IntroductionWelcome| 00:04 |
Hi! My name is Chris Orwig.
| | 00:05 |
I am really excited about this course,
Lightroom 4 New Features, and here in
| | 00:10 |
this course, I am going to share with
you everything that you need to know in
| | 00:13 |
order to get up to speed with
this latest version of Lightroom.
| | 00:16 |
We'll start off by looking at how
we can work with our video files.
| | 00:19 |
In particular, how we can play our video
files back and also how we can edit and trim them.
| | 00:24 |
And then finally, how we can export
and publish these files to sites like
| | 00:28 |
Flickr or Facebook.
| | 00:30 |
We'll also spent time working with the Book
module where we can create custom layouts.
| | 00:35 |
You can create and design these layouts,
and then export or upload them to sites
| | 00:40 |
like Blurb, so that you can order
and purchase your own custom book.
| | 00:43 |
We'll also look at the Develop module.
| | 00:46 |
In the Develop module, we'll spent
time looking at how we can enhance and
| | 00:49 |
correct our photographs.
| | 00:51 |
We'll look at how we can make global
adjustments and also how we can paint is
| | 00:55 |
specific adjustments using
tools like the Adjustment Brush.
| | 00:58 |
We'll be covering all of these topics and more.
| | 01:01 |
So without further delay, let's begin.
| | 01:05 |
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| Using the exercise files| 00:00 |
If you're a Premium member to the lynda.com
Online Training Library or if you're
| | 00:04 |
watching these movies on a disk,
you have access to the Exercise Files.
| | 00:08 |
Once you've located the exercise files
folder, you can double-click it in order
| | 00:12 |
to open it up, and here you'll
discover that I've organized our photographs,
| | 00:16 |
videos, and resource files
into different subfolders.
| | 00:19 |
You can open up one of those folders in order
to view the files that we'll be working with.
| | 00:23 |
Well, what we need to do is we need to
import all of these files into Lightroom.
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In order to do that, I'll close this
window and navigate to the Lightroom.
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In Lightroom, in the Library module,
you want to click on the Import button.
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This will launch the Import dialog.
| | 00:38 |
Here navigate to the Exercise files
folder and make sure to turn on Include
| | 00:42 |
Subfolders, so that you can
import all of these files.
| | 00:46 |
Next you simply want to add
these to you Lightroom catalog.
| | 00:49 |
In regards the Files Handling, for Render
Previews, I recommend you use Standard or 1:1.
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Once you've made that choice, what
you'll need to do is to simply click Import.
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This will then bring all of
these files into Lightroom.
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Now if you don't have access to
the exercise files, no big deal.
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You could always use your own images, or you
could just simply follow along. All right!
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Let's begin.
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|
|
1. Working with VideoVideo playback, trimming, and more| 00:00 |
Here we're going to take a few
minutes to explore some of the new video
| | 00:03 |
capabilities inside of the Lightroom 4 beta.
| | 00:07 |
What's really interesting to me is
there is this convergence between the still
| | 00:11 |
and the moving image.
| | 00:13 |
When you stop to think about it, whether
you're using a compact pocket camera, a
| | 00:16 |
smartphone, or DSLR, you have the
ability to capture a still or a moving image.
| | 00:23 |
You know for photographers, video--it's
becoming more and more important.
| | 00:28 |
Well, in the previous version of
Lightroom, the video support was more like a
| | 00:32 |
hat tip to the video file.
| | 00:34 |
You could import the video file and
organize it, but that was about it.
| | 00:39 |
If you want to play the video file, you
had to launch an external player in it.
| | 00:43 |
It just wasn't very good.
| | 00:44 |
Well, all of that changes in Lightroom 4.
| | 00:47 |
Now new in Lightroom 4 is the
ability to import and to work with a wide
| | 00:51 |
range of video formats, whether a
compact camera, smartphone, DSLR, Sony
| | 00:56 |
Camera, you name it.
| | 00:57 |
We can bring these images into
Lightroom and do some fascinating things.
| | 01:01 |
Well, let's take a look.
| | 01:02 |
Here you'll notice that I am working
from this folder Videos and I've four
| | 01:06 |
different video clips.
| | 01:08 |
Well for starters, we're in the
Library module and we are in this Grid view.
| | 01:12 |
Now this Grid view, we can see
thumbnails of images or videos.
| | 01:17 |
Yet what's new to the Lightroom 4 beta
is we can hover over the thumbnail and
| | 01:22 |
move back and forth and actually
watch the video clip as it transpires.
| | 01:27 |
Currently, these thumbnails
are small; they're too small.
| | 01:31 |
In order to have a larger view,
we'll just increase the thumbnail size.
| | 01:34 |
We can do that by using the slider here
in that toolbar and now as I move back
| | 01:38 |
and forth, I can watch these
different clips and you can see them here.
| | 01:42 |
Well, in order to have an even larger
view, you know what we need to do right.
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We can either double-click the image or
press the E key to navigate to the Loupe
| | 01:52 |
view right inside of the Library module.
| | 01:54 |
While here inside of the Loupe view,
we have the video file up top.
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We also have the ability to play this back.
| | 02:02 |
Now I can either click the Play button,
or it can click on the playhead and I can
| | 02:06 |
click and drag this and
watch and hear the video.
| | 02:09 |
Let's go ahead and do that.
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(video playing)
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Dragging back and forth, clicking the Play
button, or you can also use the shortcut.
| | 02:18 |
Press the Spacebar key to start the
video. Press the Spacebar key to stop it.
| | 02:24 |
Now this particular clip I
captured with a Canon 5D Mark II.
| | 02:29 |
I leaned my camera against this pole
that held this interesting moving sculpture
| | 02:33 |
down at the beach and just shot these
few seconds, because I thought the motion
| | 02:37 |
was kind of interesting.
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And in this case, this clip
is pretty well self-contained.
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It starts well, and then if we
scrub to the end, it finishes well.
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Yet what about those situations
where you have a clip, say, like this one
| | 02:51 |
here, timmy-tracks.
| | 02:52 |
Well, if we scrub through this, you'll
notice that it doesn't start very well.
| | 02:58 |
I am getting my exposure set, the
surfer is getting set, and then the action
| | 03:02 |
starts right about here and then he walks
across the tracks, and then really it's over.
| | 03:07 |
And you know when we capture video, we do this a lot.
| | 03:11 |
We capture too much footage,
knowing that we're going to edit it down.
| | 03:15 |
Well, you can now do that
inside of Lightroom 4 beta.
| | 03:18 |
In order to do that, all that you need
to do is to click on this gear icon and
| | 03:23 |
that'll open up a view, so that
we can see all of the footage.
| | 03:26 |
Now we can move our playhead needle a
number of different ways--we can either
| | 03:31 |
click on it and move it, we can use
these little arrow icons if we want to get
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really precise, or we can hover over
the time here and I can go ahead and click
| | 03:40 |
and drag one way or another.
| | 03:42 |
So again, it's all about
moving that playhead needle.
| | 03:45 |
It's the same thing; you can
just do it different ways.
| | 03:48 |
Well, let's say that I've
moved this playhead needle to where
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I want this clip to have stopped, right here,
right when he gets to that telephone pole.
| | 03:54 |
All that I need to do next is click on
this icon to trim out the rest of the
| | 03:59 |
clip, and then I'll move the playhead
needle to where I want this to start--say,
| | 04:03 |
right about there and now I
have the clip that I want.
| | 04:07 |
And this particular clip, I can then use,
so I am going to use this in another movie.
| | 04:12 |
Now you'll notice that it updated how
long this is, about 4 or 5 seconds.
| | 04:17 |
So I took a clip that was about 10 or
11 seconds and I essentially cut it in
| | 04:21 |
half, and what's great about this is
that all of the rest of the content, well,
| | 04:26 |
it still exists, it's still there.
| | 04:29 |
It's only going to be trimmed or edited
when I export or I publish this video.
| | 04:34 |
Now we'll talk a little bit more about
that later, but for now I just wanted to
| | 04:38 |
highlight that
functionality, which is really great.
| | 04:41 |
Well, what about those situations
like this video clip right here.
| | 04:45 |
You'll notice that this
one starts off with black.
| | 04:48 |
This is a clip that a friend shot
for me and it was to promote one of
| | 04:52 |
my photography books.
| | 04:53 |
It starts black, and then if we scrub it,
you can see that I am standing up in
| | 04:57 |
the mountains and I am talking a
little bit about this photography book.
| | 05:00 |
Well, the problem with this clip and
with a lot of the clips that we have and
| | 05:05 |
that we'll have in our library is
that the first frame might not be a good
| | 05:09 |
representation of that clip.
| | 05:11 |
So if we go back to the Grid
view, we can see just black right.
| | 05:16 |
It just starts on that first frame.
| | 05:18 |
Of course, when we position our cursor
over, we can see what's inside of that,
| | 05:22 |
but that's going to be really
tedious if we have 5 or 10 or 15 clips.
| | 05:26 |
So what we can do in Lightroom 4 now is
we can set what's called a Poster Frame.
| | 05:31 |
To do that, we need to go
back to that Loupe view mode.
| | 05:34 |
Remember the shortcut; it's the E key.
| | 05:36 |
So press the E key, and then move your
playhead needle to where you think you
| | 05:40 |
have a nice opening frame, let's say,
right there, and then go to this icon
| | 05:44 |
which is located right next
to the gear and click on it.
| | 05:47 |
Here you can choose Set Poster Frame.
| | 05:49 |
This will then update the first frame
that's visible inside of the thumbnail view.
| | 05:54 |
So we can see down here in the filmstrip
that now matches what I am seeing here,
| | 05:59 |
or press the G key, back to the
Grid view, and there we have it.
| | 06:02 |
We can now see that first frame.
| | 06:04 |
It's going to be a much better way,
much more visual way to identify that
| | 06:09 |
particular clip, so that we can then
use it or export or publish it or do
| | 06:13 |
whatever we need to do with that.
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| Editing the color and tone of a video file| 00:00 |
Now that we have taken a few
minutes to explore some of the basics of
| | 00:03 |
working with video in Lightroom 4, what I want
to do here is get a little bit more specific.
| | 00:09 |
In particular, I want to look at how
we can have more precise control of
| | 00:13 |
trimming or editing, and also how we can
actually change the way our video file looks.
| | 00:18 |
Well, here you can see we
have a video clip selected.
| | 00:21 |
Now what I want to do is open up that window,
which allows me to trim or to edit the video.
| | 00:27 |
In order to do that, you remember that
you click on this gear icon right here.
| | 00:31 |
What may happen is you may have a long
clip, and this may be a little bit too much
| | 00:36 |
of a compressed view to see enough of the video.
| | 00:40 |
In order to see more of the video, to
have more precise control, what you can do
| | 00:45 |
is change the way the
Library module actually looks.
| | 00:48 |
In order to do that, you can press the Tab key.
| | 00:50 |
This will hide your panels
on the left and the right.
| | 00:53 |
When we press the Tab key, we
all of a sudden have more space.
| | 00:57 |
The next thing that we can do is hover
over either the left or the right edge of
| | 01:02 |
this playback component,
and then click and drag it.
| | 01:04 |
Here you can see it's giving me much
more of a precise view of the content that
| | 01:09 |
I have here, so I can click and move
this, and then change the trim location to
| | 01:14 |
wherever it needs to be based
on that particular video clip.
| | 01:17 |
Now to bring back the rest of the
Lightroom interface, all that you do is press
| | 01:22 |
the Tab key. It will automatically
resize that playback component, and you can
| | 01:26 |
of course resize it even further if
you want to or minimize it by clicking on
| | 01:31 |
the gear icon in the bottom right-hand corner.
| | 01:35 |
Well, that gives us a little bit more
precision in regard to trimming and editing.
| | 01:39 |
What about actually changing the
way that this video file looks?
| | 01:43 |
Well, we can do that in the Library
module by taking advantage of the
| | 01:47 |
Quick Develop panel.
| | 01:48 |
So go ahead and open that up.
| | 01:50 |
It's over here on the right-hand side
and you can do so by clicking on the
| | 01:53 |
name Quick Develop.
| | 01:55 |
Well, next you will notice that we have a
number of different controls that we can use.
| | 01:59 |
A few of the controls are grayed out because
we can't do everything, but we can do a lot.
| | 02:04 |
For example, I could increase the
exposure and I could do so pretty dramatically
| | 02:08 |
by clicking this icon here, or
I could decrease the exposure.
| | 02:12 |
Now this isn't just decreasing it for
one frame; if we scrub, we see the entire
| | 02:18 |
video clip in this new way.
| | 02:20 |
Now, of course, if we ever want to
change this back to what it was, we can go
| | 02:24 |
ahead and click on the Reset All and
it will take all of those settings off.
| | 02:28 |
Now what's interesting about these
settings is that they're working the same way
| | 02:33 |
that our settings work on images.
| | 02:35 |
In other words, it's not
increasing the file size of the video;
| | 02:39 |
rather, it's a small set of
instructions, telling Lightroom to display this
| | 02:44 |
video in a particular way.
| | 02:45 |
Now let's say that we want to
convert this video to black-and-white.
| | 02:49 |
To do that, we could go to one of our presets.
| | 02:52 |
Now keep in mind, you can use any of
the presets that come preinstalled with
| | 02:56 |
Lightroom or presets you have created
yourself or downloaded from another site.
| | 03:01 |
The sky is the limit here.
| | 03:03 |
Well, in this case, let's say, I
want to go to this Antique Grayscale.
| | 03:06 |
I will go ahead and click on that preset.
| | 03:08 |
It's going to give me a little warning
message saying, you can't do everything
| | 03:12 |
that you can do to images.
| | 03:13 |
That's okay, I still want to see what I
can do. I will click OK and here we have
| | 03:18 |
it--an Antique Grayscale version of this image.
| | 03:22 |
What's fascinating, right, is we
have this really powerful control.
| | 03:25 |
We can start to modify video using the
same almost philosophical approach that
| | 03:31 |
we used to modify images.
| | 03:33 |
In other words, what we've learned
about how to modify images, we can apply
| | 03:37 |
to modify in videos.
| | 03:39 |
And here we can continue to modify this.
| | 03:40 |
If I want to decrease the exposure or
increase the contrast, I can simply click
| | 03:45 |
on those different buttons in
order to make those changes.
| | 03:49 |
Let's say that I am not sure if I
like this Antique Grayscale look, this
| | 03:53 |
black-and-white conversion, and I kind
of wish that I still had access to the
| | 03:59 |
original video the way that it
looked straight out of the camera.
| | 04:02 |
Well, I can remove all of these
settings by way of a great shortcut.
| | 04:07 |
On a Mac, it's Shift+Command+R; on
Windows that's Shift+Ctrl+R. Let's go ahead and
| | 04:13 |
press that shortcut in order
to reset that back to normal.
| | 04:17 |
Now the reason that I wanted to
reset this was to highlight an important
| | 04:22 |
workflow tip here whether
working with images or videos.
| | 04:26 |
Typically, what you want to do when
you're making drastic changes or what you
| | 04:30 |
might want to do is to create a virtual copy.
| | 04:33 |
You can create a virtual
copy a number of different ways.
| | 04:36 |
The way that I like to create a
virtual copy is by pressing Command and then
| | 04:40 |
apostrophe (Command+'), and that's on a Mac.
| | 04:43 |
On Windows that's Ctrl+apostrophe (').
| | 04:45 |
You'll notice down in the film strip
down below that we now have a virtual
| | 04:49 |
copy of this video file.
| | 04:51 |
Well, this is actually kind of profound.
| | 04:54 |
It's just creating a second set of
instructions in order to allow us to change
| | 04:58 |
the way this video file is displayed.
| | 05:01 |
It's not doubling our file size.
| | 05:03 |
And with video that's really
important because video files, they get huge.
| | 05:08 |
So here with this virtual copy, what I
am going to do is go to my presets and
| | 05:12 |
choose a different black-and-white preset.
| | 05:14 |
I will go ahead and select that.
| | 05:15 |
I am going to click OK because I
already know that, and then perhaps lower this
| | 05:19 |
a little bit and just modify this preset,
just a touch here in order to change
| | 05:24 |
the way it looks and I think
that's fine at least for demo purposes.
| | 05:28 |
Now here I have these two
different versions of this video file.
| | 05:31 |
I have the original file here, and then
I have this version in black-and-white.
| | 05:36 |
And the advantage of using virtual
copies with images or with videos is it gives
| | 05:41 |
us an incredible amount of flexibility.
| | 05:44 |
Now this particular adjustment, we are
not committing to it until we export or
| | 05:49 |
we publish this particular video file.
| | 05:52 |
Yet I wanted to highlight that
because I think it really showcases how these
| | 05:56 |
new video capabilities inside
of Lightroom 4 are quite robust.
| | 06:00 |
They are not just a hat tip to the video file;
| | 06:03 |
rather, they really allow us to have
precise control whether we are editing or
| | 06:08 |
trimming that video file or
changing the way it looks.
| | 06:12 |
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| Organizing video files in the Photoshop Lightroom database| 00:00 |
Lightroom isn't just an
elegant and pretty software program;
| | 00:04 |
rather, it's robust, it's strong.
| | 00:06 |
One of the reasons why Lightroom is so
popular is because it has this database
| | 00:11 |
backbone, which helps us
organize all of our images.
| | 00:14 |
It keeps track of so many different
things like the previews and file location
| | 00:19 |
in the Develop settings.
| | 00:20 |
Well, here what I want to do is take a
look at how we can tap into this database
| | 00:25 |
strength when working with video files.
| | 00:28 |
Well, for starters, you will notice that
I am working from this videos folder and
| | 00:32 |
I have these same five videos
that we've been working with so far.
| | 00:35 |
I am here in the Library module.
