IntroductionWelcome| 00:04 | Hi, my name is Chris Orwig.
| | 00:06 | Welcome to this course,
Lightroom Workflow Strategies.
| | 00:09 | You know, there are so many different
ways to learn Lightroom, and in some of the
| | 00:13 | other courses, we focus in on all
of the different panels and controls.
| | 00:17 | Here, we are going to do something
different. We're going to take a look at
| | 00:20 | how we can apply this knowledge, how we can
bring it all together in an effective workflow.
| | 00:25 | One of the workflows that we will look
at is how a wedding or event photographer
| | 00:29 | can deal with a high volume of
images when speed is a priority.
| | 00:34 | Also, take a look at the workflow
scenario of when we're traveling--say, when we
| | 00:38 | have a laptop and a desktop and when
we have two catalogs. How can we bring
| | 00:43 | those two catalogs together?
| | 00:45 | I'll also take a look at a workflow
when we're working a client, say, in an
| | 00:49 | editorial or commercial context.
| | 00:51 | Well, the last workflow that we're
going to look at is what I call personal.
| | 00:55 | We're going to take a look at how we
can use Lightroom in order to be more
| | 00:58 | creative. We're going to cover
all of these topics and more.
| | 01:02 | So without further delay, let's begin.
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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
| | 00:04 | are watching these movies on a disk
you have access to the exercise files.
| | 00:08 | Once you have located the exercise
files folder, you can double-click it in
| | 00:12 | order to open it up. You'll discover
that I've organized our images into
| | 00:16 | various subfolders.
| | 00:18 | You can open up those subfolders to see
the images that we will be working on.
| | 00:21 | In order to work with these images in
Lightroom, we need to navigate to Lightroom and then
| | 00:26 | import these photographs. To do that,
click on the import button in the bottom
| | 00:30 | left-hand corner, next navigate to
this folder--in this case it is called
| | 00:35 | exercise files--and then the next step
is going to be choose to add these
| | 00:39 | photographs to your library.
| | 00:40 | Finally, you want to
determine your file handling.
| | 00:43 | I recommend here you choose a rendering
preview of Standard or 1 to 1.
| | 00:47 | After having done that, all that you need to
do is to click import in order to bring
| | 00:52 | all of these images into
your Lightroom catalog.
| | 00:55 | If you do not have access to these
exercise files, no big deal, you can
| | 00:59 | always simply follow along or of
course use your own photographs.
| | 01:03 | All right. Let's begin.
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1. Wedding or Event Workflow: On-SiteImporting images on-site| 00:00 | Both wedding and event photography
have typical workflow needs, because
| | 00:04 | typically what we will do regardless of
the size of the wedding or the event is
| | 00:09 | that we will capture a
high volume of photographs.
| | 00:12 | Therefore, we need to learn how to deal
with all of these images and how to deal
| | 00:16 | with them effectively.
| | 00:18 | Let's take a look at how we
can use Lightroom to do them.
| | 00:21 | One of the first things you want to do
is navigate your Lightroom pulldown
| | 00:25 | menu, and here click on preferences.
| | 00:28 | This will launch the preferences dialog.
You want to make sure you have this
| | 00:32 | import option turned on: show the import
dialog when a memory card is detected.
| | 00:37 | That way, every time you connect that
memory card in that memory card reader, it
| | 00:41 | will open up or trigger the import dialog.
| | 00:44 | The next thing that you want to do is you
want to set up a few things beforehand.
| | 00:48 | In other words, here we want to import
more photographs from a CompactFlash
| | 00:53 | card to this Wedding folder. You want
to define that Wedding folder--wherever
| | 00:57 | it is going to live and what it's going to be
called--before the wedding or the event takes place.
| | 01:02 | Once you have done that, you are ready to import.
| | 01:05 | Well, here I'll go ahead and click on
the import dialog. All right. Well, now here
| | 01:09 | you can see we have the import dialog
visible. We're importing images from this
| | 01:14 | CompactFlash card, and we have three
photographs. I have just included a few to
| | 01:19 | kind of simulate how this process would work.
| | 01:22 | We want to make sure you check on this
option to eject the CompactFlash card
| | 01:26 | after you are done importing. That's
really essential so that you can remove the
| | 01:30 | card--and so that you can keep on shooting.
| | 01:33 | Next here, in the middle, we're to define
how we want to copy these files from the
| | 01:37 | CF card to our hard drive. You can
either choose copy as DNG or copy.
| | 01:43 | Typically, it is the best to choose copy as DNG.
| | 01:46 | This gives us more flexibility with the
processing. Also, new Lightroom has this
| | 01:51 | ability to use what is called fast load DNG.
| | 01:55 | This gives us access to these files
| | 01:57 | to preview and work on them in the
Develop module up to seven times faster.
| | 02:01 | So again, because wedding and event
photography--and Lightroom processing here is
| | 02:06 | all about speed--that is the option
we're going to choose, and this is true
| | 02:10 | whether we're shooting in RAW or in JPEG.
| | 02:13 | The next thing we need to define are
some of these options on the right.
| | 02:16 | Let's start off with file handling.
