1. Develop PresetsWhat is a Develop preset?| 00:00 |
Develop Presets are one of a variety of
presets that come with Lightroom.
| | 00:04 |
We'll be looking at other kinds of preset
too in this course, but a large part of
| | 00:07 |
the course is devoted to develop presets,
because they're so popular, and so useful.
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A Develop Preset is basically just a
record of a saved group of Develop Module settings.
| | 00:19 |
The kind of settings that you see over
here in the basic panel, or the settings
| | 00:21 |
that you can access from the other
controls in the Develop Module in Lightroom.
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Like the tone curve controls.
The HSL, Color, Black and White controls,
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the Split Toning options, so forth.
One of the things that people like about
| | 00:34 |
Develop Presets is that you can apply them
with just one click.
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And I'll show you several ways to apply
Develop Presets in this chapter.
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There are three sources of Develop
Presets.
| | 00:45 |
Here in the develop module, if I go over
to my presets panel, and open it, if it's
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not already open by clicking its title
bar.
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You'll see a number of categories of
Presets that come with the program.
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If I click the arrow to the left of any
one of those I get a list of Presets in
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that category.
I can hover over any one of these presets
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and up above in the Navigator pane,l I see
a preview of what this photo would look
| | 01:05 |
like with that particular preset applied.
Now I'm not clicking, I'm just hovering
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over these presets.
And this makes it really quick to review
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and choose a preset that you may want to
apply to a photo without having to apply
| | 01:17 |
it and then undo it.
I'm going to Close this category of
| | 01:21 |
presets, so you can see that at the bottom
of the Default categories there is one
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category called User Presets.
I happen to have one user preset in this folder.
| | 01:30 |
This is my favorite Black and White
preset, it's one that I made.
| | 01:33 |
You don't have this preset installed with
Lightroom.
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It's here because I wanted to show you
what a Preset is.
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It's actually a small text file in your
operating system.
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For you gear heads out there, if you want
to see that XML text file at any time you
| | 01:46 |
can go up to your Lightroom menu or your
Edit menu on a PC.
| | 01:50 |
And choose Preferences and then click Show
Lightroom Presets Folder in the Presets
| | 01:54 |
tab of your Peferences window.
And that will take you right to the
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location in you're Operating System, where
you'll find you're Developed Presets.
| | 02:03 |
Now yours might not be open like this, if
they're not you can just navigate down
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into your Lightroom folder, into the
Developed Presets folder.
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And into any of the subfolders you have
there.
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And there you will see one or more files
with the extension LR template.
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Each one of the LR template files is a
Lightroom Preset.
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And you don't have to remember the path to
this folder if you ever need to get here.
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For example you will see that you may want
to come to this folder when you are
| | 02:27 |
importing or sharing Lightroom Presets.
But you can always get to the folder
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automatically by clicking the Show
Lightroom Presets Folder button in the
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Preferences window.
So I'm going to Close these windows now,
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and remind you that, you're not limited to
just the presets that come with Lightroom.
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There are two other potential sources of
Presets, and one of those of course, are
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presets that you make yourself.
And I'll be showing you how to build
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presets in this chapter.
Another source of presets is other people.
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There's a lively online marketplace of
Presets that's well worth exploring.
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If you Google Lightroom Preset, you'll
find many many sites offering Presets
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either for sale or some for free.
I'll show you how you can install third
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party presets shortly.
And if you have access to the exercise
| | 03:09 |
files for this course, you'll have access
to over 90 of my presets that you're
| | 03:12 |
welcome to install and keep.
So let's move ahead and talk about
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installing Develop Presets.
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| | Collapse this transcript |
| Installing Develop presets made by others| 00:00 |
There are lots and lots of places online
where you can go to find and download
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presets that you can install into your
copy of Lightroom.
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Some of those presets are for a fee,
others are for free.
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In this movie, I want to show you how you
can install presets that you find online,
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or that you get from a colleague or a
friend.
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Or the presets that I've included in the
exercise files, for those of you who have
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access to the exercise files.
In all those cases, there are two ways
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that you can install presets.
To show you those, let's switch over to Lightroom.
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If you have just a couple of presets to
install, then the quickest way is the
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automatic method.
To use the automatic method, I'll go to
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the presets panel in the develop module.
And I'm going to right-click on any one of
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the folders there.
It doesn't matter which.
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And if I want to bring my imported presets
into the folder I've clicked on, that's fine.
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I can do that.
Or I can make a new folder.
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I'll click New Folder, and I'll say
presets from, and then I might type the
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name of the source.
Maybe it's a website.
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In this case it's me.
An that makes a brand new folder here in
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my presets panel.
Now, I'm going to right-click on that
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folder, an I'm going to choose import,
from the little menu that comes up.
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In the import preset window, I'll navigate
to the place where I've put the presets
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that I either downloaded, or the presets
in my exercise files, or presets that I
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got from a friend.
By the way, if you've downloaded presets
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from an online site, make sure that the
file you've downloaded is unzipped.
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Sometimes files will unzip automatically.
If a file doesn't unzip automatically, you
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can unzip it on a PC by right clicking
that file and choosing extract all.
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Or if you're on a Mac, by double-clicking
the zipped file.
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So, here I have a folder of some developed
presets inside of my exercise files folder.
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I'm going to click the arrow to the left
of the Develop Presets folder.
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And you can see that I've organized the
presets I provided for you into subfolders.
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And each subfolder starts with LDC for a
lynda.com.
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And then these files the once that end in
.lr template are the actual preset files,
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so go ahead and select any one of those
preset files.
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It doesn't matter which, where you could
select a few of them and then click the
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Import button.
And now, in my presets panel, you can see
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that I have a brand new preset.
This is the one that I just imported and
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it landed in the folder where I started.
My "Presets from Jan" folder.
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And that preset was automatically applied
to whichever photo happens to be open at
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the moment.
If you don't want to apply that preset,
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you can undo that application By pressing
Cmd+Z on the mac, Ctrl+Z on the PC.
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So, that's the quick automatic way to
import or install presets.
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And that works great if you are installing
some individual presets, but what if the
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person who has made the presets has
provided folders to organize the presets,
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and you want to replicate those folders
here in your presets panel.
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Then, the quickest way to go is the method
I'm going to show you now: the manual method.
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This is the manual method that I suggest
you use if you're installing the presets
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that I provided for you in the exercise
files.
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I'll go up to the Lightroom menu on a Mac
or the Edit menu on a PC, and I'll choose Preferences.
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In the Preferences window, I'll go to the
Presets tab, and I'll click Show Lightroom
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Presets folder, to go right to the folder
in my operating system, where Lightroom
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stores develop presets.
You can see the Develop Presets folder
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right here, so I don't have to worry about
remembering the path to that folder.
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Now, I can close my Preferences window,
and I'm going to open a Finder or Explorer window.
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And in that second window I'm going to
navigate to where ever I put the presets
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that I want to bring into Lightroom.
In this case it's my desktop, inside my
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exercise files folder.
And there inside the Develop Presets folder.
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I've organized the presets for you into
folders.
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Because I want to show you what happens if
the person providing the presets has gone
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to the trouble of organizing the presets
for you and you want to take the folders
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of that person has made and include those
in your presets panel in Lightroom.
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So that you don't have to go to the
trouble of making your own folders.
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I'm going to copy all the folders.
So, I'll select this folder and then I'll
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hold the select Shift key and I'll select
this folder.
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And then I'm going to copy, and then I'll
go to the other window that's open, the
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one with the direct path to the place that
Lightroom keeps presets.
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I'll click on the Develop Presets folder,
and I'm going to paste all of those new
| | 04:13 |
presets into that folder.
Now, you can see that the presets are there.
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Now, I can close both of these windows.
And here's the trick, I have to restart
| | 04:22 |
Lightroom to get those new presets and
their folders to appear here in my presets panel.
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When Lightroom relaunches, in the presets
panel in the develops module, you can see
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all the new folders that I just brought
in.
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And if I open any one of those, you can
see its contents here, and I can just
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hover over those presets to see a small
preview of how the open photo will look
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with any of those presets applied.
If I scroll down in the presets panel, you
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can see that I have not only my LDC
folders that contain the presets that I've
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built and provided for you, but also the
ones labelled Lightroom each of which has
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more presets in it.
So, those are two ways that you can
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install presets that you get from someone
else.
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I want to mention that if you're
downloading presets from an online site,
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you should read what the provider has to
say about those presets to make sure that
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the presets are for the kind of files
you're going to use them on.
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For example, if the presets that the
provider are for JPEGs, you may not get
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the result that you expect if you're using
them on RAW files.
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And if the presets were made in older
version of Lighroom than you have, you may
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not get the same results.
Although, sometimes older presets work
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just fine in current versions of the
program.
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So, you basically have to try them out to
see.
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Installing presets from others is a quick
way to apply some really interesting
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effects to your own photos.
And it can also be a starting place when
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you want to build presets of your own, as
I'm going to show you how to do next.
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| | Collapse this transcript |
| Building your own Develop presets| 00:00 |
If you're into develop presets, this is a
movie you don't want to miss.
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Because I'm going to show you how to build
a develop preset from scratch.
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Now, you don't have to start from scratch.
You can start from a preset that you've
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installed and then just modify it or you
can at least apply a preset to a
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representative photo.
And then take a look at the controls in
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the various panels on the right side of
the develop module to get a sense of how a
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particular kind of preset is built.
So if I want to know how to make an
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infrared preset and I happen to have one
already, as I do, here in the black and
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white category of LDC presets, I might
just click on one.
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This infrared style one for example, an
then take a look at the settings over
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here, in the various panels on the right,
so that I can see how this was built.
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Now instead of using this as a starting
point, I'm actually going to undo by
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pressing Cmd + Z or Ctrl + Z on the PC,
and I'm going to build that same style
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from scratch for you so you can see the
approach that I took.
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Though although I'm building a preset that
converts a color image to a particular
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black and white style, The specifics
aren't that important.
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My general approach to building a preset
is what I would like you to take home.
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So I'll choose a photo that represents the
kind of photos on which I want to play
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this preset.
I have lots of photos taken with blue sky
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and like foliage.
And I like the preset to make those look
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really dramatic like the preset that I
just showed you.
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So I'll start by making the black and
white conversion.
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I can do that from here in the Basic Panel
or from the HSL Color Black and White
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Panel, it doesn't matter, and then I'll go
down and Open that HSL Color Black and
| | 01:27 |
White Panel and here you can see the mix
of brightness values that Light room
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automatically chose for this particular
photo.
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I'm going to tweak those so that I'm going
to get the result that I want on other
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photos as well.
For example, I know that I want the
| | 01:42 |
foliage to be light so I go to the Green
Slider and I'm going to Drag that to the Right.
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And if I want to apply this to photos
taken in the Fall, then I want the yellow
| | 01:51 |
foliage to be bright as well so I'll Drag
the Yellow Slider over to the Right.
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And I would continue going through setting
each of these values to a number that's
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getting me the look I want on this
representative photo.
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If I'm not sure what color a particular
area of the photo is, then I'll use the
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targeted adjustment tool here to move into
the photo and just drag, for example I'm
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dragging on the sky and you can see that
that's moving the blue slider.
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Sometimes there's purple or aqua in the
sky to, but in this case it's just blue.
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I want the blue parts of my photos to be
dark, so I'll drag this down.
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Now that's looking pretty good, but
there's more that I can do.
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So I'm going to move to another panel, the
basic panel, you'll often work in the
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basic panel when your creating presets.
My general approach in this preset is I
| | 02:37 |
want something more contrasty looking.
So I'm going to go right to the contrast
| | 02:40 |
slider and drag that to the right.
To bring in more detail in the highlights,
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I'll drag the highlights slider to the
left.
| | 02:48 |
And I want the brightest whites to be even
brighter, so I'll drag the whites slider
| | 02:51 |
to the right.
And I'll make the darkest tones even
| | 02:55 |
blacker to increase contrast by dragging
the blacks slider slightly to the left.
| | 03:00 |
Now notice, that I didn't do anything to
the exposure slider.
| | 03:03 |
And that's because often when I apply a
preset, I want to be able to tweak the
| | 03:06 |
Exposure slider because every photo, needs
a little bit different amount of exposure.
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So I don't want to include the Exposure
slider here, I want to leave that at zero.
| | 03:15 |
How then, can I include a brightness
factor in this preset.
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Well, that's when the tone curve comes
into play.
| | 03:21 |
You don't always have to use the tone
curve in a black and white conversion, but
| | 03:24 |
I'm going to this time.
So I'll click on the tone curve panel,
| | 03:28 |
I'll click right in the center of this
tone curve to add a point there.
| | 03:31 |
And then I'm going to hold the Shift key
down so that I don't move to the left or
| | 03:34 |
right, and I'll just drag up.
And that increases the overall brightness
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of the photo.
And then I can close the Tone Curve panel.
| | 03:43 |
So I think that's looking pretty good.
I'm going to go with that as my preset.
| | 03:47 |
So the next step is to save that entire
group of settings as a record or a recipe
| | 03:51 |
that I can apply to other photos.
I'll click the plus button on the Presets
| | 03:56 |
panel and that opens the New Develop
Presets window.