| | 00:37 |
Well, one of the things that we can do
is rate, rank, sort, and filter these
| | 00:41 |
video files in some interesting ways.
| | 00:43 |
For example, you may know the shortcuts
that you can use to add star ratings or
| | 00:48 |
to add the labels to your images;
well, you can do the same with videos.
| | 00:52 |
For example, if you press the 6
key, you can then add a red label.
| | 00:57 |
Let's go ahead and do that to this
image here, and then I will press the Right
| | 01:00 |
Arrow key to target another video file,
and then press the 6 key to add a label
| | 01:05 |
to this video file here.
| | 01:07 |
So now both videos are labeled red.
| | 01:09 |
What you can then do is
filter based on a certain criteria.
| | 01:14 |
In order to do that, you can head up to
Attribute, and then you can say just show
| | 01:18 |
me the video files that have
this red label so we can see those.
| | 01:23 |
Another way that we can organize
things is by viewing all of our images.
| | 01:28 |
Here I will click on
exercise files and go to Attribute.
| | 01:32 |
You'll notice that if I turn off
this red label, it's going to show me
| | 01:36 |
everything; but on the far right-hand
side, I can click on the icon for video
| | 01:40 |
clips, and it will just show me the video clips
that I have inside of my Library.
| | 01:45 |
All right. Well, so far so good.
| | 01:47 |
We have been able to do these types
of things before. Yet what is new is
| | 01:51 |
something which is kind of fascinating.
| | 01:53 |
I am going to go ahead and turn off this
video filtering and just go back to the
| | 01:57 |
videos folder for a second.
| | 01:58 |
I want to highlight just a couple of things here.
| | 02:02 |
The first one is Smart Collections.
| | 02:04 |
You'll notice that in the Collections panel,
you have some preset Smart Collections.
| | 02:09 |
One of them is Video Files.
| | 02:11 |
This will then show me just the
video files that I have in my Library.
| | 02:16 |
So, for example, if I click on
exercise files, it shows everything.
| | 02:20 |
Smart Collection > Video Files, click on that.
| | 02:23 |
It's now just showing me the files,
which are in that video format, and
| | 02:27 |
that's really helpful.
| | 02:29 |
I can also create
collections of particular videos.
| | 02:33 |
Say, for example, I want to put
these top three videos in a collection.
| | 02:37 |
I will click on one video, hold down
the Command key on a Mac, Ctrl key on
| | 02:41 |
Windows, click on the other videos, and
then click on the plus (+) icon in the
| | 02:47 |
Video Panel and choose Create Collection.
| | 02:49 |
Here I am going to name
this collection Video-Demo.
| | 02:54 |
I want it to be Top level so I can see
it over here on the right-hand side and
| | 02:58 |
I will click Create.
| | 02:59 |
Well, now I have this grouping of
these videos, and a collection is a way to
| | 03:04 |
group or organize files that isn't
contingent; isn't based on file or folder location.
| | 03:10 |
So we can group these together.
| | 03:12 |
I have them there as a collection.
| | 03:14 |
And the nice thing about this is that
one of the things that we can do is we can
| | 03:18 |
now stack video files inside of our collections.
| | 03:22 |
So, for example, let's say, I want to stack
all of these or group all of these together.
| | 03:27 |
Again, let's click on all of them,
holding down the Command key on a Mac,
| | 03:31 |
Ctrl key on a Windows.
| | 03:32 |
Next thing we will do is go to the
Photo pulldown menu. I will choose Stacking,
| | 03:37 |
and then Group in Stack.
| | 03:39 |
Now you may be wondering okay, why is
he doing this and what's this all about.
| | 03:44 |
What this allows us to do is to combine
things together in a really unique way.
| | 03:50 |
And then to kind of hide or to
stack files one behind another.
| | 03:54 |
And this is really helpful with video
clips, because what's going to happen is
| | 03:58 |
you have these video
clips which are all of B-Roll.
| | 04:01 |
You can stack all the B-Roll footage
together, rather than looking at all of
| | 04:05 |
these different little
clips which make it to cluttered.
| | 04:08 |
So here, let's group these into a stack.
| | 04:11 |
Now that they are grouped and
collapsed, we can see that we can expand or
| | 04:15 |
collapse this by clicking on the
little icon, little two handles there on the
| | 04:18 |
right, or by pressing the S key.
| | 04:21 |
So again, here I am just demoing this.
| | 04:23 |
You can imagine that this is going to
be more helpful when you have more video
| | 04:26 |
clips, and this again, allows
you to group things together.
| | 04:30 |
And what I found whether working on
images or videos, this type of grouping or
| | 04:35 |
grouping within a group is really helpful.
| | 04:39 |
So first we have, of course, a folder.
We also can use Smart Collections. Or we
| | 04:45 |
can create very specific collections,
and then inside of those, we can group
| | 04:50 |
these images and stack them in order to
have even more control over all of these
| | 04:54 |
files. Because here's what's happening--
| | 04:56 |
so many of us are shooting all of these videos
but we don't really know what to do with them.
| | 05:01 |
We don't know how to organize, how
to handle them, how to treat them.
| | 05:05 |
Well, this new functionality in
Lightroom 4 will help out with that.
| | 05:08 |
It will help us organize these and take
advantage of this robust strength that
| | 05:12 |
Lightroom provides us--by organizing
these video files together in different
| | 05:17 |
ways, whether it's a folder or Smart
Collection or a specific collection that
| | 05:21 |
we've created ourselves.
| | 05:24 |
| | Collapse this transcript |
| Capturing a still image from a video file| 00:00 |
Here we're going to explore a new
feature, which actually allows us to extend the
| | 00:04 |
way that we work with our video
files right inside of Lightroom.
| | 00:08 |
And for me, I am really excited about
this new feature because it allows us to
| | 00:11 |
capture or to extract an
image from a video file.
| | 00:15 |
Well, the first video file that I want
to highlight here is this one, and you
| | 00:19 |
have to indulge me for a moment,
because I am a very proud dad.
| | 00:24 |
Here you can see my oldest daughter Annika.
| | 00:26 |
She's seven, holding our youngest.
| | 00:28 |
This was one of their first
interactions. It's a short clip;
| | 00:32 |
it's just 8 seconds long.
| | 00:34 |
Let's take a look. Here it goes.
| | 00:35 |
(video playing)
| | 00:41 |
There it is--the first kiss.
I just love that moment.
| | 00:45 |
Now let's say that what I want to do is
extract one of those frames, perhaps a
| | 00:49 |
kiss or perhaps them looking at each
other, like this moment right here.
| | 00:53 |
Well, all then you need to do is to
scrub to that area on the timeline, and then
| | 00:58 |
click on this icon and choose Capture Frame.
| | 01:01 |
Now what's fascinating is it will
capture this frame; save it in the same
| | 01:06 |
folder. You notice there are now six
files here. Put it right next door to the
| | 01:10 |
video file; it's just a JPEG
at the exact same dimensions.
| | 01:13 |
We'll see that if we go to this Metadata panel.
| | 01:17 |
Notice that this particular video file was
captured at 1280x720 as was that video file.
| | 01:23 |
Now what's so amazing about this is
that what you can do then is use all of the
| | 01:28 |
strength of Lightroom in
order to process this JPEG.
| | 01:32 |
In other words, if I need to reduce
the noise or sharpen or add contrast or
| | 01:36 |
whatever, I can do that right within Lightroom.
| | 01:39 |
I never have to leave.
| | 01:41 |
Let's take a look at this
with another video file.
| | 01:44 |
We'll go over here to this one--just to
highlight, this one was shot at 1920x1080.
| | 01:50 |
Again, I scroll to the area that I
think looks interesting--let's say, right
| | 01:55 |
there, and then click on this
icon and choose Capture Frame.
| | 01:59 |
You'll notice that it will save it
right next door to the video file, same
| | 02:03 |
naming convention, and again, the
dimensions there are identical to that video format.
| | 02:08 |
So as you can see, this is going to open up a
huge range of different types of possibilities.
| | 02:14 |
One of the things that we will be able
to do with this is really start to create
| | 02:17 |
prints from these files.
| | 02:19 |
Let's say, for example, this image here.
| | 02:21 |
If I were to open this one up inside of
Photoshop, we could then further modify
| | 02:26 |
it and create prints. or we could of
course go to the Print module and do the
| | 02:30 |
same thing inside of Lightroom.
| | 02:32 |
In other words, this extends this video's reach.
| | 02:36 |
Rather than just having a video file, we
can start to capture video files with a
| | 02:40 |
really high resolution, and then we can
extract or capture frames so that we can
| | 02:46 |
have a still image from
that video footage as well.
| | 02:49 |
| | Collapse this transcript |
| Exporting and publishing a video to a hard drive| 00:00 | Now that we've spent some time exploring
how we can work with video files inside
| | 00:05 | of the Lightroom 4 beta, it's time to
take a look at how we can get these video
| | 00:09 | files and all of the work
that we've done out of Lightroom.
| | 00:13 | Well, there are a couple of different
techniques that we can use, and the first
| | 00:16 | technique that I want to highlight is Export.
| | 00:19 | Well, the first thing that we
want to do is choose a video clip.
| | 00:22 | In this case, I am going to
choose the video clip that we converted
| | 00:25 | to black-and-white.
| | 00:26 | Now first I want to show you
how you can export this movie.
| | 00:29 | In order to do that, we'll navigate to the
File pulldown menu, and then choose Export.
| | 00:35 | This will open up our Export dialog.
| | 00:37 | Now this is really straightforward.
| | 00:40 | We can choose to export it
to the hard drive. Great.
| | 00:43 | I'll save it to my Desktop. That'll be fine.
| | 00:45 | We could choose to rename if we wanted to.
| | 00:47 | The most important, now we want to click
on this option to Include Video files.
| | 00:52 | Now when we do that we have a few options here.
| | 00:55 | We could export this as the original
file, as it was shot, just converted to
| | 00:59 | black-and-white--same
file size, same frame rate.
| | 01:03 | Or we could choose the really popular
H.264 video codec and the Quality setting.
| | 01:09 | For example, we could choose High.
| | 01:12 | You'll notice it will give us a little
bit of a tip underneath about why you may
| | 01:16 | want to choose that Quality setting.
| | 01:18 | It also will show you your
target size and your frame rates.
| | 01:22 | Here if I take this down to Medium,
you'll notice it says, this is suitable for
| | 01:26 | web sharing and higher-end tablets, so
this would be a great size, say, if I
| | 01:31 | wanted to export this and put it on my iPad.
| | 01:34 | Next we'll scroll down, you will
notice a few of these settings are grayed
| | 01:38 | out, because these are all related to
images, and I'll go all the way down to
| | 01:42 | the bottom where I can choose an option
for after I've exported this. What do I
| | 01:47 | want to have happened?
| | 01:49 | Well, I wanted to show me this image
where I saved it, in this case on the
| | 01:52 | Desktop there, and then simply
click Export. It's that easy.
| | 01:57 | Now what's great about this export is
this happens in the background, in other
| | 02:01 | words I could go to another video file
or I could work in Lightroom in another
| | 02:05 | way, and this is especially helpful
if you have longer video clips that are
| | 02:10 | going to take a while to export.
| | 02:12 | Well, now it's showing me this folder
on my desktop and I want to see how this
| | 02:17 | video file actually looks.
| | 02:19 | I want to see what the
quality is like at Medium.
| | 02:22 | Well, here we can double-click the
file, or on a Mac, you can press the
| | 02:26 | Spacebar key to open it up.
| | 02:28 | Let's just watch it for a second. All right!
| | 02:29 | Well, that looks good, I'll press Pause here.
| | 02:33 | This video file and all of the
modifications that we've applied to it whether a
| | 02:37 | trimming or converting to black-and-
white or changing the color or whatever
| | 02:42 | we've done is now good to go.
| | 02:44 | It is now out of Lightroom.
| | 02:46 | Well, that his technique number one.
| | 02:48 | Let's go ahead and close those
windows and go back to Lightroom.
| | 02:52 | Let's say that I want to get this out of
Lightroom, but this time I want to do it
| | 02:55 | using Publish Services.
| | 02:58 | First thing you want to do is go to Set
Up. Here this looks very similar to our
| | 03:03 | Export window, right?
| | 03:04 | I'll go ahead and just name this Export
to Desktop, so that I can remember that.
| | 03:10 | This one will go to the Desktop
here. I'll put it just in the main
| | 03:13 | Desktop folder there.
| | 03:15 | No renamin. Video files, in this
case, I am going to choose this High
| | 03:20 | setting, which gives me a little bit of
a higher file size dimension-wise and
| | 03:24 | also quality there.
| | 03:26 | Go ahead and scroll down. That all looks great.
| | 03:30 | Next I am going to click Save.
| | 03:32 | Now all that that did was
create this Publish setting.
| | 03:36 | There isn't an image or a
video in this Publish setting.
| | 03:40 | To add one, I'll simply
click and drag this to that area.
| | 03:43 | Now we can see that we have one.
| | 03:45 | Well, to open that up, we'll go ahead
and click on that little setting there and
| | 03:50 | then press the Backslash (\) key.
| | 03:52 | Now the Backslash (\) key is
the key which leans to the left.
| | 03:57 | So here you can see I have
this new video to publish.
| | 04:01 | It's calling it a photo but
it's actually a video file.
| | 04:04 | Well, if I want to publish this to my
Desktop, all that I need to do is to
| | 04:08 | simply click on the Publish button up
here, or of course, I can click on that
| | 04:13 | same button down below.
| | 04:15 | Let's click on Publish.
| | 04:16 | It's going to update that or export that file.
| | 04:20 | In other words, it's taking it from
Lightroom, putting it somewhere else at the
| | 04:24 | settings that I've predetermined with
those Publish settings, and again, all of
| | 04:29 | this will happen in the background.
| | 04:31 | We could leave this location and go
somewhere else and develop or work on our
| | 04:35 | images or work on a book or you name it.
| | 04:38 | You can do whatever you need to do.
| | 04:39 | I am just going to stay here for demo
purposes, so it can show me that this has
| | 04:44 | been completed, which is great.
| | 04:47 | Next thing that I am going to do is
I am going to navigate back to that
| | 04:50 | folder on my Desktop here, because I
want to see this file, and here we have
| | 04:55 | another version of this.
| | 04:56 | This one is much bigger, higher
quality setting, larger file size.
| | 05:01 | I'll open this file up as well
just to take a look at that one.
| | 05:04 | And there you have it,
another version of this video file.
| | 05:09 | Well, in closing, I hope that those
techniques will be helpful for you as you
| | 05:14 | explore how you can work on your video
files, and then export them or publish
| | 05:17 | them, or get them out of Lightroom,
so that they can go somewhere else.
| | 05:22 |
| | Collapse this transcript |
| Publishing videos to Flickr and Facebook| 00:00 |
Here I want to highlight an exciting new
feature inside of the Lightroom 4 beta,
| | 00:05 |
and I think this new feature is going
to be really popular, and here's why.
| | 00:09 |
It allows you to take your video
files that you've worked on inside of
| | 00:13 |
Lightroom and to export or to publish
them directly to different sites like
| | 00:18 |
Facebook or Flickr.
| | 00:20 |
And why I think this is going to be so
exciting is because you can take these
| | 00:23 |
videos that you have and get them out
there, share them with your friends, with
| | 00:26 |
your clients, share them with the
world, and get some interesting feedback on
| | 00:31 |
these videos that you're creating. All right!
| | 00:32 |
Well, here as a way of a demo, I am going
to focusing on sharing a video on Facebook.
| | 00:38 |
This is a video clip that I've mentioned
before and here you can see it was just
| | 00:43 |
that first tender moment. That
little kiss, which I think is so precious.
| | 00:49 |
So I want to share this video on Facebook.
| | 00:51 |
Well, the first step in order to
be able to do this is to go to your
| | 00:55 |
Publish Service panel.
| | 00:57 |
You can open that up if it's
closed simply by clicking on it.
| | 01:00 |
Then, click on the Set Up button here
to open the Lightroom Publishing Manager,
| | 01:05 |
and what you'll want to do is give
this a name. I'll go ahead put my initials
| | 01:09 |
there, and then Facebook.
| | 01:10 |
You can call this whatever you
want to call it, and then you need to
| | 01:13 |
authorize this on Facebook.
| | 01:15 |
I'll go ahead and click OK to do that,
and then I've authorized that there,
| | 01:20 |
and I am going to close that Facebook
window in the background, and you can see
| | 01:24 |
it's already authorized.
| | 01:25 |
Now, of course, if you aren't logged
into Facebook, it will simply ask you to
| | 01:29 |
log in, and then it will
automatically authorize that.
| | 01:32 |
Now you have some options here as far
as how you want to publish this; how and
| | 01:36 |
where I should say, the Facebook album,
the title, if you want to rename this
| | 01:41 |
some other way, and then of course you
have these different video compression
| | 01:45 |
settings, which we've seen before.
| | 01:47 |
Now Max will be a little bit overkill.
