02:09 | I'll click it and that replaces the
page layout on just this one page.
| | 02:14 | The photo that was here is now in the
top photo place holder and I have room
| | 02:18 | for another photo here.
| | 02:19 | So, I'll come down to my film strip,
I'll find a photo that I want, and I'll
| | 02:22 | drag it up and drop it on that place holder.
| | 02:25 | And as before I can swap these photos
by dragging from one photo place holder
| | 02:30 | on top of the other.
| | 02:32 | I can also customize the size and placement
of a photo inside its photo place holder.
| | 02:36 | To show you that, I'm going to add another
page layout over here on the left page,
| | 02:40 | the one that's currently blank.
| | 02:42 | By clicking on that page and then
clicking the arrow at the bottom right of
| | 02:45 | its frame, this time I'll go to the 1 Photo
category and I'm going to select this first layout.
| | 02:51 | Then I'll come down to my film strip,
I'll find a photo and I'll drag it on top
| | 02:55 | of that photo place holder.
| | 02:56 | This photo is actually being cropped
by its place holder because it's a
| | 03:00 | different aspect ratio than the place holder.
| | 03:02 | So to change the size of this photo
in the place holder I'll click on it to
| | 03:06 | bring up the Zoom slider and
then I can drag right or left.
| | 03:10 | If I were to drag right, that would
zoom in on the photo. And by the way, if you
| | 03:14 | do this and you see an exclamation
mark like this it means that the photo
| | 03:18 | doesn't have enough information or
pixels in it to print well at this size,
| | 03:23 | so what you want to do is back off on the
Zoom slider in the other direction until
| | 03:27 | the exclamation mark disappears. But
what I want to do is see the entire photo on
| | 03:31 | this page, so I'm going to keep dragging
the Zoom slider to the left until I can
| | 03:35 | see my whole photo.
| | 03:36 | And then I can click on the photo and
I can reposition it inside of this place
| | 03:40 | holder if I want to by just
dragging and then I'll click off.
| | 03:45 | By the way if you're wondering what
this grey line is, this is the text-safe
| | 03:49 | area or the area within which
I want to be sure to place any text
| | 03:53 | because sometimes during printing or binding
the area outside of this can be compromised.
| | 03:58 | So let's say that I do want to add some
text to this page which is another way
| | 04:02 | to make this book my own.
| | 04:04 | I'm going to click and select that photo
place holder and then I'll come over to
| | 04:07 | the column on the right and I'll scroll
down, and I'll go to the Caption panel.
| | 04:12 | Here, I'll check photo caption and
that brings up this narrow yellow box.
| | 04:17 | This is a text area.
| | 04:18 | I can click in that box and type some text.
| | 04:22 | And then if I want to change the style and
the size of the text, I'll highlight it
| | 04:26 | by clicking and dragging over it and
then I'll go down to the Type panel here.
| | 04:30 | There are lots of controls here in the
Type panel to do everything from changing
| | 04:35 | the font to changing the font size,
to all kinds of options if I click this
| | 04:40 | triangle to the right of Character.
| | 04:42 | But for now I'm just going to
change the size of this text.
| | 04:44 | Clicking and dragging the size slider
and notice when I do, that yellow frame
| | 04:49 | expands to fit the larger bit of text.
| | 04:52 | And by the way, you are not limited to
just captions on photos, you can type
| | 04:55 | multiple lines of text on
this pages too, if you wish.
| | 04:58 | Now, I'm going to go back and
click on the multi-page view.
| | 05:01 | That will show me all the spreads in the
book and I'll scroll back up to the top.
| | 05:06 | Now, lets' say that at this point, I'm
happy with the way that the book is shaping up.
| | 05:09 | I haven't saved the book yet so at
this point, it's important that I save the
| | 05:14 | work that I've done so far.
| | 05:16 | To set that up I'm going to open the
column of panels on the far left by
| | 05:20 | clicking on the left side of my screen.
| | 05:22 | In here I can see my Collections panel.