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I'm going to give the preset a name, and I
try to give this a little thought because
| | 04:03 |
presets appear alphabetically inside a
folder and they're also case-sensitive.
| | 04:08 |
So I want all the presets that I make in
this course to be next to one another in a
| | 04:12 |
particular folder, so I'm going to have
them all start with preset course.
| | 04:18 |
And then I'll put a hyphen.
And this is a black and white conversion,
| | 04:22 |
so I'll type BW and it's going to be my
Infrared Style 1.
| | 04:28 |
And then I'll choose the folder into which
this preset will go.
| | 04:31 |
I can always move it later.
From the Folder menu, I can choose an
| | 04:35 |
existing folder or I could make a New
Folder.
| | 04:38 |
I'll make a New Folder.
I'll call this Preset Course and this is
| | 04:41 |
the folder into which I'm going to save
all the presets I make during the course.
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I'll click 'create'.
And now, I have the important job of
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choosing which settings Lightroom is going
to memorize from those that I set as I was
| | 04:53 |
creating this preset.
As a general approach, I try to keep these
| | 04:57 |
boxes to a minimum.
In other words, I include only those
| | 05:01 |
things that I changed, and that I want to
have change every time this preset is applied.
| | 05:06 |
And I think one of the things that trips
people up is that they leave something
| | 05:09 |
checked without realizing it.
So, I recommend as a first step that you
| | 05:12 |
come down and click the check none button
and then you put a check mark just where
| | 05:16 |
you need it.
Even when you choose check none notice
| | 05:20 |
that process version remains checked and I
think that's important.
| | 05:24 |
In most cases I will include the process
version in a preset.
| | 05:27 |
The process version is the technology in a
particular version of light room.
| | 05:31 |
Watch what happens if I uncheck this.
I get this warning that if I don't include
| | 05:34 |
the process version and then I apply this
preset in a future version of light room,
| | 05:37 |
I may get different version than I
anticipated, so I will go ahead only
| | 05:40 |
process version checked.
Now I'm going to carefully check, just
| | 05:45 |
those properties that I want to include in
the preset.
| | 05:48 |
So again, these are things that I changed,
an that I want to have applied to every
| | 05:51 |
photo, to which this preset is applied.
So in the Basic Tone panel, I changed the
| | 05:56 |
Contrast, the Highlights, the White
Clipping and the Black Clipping.
| | 06:01 |
Notice that I'm not checking exposure.
Even if I had changed the exposure for
| | 06:05 |
this particular photo, I wouldn't want
that change recorded in the preset,
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because as I said exposure is something
that so variable across images.
| | 06:13 |
The next thing I changed was I added the
tone curve, so I checked tone curve here.
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I didn't make any changes to Clarity or
Sharpening, but I did convert the photo to
| | 06:21 |
black and white.
So I'll check Treatment Black and White.
| | 06:26 |
Now, here I have two choices, I could
either check Black and White mix or Auto
| | 06:30 |
Black and White mix.
If I check Auto Black and White Mix, then
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this preset will include an instruction to
perform an auto mix that's specific to any
| | 06:37 |
photo to which the preset is applied.
But that isn't what I want to do.
| | 06:42 |
I want absolute values for the black and
white sliders.
| | 06:45 |
The settings that I chose.
Those are always going to give me bright
| | 06:49 |
foliage and dark sky.
So instead of auto black and white mix,
| | 06:52 |
I'll check black and white mix, and that
will give me those absolute values.
| | 06:56 |
And by the way the same is true of the
tonal values that I chose in the basic
| | 06:59 |
tone area.
And the particular tone curve.
| | 07:02 |
Those are all going to be the exact values
applied every time.
| | 07:05 |
And by the way, those are not relative
values.
| | 07:08 |
Those are specific numbers.
Now, you may have noticed that there are
| | 07:11 |
no check boxes here for certain things
that you could do to an image.
| | 07:15 |
For example, there's no check box for spot
removal.
| | 07:17 |
And there's no check box for cropping.
Those are things that you can't include in
| | 07:22 |
a preset and there are no boxes here for
tweaking colors in this image and that's
| | 07:25 |
because I had converted it to black and
white so Lightroom doesn't give me any
| | 07:28 |
options for color.
I didn't make any other changes so I can
| | 07:32 |
go ahead and Click create but I do want to
mention one more thing and that is let's
| | 07:36 |
say that ultimately I want to have a black
and white infrared that also has some
| | 07:40 |
green in it.
And also has a vignette in it.
| | 07:45 |
I could have included vignetting and grain
in this preset as I was building it.
| | 07:49 |
But I tend to want to keep my effects
separate so that I have more flexibility
| | 07:52 |
to layer different effects together so
that in some cases I could apply this
| | 07:56 |
preset with another preset that adds a
vignette.
| | 08:00 |
Sometimes I just want the infrared black
and white conversion without the vignette.
| | 08:04 |
So I'll make a separate preset for the
vignette, a separate one for grain and so forth.
| | 08:08 |
I'm going to go ahead and click create
now, and in my preset course folder, you
| | 08:12 |
can see my brand new preset, the one
labeled preset course, black and white infrared.
| | 08:18 |
Let me make the column wider so we can see
the whole name there, black and white
| | 08:21 |
infrared style one.
So we know what this preset looks like on
| | 08:25 |
the photo on which I built it.
How would it look on another photo?
| | 08:29 |
I'm going to open my film strip where I do
have another photo of fall foliage, and
| | 08:33 |
I'm going to try my preset out on this
photo.
| | 08:37 |
I'll scroll down on the presets panel so I
can access my new preset there, here it
| | 08:40 |
is, if I hover over it you can see a small
preview in the navigator panel of how it's
| | 08:44 |
going to look in this photo.
If I actually want to apply it I'll click it.
| | 08:49 |
And I think it does a pretty good job on
this photo, too.
| | 08:52 |
But it's not perfect, and after I've
applied a preset, I almost always will
| | 08:56 |
tweak it by going over to the panels and
making changes there.
| | 09:00 |
So here for example, I may want to
increase the exposure in this particular
| | 09:04 |
image or increase the Contrast and so
forth.
| | 09:07 |
So that's how to build and save a preset
in light room.
| | 09:10 |
I hope you'll take my general approach and
sum up the tricks and techniques I
| | 09:13 |
mentioned and put those to use as you
build your own presets.
| | 09:18 |
| | Collapse this transcript |
| Applying Develop presets to your photos| 00:00 |
There's more than one way to apply presets
to photos in Light Room.
| | 00:04 |
We've already seen them a straightforward
way.
| | 00:05 |
And that is to work in the develop module
and to use the presets panel, over here on
| | 00:09 |
the left, along with the navigator to
preview presets before you apply them.
| | 00:14 |
So, for example, here I want to apply a
preset for my category of black and white
| | 00:18 |
plus tenths.
And by the way, I made all of the presets
| | 00:21 |
in the black and white plus tenths folder.
By doing a black and white conversion and
| | 00:26 |
then including different variations on
split toning in the split toning panel
| | 00:29 |
over here.
So, I'll hoover over a couple of these and
| | 00:33 |
I like the first 1 the best on this photo
so I'll click on the black and white split
| | 00:37 |
tone antique violet and that applies the
preset to this photo.
| | 00:43 |
That's pretty straightforward.
But let's say that we want to apply this
| | 00:46 |
precept to multiple photos.
Well, you can do that here in the develop module.
| | 00:51 |
But if you do want to apply a precept to
multiple photos, some people think it's
| | 00:54 |
easier to do it in the library module.
Let me show you how to do it here in the
| | 00:57 |
develop module.
And then in the Library module too.
| | 01:00 |
So I'm going to select three photos in the
film strip.
| | 01:04 |
I'll click on this first photo, and then
I'll Shift + click on the last photo to
| | 01:06 |
select all three.
If you look closely, you'll see that the
| | 01:09 |
frame around the first photo I selected is
brighter than the frame around the other two.
| | 01:14 |
That means that the first photo is more
selected.
| | 01:17 |
And so watch what happens if I go to the
presets panel and click on that same preset.
| | 01:23 |
It's only applied to the first of the
three photos, the most selected one.
| | 01:26 |
And that's the designed behavior of
anything that you do when you have
| | 01:29 |
multiple photos selected in the film strip
in the develop module.
| | 01:33 |
Because lightroom is trying to protect you
from making a change that affects more
| | 01:36 |
than just the photo you intended to
change.
| | 01:39 |
So how do you get around that?
Well first I want to undo this preset from
| | 01:42 |
this one photo.
And by the way, when you do want to undo
| | 01:45 |
you can either press Cmd or Ctrl + Z.
Or if you have a number of steps and you
| | 01:49 |
want to go all the way back to the
beginning then click the Reset button here
| | 01:52 |
on the develop module.
So I still have those three photos
| | 01:57 |
selected, the first is most selected.
And this time before I apply a preset, I'm
| | 02:01 |
going to go to the Sync button, and click
the toggle to the left of it to change it
| | 02:04 |
to Autosync.
Now anything I do to that most selected
| | 02:08 |
photo will be automatically applied to the
other two photos too.
| | 02:12 |
So this time, I'll go over to the presets
panel.
| | 02:14 |
And I'll click on my preset.
And it's applied to all three photos.
| | 02:18 |
And I can click between them.
And I like the way it looks on all three.
| | 02:21 |
I'm going to click reset.
And that resets all three, because I'm
| | 02:25 |
still auto-syncing.
And I think it's important to always turn
| | 02:28 |
off auto-sync.
So you're not surprised by it next time
| | 02:30 |
you're working in the developed module.
So I'm going to click the toggle next to
| | 02:34 |
auto sync to turn it off.
I'll deselect these photos and I'm
| | 02:37 |
going to switch over to the Library module
now, to show you how to apply a preset to
| | 02:40 |
multiple photos there.
I could click on Library, or just press G
| | 02:45 |
on my keyboard.
Here in the Library module, I don't need
| | 02:48 |
the film strip, because I have all those
thumbnails in the grid.
| | 02:51 |
So I'll close my film strip.
In the grid, I'll select those three
| | 02:54 |
photos again.
And in the library module when you have
| | 02:58 |
multiple photos selected whatever you do
applies to all of them, not just the most
| | 03:01 |
selected photo.
So that will make it easier to apply a
| | 03:04 |
preset to all three of these photos.
However, I don't have access to the
| | 03:08 |
presets panel here.
So what can I do?
| | 03:11 |
Instead I'll go to the quick develop panel
on the right of the library module, I'll
| | 03:14 |
click the drop-down menu there and here I
can see all the same folders full of
| | 03:17 |
presets that I had access to in the
presets panel in the developed module.
| | 03:23 |
So if I come down to my LCD black white
plus tints category of presets, I see that
| | 03:28 |
same antique violet preset I can select it
from there and its applied to all 3 photos.
| | 03:35 |
The only thing I don't like about this
method is that you can't preview that
| | 03:38 |
result until you apply it but if you don't
like it you can always undo and try
| | 03:41 |
another one.
I'm going to deselect by clicking off
| | 03:45 |
those three photos.
Now, there are other ways to apply presets
| | 03:48 |
to photos.
For one thing, I could right click on any
| | 03:51 |
photo here in the library module grid, or
in the develop module filmstrip.
| | 03:55 |
And from the menu that appears, I could
choose develop settings.
| | 03:58 |
And there again, I see all of my
categories of presets.
| | 04:01 |
This time I am going to choose my LDC
creative category of preset and I am going
| | 04:06 |
to apply a foe HDR strong look to this
photo and that applies that preset,
| | 04:10 |
another really fun way to apply presets is
to use this spray cam here in the library
| | 04:14 |
module The spray can is down in the
toolbar.
| | 04:20 |
If your toolbar isn't open then press T on
your keyboard, and then click on the spray can.
| | 04:26 |
Then go to the paint menu, and change that
to, settings, and then go to the next menu
| | 04:29 |
and once again, you'll see all of your
categories are presets.
| | 04:34 |
This time, again, I'll go to the creative
category of presets.
| | 04:37 |
The ones that I made.
And I'm going to apply a faux HDR look.
| | 04:41 |
Not a strong one, but just a regular one.
And then I'll click on a few photos.
| | 04:45 |
And each time I click, that's applying
that preset to those photos.
| | 04:48 |
And then when I'm done, I have to come
down to the tool bar again.
| | 04:51 |
And click in the Spray Can circle to put
it back.
| | 04:54 |
I'll make my thumbnails a little bit
bigger, so you can see that faux effect on
| | 04:57 |
those photos.
I think it looks pretty cool.
| | 05:02 |
And there's one more way that you can
apply a preset, and that is to apply a
| | 05:04 |
preset when you're importing photos into
Light Room.
| | 05:08 |
So, here for example, I have a landscape
image, and let's say that I was importing
| | 05:11 |
a lot of landscape images at once, and
might want to apply a preset that contains
| | 05:15 |
a camera profile for landscape photos.
Let's switch back to the develop module
| | 05:21 |
for just a moment so I can show you in the
basic panel how that faux HDR preset was made.
| | 05:26 |
It's just a matter of dragging the
highlight slider to the left, the shadow
| | 05:29 |
slider to the right, adding a little bit
of black for contrast and ramping up the
| | 05:33 |
clarity for mid-tone contrast and then
taking out some color with the vibrance
| | 05:36 |
slider to the left.
I'm going to click on another photo here.
| | 05:41 |
Because I want to mention one more way
that you can apply presets to photos, and
| | 05:44 |
that is, you can do it upon import.