I am going to go down to Medium that's
| | 01:51 |
going to be suitable for web sharing and
higher end tablets that will be online,
| | 01:56 |
and everything else looks good as
far as the rest of the settings there.
| | 02:01 |
Now this isn't an image, so that's
not relevant or output sharpening or
| | 02:04 |
metadata, again, those are all extras.
| | 02:07 |
So basically what I am doing is I am
creating a preset, I am creating a Publish
| | 02:12 |
Services preset for
exporting or publishing to Facebook.
| | 02:16 |
The final thing to do
here is simply to click Save.
| | 02:19 |
Well, now that I've done that, I simply
need to drag this video to that option
| | 02:25 |
there, my Wall Photos. Go to that option,
and then let's press the G key. This
| | 02:30 |
will take us to the view, so that
we can see what we have to publish.
| | 02:34 |
The next step will be to
click on the Publish button.
| | 02:37 |
You can find it in the lower left-
hand corner, and so what that will do is
| | 02:41 |
it will upload that to my Facebook account,
so that I can then share that with others.
| | 02:45 |
So now I am going to go ahead and open
up that Facebook page, and you can see on
| | 02:51 |
my wall that I have this little video.
| | 02:53 |
I'll click Play in order to play that,
and we'll just scroll down here a little
| | 02:57 |
bit and you can see we have a nice
little quality version of that, and then is
| | 03:01 |
now live and on Facebook. All right!
| | 03:04 |
Well, momentarily, let's jump back to Lightroom,
as you can see that process is really easy.
| | 03:10 |
If you have other videos that you'd
like to post in that same way, you simply
| | 03:14 |
would select them, drag them to that
Facebook Publish Service setting, and
| | 03:18 |
then click Publish.
| | 03:19 |
Now, of course, you can do the same
thing with your Flickr accounts, and then you
| | 03:23 |
can click on this button here
to find other services online.
| | 03:26 |
So as you can see, this process
is really simple, and it's seamless.
| | 03:30 |
It's one of those new features that
you'll definitely want to try out.
| | 03:34 |
| | Collapse this transcript |
|
|
2. Creating a Custom Book LayoutOverview of the new Book module| 00:00 |
Here we're going to take a look at
something, which isn't just a nice shiny new
| | 00:04 |
feature or tip or trick; it's
much more profound than that.
| | 00:08 |
It's so profound that it has its own module;
| | 00:11 |
it's the Book module.
| | 00:12 |
And as the name suggests, this
module allows us to design and create and
| | 00:17 |
order custom books.
| | 00:19 |
What's fascinating about this is we can
do this all right within Lightroom 4.
| | 00:24 |
Now before we get to the module, let's
go ahead and make a selection of some
| | 00:28 |
photographs that we want
to use for our book project.
| | 00:31 |
Here in the Library module, we could
select a collection or maybe a folder of images.
| | 00:37 |
Here let's click on the folder Book Project.
| | 00:40 |
Inside of this folder, you'll see 23
photographs that were captured by Cara
| | 00:44 |
Robbins, a phenomenal
photographer--one of my former students.
| | 00:47 |
And what I want to do with these
images is I want to create a book that I can
| | 00:51 |
then order and buy, and I want to
create this book as a gift for my wife and
| | 00:56 |
also for my parents.
| | 00:57 |
Now there are so many different
reasons why you may want to create a book.
| | 01:01 |
Perhaps it's as a gift or maybe a
leave behind for a particular client, or
| | 01:05 |
perhaps even a portfolio.
| | 01:07 |
So as we dig into this Book module,
we'd be thinking about what kind of book
| | 01:11 |
would I want to create.
| | 01:13 |
Well, now that we have made this
selection of these images, let's go ahead and
| | 01:16 |
take a look at the Book module.
| | 01:18 |
I am going to go ahead and click on the Book
module picker, which takes us to this module.
| | 01:23 |
Now at first glance, this
looks pretty familiar, right?
| | 01:26 |
We have panels on the left and the
right and work area in the middle.
| | 01:30 |
Let's deconstruct this just a little bit.
| | 01:33 |
On the left-hand side, you'll notice we
have a few different preview options and
| | 01:36 |
then we have Collections.
| | 01:38 |
Even if you don't use Collections
anywhere else in Lightroom, in any other
| | 01:41 |
module, you want to do so here, because
it's by way of collections that we can
| | 01:46 |
actually save our books and the book layouts.
| | 01:49 |
We'll talk a little bit more
about that later, but I just wanted to
| | 01:52 |
highlight that here.
| | 01:53 |
Next below you'll notice that we have the
ability to export this book to the PDF format.
| | 01:59 |
We could do that if we want to print
the book ourselves or have a particular
| | 02:02 |
printing company print and bind that book.
| | 02:05 |
Then in the work area we have some
pages, some options up top, telling us we
| | 02:09 |
can clear or save the book, some view
option or navigational buttons down below.
| | 02:14 |
Then on the right-hand side that's where
the heavy lifting, so to speak, takes place.
| | 02:20 |
Let's start at the top, Book Settings.
| | 02:22 |
Well, the first thing you'll notice is
that we can choose between a couple of
| | 02:26 |
different book options.
| | 02:28 |
The two options we have are either to
create a Blurb book, which may be a great
| | 02:32 |
option for you, or PDF, and again, this just
depends on how you want to have this book printed.
| | 02:37 |
Now one of the nice things about
this new module is that it's tied in
| | 02:41 |
really tightly with Blurb.
| | 02:43 |
So you'll notice here that when I
determine my size or cover or paper type, it
| | 02:48 |
gives me an estimated price.
| | 02:50 |
If I change that book size, say to
something much more small, the estimated
| | 02:55 |
price is than updated, and again, we
have all of these options that we can then
| | 02:59 |
choose from, and you'll see how
it changes the price of the book.
| | 03:02 |
I'll go ahead and remove that logo, which
then also will increase the price a little bit.
| | 03:07 |
What's nice about this is it can help
you determine how you want to design the
| | 03:11 |
book in a way, so that it matches your
vision and also whatever type of cost you
| | 03:16 |
want to invest in this particular project.
| | 03:18 |
So that first panel up there
is going to be really important.
| | 03:21 |
The next panel has to
deal with creating a layout.
| | 03:24 |
Now this Auto Layout can help give
you a little bit of a jump start.
| | 03:28 |
Yet don't worry about the Auto Layout
too much, because if you don't like it,
| | 03:33 |
you can always customize things much
more than you can just with Auto Layout,
| | 03:36 |
but this is a really nice starting point.
So here I have these 23 photographs.
| | 03:41 |
I am using a preset, which I can select here.
| | 03:45 |
How many images do I want per page?
| | 03:47 |
I'll go to one per page for
now and simply click Auto Layout.
| | 03:51 |
Now what this will do is it will create
this book for me, and here it's just kind
| | 03:55 |
of fun to see how it brings these
images together in this particular layout.
| | 04:00 |
Now I should point out one
thing here with these photographs.
| | 04:03 |
You'll notice that they
have an Exclamation Point (!)
| | 04:05 |
on the top right-hand corner.
| | 04:07 |
Now that's a warning indicator.
| | 04:09 |
It's telling me that my images aren't a
high enough resolution in order to be
| | 04:13 |
printed in this particular book. But of
course if you're making your own book,
| | 04:17 |
you want to use high-res files or the
appropriate resolution for whatever size
| | 04:22 |
book you're working on.
| | 04:23 |
It is worth pointing out this little
icon because what you can do is click on
| | 04:26 |
it. And it'll tell you this may not
print well at the size; it's going print
| | 04:30 |
at this particular PPI; it's not
recommended; and again, it's just a nice
| | 04:35 |
little warning indicator that can
help you find the right size or create
| | 04:38 |
images or choose images that are appropriate
for the type of book design that you want to do.
| | 04:43 |
In getting familiar with the Book module, I
want to do just a couple more things here first.
| | 04:48 |
What I want to do is look at how we can scroll
through these. We see a back and front cover.
| | 04:53 |
If I click on this, one of things
that I can do is zoom into this area.
| | 04:57 |
There are lots of ways to do that.
| | 04:59 |
We can click in the Preview panel this
1:1 view. This is giving us 100% view.
| | 05:05 |
We could go even further, a 4:1
view. Let's go back to Fit.
| | 05:10 |
Another way that we can change this
view is by zooming out with shortcut keys.
| | 05:14 |
On a Mac you can press Command+Plus (+)
or Minus (-). On Windows that's
| | 05:18 |
Ctrl+Plus (+) or Minus (-). And
here we can then zoom in or out.
| | 05:23 |
We can also scroll and make a selection
of a particular page, and then click on
| | 05:28 |
one of these icons down here, which
again take us into viewing the different
| | 05:32 |
pages or layouts in the appropriate way.
| | 05:35 |
So what's helpful about this is it gives
us this ability just to really evaluate
| | 05:39 |
that particular design.
| | 05:41 |
We're not locked into this. There's
much more that we can do to customize this
| | 05:45 |
layout or to create our own layout.
| | 05:48 |
What I want to do next is take a look
at how we can customize this further, and
| | 05:52 |
we'll do that in the next movie.
| | 05:54 |
| | Collapse this transcript |
| Creating and customizing a layout| 00:00 |
Here we're going to take a look at how we
can further customize our own book layout.
| | 00:05 |
One of the things that you want to do
quite often when you're working on your
| | 00:07 |
book is zoom in and zoom out.
| | 00:10 |
Now a lot of times it's helpful to
open up some more space, so you can see
| | 00:14 |
things; you can see the
overall thread or arc of the book.
| | 00:17 |
In order to do that, press the Tab key.
It opens up a little bit more space so
| | 00:21 |
that you can look at these pages.
| | 00:23 |
Now you can always change the view
between looking at multiple layouts to
| | 00:28 |
looking at one layout or one page.
| | 00:30 |
You can do that by clicking on these
icons here, as I've talked about before.
| | 00:34 |
Now you can do this with those panels
on the right and left, visible or not.
| | 00:38 |
I just wanted to highlight that
because sometimes it's nice to have a
| | 00:41 |
little bit more space.
| | 00:42 |
I am going to bring back the panels
by pressing the Tab key just to keep
| | 00:46 |
things kind of simple.
| | 00:48 |
Let's say that I get to the spot and I
realized I want to change a few pictures up.
| | 00:52 |
I want this picture somewhere else.
| | 00:54 |
When you click on an image or a page,
it highlights that picture down below.
| | 00:59 |
You can always drag and drop it
to a new spot, and there it is.
| | 01:02 |
Let's say we want to bring this picture, which
was over there back here. Voila! We have it.
| | 01:07 |
Now what about customizing the way
the picture actually sits on that page.
| | 01:11 |
Well, what you can do is change the zoom,
go to one layout, and then click and
| | 01:16 |
drag to reposition this.
| | 01:18 |
Or, of course, you can zoom in and then
reposition so if fits in the best way on
| | 01:23 |
that particular page.
| | 01:25 |
Well, so far so good.
| | 01:27 |
We have customized a couple of
pages; we've reordered things.
| | 01:30 |
What else can we do?
| | 01:31 |
Well, if we zoom to this multiple
layout thing, you'll notice that we have
| | 01:35 |
these different pages here. And as we
click on them, you'll notice that every
| | 01:39 |
time it gives you an option, an option to zoom,
a yellow highlight, and then an icon below.
| | 01:45 |
What's that icon all about?
| | 01:47 |
Let's scroll down, for example, to right here.
| | 01:50 |
Well, if we click on that icon, it opens
up something which is called Modify Page.
| | 01:56 |
Now here we can choose from a
huge range of different layouts:
| | 01:59 |
4 Photos per page; Multiple Photos
per page. We also have different options:
| | 02:04 |
Creative layouts, Portfolio
layouts, Travel, Wedding. You name it.
| | 02:09 |
We can select that option
by simply clicking on a page.
| | 02:13 |
We can also do the same thing by
clicking on a page and going to the Page panel.
| | 02:18 |
Here you see the exact same identical icon.
| | 02:21 |
Click on that. You'll
see the Modify Page dialog.
| | 02:25 |
Here let's choose 4 Photos, and then
simply click that to apply it, and now we
| | 02:29 |
have a four-page layout.
| | 02:30 |
We can add pages or add pictures, I
should say, into those small little
| | 02:34 |
layouts, and we can change that up a
little bit, and let's zoom in on that so we
| | 02:38 |
can see how that looks. And voila!
| | 02:40 |
We have it.
| | 02:40 |
We have four images now on that page.
| | 02:42 |
Now let's say we've made that change,
but we don't like it. It doesn't work.
| | 02:47 |
No big deal. You know how
to change that back, right?
| | 02:50 |
You target the page. Click on the little
icon which opens up the Modify Page dialog.
| | 02:55 |
Let's go back to 1 Photo per page,
click on the one-photo layout that you
| | 02:59 |
like, and here we're back
to where we were. All right!
| | 03:03 |
Well, that worked nicely, and that
wraps up this segment of our conversation
| | 03:07 |
about how to customize the book layout.
| | 03:09 |
We'll continue to talk about this,
and we'll do so in the next movie.
| | 03:13 |
| | Collapse this transcript |
| Editing pages| 00:00 |
Now I want to highlight a few things
that you can do when working with pages
| | 00:04 |
whether you need to add or remove pages,
and also we're going to explore how we
| | 00:08 |
can work with type and how it can add
type whether it's a type caption or just
| | 00:12 |
some type that we want included
in our book. Well, first pages.
| | 00:16 |
Let's say that we have a
layout like we have here.
| | 00:18 |
Let's zoom in on that.
| | 00:19 |
We'll click on One, and then
click on the icon to see that layout.
| | 00:23 |
Now we have these two images side-by-
side, and let's say we want to remove
| | 00:26 |
one of the photographs.
| | 00:27 |
How can we do that?
| | 00:28 |
Well, you can click on that page and
then right-click or Ctrl+click and
| | 00:33 |
choose Remove Photo.
| | 00:34 |
Now when you remove the photo,
just we'll have a blank page.
| | 00:38 |
You can add that back, of course, by
simply clicking, dragging, and dropping.
| | 00:42 |
Well, what else can you do here?
| | 00:44 |
Well, you can right-click, and you can add
a page, add a blank page, remove a page.
| | 00:49 |
If you remove a page,
something interesting happens.
| | 00:52 |
So when we remove a page and go back here,
you'll notice that what it will do is
| | 00:57 |
it will automatically just realign things.
| | 01:00 |
So now, what was Page 14 is
13, and so on and so forth.
| | 01:05 |
If ever you make a mistake, well, you
can undo that with your Undo command,
| | 01:09 |
which works really anywhere in Lightroom.
| | 01:12 |
That's Command+Z on a Mac, Ctrl+Z on
Windows and we can then bring that page
| | 01:16 |
back, and here I'll add that image to that page.
| | 01:20 |
Adding or removing is as simple
as right-clicking or Ctrl+Clicking.
| | 01:24 |
Now you can also do this
over here on the Page panel.
| | 01:27 |
Again, I can click to Add a Page so I
have that one added, I can Add a Blank
| | 01:31 |
page, and then I can go from there.
| | 01:33 |
I can also customize that as we've seen before.
| | 01:37 |
I want to remove these two, so I click,
right-click or Ctrl+click and remove
| | 01:42 |
that, and then I'll do
that again. What about type?
| | 01:46 |
So often when we create books, we need some
sort of type which accompanies the pictures.
| | 01:51 |
Well, let's go ahead and try to find an
interesting layout here, perhaps one of
| | 01:56 |
these, and then I want to go
down to my Type and Caption panels.
| | 02:00 |
If we open up Caption, one of the
things that you'll notice is we can click on
| | 02:03 |
Photo Caption, and let's zoom
in so we can check that out.
| | 02:07 |
Photo Caption is something which
will appear on top of the image.
| | 02:11 |
This is a sample caption and there
it is. We can see that there and it is
| | 02:16 |
showing up down below.
| | 02:18 |
Now we can obviously change where
that is and change how it appears.
| | 02:21 |
We can have this Above, Over, or Below.
| | 02:24 |
We can also have a Page Caption,
which we just have something on pages.
| | 02:28 |
What about different types of type?
| | 02:30 |
If we open up the Type panel,
currently they're all grayed out. Why is that?
| | 02:36 |
We don't have a layout which allows it.
| | 02:38 |
In order to do that we need to click on
this little icon called the Disclosure
| | 02:42 |
icon, which opens up the Modify Page.
| | 02:44 |
We need to choose a layout, say,
like this one here, which gives us the
| | 02:48 |
chance to add some text.
| | 02:50 |
I am going to go ahead and add some copy here.
| | 02:54 |
This is some sample copy.
| | 02:57 |
Here is some more sample copy.
| | 03:01 |
The reason I am including two lines is
to look at how we can customize this.
| | 03:05 |
We can highlight all of this
and we can change the font.
| | 03:08 |
Let's go ahead and choose
something perhaps a little bit more clean.
| | 03:12 |
That looks good, and then increase
the font size and lower the opacity.
| | 03:17 |
We can change the color as well
by choosing this color chip here.
| | 03:21 |
We can also align the copy
in some interesting ways.
| | 03:23 |
If I am in one line of text, I can
align that Left, Center, Right, so on, or I
| | 03:31 |
can highlight all of the text,
and then align that together.
| | 03:34 |
So now it's all aligned to the left or to the
center and changed its size in a uniform way.
| | 03:41 |
So again, we have some great
flexibility with making those changes.
| | 03:44 |
Now in situations like this, where you
have layouts which you can see through,
| | 03:49 |
so to speak, where you just have
white on the page, you can always add some
| | 03:53 |
sort of a background image.
| | 03:55 |
Here if we open up Background, we could
add a picture to that so that something
| | 03:59 |
would show up there.
| | 04:00 |
Let's go ahead and scroll through and
see if something might be interesting
| | 04:03 |
to have in that area.
| | 04:04 |
We'll go ahead choose this one.
| | 04:06 |
I'll drag and drop that into my
background and now you can see in faded white
| | 04:10 |
below, we have that particular
image there sitting in the background.
| | 04:14 |
Now for to change the cells or the
layout, we'll see that more clearly.
| | 04:19 |
Let's choose an option, perhaps
where we can see right through that in a
| | 04:23 |
different way, about right here.
| | 04:25 |
Now we can see that picture a little
bit up top or again if we just choose
| | 04:29 |
something, I am trying to find something
here, but photo is a little bit smaller.
