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In Photoshop Lightroom 3 New Features, photographer and author Chris Orwig explores the enhancements that Adobe Photoshop Lightroom 3 brings to each phase of the photographic workflow—from importing and editing, to exporting and publishing. This course details Lightroom 3's new importing and asset-management features and its significant improvements in the Develop module, including enhanced sharpening and noise reduction. Chris also shows how Lightroom 3 broadens output options, and shares workflow tips and advice for upgrading Lightroom 2 catalogs and working with images processed in earlier Lightroom versions. Exercise files are included with the course.
The first step in regards to tethered shooting is obviously to connect your camera to your computer. And usually this is done by way of a USB cord that actually comes with your camera. Typically those are kind of short, so you may need to purchase a longer one. Yet nonetheless, connect your camera to the computer, turn the camera on and then navigate to the File pulldown menu and this is where we'll find our options for the Tethered Capture. What we want to do is start the Tethered Capture. Now I have a couple of different options here. Now my option is going to be in regards to defining the Session Name. And because I'm here in a recording booth at lynda.com, I'll go ahead and just name this one booth.
Now the next option is really kind of interesting. This is called Segment Photos By Shots. What this allows us to do is to have multiple different shots that we're going to create and then put those in different folders. So if you know that you're going to do more than one perspective or perhaps let's say you are shooting a model and you have two different outfits, you definitely want to leave this checked on. And you'll see how that works in just a minute. Naming convention, we have all of the normal options that we've seen before. We can do custom names, or we can just use the filename that's coming from the camera.
Next we want to define the Destination. Now this is pretty important, because we want to choose a destination that really makes sense to us. So I'm going to go ahead and save this to my exercise_files folder and I'll hit Choose there. Metadata, I can add my presets here. In this case a simple copyright will work well. And then I'm just going to add a Keyword that's pretty general, which is going to be booth and then vintage camera. All right. Well now that I've done that, I'll go ahead and click OK. Now the initial shot needs some kind of a name. So you can either name this Shot 1, Shot 2, Shot 3 or Shot 4, or what I'm going to do is call this one angle, because we're first take a picture of this camera at a little bit of an angle.
So I'll go ahead and name that there. Click OK. This will then open up this dialog. You'll notice that it created a folder inside of my exercise_files folder. The main folder is called booth and then the shot folder is called angle. And here you can see I'm working in this folder. Here's angle, there are all my settings, and I can apply a develop setting or just choose None. Let's start off with None and go ahead and fire a shot. Now when I do that, it's going to transfer the file from the camera, bring it into Lightroom, render a preview, and then I'm going to be able see that.
Now one of the things that I'm seeing here with this particular shot is that it is a little bit out of focus, so I'll go ahead and refocus the camera and then shoot again. And I'm shooting currently by clicking on this Capture button. Now you can of course shoot either with pressing the button on your camera or here inside of Lightroom. Let's say that what I want to do is go for a little bit more of a vintage effect. So I'm going to choose one of these different styles. I could try in Antique Grayscale. That might be kind of interesting, or a sepia tone and then take another shot.
I'm just going to recompose slightly here, just to modify that a touch and then capture another image. Now again, the nice thing about this is we have this super high res file that's really at our disposal. We can go ahead and zoom in on that and say, "hey, did I get enough of this Brownie logo in focus or not, or do I like the composition, do I like the way that this ISO is working here?" And again, I'm shooting at F1.2 so just a small little area of focus. Well so far so good. We're kind of seeing how this works.
Now what we can do is if we're ready to take a different shot, we can click on the shot name here, one I said I was calling angle. And what I'm going to do then is give this one a different name and I'll call this one direct. And then I'm just going to reposition the camera for a moment and I'm repositioning the camera that I'm taking a picture of. Go ahead and have that, and then I'll go ahead and click the Capture button. Now once I've done that, again it's going to bring the image in and what we'll see is it will give me that preview with that particular preset.
So again, the nice thing about this is I have these two different folders and I have these different perspectives which I can access really quickly. And it's organized; it's straightforward. You can even have an assistant start to evaluate the image or do a little processing on the file based on what you need to do. And of course, this is incredibly helpful when there's a client on-site or creative director or art director who wants to see something, and it will really improve the overall communication between photographer and some of the other creative folks. And not to mention if you're photographing a subject, to get them involved in the overall shoot.
Once you're done with your Tethered Capture or whatnot, a couple of ways to exit out of it. You can of course simply click on this check box here and that would close this dialog, or you can navigate back to the File pulldown menu. Choose Tethered Capture and then just go ahead and select Stop Tethered Capture. Either selecting this here or this check box here will do the same exact thing. So if we want to reactivate the capture, what we're going to need to do, navigate back to File > Tethered Capture and then restart that. That will then go through this whole process again.
Do we want to have different settings here, do we want a segment our photos by shots or not. What I want to do briefly is just say what happens if we don't segment. We'll go ahead and click OK. We're going to see that that option is now grayed out, and we can see that I'm working to the booth folder. So it didn't create a subfolder, because I'm not segmenting. And so now when I go ahead, and let's try something different here, actually let's try just a black-and-white. When I try something different here, what we're going to see is that it's going to put this image directly inside of the main folder.
Now there may be situations where you want to do that. Although in my experience, specially with tethered shooting, I find it's nice to have these little groups of images, because it helps with the editing process and getting a feel for the overall shoot. Because you can of course always simply click on the main folder and then see all of the contents of the subfolder in one real quick glance. One thing to point out here is currently I'm looking at these images in the Loop View mode, but I can of course go back to the Grid View mode and just get a feel for the shoot. I can also select an image, press D ,go to the Develop module.
So I can use this Tethered Shooting dialog here or shoot tethered in any of these different settings, in any of these different modules. So it's not limited to the Library module as I've been showing. So just keep in mind that you've so more options there. As you can see, tethered shooting is actually quite simple and that's good news for us photographers, because it can help us stop focusing on software and spend more time focusing on the art and craft of photography.
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