| | 05:24 | I'm going to save this
book as a kind of collection.
| | 05:27 | I could do that by clicking the plus
symbol here on the Collections panel and
| | 05:31 | choosing create book or alternatively
I could press the Backslash key on my
| | 05:36 | keyboard and that it brings up this
bar, if it's not already showing,
| | 05:41 | and from here I can click create saved book.
| | 05:43 | Both of those methods do the same thing.
| | 05:46 | They open this Create Book dialog.
| | 05:48 | Here, I'll type a name for a book.
| | 05:50 | I'll call this Italy Book.
| | 05:53 | I'll leave all the other settings at
their defaults and I'll click Create.
| | 05:57 | And now here in the Collections
panel you can see my new Italy Book.
| | 06:01 | If you're wondering what this book is
it's just a book that I created
| | 06:04 | previously on my computer.
| | 06:06 | It's important to remember that from
now on, every change that I make to this
| | 06:10 | book in the Book module is going to be
automatically saved as part of this Italy book.
| | 06:16 | So for example, if I come in to the
Image window and I click on this photo
| | 06:19 | of a tree and drag it over to this page,
just swap photos, that change is
| | 06:24 | automatically saved in the Italy Book
that you see here on my Collections panel.
| | 06:29 | So if I like the book as it is right
now, and I want to keep it like this,
| | 06:33 | but yet, I also want to
experiment with some other changes,
| | 06:36 | then what I should do is duplicate
the Italy Book and experiment on
| | 06:40 | the Duplicate book.
| | 06:42 | So I'm going to right click on the
Italy Book in my Collections panel
| | 06:45 | and choose Duplicate book.
| | 06:49 | Here is my Italy Book copy and with
that one selected, I can come in and
| | 06:53 | make changes without
disturbing the original Italy Book.
| | 06:57 | For example let's say that I want to
delete this photo altogether, I'll select it
| | 07:01 | and then I'll press the Delete
or Backspace key on my keyboard.
| | 07:05 | Now that change has been made in the
Italy Book copy, but if I go back to the
| | 07:10 | original Italy book you can see
that, that photo is still there.
| | 07:13 | Now let's say that I'm
all done creating my book.
| | 07:16 | I have two options, I can either send
the book up to Blurb for printing and
| | 07:20 | binding by coming over and
clicking this button, Send Book to Blurb.
| | 07:24 | I'm not going to do that right now because I
want to show you that there's another option.
| | 07:28 | And that is, to click this
button, Export Book to PDF.
| | 07:33 | I actually often do both, even when I'm
sending a book to Blurb for printing and
| | 07:37 | binding, I like to have a reference copy
on my computer as a PDF, and I can even
| | 07:42 | share that PDF online.
| | 07:44 | So, as you've seen, starting with the
Preset Design using Auto Layout in the
| | 07:48 | Book module can save you lots of time
but then there are many ways that you can
| | 07:52 | customize your Photo Book
Layout to make it your own.
| | 07:55 | Lightroom 4 gives you the design
tools and the direct path to printing
| | 08:00 | and binding at Blurb that makes creating
a photo book in Lightroom 4 a project
| | 08:04 | that you definitely should try.
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| Exporting photos | 00:00 | When you're all done processing a file,
either a photo or video in Lightroom,
| | 00:04 | you may think that you need to save
your changes but in fact you don't.
| | 00:08 | There is no Save button in Lightroom
and that's because you're never really
| | 00:12 | changing your files when
you work on them on Lightroom.
| | 00:13 | You're just writing instructions
to Metadata, to the catalog.
| | 00:18 | The actual files remain pristine and original.
| | 00:21 | So, you never need to save in Lightroom
but sometimes you do need to export.
| | 00:26 | For example, let's say that after I process
this photo, I want to upload it to a website.
| | 00:30 | Well, I need to get a copy
of it in the JPEG format.
| | 00:34 | If you look down here, you can see
that this is currently a .DNG format file
| | 00:38 | which is a RAW format.
| | 00:40 | It happens to be Adobe's universal RAW format.