| | 04:33 |
How about that one?
| | 04:34 |
Again, you can see how that background
image is sitting there in the back, and
| | 04:38 |
of course, we can choose the opacity of
that background image and change that in
| | 04:42 |
a couple of different ways.
| | 04:44 |
If we don't want this graphic there,
we can always have the background color
| | 04:47 |
as well, and then choose something from
our color chip here in order to have a
| | 04:51 |
solid background color, and if ever you
don't like the changes you've made, go
| | 04:56 |
ahead and go back to where you were before,
and voila! Everything will be back to normal.
| | 05:02 |
Now there are obviously a ton more options.
| | 05:05 |
There are so many
different ways to design a book.
| | 05:07 |
There are designs which are incredibly
complex or designs which are incredibly
| | 05:11 |
simple, like this one here.
| | 05:13 |
Yet what I want to do is simply show
you some of the options, show you some
| | 05:16 |
of the ways that you can make
modifications, so that you can make those
| | 05:19 |
creative decisions yourself.
| | 05:21 |
Well lastly, once we have all of these
layouts and let's say our book designed
| | 05:25 |
in a way that we like, we want to save this.
| | 05:28 |
In order to save it, we can either
click on the plus icon (+) for collections
| | 05:32 |
and we can create a book here or
we can create the save book here.
| | 05:37 |
Either way it does the same thing.
| | 05:39 |
Either button, it'll
create what's called a creation.
| | 05:42 |
So let's go ahead and create the save
book, and I going to name this one Family.
| | 05:46 |
I'll put it in the top level and click Create.
| | 05:49 |
Well, now we are going to see that
inside of my Collections panel and just to
| | 05:53 |
highlight, if I clicked on the plus icon
(+) and if I had chosen Create Book, it
| | 05:59 |
would've done the exact same thing.
| | 06:01 |
So there's no difference between these two.
| | 06:04 |
Once we have that inside of there, if
we navigate away from the Book module or
| | 06:09 |
if we close Lightroom and
reopen, it that will be saved.
| | 06:12 |
In other words, when I go to the
Library module, in my Collections panel, I
| | 06:17 |
can see that creation.
| | 06:18 |
Now it's in the Collections panel
but it's a little bit different.
| | 06:22 |
In the Book module, Print and Web,
we have what are called Creations.
| | 06:26 |
If I want to go to it, I'll
simply click on this arrow icon.
| | 06:29 |
It will open up that creation or that book.
| | 06:32 |
It will remember everything that I've
customized that can come back to that and
| | 06:37 |
I can either finish it or work
on it or change it as needed.
| | 06:40 |
Well, we are almost done with our
conversation about the Book module.
| | 06:44 |
We have a little bit more ground to
cover and that is how we can order these
| | 06:47 |
books, and we'll talk
about that in the next movie.
| | 06:50 |
| | Collapse this transcript |
| Exporting and ordering books| 00:00 |
After you finished your custom layout for
your book project, it's ready to print the book.
| | 00:05 |
And one of the things that I like
to do before I send my book off to a
| | 00:09 |
professional printer is to print it locally.
| | 00:11 |
The way that you can do that is
click on this Export Book to PDF file.
| | 00:16 |
This allows you to save this out.
| | 00:17 |
I'll name this Family-Book, and then click Save.
| | 00:20 |
I could then open up that PDF file,
and then print it with my local desktop
| | 00:25 |
printer, and this gives me a sense
for the overall flow for how the images
| | 00:29 |
actually look side-by-side and together.
| | 00:32 |
I print that out, trim it to size,
and again, it's just a proof.
| | 00:35 |
Of course, another thing that you
could do is you could send this PDF to any
| | 00:40 |
number of the different professional printing
services and have them print the book for you.
| | 00:45 |
Well either way, what I do is I just
use that as a proof, and then I send this
| | 00:50 |
book layout to Blurb.
| | 00:51 |
In order to do that, you simply click
on the Send Book to Blurb icon, and I
| | 00:55 |
already have an account there, so I am
going to go ahead and just enter in my
| | 00:59 |
information and click Sign In.
| | 01:01 |
Now it's telling me that the book will
approximately cost $61.15, and I am going
| | 01:05 |
to say Family Photos,
Photographs, December 2012. There we go.
| | 01:13 |
I'll upload that book and that uploading
is good to take place in the background.
| | 01:18 |
Again, another one of the great
advantages of working with Lightroom is that
| | 01:22 |
there's really nowhere else you have to
go and I can keep doing what I need to
| | 01:25 |
do in Lightroom while this
uploading is taking place in the background.
| | 01:29 |
I am going to let this go through the
process, and then what will happen is once
| | 01:33 |
it's finished, it'll actually open up
my browser and it'll take me to the page
| | 01:37 |
were that book lives on the Blurb site
with my account logged into it, because
| | 01:42 |
by logging into it, or using your login
credentials here in Lightroom, it logs
| | 01:47 |
you into the Blurb site as well. All right!
| | 01:49 |
Well, here is the book.
| | 01:51 |
It's ready to be ordered.
| | 01:53 |
It's actually a little bit less
than anticipated, then the estimated
| | 01:57 |
price, which is nice.
| | 01:59 |
I can click to preview that
and see what it looks like.
| | 02:01 |
It's kind of fun to see it in this
little bit of a mockup book form.
| | 02:05 |
Sometimes it will help you make
some decisions, and again, you can just
| | 02:09 |
click through and see the different
layouts and how the pages fit together
| | 02:13 |
or don't fit together.
| | 02:15 |
You can also view this thumbnail view,
and what's fun about this is it really
| | 02:19 |
looks a lot like the view we had before,
so that we can click on those pages
| | 02:23 |
and again just get a feel for these
and see if this is the work for our
| | 02:27 |
particular book project. All right!
| | 02:29 |
Well, after previewing the book, all
that you'll need to do would be to go
| | 02:32 |
through the final ordering
process in order to order that book.
| | 02:37 |
I encourage you to think about what
type of a book you would want to create,
| | 02:42 |
because there's something incredibly
powerful about the printed artifact,
| | 02:46 |
about putting images together in a
set, in a book, bound, and there's
| | 02:50 |
something that happens there.
| | 02:52 |
You grow a lot as a photographer by
creating these, and also, it can help you
| | 02:56 |
clarify your vision.
| | 02:58 |
What is it that you really
like to shoot and capture?
| | 03:00 |
And it can help you communicate that
with others and ultimately get more work
| | 03:05 |
doing what you love.
| | Collapse this transcript |
|
|
3. Introducing the Map ModuleMap module orientation and tips| 00:00 |
One of the reasons why Lightroom is
such a widely used application is because
| | 00:04 |
it gives photographers a way to organize
their images in an effective and creative way.
| | 00:11 |
And that's definitely true with this
new feature in Lightroom, the Map module.
| | 00:14 |
Now before we get to the Map module,
first let's select some photographs.
| | 00:18 |
In the Library module, let's click on
our main Photos folder, and then navigate
| | 00:23 |
over to Map by clicking on
the Module Picker button, Map.
| | 00:26 |
Now a lot of you may be thinking, okay
well, what is the Map module, and this is
| | 00:30 |
something I am actually going to use.
| | 00:32 |
I am hoping to answer that
question in the next few movies.
| | 00:36 |
For starters, let's get
oriented with what we have here.
| | 00:39 |
On the far left-hand side we have the Navigator.
| | 00:42 |
Here you can see we can click and move
this around in order to view different
| | 00:45 |
areas in different maps.
| | 00:47 |
All of this data is coming from Google Maps.
| | 00:50 |
GPS information is really fascinating,
and it's fascinating to look at how we can
| | 00:56 |
take that GPS information, and then
integrate that with something like Google
| | 01:00 |
Maps and that's exactly what's happening here.
| | 01:03 |
Well below, we have these panels Saved
Locations we'll talk about later, and
| | 01:07 |
then the Collections. All right!
| | 01:08 |
Well, then we have our work area in
which we have a map and then on the
| | 01:12 |
right-hand side we have some metadata.
| | 01:14 |
Well currently, you can see that we
have a Location Filter, Visible On
| | 01:18 |
Map, Tagged, Untagged or None. In other
words, None is just showing all of the images.
| | 01:23 |
Well, you can see that there is
a little marker there on the map.
| | 01:27 |
If we click on this marker, this is
just showing us that we have one image in
| | 01:31 |
our library that has embedded GPS information.
| | 01:35 |
This particular photograph I
captured just a few minutes ago here at the
| | 01:38 |
lynda.com headquarters in Carpinteria,
California, and this was just a plant in
| | 01:43 |
front of a window and I
captured this image using my iPhone.
| | 01:47 |
What's fascinating about this image is
the tag in the Metadata without having to
| | 01:52 |
do anything is all of this GPS
information and it locates this image here.
| | 01:58 |
Now if I just want to see the image
that has GPS information, I can filter
| | 02:02 |
by showing the files that are just tagged
and here it's highlighting this photograph.
| | 02:07 |
I can zoom into this area by right-
clicking or Ctrl+clicking and choosing Zoom In.
| | 02:12 |
So here we can zoom in a little bit closer.
| | 02:15 |
We can also use some of our other
shortcuts that we may be familiar with for zooming.
| | 02:19 |
On a Mac that's Command+plus (+) or
minus (-), on Windows that's Ctrl+plus (+)
| | 02:23 |
or minus (-), and here you can
see where that image was captured.
| | 02:27 |
Now currently, we have a Map Style of Hybrid.
| | 02:30 |
Now this Map Style can be changed.
| | 02:32 |
I'll go ahead and click Road Map, so
that we have a little bit more of a
| | 02:35 |
clean view of this.
| | 02:36 |
Now this may be helpful if you really
want to locate a particular direction or
| | 02:41 |
where something is located.
| | 02:42 |
We can now see that exact location.
| | 02:44 |
We have a couple other options.
| | 02:46 |
Satellite, this gives us a more
realistic satellite view, and then we can see
| | 02:51 |
Terrain, and we can also change the
view from a Lighter or Brighter view to a
| | 02:56 |
Darker view, depending on how it's
helpful to see that information. All right!
| | 03:00 |
We'll go ahead and change this back to
Road Map because really that's a nice
| | 03:04 |
simple way to be able to view
that information. All right!
| | 03:06 |
Well, so far so good, we have this
image which has GPS information on it.
| | 03:11 |
Yet what about those situations, all of
those other photographs, say that were
| | 03:15 |
captured on the Canon 5D Mark 2
that don't have GPS information.
| | 03:20 |
Is this Map module
relevant or helpful? Definitely.
| | 03:24 |
There are so many different ways to
organize our photographs by Subject or by
| | 03:28 |
Location, by Content.
| | 03:30 |
One of the things that we can do in the
Map module is start to take advantage of
| | 03:34 |
looking at organizing our images
based on where they are captured.
| | 03:38 |
So let's explore how we can
do that in the next movie.
| | 03:43 |
| | Collapse this transcript |
| Tagging images with locations| 00:00 |
Here we're going to explore a few
different scenarios and how we can actually
| | 00:04 |
add our photographs to specific locations.
| | 00:08 |
One of the things that I want to do
is select a few images that I want to
| | 00:11 |
add some GPS data to.
| | 00:13 |
So I am going to go ahead and click on
the Library module, and in the Library
| | 00:17 |
module, I just so happened to know that there
were five photographs captured in the same spot.
| | 00:22 |
Let me go ahead and click on those.
This is the sunrise picture here.
| | 00:27 |
And I'll hold down the Command key on a
Mac, Ctrl key on Windows, and then also
| | 00:31 |
these photographs here.
| | 00:33 |
So once I've selected the images, I am
going to go to the Map module, and then I
| | 00:38 |
am going to search for location.
| | 00:39 |
The particular location is
Gaviota, California. And there it is.
| | 00:45 |
I am going to go to a different view
here, I am going to go to the Hybrid view,
| | 00:48 |
so I can see this area little bit
better, and the particular location where
| | 00:52 |
these were captured was
right here on this train bridge.
| | 00:56 |
So with all of these images selected,
these five, a few captured at sunrise, and
| | 01:01 |
then a couple captured a little bit
later in the day, I can go ahead and drag
| | 01:05 |
and drop those, set a pin
in that particular spot.
| | 01:10 |
Now I have that spot there
and I have those photographs.
| | 01:13 |
What's great about that is I can
then click on this pin and click through
| | 01:17 |
these pictures and we can see the
photographs that were captured in that
| | 01:20 |
particular location.
| | 01:22 |
One of the things that will happen is we
want to add different types of locations.
| | 01:26 |
Sometimes they're close to
where we live like this one here;
| | 01:29 |
other times they may be far away.
| | 01:32 |
In this case, let's say that we
travel to a particular location.
| | 01:35 |
I am going to go to the Library module,
and just to highlight this, click on
| | 01:39 |
this folder Sayulita.
| | 01:41 |
These are photographs that I captured
a couple years ago in Sayulita, Mexico.
| | 01:45 |
Well, if we have images that are based
on a location, we may want to select all
| | 01:50 |
of those by clicking on one, holding
down the Shift key, and then clicking on the
| | 01:54 |
last image in the set, and
then creating a collection.
| | 01:57 |
Here I am going to go ahead and
create a collection and I'll name this
| | 02:00 |
collection Sayulita. Next click Create.
| | 02:04 |
The reason why I am creating this
collection is just to highlight how
| | 02:07 |
collections can be
integrated into working with maps.
| | 02:11 |
So here we'll go back to the Map module.
| | 02:13 |
Next I'll go ahead and search for that.
| | 02:17 |
And there is the little town of
Sayulita. Here I have all of my images,
| | 02:21 |
drag and drop. And what's great about
this is we can kind of zoom out a little
| | 02:25 |
bit and we can see where that's
located in regards to the rest of Mexico, and
| | 02:29 |
then zoom out even further.
| | 02:31 |
I want to zoom out further just to
highlight how we can start to track
| | 02:35 |
different types of images.
| | 02:37 |
So we have these images which were
captured here, and then what we can do now is
| | 02:42 |
we can say, well, what
about the other photographs?
| | 02:45 |
What about those photographs that
were captured up here in California?
| | 02:48 |
How come I can't see those?
| | 02:50 |
Well, what we would need to do
would be to exit out of this collection.
| | 02:55 |
So let's go to our Library panel,
let's click on all of our photos, and then
| | 02:59 |
back to the Map module, a
lot of back and forth, right.
| | 03:03 |
Well, now that I am working with all of
the images, we can see that we have a few
| | 03:08 |
photos in this region and
then also others down here.
| | 03:12 |
In my filmstrip, if I just want to view
those photographs that I can see in this
| | 03:16 |
area, I can simply choose Visible On the Map.
| | 03:20 |
That will then clean this up so to speak,
and then I can navigate to those images.
| | 03:25 |
Now for some of us, this is
a bit of a paradigm shift.
| | 03:28 |
In other words, this is a different way
of thinking about how we organize images.
| | 03:33 |
Now this will have different uses.
| | 03:35 |
Let's say, for example, that we capture this
image here and it shows my GPS coordinates.
| | 03:40 |
Well, what I could do is click on the
arrow icon, which would then go to that
| | 03:44 |
location and remind me of that spot, and
then I could capture other images there,
| | 03:49 |
which were like this, or perhaps it's
a client that needs a photograph of a
| | 03:53 |
particular area, or maybe you're a
landscape photographer and you really want to
| | 03:57 |
know where that landscape
photograph was captured.
| | 04:00 |
So again, it gives us this whole new
and interesting layer; whole new way of
| | 04:04 |
organizing our photographs.
| | 04:06 |
Well, so far, we've looked at how we can
add images by simply clicking and dragging.
| | 04:12 |
Well, there is other ways that we can
work with the Map module that have to do
| | 04:16 |
with actually saving locations.
| | 04:18 |
Well, let's take a look at how we can
save locations and add images to those
| | 04:22 |
saved locations in the next movie.
| | 04:25 |
| | Collapse this transcript |
| Creating saved locations| 00:00 |
Here I am going to continue to
explore how we can work with the Map module.
| | 00:04 |
Yet first before we get to the Map
module, I want to look at a creative
| | 00:07 |
technique that you can use for
selecting images, and then once we get to the
| | 00:11 |
Map module, we're going to explore how
we can save locations, locations that
| | 00:16 |
perhaps we shoot out quite frequently,
so we can save them and then add images
| | 00:21 |
to those locations.
| | 00:23 |
For starters, the Library module.
| | 00:25 |
In the Library module, we
have a whole slew of images.
| | 00:29 |
Let's say that I want to make a
selection of a couple of folders of images.
| | 00:33 |
What you could do is click on the Costa
Rica folder, hold down the Command key
| | 00:38 |
on a Mac, Ctrl key on a Windows,
and then click on those images.
| | 00:41 |
They're now highlighted.
| | 00:42 |
You can see them in the filmstrip below.
| | 00:45 |
Then you could hold down that same
key--Command on Mac, Ctrl on Windows, and
| | 00:49 |
click on another folder.
| | 00:50 |
In this case, I click on this folder Jared.
| | 00:54 |
These are pictures which were captured
in the Brooklyn Bridge in New York City.
| | 00:58 |
Hold down the Command key on a Mac, Ctrl
key on Windows, and target or click on those.
| | 01:03 |
In other words, make a selection of
images. Now it doesn't really matter if
| | 01:07 |
you're working with multiple folders or not.
| | 01:09 |
I simply want to highlight this
whole idea that you don't have to use
| | 01:12 |
collections if you don't want to.
| | 01:14 |
You can simply just select photographs here,
either from a main folder or from subfolders.
| | 01:20 |
Well. now onto the good stuff.
| | 01:22 |
Let's click on the Module Picker for
the Map module, and next what I want to do
| | 01:27 |
is just click off my images.