Well, here, render previews. This is a
| | 02:21 | really important decision.
| | 02:23 | Typically in most workflows, we'll
choose standard or 1 to 1. Yet when it
| | 02:28 | comes to weddings or events, we want
to go for minimal or Embedded & Sidecar.
| | 02:33 | The way that these previews work is that
they go to a lower quality, smaller file
| | 02:37 | size and then progressively get bigger
and better as you move down this list.
| | 02:42 | In other words, we might choose Minimal,
| | 02:44 | if we just want to quickly get those
images into Lightroom and to view them and
| | 02:48 | to start to work with them or organize them.
| | 02:51 | And because speed is our priority
here, that's the option that I'll choose.
| | 02:55 | Next, if you want to you can select to
rename the files, and again you will just
| | 03:00 | want to choose an option
here which fits your workflow.
| | 03:03 | I will skip that and leave the files as it is.
| | 03:05 | Next, we have the ability
to apply during import.
| | 03:09 | If you go to the metadata pulldown
panel, what you can do is create a preset.
| | 03:13 | Click on new, and this will open up
our new metadata preset dialog. Here I'm
| | 03:19 | going to type out the copyright symbol
and my name. On a Mac you can press
| | 03:23 | Option+G to create that symbol. On Windows,
that's Control+Alt+C. I want to add my
| | 03:29 | copyright information to these
photographs, and that is a really good idea to
| | 03:33 | do this. And as I mentioned before, typically you
will want to set these things up ahead of time.
| | 03:39 | I'll talk more about that later, but
for now let's create our preset, copyright
| | 03:43 | status, and then also the URL here.
| | 03:47 | Type that out. All right. Next click Create.
Well, here in this metadata pulldown
| | 03:53 | panel, you can see that we can
add this copyright information.
| | 03:56 | As I mentioned previously, we want to
have this defined beforehand. What I
| | 04:01 | typically do is before the event or
wedding, I go through this entire import
| | 04:06 | process so that all of these settings
are dialed in so that when it comes
| | 04:11 | to the event there is nothing to be
determined or defined. And that is even
| | 04:14 | true with keywords.
| | 04:16 | You want to add a few general keyword here.
I'll type out Santa Barbara and then also wedding.
| | 04:22 | Next, we need to define a destination.
| | 04:25 | The destination is important. Here,
I'm going to organize these files into
| | 04:29 | one folder. And the folder is this
folder that we've already set up: the
| | 04:33 | Wedding folder inside of the exercise files
folder there. It is one of those subfolders.
| | 04:38 | Now after you have defined all of the
settings and you know that they are good,
| | 04:42 | they are right, they are exactly what you want,
| | 04:45 | what you'll want to do is collapse
this whole import dialog. Click on this
| | 04:50 | button and it will give you this
compact, or the smaller view. And by doing this
| | 04:55 | ahead of time, what you could do is hand
a CompactFlash card to an assistant, or
| | 04:59 | you could do this yourself.
| | 05:01 | Simply plug it in. It would trigger this
dialog, and all that you need to do now
| | 05:06 | is simply click Import.
| | 05:08 | Lightroom will always remember what you have
last done, so it will remember all of these settings.
| | 05:13 | Now if you want to be even more
certain to remember all of these settings,
| | 05:17 | you may want to create a preset. You can do
that by going to the import preset dialog.
| | 05:22 | Here, I'll save these current settings
as a new preset. And what I would do is
| | 05:27 | name these as a preset specific to the
wedding, and I get even as specific as the date.
| | 05:32 | So go ahead and Date - 2012. Just kind
of making that up here, but you can see
| | 05:37 | how you could get really specific here.
| | 05:39 | This way you could make sure that you
are using the settings which were relevant
| | 05:43 | to that wedding or to that event. Well,
after we have defined those options,
| | 05:48 | made sure everything was correct,
| | 05:50 | collapsed this dialog, saves the
preset, we're now ready to import.
| | 05:55 | Here, we just click the import button.