Now, that only makes sense if you're
| | 05:49 |
importing a lot of the same kind of photo
from your camera.
| | 05:52 |
Say you've done a landscape shoot, and all
the photos you're importing are landscapes.
| | 05:56 |
And you know that the raw files that you
normally get from that particular camera
| | 05:59 |
maybe aren't vivid enough.
Or need more contrast.
| | 06:03 |
Well then you could make a preset that
ramps up the vibrance and/or the clarity
| | 06:06 |
or contrast and apply that preset upon
import of a batch of photos from your camera.
| | 06:12 |
And along those lines, I want to mention
that I've made some presets of camera profiles.
| | 06:17 |
Those are located here.
And that gives you the ability to quickly
| | 06:20 |
preview these various profiles of styles
from my Nikon camera, so as I move over
| | 06:24 |
these notice in the navigator panel that
the image really changes and I found that
| | 06:28 |
in most cases the landscape camera profile
is the best one for landscapes, so I'll
| | 06:32 |
click on that to apply it to this photo.
But do keep in mind that camera profiles
| | 06:39 |
are specific to particular camera brands
and that they only make a difference if
| | 06:43 |
applied to raw photos not to jpegs.
And that's just the kind of preset that
| | 06:47 |
you might apply on import too.
And here in lightroom if there is a
| | 06:51 |
particular preset that you often apply
upon import.
| | 06:54 |
You can right-click it in a presets panel
and choose apply or import and that will
| | 06:58 |
appear by default in the apply or import
section of the import window.
| | 07:03 |
We'll look at the import window later in
the course.
| | 07:06 |
So those are number of different ways to
apply presets to your photos in Lightroom.
| | 07:10 |
Then you may be wondering, what if I
wanted to apply more than one preset to
| | 07:13 |
the same photo?
And that's what I'm going to cover next.
| | 07:16 |
| | Collapse this transcript |
| Layering multiple Develop presets on a photo| 00:00 |
You can apply multiple presets to the same
photo.
| | 00:02 |
But when you do, you want to be aware of
whether the settings in the last applied
| | 00:06 |
preset are overwriting settings in the
first applied preset.
| | 00:10 |
To show you that, I have an image
selected.
| | 00:12 |
And I'm going to apply some vignettes to
this image.
| | 00:15 |
I've made some vignettes in the category
that I've called LDC vignettes.
| | 00:20 |
Right here.
And I'll click on the very first of these
| | 00:22 |
to apply a vignette effect to this photo.
I basically have darkened the corners of
| | 00:27 |
the photo to try to direct the viewer's
attention toward the center of the photo.
| | 00:31 |
This vignette effect was made in the
Effects panel by dragging the post crop
| | 00:34 |
vignetting sliders as you see them here.
Now, what if I apply another vignette on
| | 00:40 |
top of this?
Maybe this LDC corner is white effect.
| | 00:45 |
Well, that wipes out the first effect, and
that's because the LDC corners white
| | 00:48 |
preset uses the exact same sliders that
the LDC corners preset used.
| | 00:53 |
So I cant have both of this on this image
at once.
| | 00:56 |
So, that's a good example of when one
preset will cancel out another or
| | 00:59 |
sometimes the second preset will just
cancel some of the options in the first
| | 01:03 |
but not all.
To show you another example of that, I
| | 01:08 |
select this photo in the film strip and
I'm going to go another category of my
| | 01:11 |
presets deselective color category.
Now, here, I've made some presets using
| | 01:18 |
the HSL panel.
Specifically, the saturation tab in that panel.
| | 01:23 |
And what I've done is dragged all of the
sliders over to the left, except for one
| | 01:26 |
slider each time, to make different
selective color effects.
| | 01:31 |
So, for example, if I click on the blue
selective color effect.
| | 01:35 |
Notice that all of the saturation sliders
are over to the left, except for the blue one.
| | 01:38 |
Which is all the way over to the right.
So, we have very saturated blues, and no
| | 01:42 |
other color in the photo.
If I go to green, now I have only green in
| | 01:46 |
the photo.
Only the green slider's over to the right.
| | 01:49 |
The others are all to the left.
And each of these effects is canceling out
| | 01:53 |
the others, and each of these presets is
canceling out the preset that I previously
| | 01:57 |
applied, because each of these presets
uses the same sliders.
| | 02:01 |
So, there's orange, red, yellow.
But what if I want to have more than one
| | 02:06 |
color together?
Then I need to make a preset that allows
| | 02:08 |
some saturation in more than one of those
sliders.
| | 02:12 |
For example, here I have a warm mix, which
has some red, some orange, and some yellow.
| | 02:17 |
And here I have a cool mix, which has
green, aqua, blue, and purple.
| | 02:21 |
So, that's another example of how one
preset can override another.
| | 02:25 |
And you just want to be careful when
you're layering your presets that you're
| | 02:27 |
not doing that inadvertently.
But there are some presets that you can
| | 02:31 |
apply one on top of the other without
detracting from any of them.
| | 02:34 |
Let's look at an example of that back on
that first photo.
| | 02:37 |
I've already applied some white corners to
this photo.
| | 02:40 |
Well, what if I also change the photo to
black and white?
| | 02:43 |
Something that doesn't involve the sliders
here in the Effects panel at all.
| | 02:47 |
I'll go up to my LDC black and white
presets, and I'll apply one of those.
| | 02:52 |
How about this high key preset.
So now the photo's black and white, but I
| | 02:56 |
still have those white corners on it from
the white vignette preset that I've added before.
| | 03:01 |
I can even add another preset on top of
this.
| | 03:03 |
I'm going to go down to another category.
My Tints and Split Tones category and by
| | 03:08 |
the way if you're following along with
these presets that is a different category
| | 03:12 |
than black and white tints and split
tones.
| | 03:15 |
This category contains tints and split
tones.
| | 03:19 |
That were made only with the split toning
panel, so they don't interfere with the
| | 03:22 |
black and white conversion or the
vignettes.
| | 03:24 |
So here, for example, I might apply the
gold indigo split tone preset, and I've
| | 03:28 |
got my gold indigo split tone, I've got my
black and white conversion, and I've still
| | 03:31 |
got those white corners around the edges.
So, you can apply multiple presets to the
| | 03:37 |
same photo, and if you're careful you can
do it without overriding or canceling the
| | 03:41 |
effects of any of them.
| | 03:43 |
| | Collapse this transcript |
| Updating Develop presets| 00:00 |
After you've made a preset, you may want
to change something about the preset.
| | 00:04 |
Let me show you how to do that.
I'd like to make a preset here that's
| | 00:07 |
going to take photos like this one that
have cool colors and warm colors and
| | 00:10 |
convert them to black and white.
To do that, I'll go over to the HSL Black
| | 00:15 |
and White panel, and I'll click Black and
White, and then I'm going to customize
| | 00:18 |
this conversion.
I'm going to use the targeted adjustment
| | 00:21 |
tool to do that.
I'll click on that tool, I'll move into
| | 00:24 |
the image.
And let's say I want the warm colors, the
| | 00:27 |
oranges, to be light.
I'll click on the orange area of the photo
| | 00:30 |
and I'll drag up.
And let's say I want the blues in the
| | 00:34 |
photo to be darker, I'll click on the
water and I'll drag down.
| | 00:38 |
And that darkens the water and the sky.
So, let's say that's the Black and White
| | 00:42 |
Preset that I want.
I'll come over to the Presets panel.
| | 00:46 |
I'll click the plus button there, as we've
done before.
| | 00:49 |
And I'll give my new Develop Preset a
name.
| | 00:51 |
I'll call this Presets Course.
Black and white.
| | 00:57 |
Warm for the warm light.
And I'm going to save it into my Preset
| | 01:01 |
Course folder.
Then I'll click, Check None.
| | 01:05 |
And I'll check just the settings that I
need.
| | 01:07 |
And those are just Treatment, and Black
and White mix.
| | 01:11 |
Process Version is check by default, I'll
click Create.
| | 01:15 |
Now, there was really nothing new.
We've covered all of that before.
| | 01:18 |
But let's say that I've changed my mind
about that preset.
| | 01:21 |
I actually would like it to be the
opposite, so that the warm or orange
| | 01:24 |
colors are darker, and the cool or blue
colors are lighter in my black and white conversion.
| | 01:29 |
I can update that preset.
To do that, first I'll apply the preset to
| | 01:33 |
a photo.
We'll just stick with this photo.
| | 01:35 |
And then I'll go over to the HSL Black and
White panel.
| | 01:38 |
I still have my targeted adjustment tool
selected.
| | 01:41 |
So I'll move into the image.
And I'll click on the orange land.
| | 01:45 |
And this time, I'm going to drag down to
darken the oranges.
| | 01:49 |
And I'll click on the water and I'll drag
up to brighten the blues.
| | 01:53 |
I think the oranges are a little bit too
dark there, so I'll drag up on them a bit
| | 01:56 |
and I'll make the ocean and the sky even
lighter.
| | 02:01 |
So, if that's the look I want this Preset
to apply to other photos, then I need to
| | 02:04 |
update my Preset.
To do that I'll go back over to the
| | 02:08 |
Presets panel.
Now, here's the tricky part.
| | 02:11 |
Don't click right on the name of that
preset, because if you do, you'll just be
| | 02:14 |
applying the old version of the preset
again, and it will wipe out the new version.
| | 02:19 |
So, what you want to do instead, is to
right-click on the little icon that's to
| | 02:22 |
the left of the label.
I'll right-click there, and from the
| | 02:27 |
contextual menu, I'll choose Update with
Current Settings.
| | 02:31 |
That opens this window Update Develop
Preset.
| | 02:34 |
And here I need to carefully look at which
boxes are checked, because these boxes are sticky.
| | 02:38 |
And if I've made other presets in between
the original preset and this change, I
| | 02:42 |
can't just assume that I have the right
boxes checked here anymore.
| | 02:46 |
So, everything is fine, I'm going to click
Update.
| | 02:49 |
Terrific.
I still need to change the name of this
| | 02:51 |
preset because now it's a black and white
cool preset.
| | 02:54 |
So, I'm going to right-click on the name,
this time I'll choose Rename.
| | 02:59 |
And I'll just give the name a change, I'll
call this Black and White Cool Preset.
| | 03:05 |
Now, let's see what happens when we apply
this updated preset to another photo.
| | 03:08 |
I'll click on this photo which also has
cool and warm colors in it.
| | 03:12 |
And I'll click on my Preset and you can
see that it's applied the black and white
| | 03:16 |
conversion with the update.
In other words, the oranges are dark, the
| | 03:20 |
blues are light.
Now, I don't think that's the greatest
| | 03:23 |
effect on this photo, but I wanted you to
see what the Updating Process does.
| | 03:27 |
Now, while we're here, I want to show you
something else, and that is how can you
| | 03:30 |
get more than one preset look on the same
photo.
| | 03:33 |
Well, you can make a virtual copy of the
photo.
| | 03:36 |
To make a virtual copy with a photo
selected like this one, press Cmd +
| | 03:39 |
apostrophe on your keyboard, or Ctrl +
apostrophe if you're on a PC, and that
| | 03:42 |
makes a virtual copy.
This copy with the corner turned up down
| | 03:46 |
in the filmstrip.
And now I can do something else to the photo.
| | 03:50 |
So, I could get my Targeted Adjustment
tool in the HSL Black and White panel.
| | 03:54 |
I'll move over the trees and I'll drag up
to lighten the foliage, the yellows and greens.
| | 03:59 |
And that also lightens up this area over
here.
| | 04:01 |
I like that result a lot better.
So, I've got a virtual copy with these
| | 04:05 |
settings and I've got my original with the
settings that I applied with my updated preset.
| | 04:10 |
And I could even update the preset again
if I like the settings on the virtual copy better.
| | 04:15 |
So, I'll select the virtual copy.
You can see the settings over here I've
| | 04:19 |
got more yellow and green now.
And once again, I'll update that preset by
| | 04:23 |
right-clicking on its icon choosing Update
with Current Settings, checking my boxes
| | 04:27 |
and clicking Update.
| | 04:29 |
| | Collapse this transcript |
| Organizing your Develop presets| 00:00 |
Lets take a minute to understand how to
organize and work with your folders in the
| | 00:04 |
Presets panel.
All Presets in the current version of
| | 00:07 |
Lightroom are in one folder or another.
The advantage of that is that your presets
| | 00:12 |
list doesn't get too long, because you can
tuck presets away inside of these
| | 00:15 |
expandable folders.
However, keep in mind that you have only
| | 00:19 |
one level of folder here, so I can't put a
folder inside another.
| | 00:23 |
I can make a new folder by right-clicking
anywhere in this panel, and choosing New Folder.
| | 00:29 |
The name that I give the new folder
determines where it will be in the list of
| | 00:32 |
new folders.
The list is by case, and then alphabetical.
| | 00:36 |
So, if I type, A test folder and click
Create, that comes into the list at the
| | 00:40 |
very top, above the other folders that
start with a capital letter.
| | 00:45 |
If I right-click anywhere and make another
new folder, and call this one a test
| | 00:49 |
folder with a small a.
And I have to put something here that
| | 00:54 |
makes the words different because I can't
have two folders with the same name.
| | 00:59 |
So put a 2 there, and I click Create.