| | 01:28 |
I don't need these highlighted
to do what I am going to do next.
| | 01:31 |
I have a few images that were
captured by Flamingo Beach in Costa Rica.
| | 01:35 |
So I am going to do a search for
that; see what that comes up with.
| | 01:40 |
I'll zoom out a little bit because it
wasn't exactly Flamingo Beach. It's a
| | 01:43 |
little bit north of there in this beach
that isn't quite marked, Right there, perfect.
| | 01:48 |
Well, I want to add a location because this
is one of my favorite spots in the world.
| | 01:53 |
I am going to click on my Saved
Location panel over here and click on the plus
| | 01:58 |
(+) icon, and then I am
going to name this Guanacaste.
| | 02:00 |
Here I am going to make
this radius much smaller.
| | 02:04 |
You can see that down there.
| | 02:07 |
You can see it's giving me that radius.
| | 02:09 |
It's just that little cove
right there, and then click Create.
| | 02:13 |
Well, now you can see I have a couple of icons.
| | 02:15 |
I can change where this is located.
| | 02:17 |
I can also decrease or increase
the size of this saved location.
| | 02:22 |
Well, now I want to add a few images to
that, and this picture with captured in
| | 02:26 |
this side of the cove, this one on
the other side, and now in this saved
| | 02:30 |
location, I have two photographs.
| | 02:33 |
And that's kind of nice, right, because
if ever I leave this and go to another
| | 02:37 |
location, I can always
jump back here really quickly.
| | 02:41 |
Let me show you what I mean.
| | 02:42 |
Let's jump to New York City.
| | 02:44 |
We'll do another search for the Brooklyn
Bridge. See how this does for us. There it is.
| | 02:51 |
And I am going to create
a location for this one.
| | 02:54 |
Well, this is the Brooklyn Bridge, click Create.
| | 02:59 |
Now that's much too big; I want
something which just covers the bridge there, so
| | 03:03 |
I am going to reposition that, and you
can see how I am getting pretty precise
| | 03:07 |
control, so I can have it right on the
bridge, and I'll zoom in, so I can get
| | 03:12 |
specific spots here.
| | 03:14 |
This photograph I know is captured
right there on this side of the bridge;
| | 03:18 |
this one was actually the opposite; as was
this one, it was a little bit closer to here.
| | 03:24 |
So now I have these three
images inside of this saved location.
| | 03:29 |
Now if I want to jump from New York
City to the Costa Rica, all I need to do is
| | 03:34 |
to click on that Saved Location and
I'll go ahead and click on the arrow icon
| | 03:38 |
and it's going to jump me to that location.
| | 03:40 |
Going back to, say, this Brooklyn spot,
I can click on the arrow icon there, and
| | 03:45 |
here I am back, the Brooklyn Bridge.
| | 03:47 |
Now what's interesting about this is
it's really dynamic. In other words, we
| | 03:52 |
can click on these little icons to view
the images, some metadata as well, which
| | 03:56 |
is kind of helpful.
| | 03:57 |
We can also click off of them to close that.
| | 04:00 |
We can go back to that location and we
can change this, and if I change this,
| | 04:04 |
make this smaller, so that it's only in
circling one image, you notice it's only
| | 04:10 |
including one in the saved location.
| | 04:13 |
So again, this is pretty dynamic, as
we make changes, it's going to update
| | 04:16 |
those saved locations.
| | 04:18 |
So as you can imagine, this is
going to open up some really interesting
| | 04:21 |
possibilities in regards to where these
photographs were captured and how we're
| | 04:25 |
starting to organize our pictures
based on this type of information.
| | 04:30 |
Now another thing that we can do before
we close things up is we can select an
| | 04:33 |
image, and if we have an image, and
let's say, we're in the Library module, one
| | 04:39 |
of the things that you may notice
is that it has a little tag on it.
| | 04:43 |
This little tag down below if we
click on that, it's going to take us back
| | 04:47 |
to this Map module.
| | 04:48 |
We can also in the Metadata panel, look
at the GPS, and then click on the arrow
| | 04:53 |
icon, and again, that's got to take us
to view these images, which were captured
| | 04:58 |
in this particular area.
| | 05:00 |
There is also filtering.
| | 05:01 |
We can go into our regular filtering
here in the Library module, press the
| | 05:06 |
Backslash (\) key to open up Filtering,
and we can go to Metadata, and from one
| | 05:11 |
of these pulldown menus we can choose
GPS Location, and here you can see the
| | 05:16 |
different locations that we
have with these images at least.
| | 05:20 |
Let's click on all of our photos for a
second and go back to Metadata and there
| | 05:25 |
you can see the locations
that we have, that are saved.
| | 05:28 |
And out of all of these photographs, I
could click on the Brooklyn Bridge and
| | 05:32 |
it's going to show me just those images.
| | 05:35 |
So again, this could be a helpful way to
add some metadata to the photographs in
| | 05:39 |
order to filter or find those images.
| | 05:42 |
It could be something, which is just
fun to do in order to mark certain places
| | 05:46 |
that you've photographed, or it could
just be a really functional way to start to
| | 05:50 |
group or organize your pictures
based on a specific geographic location.
| | 05:55 |
| | Collapse this transcript |
|
|
4. The Develop Module: Image Editing ImprovementsOverview of the new Develop module| 00:00 |
Perhaps one of the most important
aspects of Lightroom is the Develop module,
| | 00:05 |
because it's in the Develop
module where all the magic takes place.
| | 00:09 |
This is where we process our images.
| | 00:11 |
This is where our
photographs really come to life.
| | 00:14 |
And here what we are going to do is
focus in on some of the new features inside
| | 00:18 |
of Lightroom 4 in regards to the Develop module.
| | 00:21 |
Now I want to start off here in the
Develop module and just highlight a few things.
| | 00:25 |
Well, you notice that we have the Basic panel.
| | 00:28 |
Now the Basic panel is a panel
that we spend most of our time in.
| | 00:31 |
This is where the majority of the
adjustments actually take place.
| | 00:35 |
Well, at first glance, you may
notice this looks a little bit different.
| | 00:39 |
We have some sliders, which are in
different places and which are named differently.
| | 00:44 |
Well because of that, what I want to do
is jump to a slide, in order to kind of
| | 00:47 |
reverse engineer or
deconstruct some of these changes.
| | 00:51 |
So I am going to go ahead and open up
a slide, which I think might help us get
| | 00:55 |
familiar with some of these changes, or
some of these new adjustment controls.
| | 00:59 |
Well, here you can see we have
the Basic panel for Lightroom 3.
| | 01:03 |
Up top, we have our White Balance
controls Temperature and Tint, then we have
| | 01:07 |
all of our Tone Sliders
here, and then Presence below.
| | 01:10 |
Well, comparing that to Lightroom 4,
we find something kind of interesting.
| | 01:15 |
Well, our Temperature
controls up here are identical.
| | 01:18 |
The Tone controls though are quite different.
| | 01:21 |
There's different grouping,
different orders, and also a few that sliders
| | 01:25 |
are named differently.
| | 01:27 |
Then below, we have the Presence
controls, which again are the same.
| | 01:31 |
So what's different?
| | 01:32 |
Well, just to highlight a few things,
all of a sudden we have some different
| | 01:36 |
sliders or different controls.
| | 01:38 |
We have one called
Highlights that didn't exist before.
| | 01:41 |
We have one called Shadows, again,
there is nothing called shadows over here,
| | 01:45 |
and another one called Whites.
| | 01:47 |
And if we go back to looking at these
two, you can see that Exposure is in both
| | 01:52 |
Lightroom 3 and 4, but then Contrast,
rather than being at the bottom of this
| | 01:55 |
stack, it moved up to the top.
| | 01:57 |
So we have Exposure and
Contrast to kind of start things off.
| | 02:01 |
And you may remember that one of
the ways you're supposed to go through
| | 02:04 |
Lightroom is from top to bottom.
| | 02:06 |
So they're suggesting we start with
Exposure and Contrast, and then we move into
| | 02:10 |
these other controls down here.
| | 02:12 |
Now these other controls allow us to do
similar things that we've been able to
| | 02:16 |
do before, but perhaps more effectively.
| | 02:20 |
Now, of course, we do kind of figure
out how these controls work, and we are
| | 02:23 |
going to do that in just a minute.
| | 02:25 |
Here is a screen grab of the Lightroom
4 Basic panel again, and what I want to
| | 02:29 |
highlight here is that you'll notice
that all of these controls now start at 0.
| | 02:35 |
And what's so interesting about that
is rather than having them start at a
| | 02:38 |
certain amount, it's all in
this really nice clean view.
| | 02:42 |
And then you may notice
that I have this arrow below.
| | 02:45 |
Where on the left-hand side it's dark
and on the right-hand side it's bright.
| | 02:48 |
In other words, we now have a similar flow.
| | 02:51 |
So if we want to change our Highlights,
we can move them this way to make them
| | 02:55 |
brighter or this way to make them darker.
| | 02:57 |
Well, let's actually start to work with
these sliders so we can see this in action.
| | 03:01 |
I am going to jump back to
Lightroom here and go to the Library module.
| | 03:05 |
And in the Library module, I am going
to click on this file grayscale.jpg.
| | 03:10 |
Now this is just a grayscale that I
created in Photoshop, and then below, I have
| | 03:15 |
written out some of the
different areas of this tone.
| | 03:18 |
It's a grayscale that goes from
bright white all the way to deep black.
| | 03:22 |
Now if ever you want to teach
yourself how something works in Lightroom or
| | 03:25 |
Photoshop, you can create
a grayscale and modify it.
| | 03:28 |
You can really start to reverse
engineer how the controls actually work.
| | 03:33 |
Well, that's what we are going to do here.
| | 03:34 |
Let's now go to the Develop module.
| | 03:36 |
And in the Develop module, we know
that the White Balance and Temperature and
| | 03:40 |
Tint control so far look the same.
| | 03:42 |
So we want to focus in on these Tone controls.
| | 03:45 |
Well, before we make any adjustment,
you'll notice that on the bottom right-hand
| | 03:48 |
corner there is an Exclamation Point (!).
| | 03:51 |
Now if you have upgraded from a
previous version of Lightroom, you're familiar
| | 03:54 |
with this, because each time Lightroom
has been released, they also release a
| | 03:59 |
new way to process the images.
| | 04:01 |
And so what you can do is click on
this little icon here and it will ask you,
| | 04:05 |
"Hey, do you want to update this
particular photograph, because new processing
| | 04:09 |
technology is available for this image."
| | 04:12 |
If you want to take advantage of that
technology, click Update. All right!
| | 04:15 |
Well, back to these Tone controls.
| | 04:18 |
Let's take a look at the sliders.
| | 04:19 |
Well, Exposure, well that's going to
work as we have seen it work before.
| | 04:23 |
It's going to either brighten or
darken really the entirety of the image.
| | 04:26 |
You can see how it's affecting the
brightest Whites and the deepest Blacks.
| | 04:29 |
To reset that, double-click and
everything goes back to normal.
| | 04:33 |
Contrast, we've seen this before.
We drag it up, we have more contrast;
| | 04:37 |
we drag it down, we have less.
| | 04:39 |
As we move to the right, we always have
more of something, to the left we have less.
| | 04:44 |
Double-click that slider,
it goes back to normal.
| | 04:46 |
Now onto these new controls,
the first one is Highlights.
| | 04:50 |
Now Highlights is incredibly powerful.
| | 04:53 |
If I go ahead and drag this to the
right, what you are going to see is it's
| | 04:56 |
going to increase the
bright area in my Highlights.
| | 04:58 |
It's going to add more
brightness to those tones.
| | 05:01 |
Drag it to the left, and
it's going to darken those.
| | 05:04 |
This works similar to recovery
but perhaps a little bit stronger.
| | 05:07 |
So if I have some Highlights over here
that are blown out or I don't have any
| | 05:12 |
detail, I can bring those
back or I can recover those.
| | 05:15 |
In order to see that, we can
click on this triangle here.
| | 05:18 |
This triangle gives us an indicator
of our Whites where we've lost detail.
| | 05:22 |
We don't have any detail there.
| | 05:23 |
Well, if I drag this Highlight slider
to the left, what you are going to see is
| | 05:27 |
it's going to bring detail back into
these areas, or in other words, it's going
| | 05:31 |
to darken those highlight tones.
| | 05:33 |
And again, you can see how I can bring
this up or down and you can see how we
| | 05:37 |
can work with the Highlights.
| | 05:39 |
So the Highlights really focuses in
on those brighter tones in our image.
| | 05:43 |
Okay, well, let me turn off this
clipping indicator so we can go to Shadows.
| | 05:47 |
Well, Shadows, as you'd expect if I
go to the left, it's going to make
| | 05:51 |
those shadows darker;
| | 05:52 |
if I go to the right, it's going
to make those shadows brighter.
| | 05:55 |
So in a sense, this works a
little bit like Fill Light.
| | 05:58 |
And what Fill Light did is it brought
some light as if we had a reflector or a
| | 06:01 |
Fill Light filling in
some of the deeper shadows.
| | 06:04 |
Well, this works in a similar way but
there were some artifact and some problems
| | 06:08 |
in Lightroom 3--those have been
perfected or improved here with this control.
| | 06:12 |
Now what about Whites?
| | 06:14 |
Whites is a little bit like brightness.
| | 06:16 |
You can see has a broader reach than highlights.
| | 06:19 |
So you can see how I can kind of
brighten up more of the histogram there or more
| | 06:23 |
of this grayscale, and also, darken more,
depending on which way I want to go.
| | 06:28 |
And then we have Blacks down below.
| | 06:30 |
And again, Blacks you are going to see,
darken up the darker tones or brighten
| | 06:34 |
up those more there.
| | 06:36 |
So you can kind of think
of this as different levels.
| | 06:39 |
So you have Highlights and Shadows,
which are a little bit more focus.
| | 06:42 |
They are little bit more narrow in
their reach and then Whites and Blacks,
| | 06:46 |
similar type of controls but a bit
more broad, give you a little bit more
| | 06:50 |
flexibility, a little bit more
strength when making adjustments.
| | 06:54 |
So it's really all about what
type of adjustments you want to make.
| | 06:58 |
So far this may seem a little bit
bland because we are just deconstructing
| | 07:03 |
sliders and we are looking at a grayscale image.
| | 07:06 |
What we really need to see is how does
this actually work, and how does this new
| | 07:11 |
process version actually affect our
images, and ultimately, the question is, can
| | 07:16 |
it help us make our images look better?
| | 07:18 |
Well, let's find out, in the next few movies.
| | 07:21 |
| | Collapse this transcript |
| Using the Develop module's basic controls| 00:00 |
Now that we have spent a few minutes
talking a little bit about some of the new
| | 00:03 |
controls inside of the Develop module,
in particular, in the Basic panel, let's
| | 00:08 |
explore how we can use those
controls in order to improve our images.
| | 00:13 |
Well, if you have watched any of my
previous Lightroom training courses, you may
| | 00:17 |
remember this image.
| | 00:18 |
And this is an image that I typically
would use in order to talk about how you
| | 00:22 |
can recover highlights, because what
would happen is, I would open this image
| | 00:26 |
up in Lightroom, Lightroom 2 or
Lightroom 3, and then I would turn on the
| | 00:30 |
clipping indicator, and it would show
that I would have clipping in the front
| | 00:34 |
area of this truck.
| | 00:35 |
Well, something, kind of amazing,
has happened here in Lightroom 4.
| | 00:40 |
There isn't hardly any clipping at all.
| | 00:42 |
And that has to do with
the latest Process version.
| | 00:45 |
Now by default, this
Process version will be turned on.
| | 00:48 |
And what this has to do with is that
there's this new kind of powerful content
| | 00:52 |
over shadow and highlight controls,
which actually extracts a wider dynamic range
| | 00:58 |
from a single capture in an image.
| | 01:00 |
In other words, they're taking the raw
data from our photographs, and they are
| | 01:04 |
able to bring more out of that.
| | 01:06 |
Let me show you what I mean.
| | 01:07 |
So I am going to go ahead and zoom in a
little bit here so we can see this image.
| | 01:11 |
And I am going to take this back
to the previous Process version.
| | 01:14 |
So this would be Lightroom 3 here.
| | 01:16 |
Now when I do that, you see all of a
sudden, I have all of this clipping here in
| | 01:20 |
the front of the vehicle.
| | 01:21 |
Well, when I update this to Lightroom 4,
all of a sudden all of that is gone.
| | 01:26 |
In other words, we are starting two or three
steps ahead of the game even before we
| | 01:31 |
move any slider, which is absolutely amazing.
| | 01:34 |
It's really exciting.
| | 01:35 |
Now that we know that we have more
dynamic range there, let's go to an image and
| | 01:40 |
I am going to select this
photograph here, rincon surfer.
| | 01:43 |
Now previously, to modify this image in
the way that I am going to modify it, it
| | 01:47 |
took all of these elaborate steps.
| | 01:50 |
Let's take a look at how I can improve
his image here with some really simple
| | 01:53 |
steps using these basic controls.
| | 01:55 |
Well, we've seen that the Exposure
slider, we know about that, we can increase
| | 01:59 |
the Exposure, but keep in mind that
it's able to tap into more of that raw data
| | 02:05 |
as I am making these controls,
a little bit of contrast.
| | 02:08 |
Now my Highlights, remember if I
drag to the right, they become brighter;
| | 02:11 |
if I drag to the left, they become darker.
| | 02:14 |
Highlights in this image, we are
talking about the sky in the ocean there.
| | 02:17 |
So I am going to drag it to the right
and we can see it's brighter; drag it to
| | 02:20 |
left and now it becomes much darker.