| | 00:43 | So, to get a copy of this processed
file as a JPEG, I'll have to go to
| | 00:47 | the Export dialog box.
| | 00:49 | To do that, I'll select the thumbnail
for this file here in the Develop module
| | 00:53 | or if I am over the Library module
I could select one or more thumbnails
| | 00:57 | for export in grid view.
| | 00:59 | And then I'll go up to the
File menu and I'll choose Export.
| | 01:03 | That opens this export dialog box.
| | 01:06 | I could start with one of the
export presets that comes with Lightroom.
| | 01:10 | For example if I were going to burn
JPEGs to a CD or DVD, I would choose this
| | 01:14 | first preset but none of these are really
relevant to what I'm doing so instead
| | 01:19 | I'm just going to fill out the fields
myself and that will also give you the
| | 01:23 | opportunity to see what fields are here.
| | 01:25 | When I'm done filling out all these
fields then I can save those settings so
| | 01:29 | that next time I wanted to output a
JPEG for the Web I would just go to User
| | 01:33 | Presets and I would find my
Save settings as a preset there.
| | 01:37 | I'll start at the top of the dialog box.
| | 01:39 | I want to export not to a CD or DVD but
rather to my hard drive, so I'll choose that.
| | 01:45 | Here, I can choose exactly where in my
hard drive Lightroom will put the JPEG
| | 01:50 | that it's going to create.
| | 01:51 | I'll leave export to set to specific
folder and then I'll click the Choose button.
| | 01:56 | I'm going to navigate to my desktop.
| | 01:58 | And I'll click Choose.
| | 02:00 | And on my desktop, I'd like to
put this JPEG into a sub-folder.
| | 02:04 | I don't have one there yet so I'll
check Sub-folder and I'll call this
| | 02:07 | Sub-folder Website Files.
| | 02:11 | I'm not going to add the JPEG
copy of this image to my Catalog.
| | 02:15 | I already have the DNG in my catalog.
| | 02:17 | I know that there won't be any existing
files with the same name in that folder
| | 02:22 | so I won't worry about this menu either.
| | 02:24 | I'll come down to the file renaming section.
| | 02:27 | I like to keep my files with the
same base name throughout my process.
| | 02:31 | That way I'll always know what belongs with
what so my original file was named 05050944.
| | 02:38 | I'd like the JPEG to have that base
name too. But if you like to rename your
| | 02:43 | files you can check Rename To and
then you can make a choice from this menu.
| | 02:48 | For example if I had selected multiple
files to export at once, I could choose
| | 02:52 | Custom Name and Sequence and then
type the Custom Name website here.
| | 02:57 | Choose a sequence number to start
with and I would get a number of files
| | 03:02 | website two, website three, website four etc.,
and don't worry about the file extension yet.
| | 03:07 | That will change automatically when we
choose the format for our JPEG output.
| | 03:13 | In an earlier movie I covered the Video
Export settings in this Export dialog box.
| | 03:18 | Since this isn't a video,
those aren't relevant now.
| | 03:21 | Here in the File Setting section I'll
choose the image format which will be
| | 03:25 | set to TIFF by default.
| | 03:27 | I don't have a lot of choices here.
| | 03:29 | TIFF is a universal potentially
uncompressed format so it's a good one.
| | 03:33 | If I know that I am going to be using
this file in Photoshop, I could save it in
| | 03:37 | the PSD of Photoshop Document Format,
if I were starting with the proprietary
| | 03:42 | RAW file, one in my camera company's
RAW format for example like an NEF file
| | 03:47 | from Nikon and I wanted to convert that
to Adobe's universal RAW format, I could
| | 03:52 | choose DNG from this list.
| | 03:54 | And if I choose original then whatever
format my current file is, that's the
| | 03:59 | format that the copy that's exported will be in.
| | 04:02 | I'm trying to get a JPEG for
my website so I'll choose JPEG.
| | 04:05 | When I choose JPEG I have to
set the compression quality.