That folder comes in way down here after
| | 01:03 |
all of the folders that start with a
capital letter, at the beginning of the
| | 01:06 |
list of folders that start with the small
letter.
| | 01:09 |
So if you're looking for a folder and you
have a long list, do keep that in mind.
| | 01:13 |
It'll make it easier to find your folders.
Now what about Presets?
| | 01:16 |
Can you move those between folders?
Well, the answer is yes and no.
| | 01:20 |
If I'm working with presets that are in
folders that do not come with Lightroom,
| | 01:23 |
in other words folders that I have made, I
can move the Presets between the folders.
| | 01:28 |
So for example, if I go into this folder
LDC Black White that I made.
| | 01:32 |
And Import it into Lightroom, I can click
on any one of my Presets here and then
| | 01:36 |
drag it into into another folder like
this.
| | 01:40 |
But I can drag it back to, I'll put it
where it goes.
| | 01:43 |
But, if I come down to one of these
folders that starts with the word
| | 01:46 |
Lightroom, and I try to drag, one of these
presets to another folder.
| | 01:51 |
Lightroom does something different.
It didn't move that blue filter preset.
| | 01:56 |
It left it where it was, in the Lightroom
folder, but, it made a copy of it, and put
| | 01:59 |
it in my, Test folder.
Now, what about deleting presets that
| | 02:03 |
you've made?
Because your preset list may get really
| | 02:05 |
long and you may have some that you never
use, or you don't like, and you want to
| | 02:08 |
get rid of them.
Well, you can do that, again, if you're
| | 02:11 |
working in a folder that you created.
So if I right-click on this Preset in my
| | 02:15 |
own folder, I can click Delete and the
preset is gone.
| | 02:20 |
But I want to warn you, be very careful
about deleting presets, and particularly
| | 02:23 |
about deleting folders, because when you
delete a preset it's gone completely.
| | 02:28 |
The only way to get it back would be to
Undo, but you won't even find it in the trash.
| | 02:33 |
And the same is true if you delete a
folder full of presets, they're all gone.
| | 02:37 |
They're not in the trash.
You could delete a folder the same way, by
| | 02:40 |
the way, by right-clicking on a folder and
choosing Delete Folder.
| | 02:43 |
However, if you're working with one of the
folders that comes with lightroom, and you
| | 02:47 |
right click there You don't have the
choice to delete it.
| | 02:51 |
The same is true of a preset in one of the
folders that comes with Lightroom you
| | 02:54 |
can't delete that either.
And finally you've got your User Presets
| | 02:59 |
folder that does come with Lightroom.
And from this one, you can Delete, but you
| | 03:03 |
can't Delete the User presets folder
altogether.
| | 03:07 |
So I kind of use that as a miscellaneous
folder, if for some reason I don't want to
| | 03:10 |
make a new one of my own.
So the folders are quite useful, but they
| | 03:14 |
do behave somewhat differently than
folders you may be used to in your
| | 03:17 |
operating system for example.
| | 03:19 |
| | Collapse this transcript |
| Choosing where to store your Develop presets| 00:00 |
The folders that you see in your Presets
panel and the Presets inside those folders
| | 00:03 |
are stored by default in your operating
system.
| | 00:06 |
And Lightroom knows where that location
is, so it knows where to look for those
| | 00:09 |
presets when you want to apply them.
Now, you do have the option to move that location.
| | 00:15 |
Let's take a look at that option and what
its implications are.
| | 00:18 |
I'm going to go up to the Lightroom menu,
that's the Edit menu on a PC, and choose Preferences.
| | 00:22 |
And here in the Presets tab as we have
seen, you have the option to go right to
| | 00:26 |
your Lightroom Presets folder.
And, as I have said, by default, that is a
| | 00:30 |
location in your operating system.
And because that is a central location for
| | 00:34 |
light room, no matter how many catalogs
you might make.
| | 00:38 |
All of those catalogs will be able to see
and access your presets.
| | 00:41 |
You won't have to do anything to cause
that to happen.
| | 00:43 |
But now let's say, there's another
scenario.
| | 00:45 |
Let's say that you like to keep your
Lightroom catalog files on an external drive.
| | 00:49 |
Because you travel from place to place and
you use Lightroom with different computers.
| | 00:54 |
A typical example might be a student, who
uses different computers in a computer lab.
| | 00:58 |
In that case you want to have your presets
with your catalog.
| | 01:01 |
You don't want them just to be on your
main computer at home in this global location.
| | 01:06 |
So if that's your situation you may be
tempted to check this box, Store presets
| | 01:09 |
with this catalog.
And what means is that instead of storing
| | 01:13 |
the presets in that global location, your
presets will be stored right alongside
| | 01:17 |
your catalog files in the scenario I just
posed.
| | 01:20 |
That's on an external drive that you take
with you.
| | 01:22 |
But there are a couple of things that
might trip you up if you check this box.
| | 01:26 |
For one thing, when you check this box,
then Lightroom will create a new folder
| | 01:30 |
for your developed presets alongside your
catalog files.
| | 01:33 |
Wherever you keep those, in my scenario on
your external drive.
| | 01:37 |
But it doesn't automatically populate that
folder with your presets.
| | 01:41 |
That's something that you have to do
yourself.
| | 01:43 |
And you might forget to do that, and so on
your external drive you'll have a folder
| | 01:46 |
with no presets in it.
And when you go to use Lightroom, running
| | 01:49 |
your catalog off your external drive,
there won't be any presets there, that's
| | 01:53 |
one problem.
Another problem is, that if you check this
| | 01:56 |
box and you make another catalog, that new
catalog won't be able to find the presets.
| | 02:01 |
Because the presets are stored with the
initial catalog on the external drive.
| | 02:04 |
So, checking this box potentially creates
more problems than it solves.
| | 02:09 |
So what do you do if you need to take your
catalog files with you on a external drive
| | 02:12 |
and you want your presets with you too.
Well in that case, I suggest you use third
| | 02:17 |
party software like Synchronization Backup
Software.
| | 02:20 |
To make copies of the presets that you
leave in that central global location.
| | 02:25 |
So that you always have an up to date copy
with you on your external drive as well as
| | 02:28 |
an up to date copy in that central, global
location.
| | 02:32 |
| | Collapse this transcript |
| Sharing Develop presets| 00:00 |
I think you'll be surprised at how easy it
is to share develop presets that you've made.
| | 00:05 |
There are two ways to do it, if you just
want to share a couple of presets, perhaps
| | 00:08 |
to give them to a colleague.
Then open a folder of presets in the
| | 00:12 |
Presets Panel.
If you don't want to apply the Preset,
| | 00:15 |
make sure to click on the icon to the left
of the Preset, rather than right on the Preset.
| | 00:20 |
And from the menu that appears, choose
Export.
| | 00:23 |
And then just navigate to the location to
which you want to export that preset.
| | 00:28 |
So I'll go to my Desktop, I'll make a New
Folder there, exported presets.
| | 00:34 |
Click Create and click Save.
If you're on a PC, your buttons may be
| | 00:37 |
labeled differently, but they do the same
thing.
| | 00:41 |
Now on my desktop, there's my exported
presets folder and inside that folder is
| | 00:45 |
the preset that I just exported.
A copy of my Creative Cutout preset.
| | 00:50 |
And you can see that it is a preset file
because it has the .lrtemplate extension.
| | 00:55 |
So, you can just give this to someone
else, and they can import it using the
| | 00:58 |
Import command.
Or the other method that I showed you
| | 01:01 |
earlier for installing presets.
Now what if you've created lost of folders
| | 01:04 |
full of presets and perhaps you want to
put those up on the web to make them
| | 01:07 |
available to other people there.
Well in that case, rather than exporting
| | 01:12 |
as I just showed you with the Export
command, you may want to just make a copy
| | 01:14 |
of all your presets and their folders.
To do that as I showed you several times,
| | 01:19 |
I'll go to Lightroom or to Edit on a PC.
To Preferences, to the Presets tab, and
| | 01:25 |
I'll click, Show Lightroom Presets Folder.
And that will take me to wherever my
| | 01:29 |
presets live on my computer.
And I can click any of the folder full of
| | 01:33 |
presets, or any of the individual presets.
So I'll take all of these folders that
| | 01:38 |
I've made, I'll Copy those.
An then I'll navigate to my Desktop, I'll
| | 01:43 |
go into my Exported Presets folder there.
And I'll paste those items, and I
| | 01:48 |
basically now have a shareable copy of all
of my lrtemplate files.
| | 01:53 |
So, that's how straightforward it is to
share presets that you've made with colleagues.
| | 01:58 |
Or to start participating in the large
marketplace of exhanged presets online.
| | 02:03 |
| | Collapse this transcript |
| Develop preset creative examples| 00:00 |
Now, that you know the ins and outs of how
to create and work with developed presets.
| | 00:04 |
I wanted to give you some ideas for
presets that you might make yourself.
| | 00:08 |
And these are just starting points.
I mean this is as inspiration, to give you
| | 00:11 |
a sense of what's possible.
In this movie, I will concentrate on
| | 00:15 |
creative presets, and then I will turn
into use some presets that will help in
| | 00:18 |
your production work flow.
You can get very different looks on the
| | 00:22 |
same photo using different presets.
So, for example, I'll go to the creative
| | 00:26 |
category of presets that I've made and
included in the exercise files, and I'll
| | 00:29 |
start by applying a Dream Glow Preset.
Now, as I hover over these presets, you
| | 00:34 |
can see a small preview up there in the
navigator.
| | 00:36 |
But I'm actually going to apply a couple
of these, so you can see a larger version.
| | 00:40 |
This preset was made by going to the Basic
Panel.
| | 00:43 |
And primarily, moving the clarity slider
to give this dreamy glow.
| | 00:47 |
And then I added a white vignette and
included that before I saved the preset.
| | 00:51 |
And I made that vignette down here in the
Effects panel.
| | 00:53 |
Dragging the amount slider over to the
right makes a vignette white.
| | 00:57 |
Dragging to the left makes a vignette
dark.
| | 01:00 |
I'm going to reset, and let's take a look
at making this couple look very different
| | 01:03 |
than the dream glow effect.
This time, I'm going to apply my faux HDR effect.
| | 01:09 |
We've seen this effect before.
And this effect, as I explained before is
| | 01:13 |
made with the sliders in the basic panel,
adding clarity and contrast, and reducing vibrance.
| | 01:19 |
And then, down here, I have what I call
the pop preset.
| | 01:23 |
There's a medium version, a lighter
version, and a stronger version.
| | 01:26 |
And again, these are different
combinations of sliders here in the Basic panel.
| | 01:31 |
Let's take a look at another photo.
This photo, I think, also looks good with
| | 01:35 |
some of the same effects.
The Dream Glow, the full HDR, the Pop.
| | 01:39 |
But I also like it with another effect the
Old Fashioned effect.
| | 01:42 |
This is a combination of a white vignette
and I use the mid point slider to change
| | 01:46 |
the shade of the vignette, so there is
more rectangular than circular.
| | 01:51 |
And then I went to the Tone Curve panel
and I created this simple curve where I
| | 01:54 |
pulled up the bottom left corner and not
like this the darkest tones in the image
| | 01:57 |
and achieve this kind of a faded look that
you see.
| | 02:02 |
I'm going to click on another photo here.
For photos like this, particularly wedding
| | 02:06 |
photos, I made this faded bouquet look.
And this is a matter of going to the HSL
| | 02:11 |
panel, the Saturation tab, and dragging
some of the sliders toward the left, the
| | 02:15 |
reds, yellows, oranges and purples.
And if you like, you can add a white
| | 02:19 |
vignette on top of this too.
Earlier in the course, I explained that I
| | 02:23 |
often like to make presets that don't
include vignettes.
| | 02:27 |
And then, I have a category of vignettes
with different shapes and sizes of
| | 02:31 |
vignette, and I can apply these separately
on top of whatever other effects I have
| | 02:35 |
achieved using other presets.
And here's something quite different.
| | 02:40 |
I was looking for a more graphic preset,
so I made one I call the creative cutout
| | 02:43 |
preset, that looks like this.
And the way I did this was, basically, to
| | 02:48 |
just experiment in the Tone Curve panel,
adding points to a curve, and dragging up
| | 02:51 |
and down, until I got the look that I
liked.
| | 02:55 |
And finally, I want to show you how I made
some other tints and split tones that you
| | 02:59 |
see in the preset I included in the
exercise files.
| | 03:03 |
I have a couple of categories of tints and
split tones.
| | 03:06 |
Those you see here the ones in the
category Tints and Split Tones are
| | 03:09 |
particularly effective on black and white
images.
| | 03:14 |
You can apply them to color images but the
effects are more subtle.
| | 03:17 |
You can take a look up at the Navigator
panel, as I move over some of these on a
| | 03:20 |
color image.
I have another category of Tints and Split
| | 03:24 |
Tones that I like to use on color images
because these include a conversion to
| | 03:27 |
black and white.
So, for example, if I click on this one,
| | 03:31 |
the photo is not only converted to black
and white, it also has a violet split tone
| | 03:34 |
on it.
And here, the same idea with a gold and
| | 03:38 |
indigo split tone, gold and selenium, gold
and sepia, green and red.
| | 03:44 |
And then here, I have what I call tents.
So, where the split tones have two
| | 03:48 |
different hues, one in the highlights and
one in the shadows, which I achieved in
| | 03:51 |
the Split Toning panel.