| | 05:57 | This will then bring these images into
Lightroom. It will convert them to this
| | 06:02 | DNG format, and we will see
them show up here in our folder.
| | 06:06 | If we click on the Wedding folder, we
will see these pictures now show up here,
| | 06:10 | and we could begin to work with them.
| | 06:13 | Now before we leave this whole
conversation of importing and working with images,
| | 06:17 | there may be situations where you
import them but you forget to convert them to
| | 06:20 | that DNG format and you
want to do that after the fact.
| | 06:25 | You can always do that. What you do
is you go to your Library pulldown menu
| | 06:30 | and then you select convert to DNG, and you
can do this with one or all of the photographs.
| | 06:36 | If you select convert to DNG here, it
will convert the RAW files. When I choose
| | 06:41 | that option there, DNG creation, we
can choose DNG, the latest and greatest
| | 06:46 | compatibility, medium-size preview, and
then make sure you check on this box here:
| | 06:51 | Embed Fast Load Data.
| | 06:53 | Now by default, when you convert your
files to DNG using the import dialog,
| | 06:58 | this will take place.
| | 07:00 | This will take place because it is the
default preference new to Lightroom.
| | 07:04 | Yet as I mentioned, if ever you accidentally
import those and want to convert after
| | 07:09 | the fact, you can do that here.
| | 07:11 | And I just wanted to point that out, and
obviously this step, it wouldn't be very
| | 07:15 | effective to do this at the wedding
or at the event, so I will go ahead and
| | 07:18 | click Cancel here. But I just want to
highlight that so that you know how to find
| | 07:22 | that if you ever need to.
| | 07:23 | All right, well, now we have
successfully imported these photographs,
| | 07:27 | and we're ready to move to our next step.
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| Creating a slideshow template| 00:00 | One of the ways that event and wedding
photographers can make connections and
| | 00:04 | add value is by creating slide shows.
And creating these slide shows on-site and
| | 00:08 | on location. And sometimes these slide
shows--well, they'll be displayed to everyone.
| | 00:12 | You could connect your laptop to a
projector and project all the images onto a
| | 00:17 | wall so that all the wedding
guests could enjoy the photographs.
| | 00:20 | Other times, perhaps, it
is more behind the scenes.
| | 00:23 | Perhaps you are there with the bride
and the groom and her family, and you have
| | 00:27 | an hour to kill--an hour before
the next event at the wedding.
| | 00:31 | You could open up your laptop and
create a short slideshow for them, and people
| | 00:34 | would crowd around and, again,
just enjoy those photographs.
| | 00:38 | So regardless of the way that the
slideshow is displayed or how it is displayed
| | 00:42 | or to how many people it's displayed,
| | 00:44 | this process--well, it can be really
effective. And then, also, it can be a lot of fun.
| | 00:49 | Let's take a look at how we can do a few
things--or set a few things up in order
| | 00:53 | to create slideshows, say, if you are an
event or a wedding photographer.
| | 00:57 | Well, here what I want to do first is I
want to go to the slideshow module.
| | 01:00 | I recommend you do this before the
event, and what you'll want to do is just
| | 01:05 | grab some sample images--you notice we
have a template browser. We can use the
| | 01:09 | default template and click through
this here. When I see this, I do not
| | 01:13 | necessarily like it.
| | 01:14 | I want my images bigger, so
I'll select crop to fill.
| | 01:16 | Well, this looks beautiful
on the first few images.
| | 01:19 | I love that. Up-close, wonderful, big images.
Everyone is going to love this until here, right?
| | 01:26 | These verticals, this crop.
It just does not work.
| | 01:29 | So you'll want to find a
template that works for you.
| | 01:31 | Perhaps widescreen might be a good option.
| | 01:33 | This will work well, whether you
have horizontal or vertical images.
| | 01:37 | Now you do not have to worry too much
about black space in slideshows because
| | 01:42 | people, well, they just tune that out.
| | 01:44 | It is almost like that does not exist.
| | 01:46 | Whether this is on your laptop or a
computer--or whether it is projected onto a
| | 01:50 | screen or a wall. Black is nothing, no light.
| | 01:54 | So again, this might be a good option here.
| | 01:57 | The next thing that you'll want to do is
you want to add some copy to the slideshow.
| | 02:01 | For example, in the toolbar--if the
toolbar isn't visible press the T key
| | 02:05 | to show that--you can click on the ABC button.