| | 02:22 |
So I am able to really
target that area of the image.
| | 02:26 |
Okay, well, I still have
some shadow problems, right.
| | 02:28 |
If I want to brighten those up,
which way do I go, right or left?
| | 02:31 |
Well to the right, brighten shadows;
| | 02:34 |
to the left, darkens them.
| | 02:36 |
Notice as I brighten these
shadows, this is pretty dramatic.
| | 02:39 |
There's a pretty significant change here.
| | 02:42 |
Let me show you the before and after.
| | 02:43 |
Here's before, here's after.
| | 02:45 |
It's able to do this without generating
a lot of the artifacts or the noise that
| | 02:50 |
we saw in the previous version of Lightroom.
| | 02:52 |
So again, it's creating
just a much stronger image.
| | 02:55 |
Now Whites, what does this have to do with?
| | 02:57 |
Remember, if I drag this to the
right, it's that overall brightening;
| | 03:00 |
or drag it to left, it's the overall
darkening, but it's not as strong say as Exposure.
| | 03:05 |
So it's a little bit more subtle there.
| | 03:07 |
And then I have some Blacks control over here.
| | 03:10 |
I am going to go ahead and drag these.
| | 03:12 |
Let's see one way or another, and
then I might just warm these up adding a
| | 03:15 |
little bit of warmth there, just a
touch, and then bring my Highlights down a
| | 03:19 |
little bit, make sure I don't have any
clipping there in the sky, and I think
| | 03:23 |
that looks pretty good.
| | 03:24 |
Well, let's take a look at the before and after.
| | 03:27 |
Here's before, and then here's after.
| | 03:30 |
Well, that's our first look at how we can
improve our photographs using these new
| | 03:35 |
controls inside of the Develop module.
| | 03:38 |
| | Collapse this transcript |
| Working with clarity| 00:00 |
Here I want to take a look at
another image example and how we can easy
| | 00:04 |
these sliders in the Basic panel in the
Develop module in order to improve our photograph.
| | 00:09 |
Well, here is an image that
I captured in New York City.
| | 00:13 |
What I want to do is try to
process this image in a creative way.
| | 00:16 |
Well, we've seen how we can use
Exposure to increase the Exposure a little bit,
| | 00:20 |
Highlights that's going to
darken or brighten those highlights.
| | 00:23 |
Now whenever you're working with
Highlights, it's a good idea to turn on
| | 00:26 |
that clipping indicator.
| | 00:27 |
You can do so by pressing the J key and that
will then show you if you have any clippings.
| | 00:32 |
So we can then try to reduce the
clipping there so we have decent detail in the
| | 00:36 |
background, so that this
image can be reproduced.
| | 00:38 |
Press the J key again, you can
turn those clipping indicators off.
| | 00:42 |
Well moving along, we know about
Shadows, we can brighten up the shadows a
| | 00:46 |
little bit, Whites overall brightness,
and then Blacks we can control the
| | 00:49 |
density of those deep blacks.
| | 00:51 |
Well, what about clarity?
| | 00:53 |
This particular control has
been completely overhauled.
| | 00:57 |
Previously what happened is that as you
increase clarity and as you increased it
| | 01:01 |
significantly, all of a sudden, you
had these strange artifacts and halos.
| | 01:06 |
Well now, if I take this all the way
up to +100, while it doesn't look like a
| | 01:12 |
natural image, you can see that for the
most part, the image has a pretty good look.
| | 01:17 |
Now we could go back, of course, and
works there on Shadows or Contrast and we
| | 01:21 |
could try to dial this in to
create some sort of a creative look.
| | 01:25 |
And what this is starting to appear like is a
little bit more like an HDR or a FOH HDR image.
| | 01:32 |
And what you are going to start to
discover is that you can come up with
| | 01:35 |
these HDR type of aesthetics or
looks by using these controls while just
| | 01:40 |
using one single image.
| | 01:42 |
Of course, this is going to take some
tinkering with and figuring out how far to
| | 01:45 |
push things and how to work with your
color and tone as you make all of these
| | 01:49 |
adjustments, just kind of modify your
controls until you get something that you
| | 01:53 |
think is interesting.
| | 01:54 |
Now on top of this, we can always work
on our overall color, but we can create
| | 01:58 |
a distinct aesthetic, like I've done here
without a lot of effort, and that is pretty powerful.
| | 02:05 |
Let's look at the before and after.
| | 02:06 |
Here we have it before and then now after.
| | 02:10 |
So the Clarity slider is definitely
one of those controls you are going to
| | 02:13 |
want to experiment with.
| | 02:14 |
In all of my previous courses, I said
when working with Clarity, be sure not
| | 02:19 |
to go too far with it.
| | 02:20 |
Well now here, you can see that we can
get away with much more of this control,
| | 02:24 |
and in some ways, it can help us come
up with some pretty creative ways to
| | 02:28 |
process our photographs.
| | 02:30 |
| | Collapse this transcript |
| Making RGB tone curve adjustments| 00:00 |
One of the common complaints of those
who use the previous versions of Lightroom
| | 00:05 |
was that they wanted some more precise
control over working with color and tone.
| | 00:10 |
You see a lot of these users were used
to working with Curves in Photoshop where
| | 00:14 |
they could target specific tones or
colors and make adjustments to either
| | 00:18 |
correct or enhance their images.
| | 00:20 |
Well, new to Lightroom 4 is just that ability.
| | 00:23 |
What I want to do here is jump to a
slide just to highlight this new improvement,
| | 00:28 |
and then talk about how we can
work with this inside of Lightroom.
| | 00:31 |
Well here, you can see the Tone Curve
panel which is located in the Develop
| | 00:35 |
,module inside of Lightroom 3.
| | 00:36 |
Now if we compare this to Lightroom 4,
what you'll notice is there is one
| | 00:41 |
significant difference.
| | 00:42 |
We now have the ability to
target different channels.
| | 00:45 |
Let's go ahead and take a look at how we can
work with this inside of Lightroom. All right!
| | 00:49 |
We are now back in Lightroom. Let's go
ahead and navigate down to the Tone Curve panel.
| | 00:54 |
In the Tone Curve panel, for starters,
we see this as the parametric curve.
| | 00:59 |
We can make adjustments here.
| | 01:00 |
But if we click on the icon, in the
bottom right-hand corner, we can change
| | 01:04 |
this to the Point Curve.
| | 01:05 |
Now the Point Curve, we can either make
adjustments in the composite RGB channel,
| | 01:10 |
or we can go to the different
channels like the Red channel.
| | 01:14 |
Now what we know from Photoshop and
Curves is that if we click and drag up,
| | 01:18 |
the image becomes more red; click and
drag down, it becomes more cyan, and the
| | 01:23 |
same thing is true here.
| | 01:24 |
We also learned that we could add a
color in the upper part of the Histogram up
| | 01:29 |
here in the brighter tones, and then
add another or different color in the
| | 01:33 |
darker tones down here.
| | 01:34 |
So the darker tones have become
cyan, the brighter have become red.
| | 01:39 |
You can add a lot of different points
here and you can see you can make some
| | 01:42 |
really drastic adjustments.
| | 01:44 |
To remove those points, simply
click and drag them off. All right!
| | 01:48 |
Well, for starters, I just want to
kind of deconstruct how this works.
| | 01:51 |
Let's go to another channel, the Green channel.
| | 01:53 |
We now click and drag up, it becomes green;
| | 01:56 |
click and drag down, it becomes magenta.
| | 01:58 |
Well, let's say that what we want to do
is make an adjustment on our image but we
| | 02:02 |
want to have precise control over the tonality.
| | 02:05 |
So in other words, we want the
shadows to become a bit more green.
| | 02:08 |
Well, you can use the Target Adjustment
tool, move over something that's dark in
| | 02:13 |
the image like the shadows, you will
notice the point over here is down in the
| | 02:17 |
lower region, and then we can
simply click and drag one way or another.
| | 02:21 |
Now, of course, this is going to
affect the entire image, right, because the
| | 02:25 |
curve starts here and it reaches up to the top.
| | 02:27 |
Well, if you want to protect tones up
above, simply flatten this out, so that
| | 02:32 |
now the primary adjustment is just in
the lower region, in these lower tones
| | 02:37 |
down here--those are now
affected in this dramatic way.
| | 02:40 |
Now I will make this adjustment a little
bit more pronounced so you can see that.
| | 02:44 |
And again, I haven't enhanced the
image up, but I am trying to show you how
| | 02:47 |
this actually works.
| | 02:49 |
Okay well, let's drag off all these
points, and what you can see here is
| | 02:52 |
that you can use this in order to
make corrections or just creative
| | 02:56 |
enhancement to your photograph.
| | 02:58 |
And let's say that with this picture,
what I want to do is I want to add a
| | 03:01 |
little bit of a vintage feel.
| | 03:03 |
I want to do some creative
color work on this picture.
| | 03:06 |
Well, let's start off in the Basic panel.
| | 03:09 |
In the Basic panel, one of the
things I am going to do is desaturate this
| | 03:12 |
photo, and then I might modify the
overall color and tone here, just making
| | 03:17 |
some subtle little adjustments.
| | 03:19 |
Next, in order to change the color,
in the previous versions, I could use
| | 03:24 |
Temperature and Tint, or I could go
down to the HSL panel or Split Toning.
| | 03:31 |
Well, now we can also make color
adjustments in the Tone Curve.
| | 03:35 |
Here I will start off in the Red channel.
| | 03:37 |
In the Red channel, I am just going
to add a little bit of red here, just a
| | 03:40 |
subtle adjustment, and then we will
go to the Blue or Blue/Yellow channel.
| | 03:45 |
Up goes blue down goes yellow, and I
will click and drag this down to add a
| | 03:49 |
little bit of yellow.
| | 03:50 |
Now this is a subtle color tweak but let's
look at the before and after. Here it is.
| | 03:55 |
Here is before and then here is after.
| | 03:57 |
So you can see that I have this control
in order to make these type of adjustments.
| | 04:01 |
I will make it a little bit more
dramatic just so you can see it a little bit
| | 04:04 |
more clearly, and I will go into some
of my other channels, just modifying this
| | 04:09 |
a little bit more, and again, I am
just doing this so that it's a little bit
| | 04:13 |
more of a dramatic change there, making
some adjustments, just so that for this
| | 04:19 |
movie you can see those, Backslash
(\) key, here is that before, press the
| | 04:23 |
Backslash (\) key again,
it takes me to my after.
| | 04:27 |
Now one last thing I want to do here is
if we go back to the Basic panel, what
| | 04:31 |
would happen if we desaturate this completely?
| | 04:34 |
Well, if I did that, I would then only
see the color that was coming in by way
| | 04:39 |
of the Tone Curve, and in this
case, it's kind of a sepia toning.
| | 04:42 |
Well, I could go in and further modify that.
| | 04:45 |
Let's say, it's a little bit too
magenta and a little bit too red there, well,
| | 04:48 |
I could go in and tweak that out and
come up with a really nice looking sepia
| | 04:53 |
tone type of look here.
| | 04:55 |
Now I could always go back and bring in
a little bit of the original color, so
| | 04:59 |
I have a little bit more of this kind of
creative almost vintage toning aesthetic here.
| | 05:04 |
All right!
| | 05:05 |
So as you can see, you can use the
Tone Curve to make corrections to the
| | 05:09 |
areas of your images where you have
problems or you can also use the Tone
| | 05:13 |
Curve in order to make creative
enhancements, in order to improve the overall
| | 05:17 |
impact of your photographs.
| | 05:19 |
| | Collapse this transcript |
| Overview of the Adjustment Brush improvements| 00:00 |
In the next couple of movies, I want to
highlight a few new features that you're
| | 00:04 |
going to be find in two new tools
which are located in the Tool Strip, in
| | 00:08 |
particular, the Graduated
Filter and the Adjustment Brush.
| | 00:12 |
Well, let's start off with the Adjustment Brush.
| | 00:15 |
We click on this icon here in the Tool Strip;
| | 00:17 |
it opens up a set of different controls.
| | 00:20 |
Now the way that we typically use this
tool is we paint in an adjustment to a
| | 00:25 |
particular area in an image.
| | 00:27 |
So let's say that I want to zoom in
here and I want to increase the Exposure or
| | 00:32 |
the brightness in this area of the photograph.
| | 00:34 |
I simply paint. I am just going to try
to brighten up some of these shadows here
| | 00:38 |
around the eyes, and then I could also
dial in let's say some sharpness here, and
| | 00:43 |
then to see the before and
after, we'll flip the switch.
| | 00:46 |
Here we have it before and then now after.
| | 00:49 |
So it allows us to paint in specific
adjustments to really specific areas.
| | 00:55 |
Well, let's deconstruct what are some
of the new features that we'll find in
| | 00:58 |
this tool and also the Graduated Filter.
| | 01:01 |
In order to do that, I am
going to jump to a slide here.
| | 01:03 |
Here you can see we have the Adjustment
Brush and all of the different settings
| | 01:07 |
for that brush in Lightroom 3.
| | 01:09 |
Well, how does this compare to Lightroom 4?
| | 01:12 |
Well, for starters, you'll notice that we
have a number of added sliders or controls.
| | 01:18 |
Well, what are the differences?
| | 01:20 |
Well, the differences are exposure. We
can choose different Exposure settings,
| | 01:24 |
and also, Temperature and Tint color controls.
| | 01:27 |
This is really helpful when you have
mixed lighting scenarios or when you need
| | 01:31 |
to color correct a specific part of an image.
| | 01:34 |
We also have these controls we've seen
before in the Develop module in the Basic panel.
| | 01:39 |
Highlights, that's kind of like
recovery in the previous version of Lightroom.
| | 01:43 |
We can either brighten or darken
the bright areas of our photograph.
| | 01:48 |
Now Shadows, this is a
little bit like Fill Light.
| | 01:50 |
We can brighten up some of
those shadows or darken them down.
| | 01:54 |
And then we have some new controls, which
allow us to work with noise and Moire pattern.
| | 01:59 |
Now we've seen sharpness before, but it
works a little bit better here, and what
| | 02:04 |
Noise does for us is allows us to
either remove or add a little bit a noise
| | 02:08 |
based on what we need to do.
| | 02:10 |
Well, what's Moire pattern all about?
| | 02:12 |
Well, if you ever taken a photograph,
say with studio lights, and sometimes
| | 02:16 |
you'll see in someone's garment
there will be this strange pattern--it happens
| | 02:19 |
in digital capture.
| | 02:20 |
Well, here we can then paint away that
pattern and fix that problem really easily.
| | 02:26 |
Well, let's take a look at this by going
back to Lightroom, and let's deconstruct
| | 02:31 |
this to a little bit further
by first working on a demo file.
| | 02:36 |
Here I have a demo file. I'll go ahead
and zoom in on that a little bit, and you
| | 02:40 |
can see it's just a grayscale circle
and a grayscale down below that I've
| | 02:44 |
created in Photoshop.
| | 02:46 |
Well, if we go to the Develop module and
if we select the Adjustment Brush, what
| | 02:52 |
we can do is dial in, let's say,
increase the Exposure, and then just make a
| | 02:56 |
strong brush stroke here.
| | 02:57 |
So I am just going to paint
across this area of the photograph.
| | 03:01 |
Currently, you can see I am
simply increasing the Exposure.
| | 03:04 |
We've had exposure before so let's
reset that by double-clicking it.
| | 03:08 |
Well, what about these
Temperature and Tint controls?
| | 03:11 |
Well, here you can see I can change
the color in that area; in this case it's
| | 03:15 |
more warm or more cool.
| | 03:18 |
We can also do the same thing here,
more magenta or more green, fascinating.
| | 03:23 |
We can do contrast we've seen before,
whites whiter, blacks blacker, or less
| | 03:28 |
contrast, more even tonality.
| | 03:31 |
Now what about Highlights;
| | 03:32 |
this is one of the new controls.
| | 03:34 |
Well, you can see the highlights up
here; if I go ahead and click and drag to
| | 03:38 |
the right, those highlights become brighter;
| | 03:40 |
click and drag to the left, I can
actually darken up those highlights.
| | 03:44 |
So again, this can be really
helpful for when you have overexposure.
| | 03:49 |
You just need to paint down one of the
highlights; you can use that control.
| | 03:53 |
Shadows, well that's going to work
on those shadows, you can see either
| | 03:56 |
brightening or darkening, and
then we have controls like Clarity.
| | 04:00 |
Remember, clarity stronger, it introduces
less artifacts, less haloing, so that's
| | 04:05 |
going to work a little bit better.
| | 04:07 |
Saturation, that's obvious more or less
color, and then we go down to Sharpness.
| | 04:12 |
Again this is straightforward more
sharpening or less sharpening, but Noise is
| | 04:16 |
kind of interesting.
| | 04:17 |
So for Noise, I want to
zoom in even further here.
| | 04:20 |
Let's go ahead and zoom in perhaps to
something along these lines. Let's move
| | 04:25 |
over to where we can see where we painted there.
| | 04:28 |
Well, the Sharpness, we're going to see
everything becomes really sharp or not,
| | 04:33 |
and it's drastic, it's dramatic.
| | 04:35 |
We can go pretty far with that.
| | 04:37 |
Noise, we can either remove the noise,
you can see I was trying to remove that
| | 04:41 |
noise pattern there, or we can bring
some of that noise back, and then Moire
| | 04:47 |
pattern works the same.
| | 04:49 |
In other words, removing more of
it or having more of it present.
| | 04:52 |
Well, now that we have kind of
introduced this tool so to speak and
| | 04:56 |
deconstructed some of the settings and
pointed out some of the new controls,
| | 05:00 |
let's take a look at how these
controls work on an image or two, and let's do
| | 05:04 |
that in the next movie.