The tints have color applied only in the
| | 03:56 |
shadows or only in the highlights.
This particular one, the coffee one, if
| | 04:01 |
you look in the Split Toning panel, has a
coffee color applied just to the shadows.
| | 04:05 |
There is no color being applied in the
highlights here, because the saturation
| | 04:08 |
slider for the highlights is set to zero.
Cool blue works the same way.
| | 04:14 |
With sea green, I've basically chosen the
same color for the shadows and the
| | 04:16 |
highlights, and the same amount of
saturation for both.
| | 04:20 |
So it appears as a tint, but there is
color in both the highlights and the shadows.
| | 04:25 |
I've made my own sepia here, with color in
the shadows, and this vintage paper effect too.
| | 04:31 |
So, I hope that gives you some inspiration
for some creative presets that you might
| | 04:34 |
make on your own.
And if you do have the exercise files,
| | 04:37 |
you're welcome to use these presets as a
starting point for your own explorations.
| | 04:41 |
| | Collapse this transcript |
| Develop preset production examples| 00:00 |
Now, I'd like to give you some ideas for
presets that you can make, that are either
| | 00:03 |
times savers, or are used to effect the
photographic qualities of a photo to fix
| | 00:06 |
common photo problems.
For example, here I have a photo that's
| | 00:10 |
backlit, which is a really common problem.
So, I made a preset, so that I can add
| | 00:15 |
some fill light to backlit photos with
just one click.
| | 00:18 |
And that's here in the production folder
presets, that I included with the exercise files.
| | 00:23 |
So, I'll click on my fill light preset,
and there's the result.
| | 00:26 |
And the way I made this was to go to the
Basic panel, and lower the highlights an
| | 00:29 |
increase the shadow slider, as well as
make a few other tweaks.
| | 00:34 |
Another common problem is color cast.
Here I have a JPEG that has a strong, warm
| | 00:38 |
or yellow color cast.
It was shot inside in a museum.
| | 00:42 |
You may know that your white balance
options are kind of limited when you're
| | 00:45 |
working with a JPEG like this.
As you can see, you don't have the presets
| | 00:49 |
in this drop down menu, and the white
balance is pretty much baked in by your camera.
| | 00:54 |
So, to fix this problem, I made a preset,
not using white balance, but instead using
| | 00:58 |
the individual color channels in a tone
curve.
| | 01:02 |
Here in the Tone Curve panel, you can see
what happens when I apply my indoor yellow
| | 01:06 |
cast preset, which does remove a lot of
the yellow from this photo.
| | 01:10 |
And here in the red channel, I've added a
bit of red by dragging up on this curve.
| | 01:15 |
And in the blue channel, I dragged way up
to add some blue.
| | 01:20 |
I even add a little bit of green in the
green channel here.
| | 01:23 |
And, I did something similar to deal with
color casts and skin tones.
| | 01:27 |
So, here's a photo with a blue color cast,
and if I apply my skin blue cast preset,
| | 01:31 |
that makes the skin look a little rosier.
And I achieve this, primarily, by
| | 01:37 |
increasing the curve in the red channel,
and decreasing the curve, a little bit, in
| | 01:40 |
the blue channel.
And here's another problem with skin.
| | 01:45 |
This photo has a bit of a yellow cast to
the skin.
| | 01:47 |
I can fix that with my Skin Tones Yellow
Cast, which uses the dark end of the
| | 01:51 |
curve, adding a little bit of yellow in
the blue channel, and a little bit of red
| | 01:55 |
in the red channel.
Another issue of photo quality is sharpening.
| | 02:00 |
Here I've got a photo with a lot of
detail.
| | 02:04 |
The default presets that come with
Lightroom do include some sharpening
| | 02:07 |
presets for faces and for landscapes or
scenics, but there isn't one for detail,
| | 02:11 |
so I made my own.
And to do that, I had to zoom in to 100%
| | 02:15 |
by clicking on the photo.
I'll go ahead and apply my sharpen detail preset.
| | 02:20 |
And there you can see the result, and this
was all done in the detail panel, applying
| | 02:23 |
the sharpening settings that you see here,
which are most appropriate for photos with
| | 02:27 |
lots of detail.
Low masking, low detail, relatively high
| | 02:32 |
radius, and a medium amount of sharpening.
I'm really excited about some of the
| | 02:38 |
results I was able to achieve with the
radial filter in Lightroom Five.
| | 02:43 |
And you can see a variety of things that I
did with that filter.
| | 02:46 |
I started by focusing on the filter as a
spotlight to sharpen the center of this photo.
| | 02:52 |
And then I switched gears and soften the
center.
| | 02:54 |
And then I started working with the
outside of the boundary created by the
| | 02:57 |
radial filter.
Here I blurred the area outside of the
| | 03:00 |
radial boundary and that emphasizes the
shallow depth of field in this photo.
| | 03:05 |
And here I've desaturated the area outside
the radial filter boundary for a fade from
| | 03:09 |
color to gray.
The Radial Filter Tool, as you may know,
| | 03:12 |
is located here in the Toolbar.
And it works by adding a circular or oval
| | 03:16 |
boundary like this.
You can change the shape of that boundary.
| | 03:22 |
And then you can use these sliders to get
different effects.
| | 03:25 |
So, here with the saturation lowered, the
area outside the boundary is desaturated.
| | 03:29 |
If I were to check invert mask, then the
area inside the boundary would be desaturated.
| | 03:33 |
I like that effect too.
And one more kind of production oriented
| | 03:37 |
preset that you might consider making, are
presets that simply record the various
| | 03:41 |
white balance settings that are available
in the White Balance section of the Basic panel.
| | 03:48 |
If I switch to a raw file and then I go to
the drop down White Balance menu in the
| | 03:51 |
Basic panel, you can see that there are a
number of presets.
| | 03:56 |
But the only way to see what they do is to
apply them one by one like this.
| | 04:00 |
By making presets of these, I can just
hover over them here in the Preset panel
| | 04:04 |
and I get a preview of what each one does,
and it's a lot faster.
| | 04:09 |
And then I can just click on the one I
want to apply it to a photo.
| | 04:12 |
I've done the same thing, with the drop
down presets here in the Camera
| | 04:16 |
Calibration panel.
I happen to be working with Photoshop with
| | 04:20 |
a Nikon camera.
And so these are the options for raw
| | 04:23 |
photos shot with Nikons.
You'll see different options here if your
| | 04:26 |
shooting for example with a Cannon camera.
But I basically, went through each of
| | 04:30 |
these and made a preset of it, so that I
can quickly preview what each one does to
| | 04:34 |
a photo by just hovering over these camera
profiles for the Nikon camera.
| | 04:40 |
And when I decided on the one I want, I
click here.
| | 04:42 |
And that basically simulates on our raw
file the camera manufacturers style for
| | 04:46 |
displaying JPEGs on the back of the
camera.
| | 04:49 |
So, those are some ideas for some more
production oriented presets that you may
| | 04:53 |
consider making, some of these can be real
time savers.
| | 04:56 |
| | Collapse this transcript |
| Working with local adjustment presets| 00:00 |
If you've been using Lightroom for a
while, you probably know that it comes
| | 00:03 |
with some powerful local Adjustment tools.
For enhancing individual parts of a photo
| | 00:07 |
without affecting the entire photo.
And those local Adjustment tools include
| | 00:11 |
the Adjustment Brush tool.
The Radial Filter tool, and the Graduated
| | 00:15 |
Filter tool.
All here in the toolbar under the
| | 00:17 |
histogram in the Develop Module.
What you may not know is that this set of
| | 00:21 |
local adjustment tools can have their own
presets.
| | 00:24 |
That are separate and different from the
developed presets that we looked at
| | 00:27 |
earlier, that affect a photo globally.
To show you the local adjustment presets
| | 00:32 |
that come with Lightroom, I'll select any
one of the local adjustment tools.
| | 00:35 |
I'll click on the Adjustment Brush tool,
for example, and that triggers a drop down
| | 00:39 |
menu with that tool to part of a photo.
The way to access the Presets for the
| | 00:44 |
local adjustment tools is somewhat hidden.
You have to go to this menu at the top
| | 00:49 |
center of this drop-down panel.
Mine is set to Read Custom, but yours may
| | 00:52 |
read something else if you've changed it.
I'll click on that menu and here you can
| | 00:57 |
see a list of all of the presets for each
one of the local adjustment tools settings.
| | 01:01 |
Like Temperature and Tint, and Exposure,
and so on.
| | 01:04 |
And then in the second section, there are
some more specialized presets.
| | 01:08 |
Like one for lightening part of the photo
or one for softening skin if you're
| | 01:12 |
working on a portrait or whitening teeth
on a portrait.
| | 01:15 |
And the exciting thing is you can save
your own local adjustment presets.
| | 01:20 |
So, let's go ahead and do that.
I'm going to click out of this menu and I
| | 01:23 |
am going to just drag the exposure slider
down to the left and the saturation slider too.
| | 01:29 |
So there is a really extreme combination
of effects.
| | 01:31 |
Now to save that as preset that I could
access at any time from any one of these
| | 01:35 |
local adjustment tools.
I'll go to that menu at the top center of
| | 01:40 |
the drop-down panel, and I'll select Save
Current Settings as New Preset.
| | 01:45 |
I give the new preset a name, this is my
dark desaturated Preset, and I'll click Create.
| | 01:51 |
Now let's say that some time goes by, and
maybe I've set this menu to a different preset.
| | 01:56 |
And I decide that I want to paint over an
area and make that area dark and desaturated.
| | 02:01 |
I can go back to the same menu at the
center of the drop-down panel for any one
| | 02:05 |
of these local adjustment tools.
And from there, I can choose my dark deset
| | 02:10 |
preset that I just made.
And then when I paint, I'll be painting
| | 02:14 |
with that dark desaturated combination of
effects, that created this pin which
| | 02:18 |
controls this particular adjustment I just
made.
| | 02:22 |
And if I want to delete that with that pin
selected, I'll press Delete or Backspace
| | 02:25 |
on my keyboard.
Now if you've made local adjustments to a
| | 02:29 |
preset that you don't want, maybe you
don't like it or your list of preset is
| | 02:32 |
getting to long.
Just make sure that, that preset is
| | 02:36 |
selected in the menu in the drop down
panel and then go down to the bottom of
| | 02:39 |
the panel.
And you'll have the option there to either
| | 02:42 |
Delete that preset or you can even rename
it.
| | 02:45 |
I'm going to delete my dark desat preset.
And then I'll click the Delete button here.
| | 02:51 |
And that preset is now gone from that
drop-down menu.
| | 02:55 |
These local adjustment tool presets are
really useful, but I think they're a bit
| | 02:58 |
hard to discover on your own, because
they're in that drop-down menu.
| | 03:02 |
Now that you know about them, I hope
you'll be able to put them to good use in
| | 03:04 |
your own work.
| | 03:05 |
| | Collapse this transcript |
| Applying a local adjustment preset with multiple tools| 00:00 |
We've seen that you can make presets for
the Local Adjustment tools.
| | 00:03 |
The Adjustment Brush tool, the Radial
Filter tool, and the Graduated Filter tool
| | 00:07 |
in the Develop panel.
One of the useful features of Presets for
| | 00:11 |
Local Adjustment tools is that you can use
the same preset with any of these tools.
| | 00:16 |
So let's say that I'd like to make a set
of adjustments that affects just this
| | 00:19 |
foreground hay bale to start with.
I'm going to select the Radial Filter
| | 00:24 |
tool, since the hay bale is oval in
shaped.
| | 00:27 |
And that opens a drop down menu of
settings for the Radial Filter tool.
| | 00:29 |
I'll set them all back to their defaults
by double clicking the word, effect, at
| | 00:33 |
the top of this dropdown.
And that's a good shortcut to know for any
| | 00:36 |
of the Adjustment tools.
I'll Click and Drag an oval shape in the
| | 00:40 |
image and I'm going to drag that on top of
the hay bale.
| | 00:43 |
And then I'll choose some settings over
here on the drop-down panel.
| | 00:47 |
Maybe I'll reduce the Exposure a little
bit, increase the Clarity and I might even
| | 00:51 |
drop down the Tint a little bit so that
the hay bale looks a little more green.
| | 00:56 |
And as I do this, you're probably noticing
that these effects are being applied not
| | 00:59 |
to the hay bale, but to everything outside
the hay bale.
| | 01:03 |
That's the default of the radio filter
tool, to affect the area outside of its boundary.
| | 01:08 |
If you'd rather affect the area inside the
boundary to make it act more like a
| | 01:11 |
spotlight, then you can come over to the
drop-down panel, and click Invert Mask.
| | 01:16 |
And now I'll tweak my settings and my
boundaries a bit until I like the look (SOUND).
| | 01:21 |
So I think that looks pretty good.
Now what I'd like to do is apply those
| | 01:26 |
same settings elsewhere in the image.
As long as I'm using the same Radial
| | 01:31 |
Filter tool in the same photo, I can just
copy that pin and put it elsewhere in the photo.
| | 01:36 |
So to do that I'll move over the Pin.
I'll hold down the Cmd+Option key on the Mac.
| | 01:41 |
That's the Ctrl+Alt keys on the PC and
I'll click right on the pin.
| | 01:44 |
Now you can't see that there are two pins
here now but you may notice that the
| | 01:48 |
effects have gotten stronger.