| | 04:08 | I'm going to set that at around 80.
| | 04:11 | The more compressed the file, the smaller
it will be but it may also not look as good.
| | 04:15 | The appropriate color space
for a file for the Web is SRGB.
| | 04:19 | If I were printing this file, I would
choose one of these other color spaces.
| | 04:23 | And I'm not going to limit the file size.
| | 04:25 | I do want to limit the actual
dimensions of the image though.
| | 04:28 | Because I know that it has to fit
in the certain space on the website.
| | 04:32 | So, I'll check re-size to fit.
| | 04:35 | I'll choose Width and Height and I'll
type the maximum width and height that
| | 04:39 | the file can be here.
| | 04:41 | So let's say that this is going to fit
in the space that is 300 pixels wide.
| | 04:46 | I don't want the file to be larger than
300 and the space on the site for this
| | 04:50 | image is, let's say, 200 pixels high.
| | 04:53 | So, this is going to be a really small
one so if I don't have to worry about
| | 04:56 | checking Don't Enlarge.
| | 04:58 | The resolution isn't really relevant
when you're preparing an image for the Web.
| | 05:02 | This is more a number that is relevant
for print because it's the measure of
| | 05:05 | the number of pixels that would be allocated
to each inch if and when I printed this image.
| | 05:10 | Here, I can choose my
second stage of sharpening.
| | 05:14 | Earlier in the course I explained how
to do the initial capture sharpening in
| | 05:18 | the Detail panel of the Develop module.
| | 05:20 | Now when I'm exporting I can have
Lightroom sharpen for this specific kind
| | 05:24 | of output that I'm performing as well as
for the size that I've chosen so I'll
| | 05:29 | check Sharpen 4 and I'm
going to be sharpening for screen.
| | 05:34 | I'll leave the amount set to Standard.
| | 05:36 | Here, I can specify what information
is going to be included in the file.
| | 05:41 | And this is isn't always available
but it is available for JPEGs.
| | 05:44 | If perhaps for privacy reasons, I
didn't want all of the information in the
| | 05:49 | exported file that came from my digital
camera and that I may have added to the
| | 05:53 | file here in Lightroom, I could choose
one of these other option other than All,
| | 05:57 | like Copyright Only, but I'll
just leave that at all for now.
| | 06:00 | If there is any location information
associated with the file, for privacy
| | 06:04 | reasons, you might want to
check Remove Location Info.
| | 06:08 | And then I'll skip through the
Watermark section because I haven't created a
| | 06:11 | watermark and I don't want one on this photo.
| | 06:13 | And down here, under Post Processing,
Lightroom is asking what it should do when
| | 06:17 | it finishes exporting.
| | 06:19 | I'd like to see the file in my finder.
| | 06:21 | So, I'll select that and I'll click Export.
| | 06:24 | Up here is a progress bar that tells me
that Lightroom is exporting my file with
| | 06:28 | the name and the other settings that I
specified and when it's done it opens my
| | 06:33 | finder to my destination folder and
there is the JPEG that Lightroom created for
| | 06:38 | me using the settings that I asked it to.
| | 06:41 | So that's how you get a copy of your
file out of Lightroom with the changes
| | 06:45 | that you've made there and remember the
that operative word is Export not Save.
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ConclusionNext steps| 00:00 | Hi, this is Jan.
| | 00:01 | I wanted to tell you personally that
I'm so glad that you decided to join me
| | 00:04 | for this course Up and Running
with Photoshop Lightroom 4.
| | 00:07 | So, my advice to you, for what's next,
is to please practice using Lightroom 4.
| | 00:13 | Because its only by using this program
that you'll see how it fits in with
| | 00:16 | your own needs and your own work flow.
Or if you're ready to go on to more
| | 00:20 | advance material, you'll find plenty
of courses on Lightroom 4 in the
| | 00:24 | Lynda.com Online Training Library.
| | 00:26 | Thanks for joining me for this course
and I hope to see you again in my other
| | 00:30 | courses here on lynda.com.
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