| | 05:06 |
| | Collapse this transcript |
| Using the Adjustment Brush and Graduated Filter tools| 00:00 |
Well, after having been introduced to
some of our new sliders in controls, it's
| | 00:04 |
time to apply what we know to a few
different photographs, and here we're going
| | 00:08 |
to work with the Adjustment
Brush and also the Graduated Filter.
| | 00:12 |
Now before I begin, I want to point out
that if we select the Adjustment Brush,
| | 00:15 |
you'll notice we have
these different controls here.
| | 00:17 |
Well, compare those to the
Graduated Filter. They're identical, right.
| | 00:21 |
So we have the same type
of settings or controls.
| | 00:24 |
Let's start off with the Adjustment Brush.
| | 00:26 |
Well, one of things that I notice with
this image is that there's a strange kind
| | 00:30 |
of color issue happening up
here in the top of the photograph.
| | 00:33 |
It's almost like a little bit
of a red and blue in that area.
| | 00:37 |
So I want to paint that color problem away.
| | 00:39 |
So what I am going to do is go
ahead and choose to increase the
| | 00:43 |
Temperature Tint here.
| | 00:45 |
I am going to change the
Temperature and Tint, I should say.
| | 00:48 |
I am also going to add a little bit
of a color, and I'll go ahead and choose
| | 00:52 |
perhaps a nice yellow color there.
| | 00:54 |
Then I am just going to start to paint,
and as I paint over this, I am painting
| | 00:57 |
in a relatively low flow, and so I can go
back and forth and paint over this area
| | 01:02 |
back and forth, kind of building this effect up.
| | 01:04 |
Now what's nice about using this type
of a tool is if ever I need more color
| | 01:09 |
in there, I can always bring that up,
and you can see them bringing up more
| | 01:13 |
yellow into this area.
| | 01:15 |
I can also go to that color chip
where I added a bit of yellow, and I can
| | 01:18 |
increase that yellow there, in order to
change that color as well, and let's just
| | 01:23 |
paint around here a little bit to try
to improve this area of the photograph.
| | 01:27 |
I am going to go into that color chip
and bring up a little bit more of a yellow
| | 01:32 |
hue, might be nice to have
painted into that area. All right!
| | 01:36 |
Well, that looks pretty decent.
| | 01:38 |
It's not amazing, but it's a pretty good
quick little simple color correction on
| | 01:43 |
that area of the hair.
| | 01:44 |
I am just going to paint pass the
problem area to kind of create a little bit
| | 01:47 |
more of a uniform look, and
let's evaluate how we did it.
| | 01:51 |
To do that, I'll go down to the flip switch.
| | 01:53 |
Here we have it, before, there is a
blue and then after, and if I zoom in a
| | 01:58 |
little bit on that, there we go.
| | 02:02 |
And now look at the flip switch;
| | 02:03 |
here is that before, you can see all
of the blue coloring up there, and then,
| | 02:07 |
the after, again gives us precise
control over this part of the image.
| | 02:11 |
Well, let's see how we can work with
something similar, but this time using
| | 02:15 |
another tool, the Graduated Filter.
| | 02:18 |
To use that tool, I am
going to go to another image.
| | 02:20 |
I am going to start off with this one
here, actually just work on this one here.
| | 02:25 |
It's an image that I captured at
sunrise recently, and I like the color and
| | 02:29 |
tone on the bottom half of the image, but I
would just wish I had more blue in the sky.
| | 02:33 |
Well, the Graduated Filter is great
for adding a large area of adjustment.
| | 02:39 |
So here, I am going to go ahead and
increase the blue temperature, and then
| | 02:44 |
click and drag across the photographs,
and you can see how I am adding that
| | 02:48 |
color up top, and I am dragging down
until I have a nice meeting point.
| | 02:52 |
And I can modify this color after the
fact if I've gone too far or if I want to
| | 02:56 |
add a little bit of a tint to it,
perhaps a little bit of that magenta color,
| | 03:02 |
blend those two together nicely, and
then we can see that before and then the
| | 03:07 |
after, just adding some hue up
there in the top part of the image.
| | 03:11 |
Now keep in mind, I am only
highlighting a few of the controls, in this case
| | 03:15 |
Temperature and Tint and then
previously also this color chip.
| | 03:19 |
We also have other controls as well,
Highlight, Shadows, Clarity, Noise, you name it.
| | 03:23 |
So as you can see that these two
tools located in the Tool Strip have new
| | 03:28 |
flexibility, which in turn will
help us make better photographs.
| | 03:32 |
| | Collapse this transcript |
| Fixing chromatic abberation and white balance issues| 00:00 |
Here I want to highlight two
new features in the Lightroom 4.
| | 00:03 |
One of them has to do with
working with chromatic aberrations;
| | 00:06 |
the other one has to do with white balance.
| | 00:09 |
Now let's start off with
the chromatic aberrations.
| | 00:12 |
In the previous versions of
Lightroom, I use this image as a demo file.
| | 00:16 |
What I want to talk about is it when
you shoot with a wide-angle lens, a lot of
| | 00:20 |
times on the edges, you'll
see chromatic aberration.
| | 00:23 |
Now if we zoom in, what we'll
see is that we have this fringing.
| | 00:26 |
There's a red color and then a cyan
color along the edge of these branches.
| | 00:31 |
Well, previously there were
controls or sliders to try to remove this
| | 00:35 |
discoloration or this chromatic aberration.
| | 00:38 |
Well, now all that you have to do
is go to the Lens Corrections panel.
| | 00:43 |
There's a new solution and all that it
requires is to click on this button here,
| | 00:47 |
and voila, it's taken care of.
| | 00:49 |
So there really isn't anything to
teach here, just to highlight that there's
| | 00:53 |
this new feature, and it really makes
this process much more simple and it
| | 00:57 |
gets rid of this fringing in a great way.
| | 00:59 |
Well, let's look at the next new
feature I want to highlight that has to do
| | 01:03 |
with color sampling.
| | 01:04 |
A lot of time what we'll do is shoot
an image perhaps with a color checker
| | 01:08 |
chart, or we'll click on something which is white
in order to make sure we don't have a color cast.
| | 01:13 |
So here if we go to the Basic panel, we
can use the Eyedropper tool, and you can
| | 01:18 |
hover over an area in your image.
| | 01:20 |
In this case, let's say, one of these
little color chips, and if you have a
| | 01:23 |
three-button mouse, you can scroll in
order to change the zoom rate of that
| | 01:28 |
particular area and then click to sample.
| | 01:31 |
The other thing that I want to
highlight here is that what you can also do with
| | 01:34 |
this tool is that now the white
balance sampling is zoom dependent.
| | 01:39 |
In other words, it will change how
it's sampling based on how far you've
| | 01:42 |
zoomed in or zoomed out.
| | 01:45 |
It works more effectively, and it
doesn't matter what your zoom level is when
| | 01:49 |
you're trying to color correct
or white balance your images.
| | 01:52 |
Now if you don't have an image with the
color checker chart like this one here,
| | 01:56 |
you can always use this tool as well
and just hover over something that you
| | 01:59 |
think should be white, and again, by
zooming in or zooming out, you can see that
| | 02:03 |
you can try to get to a real precise
area or balance out an area of your
| | 02:07 |
photograph, and then click on that in
order to color balance it, so that you've
| | 02:11 |
removed that color cast.
| | 02:13 |
Here is the image with a color
cast, and then here is it without that.
| | 02:16 |
Well, that wraps up our
look at those two new features.
| | 02:21 |
| | Collapse this transcript |
| Soft proofing reinvented| 00:00 |
Some of the new features inside of
Lightroom 4 are a bit more exciting or
| | 00:04 |
dramatic, others are a bit more
functional, and sometimes it's those functional
| | 00:09 |
new features which are actually
more helpful over the long haul.
| | 00:13 |
Well, here we're going to focus in on a
couple of new features which are really functional.
| | 00:17 |
They have to do with soft
proofing and also output.
| | 00:20 |
What Soft Proofing does for you is it
allows you to create a soft proof to kind
| | 00:25 |
of simulate how an image might
appear in a different output destination,
| | 00:29 |
whether it's going to be viewed on a
monitor or say you're going to print it on
| | 00:33 |
your own desktop printer.
| | 00:34 |
Well, here I have a photograph and there
are these really neat, bright, vivid colors.
| | 00:40 |
Yet a lot of times what happens is
when you have bright colors like this, it
| | 00:43 |
looks really good on your monitor, and then
you go to print, and it just doesn't turn out.
| | 00:50 |
Well, here we're going to look at how we can
work with Soft Proofing in order to correct that.
| | 00:53 |
Well, one of the things you'll notice
is that down here in the toolbar, you can
| | 00:57 |
turn the Soft Proofing option on by
simply clicking on this icon here, or you can
| | 01:02 |
do so by pressing the S key.
| | 01:05 |
Now if this isn't visible, click on the
triangle icon, and then select it from
| | 01:09 |
this menu so that it shows up in your toolbar.
| | 01:12 |
Well, either way, we're going to notice
some pretty dramatic differences here.
| | 01:16 |
Now let me just scroll up and close
some of these panels, so that we can really
| | 01:19 |
focus in on what's happened.
| | 01:21 |
We see a different color in the
background. We also see a different histogram in
| | 01:25 |
something up here which says Soft Proofing.
| | 01:28 |
Let me show you that again.
| | 01:29 |
I'll press S once for back to our
normal histogram, press S again, and all of a
| | 01:33 |
sudden we have this soft proofing environment.
| | 01:36 |
One of the reasons why the background is
changing is some people argue that it's
| | 01:40 |
better to have your image surrounded
by the color that it will be surrounded
| | 01:45 |
with when it's actually printed.
| | 01:46 |
Well, you can change that by right
or Ctrl+clicking, and you can choose a
| | 01:51 |
different degree of white here and you can
select that or you can choose the Paper white.
| | 01:58 |
One of the things that you want to do when
working with this is create a proof copy.
| | 02:02 |
Now all it is actually is, is a virtual copy.
| | 02:05 |
Let's go ahead and do that.
| | 02:06 |
We'll create a proof copy and you'll
see that I now have a version or a virtual
| | 02:10 |
copy of the image right next door.
| | 02:12 |
Well, now that I have that, I
can go ahead and test this out.
| | 02:16 |
There are two indicators, two new icons
at the top of the soft proof histogram.
| | 02:21 |
If I click on this one, it will show
me the colors that are out of gamut for
| | 02:25 |
display on a monitor.
| | 02:27 |
Turn that off, and let's turn
on the one, say, for printing.
| | 02:31 |
Now again, it's showing me this
highlighted in red that all of these colors are
| | 02:34 |
going to be problematic, and they're
going to be problematic with a certain
| | 02:38 |
profile, in this case, AdobeRGB (1998).
| | 02:39 |
If I choose a different profile, let's
say sRGB, we're going to see a lot more
| | 02:46 |
color is out of gamut, all the
area that's highlighted in red.
| | 02:50 |
We can also choose a specific paper type.
Let's say, I am going to print to this
| | 02:54 |
paper on my Epson 3880.
| | 02:57 |
Here it's simulating my
paper and ink combination.
| | 03:00 |
We turn that off, you notice that paper,
it's just a little bit more dull there
| | 03:04 |
and it's showing me that.
| | 03:06 |
I can also compare this with another
paper type, and you see that the type of
| | 03:10 |
paper determines what color is out of
gamut, because certain papers, well you
| | 03:15 |
know, glossy papers, they can reproduce
a wide range of colors. matte papers or
| | 03:20 |
velvet papers, they can't do that as easily.
| | 03:23 |
We also have two rendering intents, and
we can click between these two to try
| | 03:27 |
to see if there are any differences to
determine which one will work best for our photograph.
| | 03:32 |
And the great thing about this is we
can use a soft proof to show us this area
| | 03:37 |
where there's going to be
some colors that are clipped.
| | 03:39 |
Now we can make some
changes; we can fix those areas.
| | 03:43 |
Well, how could we do that?
| | 03:44 |
There are a lot of different
techniques that you could use.
| | 03:46 |
One technique would be to go to the HSL panel.
| | 03:49 |
Well, here I could go to the Saturation
option, click on the Target Adjustment
| | 03:54 |
tool, and then go ahead
and hover over those colors.
| | 03:57 |
In this case, it's showing me it's
primarily oranges there, and I'll click and
| | 04:00 |
drag down to desaturate that color.
| | 04:03 |
Move up to this area over here,
desaturate some of those tones, and I keep on
| | 04:08 |
doing that, just clicking and
dragging down; do so on the greens as well in
| | 04:13 |
order to get all of these colors in gamut.
| | 04:16 |
Now the advantage of doing this is that
this gives me the chance to kind of see
| | 04:20 |
what my image will look like.
| | 04:22 |
I could then go and make other changes,
say contrast or brightness or whites or
| | 04:27 |
exposure or you name it, and
continually check or evaluate the photograph.
| | 04:32 |
For example, go to the Basic panel.
| | 04:34 |
In the Basic panel, let's say, what I
want to do is I want to increase my whites
| | 04:38 |
a little bit, brighten up the image,
maybe darken those shadows a touch.
| | 04:42 |
You can see that as I make these
changes, it also gives me some clipping
| | 04:46 |
indicators based on the changes that I've made.
| | 04:49 |
So again, if I need to go back and work on
those greens, well we know how to do that, right.
| | 04:54 |
We could go into that HSL area,
and we could fix those areas up.
| | 04:58 |
We could also deal with some
of the other problem areas.
| | 05:00 |
Now what's nice about this is we can
continually check with our different
| | 05:04 |
rendering intents and really just find
the best way to reproduce this image on
| | 05:09 |
this particular printer and
this particular type of paper.
| | 05:12 |
Well, let's look at one more example.
| | 05:15 |
Here I've a photograph of
the musician Jack Johnson.
| | 05:18 |
The Soft Proof is already
turned on, because I left it on.
| | 05:21 |
Now currently, I have this little
indicator which is showing me that I have some
| | 05:26 |
sort of problem area in these bright reds here.
| | 05:29 |
If ever you want to turn that
indicator off, you can either click it or press
| | 05:34 |
the shortcut Shift+S; Shift+S for Soft
Proof. Press that again; it turns it back on.
| | 05:40 |
Well so far, I see that I have a little bit
of problem there in that area of the image.
| | 05:45 |
Well, another way that I could fix
that would be with my Adjustment Brush.
| | 05:49 |
Here I'll select the Adjustment
Brush. I want to choose an option of
| | 05:52 |
desaturating, because that
color is too bright there.
| | 05:56 |
It's asking me as I make that
adjustment, what do I want to do?
| | 06:00 |
Do I want to create a proof copy here?
| | 06:02 |
Yes, indeed, because we don't want to
make that to the original image just the
| | 06:05 |
one we're going to output.
| | 06:07 |
Now I'll go ahead and paint over this area.
| | 06:09 |
I am just going to paint back and forth
here, be sure I am desaturating a little
| | 06:13 |
bit in that painted area, over there in
the greens, a little bit on the zipper,
| | 06:18 |
and that's actually bring that back there.
| | 06:22 |
I am going to just paint on this area,
the zipper there, so I bring back all of
| | 06:26 |
that and a little bit around the eye
a couple little areas that are out of
| | 06:29 |
gamut there as well.
| | 06:31 |
So again, as you can see there are
different ways to make adjustments to correct
| | 06:35 |
your images. Let's say you don't
want to use the Adjustment Brush.
| | 06:39 |
Well, select that point and hit
the Delete key to remove that.
| | 06:42 |
I still have the clipping. What else could I do?
| | 06:44 |
Well, you could also go to your basic
controls and you could use some of these settings.
| | 06:49 |
In this case, perhaps if we
desaturate here, we could remove some of that.
| | 06:53 |
Sometimes lowering the contrast will get
rid of some of those bright colors that
| | 06:58 |
are out of gamut as well.
| | 07:00 |
In this case, I am focusing on
paper, but you could also do this for
| | 07:03 |
monitor settings as well.
| | 07:05 |
Well, now that we are focusing on
paper, I want to highlight one more new
| | 07:09 |
feature inside of Lightroom 4, and
it has to do with output or printing.
| | 07:13 |
If you go to the Print module, one of
the things that you will notice here is
| | 07:16 |
that we have some options.
| | 07:18 |
We have this ability to do our
normal color management as before.
| | 07:22 |
We can choose that Profile, we
can choose the Rendering Intent.
| | 07:26 |
These remind us of the soft
proof we just worked on, right.
| | 07:29 |
Let's go ahead and select new image
here to apply that; perhaps this one looks
| | 07:33 |
good, just that orientation I think looks nice.
| | 07:36 |
And then we have a Print Adjustment.
| | 07:38 |
One of the things that people
complain about a lot with printing, including
| | 07:42 |
myself, is that our prints just came out
too dark, they were lacking a little bit.
| | 07:47 |
The reason that happened is because,
when you calibrate your monitor or if you
| | 07:51 |
don't have a modern which is calibrated,
your images have this rich contrast, a
| | 07:56 |
lot of brightness, and you see that
because of the way a monitor displays color.
| | 08:01 |
Now that's completely different
between the way a printer outputs color.
| | 08:05 |
It creates color via ink,
while a monitor works via light.
| | 08:09 |
Well, a lot of us will calibrate
our monitors to correct for that, but
| | 08:12 |
sometimes a calibration just isn't there enough.
| | 08:15 |
Well, we now have this new adjustment;
| | 08:18 |
it's called the Print Adjustment.
| | 08:19 |
Now one of the things, it's a little bit
tricky with this, is that when you make
| | 08:23 |
changes here, you won't see anything.
| | 08:26 |
In other words, as I change this from
negative 100 to positive 100, I am not
| | 08:31 |
going to see anything.