I've doubled them.
| | 01:51 |
Now if I click on that pin and drag you
can see that there really are two pins.
| | 01:55 |
So I am going to move the other pan on top
of this other hay bale and then I am going
| | 01:58 |
to click on the anchor points and adjust
the shape on this second application of
| | 02:01 |
the same effects.
Now what if I wanted to have the same
| | 02:07 |
effects else where in the photo but not in
an area that's oval in shape.
| | 02:12 |
Well, in that case I would have to use
another one of the Local Adjustment tools
| | 02:15 |
either the Graduated Filter tool or the
Adjustment Brush tool.
| | 02:19 |
But there's no way to copy the effects
from one tool to another.
| | 02:22 |
So, I'm going to use a Preset.
I'll save a preset for just these effects,
| | 02:26 |
by going over to the panel that dropped
down from the Radial Filter tool.
| | 02:30 |
I'll click on this menu in the top center
of the drop-down panel.
| | 02:33 |
And I'm going to choose, Save Current
Settings as New Preset.
| | 02:37 |
And I'll call this one my green hay
preset, and click Create.
| | 02:42 |
Now I'm going to go to another tool, I'm
going to choose the Graduated Filter tool.
| | 02:46 |
I could do this now or I could do it
tomorrow or next week.
| | 02:49 |
Whenever I do, I'll still be able to
access my green hay local preset.
| | 02:54 |
It's here in the menu of local presets for
all the Local adjustment tools.
| | 02:58 |
It doesn't matter if I'm using the Radial
Filter tool or the Graduated Filter tool,
| | 03:02 |
as I am now, so I move into the image.
I'll click at the bottom of the photo, and
| | 03:07 |
I'll drag up, and I'm gradually applying
that set of effects.
| | 03:11 |
You can see that the foreground of the cut
hay on the field is turning a little bit green.
| | 03:16 |
And, I could apply the same settings with
that preset using yet a third tool, the
| | 03:19 |
Adjustment Brush tool.
I'll go up and select the Adjustment Brush
| | 03:23 |
tool in the Tool bar, and this time with
the same settings, because I'm using the
| | 03:27 |
same green hay preset.
I'll come into the image, and I can just
| | 03:31 |
paint in those changes.
And with this tool I'm not limited by the
| | 03:34 |
shape of the tool, so I can put these
anywhere that I want them.
| | 03:39 |
Now that I'm done with all the adjustment
tools, I'll click the done button, under
| | 03:41 |
the photo in the toolbar, and let's do it
before and after.
| | 03:44 |
Here's how the photo looked when I started
and here's how it looks applying the same
| | 03:48 |
settings with three different Local
Adjustment tools.
| | 03:52 |
So using a local preset like that is a
great work-around for the fact that you
| | 03:56 |
can't copy settings from one kind of Local
Adjustment tool to another.
| | 04:00 |
| | Collapse this transcript |
|
|
2. Import PresetsMaking copyright and contact metadata presets| 00:00 |
In this chapter we'll take a look at
Presets that you can use to save time when
| | 00:03 |
you are importing photos into Lightroom.
One kind of preset that you can apply when
| | 00:08 |
you are importing photos is a Metadata
preset.
| | 00:11 |
You can create a metadata preset with your
Copyright information, Contact
| | 00:15 |
information, and other information even
before you start importing photos.
| | 00:19 |
Here in the library module in the Metadata
panel.
| | 00:22 |
I have a photo selected and so over in my
Metadata panel you can see some
| | 00:25 |
information about that photo.
To create a Metadata Preset, I'll go to
| | 00:29 |
the Preset menu here at the top of the
Metadata panel and I'm going to choose
| | 00:32 |
Edit presets.
By the way, if you don't see this here and
| | 00:36 |
make sure that this menu is set to
Default.
| | 00:38 |
So, I'll choose Preset > Edit Presets and
that opens the Metadata Preset Editor.
| | 00:43 |
There are lot of fields you could fill out
in this editor, you're welcome to use any
| | 00:47 |
you want.
I think the most important are those in
| | 00:52 |
the Copyright field and the creator field
beneath it.
| | 00:56 |
I'll start here in the Copyright field,
where some of the labels are highlighted
| | 01:00 |
in red.
The red means that that field is checked
| | 01:02 |
and therefore will be included in my
Metadata Preset.
| | 01:05 |
So I'll click on the Copyright field, and
I'll type a copyright symbol.
| | 01:09 |
To do that on a Mac, I'll hold the Option
key as I press the G key on my keyboard.
| | 01:14 |
On the PC, you would hold the Alt key, and
on the numeric keyboard, press the numbers
| | 01:17 |
0, 1, 6, 9.
Then, I'll type my name and the year.
| | 01:23 |
And I have a separate Metadata Preset for
each year in which I've shot photos that
| | 01:26 |
are included in my Lightroom catalog.
Then I'll go to the Copyright status drop
| | 01:31 |
down menu and I'll change it to
copyrighted.
| | 01:34 |
And in the rights usage term area, I'll
type All rights reserved.
| | 01:40 |
And then I'll head down to the IPTC
Creator area.
| | 01:43 |
Here, I'll type my name as the
photographer or creator of this image and
| | 01:46 |
if I want I can add more contact
information here.
| | 01:50 |
I'll just go the Email area, and I'll type
an email address.
| | 01:53 |
Actually this a fictional email address.
Now as I said, there are more fields that
| | 01:57 |
you can explore, but those are the most
important ones.
| | 02:01 |
When I'm done adding that information,
I'll come to the Preset menu and I'll
| | 02:04 |
choose to Save Current Settings as a New
Preset.
| | 02:08 |
I'll call this Kabili 2013 Copyright and
I'll click Create, and then I'll click Done.
| | 02:16 |
So what has that done for me?
Well it means that next time that I want
| | 02:19 |
to apply that copyright and contact
information to a photo.
| | 02:23 |
I can do it either upon Import or, even
after I've imported photos, here in the
| | 02:27 |
Metadata panel in the Library module.
So with this photo selected for example, I
| | 02:33 |
can come to this Preset menu, and there is
the set of information that I just created.
| | 02:38 |
And if I apply that, you can see here in
the Metadata panel that I now have my
| | 02:42 |
Copyright, Copyright Status, and my name
as Creator.
| | 02:46 |
As well as other information appended to
this photo.
| | 02:49 |
And what I think is really useful about
this template is that when I go to Import
| | 02:52 |
Photos, I'll click the Import button here.
And I could navigate to some photos on a
| | 02:58 |
hard drive or import photos from a
camera's memory card.
| | 03:01 |
At that point I could come over to the
Apply During Import panel in the Import window.
| | 03:06 |
Go to the Metadata drop-down and there is
the Metadata template that I just created.
| | 03:12 |
If I haven't had the foresight to make a
Metadata template in advance, I can do it
| | 03:15 |
from here too by selecting New.
And that opens the same Metadata editor
| | 03:20 |
and I could add a new preset.
By the way, you can also delete presets
| | 03:24 |
from here by selecting the preset from
this drop-down menu.
| | 03:28 |
And then you have choices to Delete that
preset or Rename that preset.
| | 03:32 |
But I'm going to leave it as is, so I'll
just Cancel.
| | 03:34 |
An for now I'll Cancel out of the Import
window to.
| | 03:37 |
So that's one kind of Preset that you can
create an apply when you're importing photos.
| | 03:42 |
| | Collapse this transcript |
| Making file-naming presets| 00:00 |
The names that your digital camera gives
to your photographs aren't very useful.
| | 00:04 |
Here for example, I have a file, which
I'll open in Loop view, and then I'll
| | 00:06 |
press the I key on my keyboard so we can
see the name of this photo.
| | 00:10 |
And the only really useful part of this
name is the number and then the suffix,
| | 00:14 |
which tells me that this a raw file from a
Nikon camera.
| | 00:18 |
But this first part, _DSC, really doesn't
help me.
| | 00:21 |
And other camera manufacturers have other
file naming conventions that aren't very useful.
| | 00:26 |
But the file name is really important,
because if you structure your file names
| | 00:28 |
right in Lightroom that's the one piece of
information that's different about every
| | 00:31 |
single photo.
And, so that increases your odds that
| | 00:35 |
you'll be able to find a particular photo
by it's unique file name.
| | 00:38 |
So, in this movie I want to talk about how
you can set up a file name in convention
| | 00:41 |
that's useful and apply it to all photos
that you import into Lightroom.
| | 00:47 |
There are several places from, which you
can create file naming templates or
| | 00:49 |
presets here in Lightroom but since this
commonly comes up at the time of import it
| | 00:53 |
is convenient to do it in the import
window.
| | 00:56 |
So, I'm going to click import.
And because I have the memory card from my
| | 01:01 |
camera attached to the computer, Lightroom
recognizes that and makes that the source
| | 01:05 |
and then it shows the thumbnail of all the
photos on that card in the center of the
| | 01:08 |
import window.
But I don't want to import all the five
| | 01:12 |
hundred photos from the card right now
because I don't want you to have to wait
| | 01:15 |
while I do that.
So, I'm going to click the Uncheck All
| | 01:18 |
button and then I'll select just a few
photos to import, as an example, and I'll
| | 01:22 |
click the checkbox on any of the selected
photos.
| | 01:26 |
And those are the ones that will be
imported.
| | 01:28 |
And notice at the top of the import
window, that the only options available
| | 01:31 |
are Copy or Copy as DNG.
Move and Add aren't available, and that's
| | 01:35 |
because I'm bringing photos in, off of a
camera's memory card.
| | 01:39 |
So, Lightroom is going to do two things,
the first of, which is copy the photos
| | 01:42 |
from the memory card onto my hard drive.
And, it will also make a record of each
| | 01:47 |
photo in my Lightroom catalog.
So, I do have to choose Copy or Copy as DNG.
| | 01:52 |
And when I do that, over here on the
right, the file renaming panel is available.
| | 01:56 |
The first thing I need to decide here is
whether I'm going to rename my files, upon import.
| | 02:01 |
Not everybody agrees about this.
Some people think that you should bring
| | 02:04 |
all your files in, off of your camera and
then go about renaming them.
| | 02:07 |
Just to make sure that you've gotten
everything and that what's in your
| | 02:10 |
computer matches what's on the card before
you format the card.
| | 02:14 |
And that's a viable position.
But other people say its easiest to rename
| | 02:17 |
your files when you're importing and so
they will check this box rename files.
| | 02:22 |
I'll leave it checked for now because I
want to show you how you can use these
| | 02:25 |
options if you want to.
What you need to do is click the Template
| | 02:29 |
menu, and from here, choose the formula or
template that you're going to use to
| | 02:32 |
rename the files upon import.
The first options in this list are
| | 02:36 |
defaults that come with Lightroom.
If you are going to choose one of those
| | 02:40 |
options, then I strongly suggest you
choose an option that has a unique number
| | 02:43 |
in it.
That might be a custom name original file
| | 02:46 |
number or a custom name sequence, custom
name alone is just going to give you the
| | 02:49 |
same name on all the files.
I actually want to make my own file naming
| | 02:54 |
preset, so I am going to come down to the
Edit option in this menu that opens the
| | 02:57 |
file name name Template Editor.
Here, I'm going to build a formula that
| | 03:01 |
I'll save as a preset and this formula is
made up of tokens, each of which describes
| | 03:05 |
a different kind of information in this
formula.
| | 03:09 |
I'm going to start by deleting whatever
formula is there by pressing the backspace
| | 03:12 |
key on my keyboard.
Now, I'd like to build a formula that
| | 03:15 |
starts with date on which the photos were
shot.
| | 03:18 |
So, I'll come down to the Date menu and
I'll choose one of the date options.
| | 03:22 |
I'll go with Year, Month, Day.
And that automatically puts the token here
| | 03:25 |
in the formula field.
If it doesn't, I'll click the insert
| | 03:28 |
button here.
Then I'll click to the right of that token
| | 03:31 |
and I'll press the Hyphen key on my
keyboard.
| | 03:34 |
And I'm going to add another piece of
information.
| | 03:36 |
I want an area where I can type custom
text.
| | 03:39 |
So, I'll come down to the Custom Text
field here.
| | 03:41 |
And I'll click the Insert button.
Then, I'll type another hyphen, and I'll
| | 03:45 |
come to the Sequence menu, and I'll choose
a sequence with a certain number of digits.
| | 03:50 |
I have a lot of photos so I'm going to go
with the five digit sequence.
| | 03:55 |
And that automatically inserted that token
too.
| | 03:57 |
Here, I can see a preview of what my phone
ends are going to look like.
| | 04:01 |
If I'm happy with that, I'll be sure to
come up to the preset menu and save that
| | 04:04 |
formula as a preset so that I can apply it
again in the future I as import photos.
| | 04:10 |
I'll go to this menu and I'll choose Save
Current Settings as New Preset.
| | 04:14 |
And I'll give it a descriptive name, we'll
call it Date-Custom.
| | 04:18 |
Text, Hyphen, Sequence, and click Create.
And then, I'll click Done.
| | 04:25 |
Now, take a look over in the File Renaming
panel.
| | 04:28 |
In the Template menu, my new formula is
one of the options there.
| | 04:31 |
And this option will be available in the
future as well.
| | 04:34 |
So, I can apply it to other photos as I'm
importing them.
| | 04:37 |
The option will also be available
everywhere in Lightroom where you can
| | 04:40 |
rename photos.