You're going to go ahead and type out
| | 02:09 | Stephanie and Cameron--the bride and
groom's name--and then I'll press Enter or
| | 02:14 | Return. Next I'm going to make this a
little bit smaller, and then I'm going to
| | 02:18 | change its font. We can do that by
going to the overlays panel. In the overlays
| | 02:22 | panel you have this text overlay, and
here I'll choose a different font--one
| | 02:27 | perhaps which is a bit
more fitting for a wedding.
| | 02:30 | I want something which is not too
decorative but is still kind of nice.
| | 02:33 | Here we go. I like that. Or add some
more copy. Just click on this text box again,
| | 02:37 | and I'm going to type out, "Congratulations"
and then press Enter or Return to
| | 02:42 | apply that. Again, I will choose
a new font for this text field.
| | 02:46 | So here you can see you can have multiple
text fields, and what I recommend is
| | 02:50 | you set all of this up ahead of time,
and by doing that you could have the
| | 02:54 | slideshow ready to go and then
just fire it off when you want to.
| | 02:58 | All right. I'm going to bring this one
over here, and then I'll bring over my stuff
| | 03:03 | and Cameron copy as well, and
then I will click through my images.
| | 03:07 | As I click through the images, one of
things I notice is that I can't quite
| | 03:11 | see the copy very well.
| | 03:12 | Some images, like this one here--it
looks good. Other images, not so much.
| | 03:17 | I also noticed it was a bit too low.
| | 03:20 | What you can do is if you go down, you
can add a shadow behind the copy there.
| | 03:25 | Crank up the opacity so you have less
opacity. This will just darken those edges,
| | 03:30 | and that can really help out in
regards to just helping that to kind of
| | 03:34 | pop off of the background. And you want
to click through a lot of photographs.
| | 03:39 | You also want to find a place for this copy
that isn't going to be over people's faces.
| | 03:44 | Most of the time the point of interest
in our photographs is up here. It's in
| | 03:48 | the upper three quarters of the
image. That's not always true with all
| | 03:52 | photographers, but you can see here with
these pictures--especially with people--well
| | 03:57 | for the most part, this positioning,
it's going to work pretty well.
| | 04:00 | You can determine to diminish this a
little bit, if you want to just decrease the
| | 04:04 | opacity there, if you want this a bit
more faint so that it's not so strong on
| | 04:08 | top of the image, and you can stylize
this, really, to your heart's content.
| | 04:12 | But it might be a good idea to have some
sort of copy in there. It could even be
| | 04:17 | a day or the date, because it just makes
it feel like, wow, this just happened and
| | 04:21 | this is for them and it kind of
ties together all of these photographs.
| | 04:25 | Well, once you have done that, you may
want to make a few other changes as well.
| | 04:29 | Let's go ahead and close overlays
and open up the layout panel. Well, the
| | 04:34 | layout panel--you can show those
guides--and what you can do is you can click
| | 04:37 | and drag these points.
| | 04:39 | Here, you can see I'm changing
the size of the image area.
| | 04:43 | If you like a smaller image area, or if
you want to modify that, you can work with
| | 04:47 | these guides, in order to change that
either by clicking and dragging over them,
| | 04:51 | or by using the controllers or
the sliders here in this panel.
| | 04:55 | In this case, though, I want these images
big, because if you are viewing this on
| | 05:00 | a laptop or projecting it, you typically
want to take up as much space as possible.
| | 05:05 | All right. More. Next, let's go ahead and
take a look at a few other options.
| | 05:09 | Well, once we have done this, we'll
want to go to the playback panel.
| | 05:13 | You can find that at the
base of the panel stack.
| | 05:16 | In the playback panel we could choose
to add audio if we wanted to--again, you
| | 05:20 | would want to preselect, perhaps, a song.
| | 05:23 | This is as simple as turning this on
and then selecting the music. Next.
| | 05:27 | Another option here is to
change your slide duration.
| | 05:31 | This is kind of important. This has to do
with the overall flow. In order to get a
| | 05:36 | feel for the flow, click on the preview button.
| | 05:39 | This will show you your slideshow in
this window, and you can see how long it's
| | 05:43 | going to take to go through the images.
| | 05:45 | Now if this is more kind of background--
say, the event's happening and the
| | 05:49 | slideshow is just taking place in the
background--well, you want the images to be
| | 05:53 | up for more time. If it is on your
laptop and people are crowding around--well,
| | 05:58 | if it is too slow, they'll lose interest.
| | 06:01 | So you want to just preview that and
then choose the amount of time for the
| | 06:05 | slides that you would like. Let's say
there is not much time for the slideshow.
| | 06:09 | Well, I might decrease my slides and
my fades a little to make it a bit more
| | 06:13 | snappy and exciting and fun, or if there
is more time, perhaps, I would increase
| | 06:19 | both the slide time and the fade time.