| | 08:32 |
So what you're going to need to do is
some print testing and one other things
| | 08:36 |
that you'll discover, say, that I
discovered on my own monitor is that
| | 08:40 |
typically for my prints I needed to
increase my brightness just by about 20
| | 08:44 |
points or so as to need to increase
the contrast by close to about 10 points,
| | 08:50 |
and again, that was based on how I
calibrated my monitor, the type of monitor
| | 08:54 |
that I had, etcetera, etcetera.
| | 08:57 |
So what you'll need to do is to run
some print tests with this, in order to get a
| | 09:01 |
feel for how these controls work,
because they won't make any visual adjustment
| | 09:05 |
to the image here, although they will
make an adjustment to the final print,
| | 09:10 |
which comes out of your printer.
| | 09:12 |
| | Collapse this transcript |
|
|
5. Other Noteworthy ImprovementsEmailing photos from within Photoshop Lightroom| 00:00 |
Lightroom 4 now allows us to email
photographs directly from Lightroom.
| | 00:05 |
This is one of those new features which
I think is going to be really popular.
| | 00:09 |
Well, here I have three
photographs that I captured of Isabel Lucas.
| | 00:12 |
Isabel is a famous Australian actress.
| | 00:15 |
And after this shoot I emailed her some photos.
| | 00:19 |
And I did so using this Lightroom
4 beta and it worked really well.
| | 00:22 |
And so I want to go through that
process of how you can set up your own email
| | 00:26 |
account, in order to be able to
email directly from Lightroom.
| | 00:30 |
Well, the first thing that you do is you
can make a selection of one or more images.
| | 00:34 |
In this case, I want to email all three
because I want her to evaluate these photographs.
| | 00:40 |
The next step is to navigate to the File
pulldown menu and then to select Email Photos.
| | 00:45 |
You'll notice there's a shortcut there
on a Mac that Shift+Command+M, on Windows,
| | 00:50 |
Shift+Ctrl+M. This will
then open up this email dialog.
| | 00:55 |
Now before we are able to actually send
these images, what we are going to need
| | 00:58 |
to do is set a few things up.
| | 01:01 |
You notice that this allows me to add an
address who I am sending this email to,
| | 01:05 |
what the subject is, and then also
the message included in the email.
| | 01:09 |
Down below, we can decide to include
the caption metadata if applicable, or we
| | 01:14 |
can choose some of these different
presets, and here you can see the different
| | 01:17 |
presets that we have,
Medium typically works best.
| | 01:21 |
Well, before I can send this, what I
need to do is I need to set up an account.
| | 01:26 |
So I am going to go to the From pulldown
menu and go to the Email Account Manager.
| | 01:30 |
Now once you have set this up once,
you won't need to do this again.
| | 01:34 |
I am going to create a New email
account, and here I am going to go ahead and
| | 01:38 |
just name this one, Chris Orwig - GMAIL.
| | 01:41 |
Now I host my email through Gmail, so
I am going to go ahead and make that
| | 01:45 |
selection, and click OK. And the nice
thing about this is it automatically fills
| | 01:49 |
in this outgoing server settings here for me.
| | 01:52 |
So I don't really need to know
what all of this information is.
| | 01:56 |
Now you can use this for webmail like
Gmail or AOL. You can also use this if
| | 02:02 |
you're using Outlook Express or Mac Mail.
| | 02:04 |
Well, in this case I happen to be
using Gmail, so I will just show that.
| | 02:08 |
Next, I need to enter my email address
here, chris@chrisorwig.com, and I will go
| | 02:13 |
ahead and enter in my password.
| | 02:16 |
Now it's going to save this
password, which will keep things simple.
| | 02:19 |
I am going to click Validate.
| | 02:20 |
Now what it's going to do is communicate
with Gmail and gives me the green light.
| | 02:26 |
This account is now
validated. Next, click Done.
| | 02:29 |
So before I actually send this of
to Isabel, I am going to send it to
| | 02:34 |
myself just as a Test.
| | 02:36 |
I hope you enjoy these photos or
something along those lines. Thanks, Chris O.
| | 02:43 |
And again, the reason why I want to
run a test is just to make sure that
| | 02:47 |
everything is working, especially
with a new feature, especially with
| | 02:50 |
beta software, etcetera.
| | 02:52 |
So here what I am going to do is just
go ahead and send this to myself, and I
| | 02:56 |
want to see how these images appear
in that email at this particular size.
| | 03:00 |
I just want to make sure
everything is good to go.
| | 03:02 |
Well, once I've done that,
I go ahead and click Send.
| | 03:05 |
Now the great thing about this is this
email takes place in the background, and
| | 03:09 |
it communicates with Gmail in this case
and tells me hey, message has been sent.
| | 03:14 |
So I am going to go ahead and open
up my browser and navigate to Gmail.
| | 03:18 |
I am already logged in there, so we'll see
if this message actually came to my Inbox.
| | 03:24 |
Well, there is the message.
| | 03:26 |
I'll go ahead and open that one up,
and we can kind of see how it's formatted
| | 03:30 |
and the file size, and then I will scroll
down a little bit to see how the images
| | 03:33 |
appear in that email, underneath
there, and that looks pretty good.
| | 03:37 |
Now the great thing about this is
that when we are ready to send more
| | 03:41 |
photographs, we can reuse those
settings that we've already dialed in.
| | 03:46 |
In other words, let's go
back to Lightroom for a second.
| | 03:49 |
Here I have three other
photographs that I want to email.
| | 03:52 |
These are images that I
captured at a good friend's wedding.
| | 03:55 |
And I want to send these photos off;
again, really quickly just so they have a
| | 04:00 |
sneak peek at some of the
pictures that were captured.
| | 04:03 |
Here you can select one or more
photographs--it's really up to you. In this
| | 04:06 |
case, I am just going to select this one
here because I think they'll enjoy this picture.
| | 04:10 |
I will navigate to the File pulldown
menu or use the shortcut, Shift+Command+M
| | 04:15 |
on a Mac, Shift+Ctrl+M on Windows.
| | 04:18 |
We will select that option there, and
again I'll just send this to myself,
| | 04:21 |
because I have actually
already sent those photos to them.
| | 04:24 |
I'll call this one Another Test.
| | 04:27 |
Here you go, Cheers, Chris O. It shows
me the attached file, and this time I am
| | 04:33 |
going to choose a smaller file size.
| | 04:35 |
Again, just because this is a test, I
want to see what that small file size
| | 04:39 |
looks like, and then click Send.
| | 04:41 |
It will send that in the
background; resize the image as needed.
| | 04:46 |
In this case, this is a DNG file, a
really big file, so you are going to notice
| | 04:50 |
it's going to take a little bit more
time for Lightroom to process that, change
| | 04:54 |
the dimension, sharpen the file as
needed, and then go ahead and send it.
| | 04:59 |
Well since it's been sent here, let's go
back to the browser and go to my Inbox.
| | 05:03 |
Here is that second image, and then you
can see this one much smaller, and you can
| | 05:08 |
see how it fits into the email that way.
| | 05:12 |
The last thing that I want to highlight
here before we wrap up our conversation
| | 05:15 |
about this is the Address Book.
| | 05:17 |
If you go back to File > Email Photo,
you may have noticed that there is this
| | 05:21 |
address line over here.
| | 05:23 |
Well, if you open up this address book
here, what you can do is you can actually
| | 05:27 |
have addresses that you email too frequently.
| | 05:31 |
In other words, your top 10 clients or
whatever it is, so that that's always
| | 05:35 |
included in this dialog, so that when
you're looking to send these emails, you
| | 05:39 |
are not having to type out
that email address every time.
| | 05:43 |
| | Collapse this transcript |
| Improvements in working with DNG files| 00:00 |
Here we're going to take a look at a
new feature in Lightroom 4, which has to
| | 00:04 |
do with speed, efficiency, and
flexibility, and in particular, what we're going
| | 00:09 |
to do is look at how we can work with the
DNG file format inside of the new Lightroom 4.
| | 00:14 |
Now this is going to seem a little bit
confusing at first, yet as we move along,
| | 00:19 |
I think it'll become more clear, and
by taking some time to understand it, it
| | 00:23 |
can really help you out
in your overall workflow.
| | 00:26 |
Well for starters, there are a couple of
different ways that you can work with DNG files.
| | 00:31 |
By default, there is a
new preference in Lightroom.
| | 00:34 |
Let's go ahead and take a look at it.
| | 00:35 |
Navigate to the Lightroom pulldown
menu and then choose Preferences, and then
| | 00:40 |
go to File Handling.
| | 00:42 |
Now you and I know that you can import
and convert your raw files to the DNG
| | 00:47 |
format when you're importing.
| | 00:49 |
Now when you do that, you can actually
choose or this by default is chosen to
| | 00:54 |
embed what's called a Fast Load Data.
| | 00:56 |
Well what this is, is it's a new way
to actually include in this DNG file a
| | 01:03 |
preview, which allows you to work
with this file eight times faster inside
| | 01:09 |
the Develop module.
| | 01:11 |
The advantage of doing this obviously is speed.
| | 01:14 |
Now what's the downside?
| | 01:15 |
The downside is that when you have this
option turned on, you are actually going
| | 01:19 |
to increase the file size just a
little bit 200 or 400 k. Now that's just a
| | 01:25 |
small little drop in the bucket
compared to that speed that you're a get out of
| | 01:30 |
this particular file.
| | 01:31 |
So again, when importing just
know that that option is turned on.
| | 01:35 |
Well, let's go ahead and leave
the preferences for a second.
| | 01:38 |
What about with the file like this?
| | 01:41 |
This one was converted to the DNG
format in a previous version of Lightroom.
| | 01:46 |
What if I want to convert all of my
older DNGs to this new Fast Load option?
| | 01:51 |
Well, all that you need to do is to
select the image, navigate to the Library
| | 01:56 |
pulldown menu, and then
choose Convert Photo to DNG.
| | 02:00 |
Although this is already a DNG, what I
can do is kind of upgrade this file to
| | 02:06 |
this Fast Load option here.
| | 02:08 |
When you're working with the DNG format,
stands for Digital Negative, what's
| | 02:13 |
happening is it's using
what's called Lossless Compression.
| | 02:17 |
In other words, it compresses the files,
so you have a smaller file size with no
| | 02:21 |
loss of quality, and that's been one
of the reasons why the DNG format is so
| | 02:26 |
widely used. People love it for that reason.
| | 02:29 |
Well, now we have this new
option, Use Lossy Compression.
| | 02:33 |
Well, you're actually already familiar
with that, that's the same compression
| | 02:36 |
that happens when you create a JPEG File.
| | 02:39 |
In other words, it throws information away.
| | 02:41 |
It makes a smaller file size but you
lose some of the data in that file.
| | 02:46 |
Well, we now have this
option to do that with DNG files.
| | 02:50 |
Well, why would you want to do that?
| | 02:52 |
Well, you may want to do that
because this compression, it's a ton better
| | 02:57 |
than JPEG compression.
| | 02:59 |
So you can now use this Lossy
Compression, have a smaller file, but still be
| | 03:04 |
able to take advantage of all of that
raw data which is inside of the file.
| | 03:09 |
So there are a number of different
reasons why you may want to do this.
| | 03:12 |
Yet before we get to those, let's also look
at another feature for working with DNG files.
| | 03:17 |
All right, I am going to click Cancel just to
cancel his dialog and leave this image as is.
| | 03:23 |
Another way that we can work
with these files is on Export.
| | 03:27 |
You can navigate to the File
pulldown menu and go to Export.
| | 03:30 |
Well, one of the things that you can do
is you can export your files using these
| | 03:35 |
different types of file settings.
| | 03:37 |
Here you can see I am going to export to
a certain folder, rename the file, say
| | 03:41 |
to Lossy Compression, and then
choose that Lossy Compression option.
| | 03:46 |
Well, let's go ahead and export
that file and then see what it looks like.
| | 03:51 |
Here it's creating this file and you
can see that it's given us a certain
| | 03:55 |
file size, 6.2 megabytes.
| | 03:57 |
Well, that's helpful but we don't
really know how big the original file was.
| | 04:02 |
Let's go back to Lightroom and
export the original file to compare.
| | 04:07 |
File > Export, here I am just going to go
ahead and name this Original, and then
| | 04:13 |
turn off this option, no Lossy
Compression, no Fast Load Data, just the DNG file
| | 04:19 |
as it is. Click Export.
| | 04:21 |
This will then export this file and
here we can compare the two, right.
| | 04:26 |
This one was 22.4 megs.
| | 04:29 |
So it compressed this significantly.
| | 04:32 |
Well, while we're making this comparison,
let's see what it would look like if we use
| | 04:37 |
that Fast Load option.
| | 04:39 |
How much file size is going to be added here?
| | 04:42 |
What's the disadvantage, in
other words of using Fast Load?
| | 04:45 |
Well, we can find that out.
| | 04:47 |
File > Export, and then here we're going
to go ahead and call this one Fast, and
| | 04:53 |
then, of course, turn on
Fast Load Data, and Export.
| | 04:58 |
Well, this is a photograph that I
captured of my friend Shaun, and this is the
| | 05:02 |
image as it was just capture, the raw file.
| | 05:05 |
Well, we can see that the original file, the
raw file, as it was captured was 22.4 megs.
| | 05:12 |
When I added Fast Load to it, it just
added .4 megs, really small amount of file
| | 05:18 |
size for the speed advantage
that I am getting out of that file.
| | 05:22 |
And then of course we can
compare those two to Lossy.
| | 05:25 |
Now Lossy is just 6.2 megs,
it's a really small file size.
| | 05:30 |
It's a compression which is
better than JPEG compression.
| | 05:34 |
Well, the last thing we have to do of
course is take a look at these files
| | 05:38 |
inside of Lightroom.
| | 05:39 |
We want to see, how does
all of this actually look.
| | 05:42 |
Well, one easy way to get an image in
the Lightroom is to click on it, drag
| | 05:46 |
it to Lightroom icon.
| | 05:48 |
That will then open up the Import dialog.
| | 05:51 |
Let's import all three of these photos.
| | 05:53 |
We're just going to add them to
the Lightroom catalog, choosing that.
| | 05:57 |
I want to see how the quality
looks on these three images.
| | 06:00 |
Here we'll go ahead and click Import.
| | 06:03 |
This will then bring those files into Lightroom.
| | 06:06 |
Currently, I have the Fast Load
Image turned on or visible here.
| | 06:10 |
Well, if I zoom into 1:1, say
let's look at the eyes here.
| | 06:14 |
We'll be able to see how the
image looks. So far so good.
| | 06:18 |
Let's compare that to the
one with Lossy Compression.
| | 06:21 |
This is the one which is just 6 megs, right.
| | 06:25 |
We went from 22 megs down to 6 megs.
| | 06:28 |
Let's take a look at how
this particular image appears.
| | 06:32 |
Pretty good, if you compare that,
let's go back and forth between these two.
| | 06:36 |
Well, there isn't much difference at all.
| | 06:39 |
Now there is a little bit more noise,
which I imagine would be hard to see, a
| | 06:43 |
little bit more artifacts there, but
for the most part, that image looks great.
| | 06:47 |
And this original file here is just
going to show us all of the data that we
| | 06:51 |
have in this DNG file as it is.
| | 06:54 |
So as I click through these different
files, one of things that you're noticing
| | 06:58 |
is that while this file is compressed,
it's still a pretty good file. All right!
| | 07:02 |
Well, as you can see this new feature inside
of Lightroom 4 is actually kind of fascinating.
| | 07:08 |
It gives us new flexibility when
working with this DNG files, which ultimately
| | 07:13 |
and hopefully will speed
up our overall workflows.
| | 07:18 |
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| Module tips and shortcuts| 00:00 |
The last little bit of information that
I want to share with you, which I think
| | 00:04 |
will help you get up to speed with
Lightroom 4, has to do with a new feature
| | 00:08 |
inside of Lightroom, and
it's all about giving you tips.
| | 00:11 |
If you navigate to any of the modules,
you can go to the Help pulldown menu, and
| | 00:15 |
here you can select Tips.
| | 00:16 |
Now each module have a different set of tips.
| | 00:20 |
You can click through these and this
will give you some information, which is
| | 00:24 |
kind of helpful getting
oriented to that particular module.
| | 00:28 |
Now you most likely want to do that
with the newer modules as well, say
| | 00:32 |
like the Map module.
| | 00:33 |
Go to the Help pulldown menu and look
at those tips, and again, it will show
| | 00:37 |
you some different things that you can
work with and just highlight some of the
| | 00:42 |
interface elements so that you can then begin
to get familiar with that particular module.
| | 00:47 |
Now, of course, with the newer
modules, the other thing you want to do is
| | 00:50 |
navigate to the Help pulldown menu
and look at some of those shortcuts.
| | 00:55 |
Now the shortcuts which will be
helpful will be the ones specific to that
| | 00:59 |
module, which are really brand-new and
that will help you get familiar with the
| | 01:04 |
interface, and also with how to work a
little bit more efficiently within those
| | 01:09 |
various modules.
| | 01:11 |
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ConclusionBye for now| 00:00 |
Congratulations on
making it through this course.
| | 00:03 |
You know my hope with this course is that
it helps you get up to speed with the
| | 00:06 |
newest features inside a Lightroom 4.
| | 00:09 |
Well, now that you know the new
features, you may be interested in digging
| | 00:13 |
into specific topics.
| | 00:15 |
If you are, there are a number of
other Lightroom training courses that
| | 00:18 |
you might find helpful.
| | 00:19 |
Well, once again, thanks
for joining me in this course.
| | 00:22 |
I look forward to seeing you in another one.
| | 00:24 |
Bye for now.
| | 00:25 |
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