For example, in the export window.
| | 04:43 |
So, I've chosen that as the template I'm
going to apply to these photos.
| | 04:47 |
Next, I have to fill in the custom text
area that will be inserted into that formula.
| | 04:52 |
So, these photos are all about Bruges
Belgium, so I'll type Bruges in there.
| | 04:56 |
And, next I'll go to the Start Number
field.
| | 04:59 |
This determines the first of the sequence
numbers.
| | 05:01 |
So, if I leave this set to one, I'll be
starting my numbering with a five digit
| | 05:04 |
sequence number that ends in one.
We'll just go with that for now.
| | 05:08 |
And, this has to do with the style of the
extension after the dot.
| | 05:12 |
In other words, the file type extension.
I could leave that as is, or make that
| | 05:15 |
upper case or lower case.
I'll just go with lower case.
| | 05:19 |
I'll leave everything else at its defaults
for now and I'll click Import so that you
| | 05:23 |
can see the file names on each of the
files that it's importing into my
| | 05:25 |
Lightroom catalogue.
When the import is finished in the current
| | 05:30 |
version of Lightroom, if I want to go back
and see the files that were just imported,
| | 05:33 |
I need to go to the Catalog panel and
click Previous Import.
| | 05:37 |
So, there are the files I just imported
from the camera's memory card.
| | 05:42 |
With the first one selected, I'm going to
press E on my keyboard to open it in loop view.
| | 05:46 |
And I've pressed I on the keyboard too to
bring up this overlay that includes the
| | 05:50 |
file name.
So, here you can see the date with year
| | 05:53 |
first, then month, then day, the custom
text that I entered into the file renaming
| | 05:56 |
section in the import window, and a unique
file number.
| | 06:01 |
And if I go to the next photo that I
imported, you can see that everything is
| | 06:04 |
the same except for the file number.
And the same with this photo.
| | 06:08 |
Now here, the date changed because this
one was taken a few days later.
| | 06:11 |
But it still has the sequential file
number.
| | 06:14 |
So, a couple of useful things about this
are that each photo does have a unique name.
| | 06:19 |
And that will make it easier to find,
especially if I'm consistent about the way
| | 06:22 |
I'm naming every file that I bring into
Lightroom.
| | 06:25 |
And secondly, I was able to save this
file-naming formula as a preset.
| | 06:29 |
So, I don't have to bother setting it up
again in the future, it will remain inside
| | 06:33 |
of Lightroom until I delete it, and I can
easily apply it to every photo that I
| | 06:36 |
import into the program.
| | 06:39 |
| | Collapse this transcript |
| Building import presets| 00:00 |
So far, we've been focusing on how you can
create presets for file renaming and for
| | 00:04 |
metadata that you can include as settings
here in the Import window when you're
| | 00:08 |
bringing photos into Lightroom.
But there's even a bigger way to use
| | 00:13 |
presets when you're importing, and that is
to set up all of your import settings and
| | 00:16 |
then save that whole group of settings as
a preset that you can quickly apply to
| | 00:19 |
other photos in the future.
To show you that, with a memory card
| | 00:24 |
attached to my computer, I've clicked the
Import button to open this Import window
| | 00:27 |
and I'm going to quickly chose some
settings and then save those as an Import preset.
| | 00:33 |
Now what I chose over here on the left
will not be included in the preset, this
| | 00:36 |
is the source of the photos, which is the
card attached to my computer, this device
| | 00:40 |
called No Name.
And I'm also going to uncheck some of
| | 00:43 |
these files because I don't want to import
them all, we would just take too long
| | 00:46 |
right now.
So I'll click Uncheck All and I'm just
| | 00:50 |
going to check a few of these photos to
import.
| | 00:54 |
And that won't be part of my preset
either.
| | 00:56 |
But what will be part of the preset is the
choice that I make up here at the top of
| | 00:59 |
the Import window.
I could copy as DNG or just copy the files
| | 01:03 |
from the camera's memory card onto my hard
drive.
| | 01:06 |
So, I'll go with copy and then I'll move
over to the right and here I'll choose the
| | 01:10 |
destination to which to copy those photos.
And this will be part of the preset too.
| | 01:15 |
So I want to be sure to check a
destination that I want to use in the
| | 01:17 |
future as well.
I'll go with the default, the Pictures
| | 01:20 |
folder on my hard drive, although,
usually, for my personal files I import
| | 01:23 |
them all to an external drive and organize
them there.
| | 01:28 |
If I want to get more specific about
exactly where those photos are going to go
| | 01:31 |
in the Pictures folder, I'll go down to
the Destination panel and here I can see
| | 01:34 |
that Lightroom is going to create folder
labelled with the year in which I shot
| | 01:37 |
these photos, and then a sub-folder
labelled with the date in which the photos
| | 01:40 |
were shot.
And it's going to do that because of these
| | 01:46 |
default settings, which are to organize by
date, and to setup the format of the date
| | 01:50 |
folders, according to this formula.
And there are other options in both of
| | 01:54 |
these menus that you can choose from.
We'll just leave that at its default.
| | 01:58 |
Now I'm going to scroll back up.
The next section File Handling is also a
| | 02:02 |
choice that will be included in the preset
that I'm building.
| | 02:06 |
I could leave this set to render one to
one previews, I like having 1 to 1
| | 02:09 |
Previews in my catalog because then when I
want to see a photo in the Library module
| | 02:12 |
in the larger view, the Loop view I wont
have to wait while a preview renders.
| | 02:18 |
But the trade off is that if I render 1 to
1 Previews during import, the import
| | 02:21 |
process can take a long time.
Right now I'm, kind of in a hurry.
| | 02:26 |
I don't want you to have to wait while I
import at one to one size.
| | 02:29 |
So I'll change this to standard size,
which is a bit smaller.
| | 02:32 |
And then when I look at a photo in Loop
view, that's when the 1 to 1 Preview will
| | 02:35 |
be rendered.
I don't want to build Smart Previews.
| | 02:38 |
Smart Previews are proxies of your photos
that you can work on even if your original
| | 02:42 |
photos are offline.
I do want to avoid important suspected
| | 02:46 |
duplicates, so I'll check that.
I don't have another drive to which to
| | 02:49 |
make a second copy, although I think this
is a good idea.
| | 02:52 |
To attach an archive drive to your
computer, a drive that you're really never
| | 02:56 |
going to touch, and just check make a
second copy to that drive, and then put
| | 02:59 |
that drive away for safekeeping.
And that brings us down to the File
| | 03:03 |
Renaming panel.
I went through all these settings earlier
| | 03:06 |
as I was showing you how to create a
custom preset that you can apply upon
| | 03:09 |
importing photos.
So if I leave this custom preset selected
| | 03:13 |
here, then it will be applied to all
photos that I import with the larger
| | 03:16 |
import preset that I'm building now.
And finally, I'll scroll down to the Apply
| | 03:22 |
During Import panel.
And here, I'm unlikely to find a develop
| | 03:26 |
setting, in other words a develop preset,
that I want to apply to all photos that I
| | 03:30 |
import with this preset.
So I'll leave that set to None.
| | 03:34 |
I will go to the metadata drop-down, and
I'm going to choose my 2013 copyright that
| | 03:38 |
I showed you how to make as a preset
earlier.
| | 03:42 |
And that will be applied to all the photos
that I import with this preset.
| | 03:45 |
That means that next year, I'll have to
make a new preset.
| | 03:48 |
Now, there aren't any keywords that will
apply to all photos that I'll be importing
| | 03:50 |
from my camera this year.
So I'll leave the keyword section blank.
| | 03:55 |
And that brings me to the end of all the
settings.
| | 03:57 |
Now I want to save all of this as one
preset so that I can apply it the next
| | 04:00 |
time I import photos from my camera with
just one click.
| | 04:05 |
I'll come down to this black bar at the
bottom of the Import window, and I
| | 04:08 |
actually think that this feature is rather
hidden.
| | 04:11 |
It's hard to know that this black bar is
even here, but from now on you will know,
| | 04:14 |
so what I'm going to do is click the black
bar, and I'm going to choose Save Current
| | 04:17 |
Settings as New Preset.
I'll give the new preset a name.
| | 04:22 |
2013 Camera Imports and I'll click create.
Now, stay tune so you can see how to apply
| | 04:30 |
this preset the next time your importing
photos.
| | 04:34 |
For now, I'll go ahead and click Import,
and I'll just let this group of photos import.
| | 04:38 |
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| Applying import presets to your photos| 00:00 |
This movie is going to be short and
rightfully so, because its time to reap
| | 00:03 |
the payoff for having set up that import
presetter earlier.
| | 00:07 |
If you have been following along, you know
that I have chose all of the settings here
| | 00:10 |
in the import dialogue as I was importing
some files earlier.
| | 00:14 |
Now, I have another card full of photos,
and I'd like to import those with the same settings.
| | 00:18 |
So, I've clicked my import button, and
here in the import window, all I have to
| | 00:22 |
do is go down to the Import Preset menu
and choose my import preset.
| | 00:27 |
But before I do that, I want to show you
something else that I can do, too, which
| | 00:30 |
is to come over to the triangle on the
left side of the window, and click there,
| | 00:33 |
and that shrinks the import window down,
so it's a lot less intimidating.
| | 00:39 |
And from here, I can also access my import
preset so I will click the import preset
| | 00:43 |
menu, I will choose my import preset by
name, and that sets up the fields that you
| | 00:46 |
can see here.
Its going to include my copyright, the
| | 00:51 |
settings that I chosen in the import
dialog, the method of importing which is
| | 00:54 |
copy and the destination.
However, I don't want to add any keywords
| | 00:59 |
and I see that there is a keyword here so.
I'm going to select it an delete it.
| | 01:03 |
And notice that, that has edited my import
preset.
| | 01:07 |
That's fine.
That's the way I want it.
| | 01:09 |
And now I'll click import.
So that process took a lot less time, than
| | 01:12 |
going through all the setting again in the
import window.
| | 01:16 |
So I do strongly suggest that you set up
import presets, maybe one for imports from
| | 01:19 |
your camera, and another for photos that
you might import into Lightroom from your
| | 01:22 |
harddrive where you'll have other
settings.
| | 01:26 |
And that can save you a lot of time and
effort, when your importing your photos to Lightroom.
| | 01:31 |
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|
|
3. Export PresetsCreating text watermarks| 00:00 |
A Watermark is a stamp on the face of a
photograph.
| | 00:03 |
It's usually used to let viewers know who
created the image.
| | 00:06 |
Or it's sometimes used to mark an image as
a proof, or to mark a stock photo as a comp.
| | 00:11 |
Now, not all photographers agree about
whether to add watermarks.
| | 00:14 |
Some do it as a way to try to protect
their images, or distribute their brand.
| | 00:17 |
Others don't like to obscure part of their
photos, or maybe they don't feel it's professional.
| | 00:21 |
But, of course, whether to watermark or
not is your personal choice.
| | 00:25 |
I just want to make sure that if you do
it.
| | 00:27 |
Your doing it in the most efficient way by
creating a preset.
| | 00:30 |
Now, you can create a watermark when your
working in lightroom, like I am here.
| | 00:34 |
Or while you're Exporting photos from
Lightroom, because watermarks are applied
| | 00:37 |
to copies as they're exported from the
program.
| | 00:40 |
I'm going to create a watermark here, and
then apply it in the Export window.
| | 00:44 |
To create the watermark, I'll go to the
Lightroom menu and I'll chose edit watermarks.
| | 00:49 |
That opens the Watermark Editor.
If yours isn't as big as this, you can
| | 00:52 |
expand it by clicking the Maximize button.
That might be over on the right on a PC.
| | 00:57 |
There are two styles of Watermark, Text
and Graphic, and text is selected by default.
| | 01:03 |
And when it is, you'll see a default
simple copyright watermark down here on
| | 01:06 |
the left side of my photo.
Lightroom is actually using my username
| | 01:10 |
from my operating system for this simple
copyright logo.
| | 01:13 |
So, I could just go with this, or, if I do
want a text logo, I can customize it.
| | 01:18 |
I might change the wording of the logo.
So, instead of JKabili, all scrunched
| | 01:23 |
together like that, I'll type my name and
the year in which I took this photo.
| | 01:29 |
By the way, if you need to type a
copyright symbol, as I explained earlier.
| | 01:32 |
That's done on the Mac by holding the
Option key as you press the G key.
| | 01:36 |
On a PC by holding the Alt key as you
press 0169 on a numeric keyboard.
| | 01:42 |
Now, over on the right, I have lots of
options.
| | 01:44 |
I could change the font for my text
watermark, or the style of the font it'd
| | 01:49 |
be making it Bold or Italic.
I can even change the color using any of
| | 01:54 |
the color pickers that come with the
operating system.
| | 01:57 |
I'll leave mine White.
I'm going to skip down to the size field
| | 02:00 |
here so I can show you how this watermark
looks if I choose fit instead of proportional.
| | 02:06 |
Now this takes the watermark and spans it
across the entire image.
| | 02:09 |
I think this is a bit much.
And it'll be even bigger if I choose Fill
| | 02:12 |
like this.
But I did want to make it big for just a
| | 02:15 |
moment, so that you could see that when
this box is checked, their is a slight
| | 02:18 |
shadow on a text watermark.