| | 06:21 | Again, easy to customize and make those
changes. Well, once you have done that--
| | 06:26 | and again I recommend you do this
before the event or before the wedding--
| | 06:30 | you want to create a template.
| | 06:32 | So here we can go to our template
browser panel, click on the Plus icon, and
| | 06:37 | create a template. And here I'm
going to type it out as the event or the
| | 06:40 | wedding name, Stephanie and Cameron,
I'll just do dash-slideshow, and then click Create.
| | 06:48 | Over here in my template browser, you can see
under my user templates, I now have this here.
| | 06:54 | What's great about this is that if
Lightroom crashes or it quits or if you
| | 06:58 | accidentally select the default one,
you can always just simply click on your
| | 07:03 | user template and then that will
apply those settings to those photographs.
| | 07:08 | Once you have dialed in all of the
settings and created the template, what you
| | 07:12 | want to do next is figure out which
images to include in the slideshow, because
| | 07:17 | you and I both know that when you are
shooting events or weddings, you shoot a lot.
| | 07:21 | You know that you have a lot of images
that you just do not want to show.
| | 07:26 | Let's take a look at how we can make
some selections, how we can select some
| | 07:30 | photographs, and then quickly and easily
include those in a slideshow.
| | 07:34 | And let's do that in the next movie.
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| Selecting photos for a slideshow| 00:00 | When it comes to selecting the
photographs and eventually processing
| | 00:03 | those pictures and then launching the
slideshow, well, speed obviously is really important.
| | 00:09 | It is also really important to be
precise. We want to make sure that we're
| | 00:13 | only including photographs in the
slideshow that we think are worthwhile, that
| | 00:17 | are worthy of the slideshow.
| | 00:18 | Well, let's take a look at how we can
start to first select some photographs.
| | 00:23 | In order to do that, let's
go to the Library module.
| | 00:25 | Here, in the Library module, this
process is going to involve a few steps.
| | 00:29 | We're going to minimize the interface, we're
going to learn a few shortcuts, we'll also
| | 00:34 | do a bit of filtering.
| | 00:35 | All right. Well, the first thing I want
to do here is I want go to the first
| | 00:39 | image inside of this folder or collection or
set of photographs. So here is my first image.
| | 00:44 | The next thing that I want to do is
I want to minimize a lot of the Lightroom
| | 00:48 | interface so that I can focus in on the
images, because that is what this is about.
| | 00:53 | It is about selecting the keepers.
There's a great shortcut to minimize the
| | 00:57 | interface: it is Shift+Tab.
| | 01:00 | This will minimize everything but the
image or the work area and also the toolbar.
| | 01:05 | Well, what I might also need is the
filmstrip, otherwise, I will not know how
| | 01:10 | many images I have to go, or kind of
where I am in this set of these photographs.
| | 01:15 | In order to open that up in this view,
just click on the triangle icon at the
| | 01:19 | base there, and now you can have these visible.
| | 01:22 | You may want to change the size of the
filmstrip--may want to make that nice and
| | 01:26 | small so it is not really too distracting.
| | 01:29 | Well, the next thing that we're
going to do is we're going to use flags.
| | 01:32 | Flags are a great way to mark images
that can be used in the slideshow, because
| | 01:37 | you can use that filtering later
inside of the slideshow module, and we'll see
| | 01:41 | that in a little bit.
| | 01:43 | Yet for now, let's take a look at how we
can work with flags. Well, you can add a
| | 01:47 | flag by way of a shortcut, and you want
to know the shortcut, again, because here
| | 01:51 | in this workflow, speed is really important.
| | 01:54 | The shortcuts for flagging are P or U;
those are the two that we will be using.
| | 01:59 | P is to flag as pick, U is
to remove flag or unpick.
| | 02:03 | Now when I press that here, P or U,
it's just staying on one image. Yet if you
| | 02:09 | want to be fast what you'll want
to do is press your caps lock key.
| | 02:13 | Once you've done that, this
changes the way these shortcuts work.
| | 02:18 | So now if I press P, it will add a flag
to this image and then instantly go to
| | 02:24 | the next photograph. Let's take a look at that.
| | 02:26 | Here, I'll press the P key. It adds
the flag, moves to the next photograph.
| | 02:31 | If I do not want to include this one or
press the U key to unflag it, it unflags
| | 02:36 | it or just does nothing because there
is no flag and moves to the next image.