And I can change the Opacity of that
| | 02:22 |
shadow, the Offset of that shadow, and
other qualities of the shadow.
| | 02:26 |
Or I can delete it all together by
unchecking Shadow.
| | 02:29 |
And then I'm going to put the size back to
Proportional, and I can use this slider to
| | 02:33 |
choose a particular size.
Finally if I scroll down, I have some
| | 02:37 |
sliders for Offsetting the text both
Horizontally and Vertically.
| | 02:42 |
And that just pushes it in from the edge a
bit.
| | 02:44 |
And I can change its position by using
this Anchor diagram.
| | 02:48 |
So if I click the bottom right point on
the Anchor diagram, that moves my logo
| | 02:51 |
over to the bottom right, or the top
right, top left.
| | 02:55 |
I can even put it in the center, but I'm
just going to leave it at the bottom left.
| | 02:59 |
It shows up better there because that part
of these photos is dark.
| | 03:02 |
When I'm all done creating the text logo,
I can Save it as a preset.
| | 03:06 |
And doing that insures that I'll be able
to quickly apply this logo to photos as I
| | 03:09 |
export them from Lightroom.
So, here I'll come up to this menu on the
| | 03:13 |
top left where I already have one
Watermark that I saved earlier.
| | 03:17 |
I'm going to choose Save Current Settings
as New Preset.
| | 03:20 |
I'll give this preset a name.
I'll call this one Jan Kabili 2011 text,
| | 03:25 |
and I'll click Create.
And now, I'll be able to quickly access
| | 03:30 |
that watermark when I'm inside the Export
window, exporting my photos.
| | 03:34 |
By the way, if I want to, I can delete
that preset or rename the preset as long
| | 03:37 |
as the preset is first selected in this
menu.
| | 03:41 |
Now that's not the only kind of watermark
I can make.
| | 03:44 |
I think it's even more interesting to make
a watermark that contains a graphic,
| | 03:47 |
because that allows you to include your
company's logo in the watermark.
| | 03:52 |
And I'll show you how to do that next.
But first, I'll finish off here by
| | 03:55 |
clicking Done to close the Watermark
editor.
| | 03:57 |
| | Collapse this transcript |
| Saving graphic watermark presets| 00:00 |
Making a watermark that contains a
graphic, like your company's logo, is very
| | 00:03 |
similar to making a text watermark.
Except that you need to create that
| | 00:07 |
graphic in advance.
And that graphic needs to be one of two
| | 00:11 |
formats, either a JPEG, in which case it
can't have transparency, or a PNG file,
| | 00:15 |
which can have transparency.
So you could put the PNG file on top of a
| | 00:20 |
photo as a watermark.
And be able to see through around the
| | 00:24 |
objects and letters in that logo.
Here, I prepared a PNG file in Photoshop,
| | 00:29 |
and this PNG is a transparent graphic.
However, here in Lightroom, it looks like
| | 00:34 |
a solid graphic.
That's just a quality of the way that
| | 00:37 |
Lightroom displays PNG files.
Let's see how this transparent graphic
| | 00:41 |
looks when we put it on top of the photo
as a watermark.
| | 00:45 |
I'm going to select this photo, not the
PNG file but the actual photo and that
| | 00:48 |
could be a JPEG or a RAW file.
Here I have a RAW file.
| | 00:52 |
I'm going to select this photo, this one
happens to be a RAW file and then I'll go
| | 00:55 |
up to the Lightroom menu.
That's the Edit menu on the PC, and I'll
| | 00:59 |
choose Edit watermarks.
Now, this time I'm going to choose Graphic
| | 01:03 |
as the watermark style, and that opens
this window from which I can choose my PNG file.
| | 01:09 |
I'll select it, and I'll click Choose.
If you don't see your PNG file right away,
| | 01:13 |
then you can navigate to the correct
folder.
| | 01:16 |
Now, down here at the bottom left, I can
see my PNG file.
| | 01:19 |
It looks very small, so let's make it
bigger by going over to the Watermark
| | 01:22 |
Effects panel.
And I'll click Fit There, and now you can
| | 01:25 |
see my watermark that I prepared in
Photoshop.
| | 01:28 |
And as you can see it does indeed have
transparent areas through which the photo appears.
| | 01:33 |
Now, I'll simply go through the options
which are almost the same as the ones I
| | 01:37 |
showed you for a Text Watermark.
Setting the size of my watermark, off
| | 01:42 |
setting it from the edges, deciding where
I want to anchor it.
| | 01:45 |
And, if I scroll up here, lowering its
Opacity.
| | 01:50 |
Which I think its always a good idea for a
watermark, so that its less obvious on the
| | 01:53 |
face of a photo.
And when i'm finish, I can save this as a
| | 01:57 |
Preset so, as I did for the text
watermark, I'll go up to the menu at the
| | 02:01 |
top left.
I'll chose save current settings as new preset.
| | 02:06 |
I'll call this JFK Logo Watermark and I'll
click create and then I'll click Done.
| | 02:15 |
Now, the next step is to apply one of the
presets that we created to 1 or more
| | 02:18 |
photos as we export those from Lightroom.
And that's what I'll show you how to do next.
| | 02:23 |
| | Collapse this transcript |
| Making export presets| 00:00 |
When you make copies of photos that you've
been managing and editing in Lightroom to
| | 00:04 |
use for a particular purpose, then you
need to export those copies.
| | 00:08 |
So, for example, let's say you want copies
of your edited photos to attach to an
| | 00:12 |
email or to take to a service bureau to
print, or to post to a website.
| | 00:17 |
There is no way to save photos from
Lightroom, there's no save button.
| | 00:20 |
Exporting is as close as you can get to
saving.
| | 00:23 |
So let's go ahead and save copies of these
photos, and as we do so we'll apply one of
| | 00:26 |
the watermark presets that we made
earlier.
| | 00:30 |
And I'll show you how you can save your
export settings as a preset to quickly
| | 00:33 |
apply to other photos later.
I'm going to select all four of these photos.
| | 00:38 |
Notice that some are JPEGs, one is a DNG
or a Raw file, some are vertical, some are horizontal.
| | 00:44 |
I'll click Export button and that opens
the Export window, with lots of settings
| | 00:47 |
to choose.
There are some combinations of settings
| | 00:50 |
that come with light room as presets.
And you can see those over here in the
| | 00:54 |
light room presets area of the column on
the left.
| | 00:57 |
But, none of these apply to what I want to
do, I want to export copies of photos to
| | 01:00 |
put on my website.
I don't want to burn DVDs, or export to
| | 01:04 |
the DNG raw format, or create photos to
attach to emails.
| | 01:09 |
So, I'm just going to work through the
settings on the right.
| | 01:11 |
I'll choose the location to which I
want to export, in this case my hard drive.
| | 01:15 |
And I can choose to export to a specific
folder, or the same folder as the original.
| | 01:19 |
I'll go with specific folder.
And if I click the Choose button, I can
| | 01:23 |
navigate to that folder.
I've already done that, and I've navigated
| | 01:26 |
to my Desktop.
And on my desktop I want to put the
| | 01:29 |
resulting files in a subfolder.
So I'll check Put In Subfolder and I'll
| | 01:33 |
type in a name for a new folder.
I'll type web photos and Lightroom will
| | 01:37 |
create that folder for me.
Now because I'm just making copies of
| | 01:41 |
files that are already in Lightroom
there's no real necessity to add those to
| | 01:44 |
this catalog but you may have a reason to
manage your exported copies.
| | 01:49 |
If so you can check Add To This Catalog.
I'll leave the next menu at ask what to do.
| | 01:53 |
This just means what should Lightroom do
if the location to which I'm exporting
| | 01:57 |
these photos already has photos of the
same name.
| | 02:00 |
And I want to decide that on a case by
case basis.
| | 02:03 |
Next I'll go to the file naming section.
Now earlier we created a template or
| | 02:07 |
preset for renaming files and I want to be
consistent with the files I'm using in
| | 02:11 |
Lightroom when I'm exporting files as
well.
| | 02:15 |
So I'm going to check Rename.
And then I'll come to this menu.
| | 02:19 |
And I'll choose the file naming preset
that I created earlier, which happens to
| | 02:23 |
be this one.
If you want to choose one of the default
| | 02:26 |
templates, then go ahead and choose one
that has a file number or a sequence
| | 02:29 |
number in it.
So that each exported photo will have a
| | 02:32 |
unique name.
This particular formula requires me to
| | 02:35 |
type in some custom text.
These are all pictures of the Denver Art
| | 02:39 |
Museum, so I'll type Museum and I can
choose the start number for the sequence
| | 02:42 |
portion of the file names.
I'll leave that at one.
| | 02:46 |
I'm not exporting videos, so I'll skip
that.
| | 02:49 |
In the file settings area I'll choose the
format for the photos.
| | 02:52 |
Now because I'm preparing these photos to
put on the web, I have to choose JPEG format.
| | 02:57 |
The quality determines the size of the
photos and their appearance.
| | 03:00 |
Between 70 and 80 works well for web
photos.
| | 03:04 |
I don't need to limit the file size of
these photos, but I do want to set their
| | 03:07 |
color space to the RGB color space, which
is best for photos destined for the web.
| | 03:13 |
Since these photos are going on my
website, I don't want them to be their
| | 03:16 |
full size.
So I'll check Resize to Fit, and then I'll
| | 03:20 |
choose the resizing formula that I'm going
to use.
| | 03:23 |
I'm exporting both horizontal and vertical
photos, so I'm just going to set the long
| | 03:28 |
edge of each.
I'll make sure that the units of
| | 03:31 |
measurement is set to pixels rather than
inches, and I'll type 500 here.
| | 03:36 |
The resolution does not matter because I'm
measuring these files in pixels not in inches.
| | 03:40 |
So any number that appears here, you can
just leave there.
| | 03:44 |
Now I'm going to save all of the settings
that I'm choosing here as a preset to
| | 03:47 |
apply to other photos later.
And is possible that I might apply that
| | 03:51 |
preset to photos that are smaller than 500
pixels on their longest edge.
| | 03:55 |
So I will check Don't Enlarge so that
those photos don't get unscaled, almost
| | 03:59 |
every photo will benefit from output
sharpening so I will check Sharpen Four.
| | 04:03 |
I will set that kind of sharpening, this
is sharpening for screen and the amount of
| | 04:07 |
sharpening standard.
And this applies a really sophisticated
| | 04:11 |
sharpening algorithm that is specific to
this output destination and to the size of
| | 04:15 |
my file.
And even if you sharpened in the detail
| | 04:18 |
panel earlier which is to compensate for
the softness in digital capture, it's
| | 04:22 |
important to do output sharpening too.
I'll come down to the metadata section and
| | 04:27 |
because I want these files to be small.
And I don't need them to have all the metadata.
| | 04:32 |
I'll choose a smaller subset of metadata,
maybe copyright only.
| | 04:36 |
And finally I'll come to the watermark
section.
| | 04:38 |
Now earlier I showed you how to make a
text watermark and a graphic watermark and
| | 04:42 |
we saved both as presets.
And because we saved them as presets, when
| | 04:47 |
I check Watermark and i go to this menu i
see their names listed in this menu.
| | 04:51 |
And i can choose to apply either one on
the surface of all photos i am exporting.
| | 04:56 |
I'll go with my graphic boarder mark and
finally I'll come to the post processing
| | 04:59 |
field tell what i want to do when it
finishes applying all of these settings.
| | 05:04 |
I'll choose Show Those Photos On The
Finder.
| | 05:06 |
Before I'm done, I want to save this whole
collection of settings as a preset, so I
| | 05:10 |
don't have to go through them one by one
the next time I'm exporting photos for my website.
| | 05:16 |
So I'll click the Add button here.
I'll give this preset a name, I'll call it
| | 05:20 |
My Web Photos, and I'll decide to save
this in my User Presets folder, and I'll
| | 05:24 |
click Create.
And there's my new preset.
| | 05:28 |
Now, the next time that I want to export
photos for use on my website, I'll have a
| | 05:31 |
preset to apply with just one click.
And finally, I'll click Export.
| | 05:36 |
Lightroom has applied all my settings.
It's changed the size, and the name, and
| | 05:42 |
even the format of some of these files.
And then it opened the folder into which
| | 05:46 |
it saved them on my desktop, so I can see
them here.
| | 05:49 |
Let's take a closer look, I'll double
click one of these JPEGS, and on my Mac it
| | 05:53 |
opens in the preview application.
It may open in a different application in
| | 05:57 |
Windows and as you can see, the photo has
my watermark on it.
| | 06:01 |
My logo watermark, as I chose and if I
open another one of these that one has the
| | 06:05 |
watermark too.
And all of the other settings that I chose
| | 06:09 |
in the Export window have been applied to
these exported copies of my photos.
| | 06:13 |
What's really great is that the originals
have not been affected at all.
| | 06:18 |
So, I can always go back to these
originals and save out copies at different
| | 06:21 |
sizes in different formats for different
purposes.
| | 06:24 |
And finally the next time that I want to
save out photos for my website I can just
| | 06:28 |
select one or more photos in Lightroom.
And then go up to the File menu and go to
| | 06:33 |
Export With Preset and there I'll find my
web photos preset and I won't have to
| | 06:37 |
reopen that big Export window.
| | 06:41 |
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