| | 02:41 | In other words you'll have your fingers
on P and U. I use my index fingers, my
| | 02:46 | left index finger on U my right index
on P, and then I simply add that, and I go
| | 02:52 | through these photographs really
quickly. And I'm just looking at the images, and
| | 02:56 | I am looking for kind of a gut
reaction to these photographs.
| | 02:59 | And if you have the luxury of
time, by all means take that time.
| | 03:04 | If you do not, do as I'm doing here and tap
U or P in order to select the photographs.
| | 03:10 | Now what about if you get through the
pictures and you've realized that, well,
| | 03:14 | perhaps you've made a mistake? So far
I'm selecting a lot of these photographs,
| | 03:18 | I like these pictures, I am hitting the
P key a lot--oops I hit the P key and I
| | 03:22 | went too far. I selected this photograph--
kind of this funny moment, and this was
| | 03:28 | a funny moment because a relative was
lost and had called and the groom had to
| | 03:33 | try to sort things out--and I just like the expression,
but I don't want to include this in the slideshow.
| | 03:38 | I want the images in the slideshow to
be, perhaps, a bit more elegant because
| | 03:42 | that fits this event.
| | 03:44 | Other times you may decide that you
want photographs that are fun or funny.
| | 03:48 | Again, the criteria by which you flag your
photographs is important, and it is up to you.
| | 03:53 | You want to think about that.
| | 03:54 | What images do I want to keep here?
| | 03:56 | All right. Well, back to the situation.
| | 03:58 | I flagged a photograph I do not want to flag.
| | 04:01 | Well, if that happens, you use your arrow
keys to move around. Left arrow key goes
| | 04:06 | backwards, right arrow key goes forwards.
And if you see the picture has a flag on
| | 04:11 | it, and you do not want to have that, go
to that picture, press the U key, and then
| | 04:16 | keep going, keep making your
way through the photographs.
| | 04:19 | So here I'll flag that one and this one as well.
| | 04:23 | Couple of these pictures here. Some
nice family shots and some moments there,
| | 04:27 | which I think are kind of fun.
| | 04:28 | Well, the next thing I want to look at
is how we can use some filtering in order
| | 04:33 | to kind of double check our progress.
One of the ways to open up the library
| | 04:37 | filter is by a really helpful
shortcut--and again I am using shortcuts here
| | 04:42 | because speed--well, it is important.
| | 04:45 | The shortcut is the Backslash key that is
a key which leans to the left.
| | 04:49 | Notice I now have my library filter
open. I am in the grid view. Well, here you
| | 04:54 | can go to attribute.
| | 04:56 | When you go to attribute you notice
you have your different flag options.
| | 04:59 | Here are the images which have a flag on it.
| | 05:02 | The photographs which do not, you could
click on either of these options, show
| | 05:06 | me all of the photographs that I am going to
include in the slideshow. I want to see those.
| | 05:10 | Okay, I could then scan through these,
I could also change the view, right?
| | 05:14 | We could go to that loop, and we could go
through these pictures using our arrow
| | 05:18 | keys, making sure that these are
indeed all the photographs we want to use.
| | 05:22 | We could also go back to the grid view.
We could view the pictures, rather than
| | 05:27 | the ones which are flagged, the ones
which aren't flagged. That may show us that
| | 05:31 | we missed an important picture.
| | 05:33 | Perhaps what you're going to do is go
through these photographs now. And let's
| | 05:37 | say that I go to these pictures--and I
will go ahead and go to this one here and
| | 05:41 | go to the loop view.
| | 05:42 | You can do that by clicking on the
loop view button by double-clicking the
| | 05:46 | image, or by pressing the E key. Well,
either way I have these photographs where the
| | 05:51 | bride and her daughter, well, they're
kind of dancing and being goofy and having
| | 05:54 | a lot of fun. And perhaps I want to
include those. Well, I could do that simply
| | 05:58 | by pressing the P key.
| | 06:00 | I think it's easiest to see this at
the end of the set, so I'm going to
| | 06:03 | scroll down at my filmstrip to the
very end, and here you can see one of these
| | 06:08 | last pictures here where they have
the getaway car. And let's say I want to
| | 06:12 | include this image.
| | 06:13 | When I press the P key, watch what
happens to my filmstrip. All of a sudden, that
| | 06:18 | image disappears, and I am just going to
keep pressing this so that you can see
| | 06:21 | all of those photographs of the car
there are now gone. What is happening?
| | 06:26 | Let's go to the grid view. Well, in the
grid view, when you select a photograph
| | 06:30 | that you are going to include and add
a flag to it, well, it's no longer, then,
| | 06:34 | included in this filtered view.
| | 06:36 | In other words, this filtered view, it
only shows me the unflagged photographs.
| | 06:42 | So this is a really handy way--just a filtering
kind of sort and have a clear perspective. Okay.
| | 06:47 | These are the images I am not using.
Or turn that option off. These are the
| | 06:52 | images now that I am using. These are the
ones that are to be included in the slideshow.
| | 06:58 | All right. Well, we are just about ready to
launch the slideshow, yet before we do
| | 07:02 | that we need to do a little
bit of processing to these files.
| | 07:06 | These are all captured in RAW, and these
are all the images straight out of the camera.
| | 07:10 | And you and I know that a photograph
straight out of the camera--well, they
| | 07:14 | need a little bit of help.
| | 07:15 | So let's take a look at how we could
batch process these photographs and how we
| | 07:19 | could do that quickly in order to be
able to process them and then eventually
| | 07:23 | include them in the slideshow.
| | Collapse this transcript |
| Setting up for quick and easy batch processing| 00:00 | In the last movie, we looked at how we
could flag photographs in order to set
| | 00:03 | those apart as our keepers, and then we
looked at how we could filter our view
| | 00:08 | so that now we're just looking at the selects.
| | 00:11 | Well, these selects are all straight
out of the camera. They're captured in the
| | 00:14 | RAW mode, and these images
need a little bit a work.
| | 00:17 | So here, what I want to do is look at how
we can quickly and easily batch process
| | 00:22 | these images using the Develop module.
| | 00:25 | Well, first though, we need to do is
to bring back some of the Lightroom
| | 00:29 | interface. To do that, we'll need to press
Shift+Tab a few times. Press it once and
| | 00:34 | then press it again and it will
bring back the rest of the interface.
| | 00:38 | Next we need to navigate to the develop
module. To do that press the D key.
| | 00:44 | Once in the Develop module, click on an image here.
| | 00:46 | You can see that I still
have filtering turned on.
| | 00:49 | We can turn this on and
off by flipping the switch.
| | 00:52 | This is showing me all of the
photographs. Or now clicking it on, it's showing
| | 00:57 | me just the pictures which have been
flagged, which have been marked to be
| | 01:00 | included in the slideshow.
| | 01:02 | You want to make sure you
have that filtering turned on.
| | 01:05 | The next thing that we will do is we
will go to a photograph that we think
| | 01:09 | is kind of a good representation of
these pictures, say, for example, this
| | 01:13 | picture right here--or perhaps one
which shows the face a little bit more
| | 01:17 | clearly and the color.
| | 01:18 | Next, you will want to select the rest
of the photographs. Press Command or
| | 01:22 | Ctrl+A, then you want to click on the
Sync button. When you see Sync... that's
| | 01:28 | telling you that it is going to open up
the Synchronize settings dialog.
| | 01:32 | Let's clear off everything.
Just choose check none.
| | 01:35 | Next we want to determine to apply a
few settings to all of these photographs.
| | 01:40 | What settings do we want to apply?
| | 01:42 | What we are going to do is we're
going to apply a wide range of different
| | 01:45 | effects. We are going to work with
white balance and basic tone, also perhaps
| | 01:49 | some clarity and sharpening and noise reduction.
| | 01:51 | So let's turn on those options. I'll go
ahead and click on those buttons there to
| | 01:57 | include those, noise reduction,
and I think that looks pretty good.
| | 02:01 | The next thing that I want to do
is simply click on Synchronize.
| | 02:05 | Now this will synchronize really
nothing because we have not done anything to
| | 02:09 | the photographs yet. There we were just
setting up those settings, and we were
| | 02:14 | doing that so that we can use Auto Sync.
So now click on Auto Sync by flipping the
| | 02:19 | switch on the sync button.
| | 02:21 | With Auto Sync turned on, we're going to
make a few adjustments. We're also going
| | 02:25 | to learn some shortcuts.
| | 02:27 | Now I know that sometimes shortcuts
can be distracting or a little bit
| | 02:30 | difficult to learn.
| | 02:31 | But again, speed is so important here.
So I think these shortcuts will help you out.
| | 02:36 | Let's open up the Basic panel. To open
up the Basic panel by way of a shortcut,
| | 02:42 | press Command or Ctrl+1. The
next thing that we could do is make an
| | 02:47 | adjustment by moving our cursor and
hovering over a slider and then, say,
| | 02:51 | clicking and dragging it.
| | 02:52 | That is one way to make an adjustment.
| | 02:55 | Another way is you can go ahead--and I'm
going to reposition this. You can hover
| | 02:59 | over an adjustment. You notice
that it highlights that area.
| | 03:03 | You could then press your up arrow
key to increase that amount or your down
| | 03:07 | arrow key in order to decrease that.
That can be a nice way, say, with
| | 03:11 | temperature. Hover over that, press your
up arrow key a couple of times, and you
| | 03:16 | can see that we can add a little bit of
an increased color temperature there--or
| | 03:20 | perhaps we could cool things down.
| | 03:22 | So again, that is a really helpful
shortcut: repositioning your mouse using your
| | 03:28 | up and down arrow keys.
| | 03:30 | Another helpful set of shortcuts
with these controls are Period and Comma
| | 03:35 | and Plus and Minus. These are a
little bit more difficult to remember, yet
| | 03:40 | let me show you these in case you are
one of those people that just wants to
| | 03:43 | work really quickly.
| | 03:45 | I find these shortcuts help when I am on
a laptop and I have a trackpad and it's
| | 03:49 | kind of difficult to use them. Well, if
you press Period, what it will do is it
| | 03:53 | will scroll through--in a forward
direction--all of these controls, press Comma
| | 03:59 | and it will move backwards. In other
words, press Period and it allows me to
| | 04:03 | modify contrast and then allows
highlights and shadows. And you can see I am
| | 04:08 | going down the line here
by tapping the Period key.
| | 04:11 | Or when I get to the slider I want
to modify--say, temperature and tint--
| | 04:15 | I press the Plus button in order
to increase the color temperature.
| | 04:18 | I press the Minus button in
order to decrease that.
| | 04:21 | All right. Well, now that we have seen all
of these shortcuts, I'm going to go ahead
| | 04:26 | and reset these values by double-clicking
the slider there, just to bring it back
| | 04:30 | to the default setting.
| | 04:31 | What do I want to do with all of
these photographs? Well, because these were
| | 04:35 | captured in RAW, what I want to do is a
little bit of contrast, a little bit of
| | 04:40 | clarity, and perhaps maybe just
a touch of color temperature.
| | 04:44 | So here we could go ahead and use one
of our shortcut techniques or just click
| | 04:48 | and drag on the slider.
| | 04:49 | So use whatever approach is going to
be easiest for you. I'll click and drag
| | 04:53 | to keep things simple.
| | 04:55 | I'm increasing some contrast, some
clarity, also brought in a little bit of color
| | 05:00 | temperature, and then I'll just boost up
the vibrance. That works really well with
| | 05:04 | people, and you want to bring up some
vibrance, especially if you have added some
| | 05:07 | clarity, because that desaturates. You
don't what the color to look unnatural.
| | 05:12 | Perhaps a little bit more color temperature.
| | 05:15 | Next I want to use my arrow keys.
Press the right arrow key. I'm going to
| | 05:18 | scroll through my images.
| | 05:20 | Remember, I was looking to work
on a photograph that I thought was
| | 05:23 | representational, yet all of these
pictures are little bit different.
| | 05:27 | So you want to scroll through them. Do this
kind of quickly to get a sense for the pictures.
| | 05:32 | All right, well, now we can see how
this processing is affecting these
| | 05:35 | photographs, and they look pretty good.
| | 05:37 | Perhaps they are a little bit too warm, though.
I'll hover over that or just click and
| | 05:41 | drag that down just a little bit.
| | 05:44 | What else do we need to do?
| | 05:45 | Well, you need to do some adjustments
in the Basic panel. How many adjustments
| | 05:49 | you make depends on how close you got
to your correct exposure when you were
| | 05:54 | shooting. So again, those decisions will
be based upon the shooting environment,
| | 05:57 | the light, and how you did
when you were capturing images.
| | 06:00 | Here, we do not need to do a lot--which
is good. We'll make a few adjustments.
| | 06:05 | Other situations, in other events you have to
make more adjustments. Again, just watch
| | 06:10 | the images and make what you
think will make the images look good.
| | 06:13 | Next, we want to go to the detail
panel. You can go to that panel either by
| | 06:18 | clicking on it here, or you can use your
shortcuts--you remember that Command+1 was basic.
| | 06:24 | Well, if you go down the line, it's 1-2-3-4-5.
Command+5 opens or closes the detail panel.
| | 06:33 | So let's press that. Again, that is
Command, or on Windows that is Ctrl+5.
| | 06:38 | That will open your detail panel.
| | 06:39 | And without even zooming in to 100%,
we're going to apply some really general
| | 06:44 | sharpening and noise reduction.
General is a medium amount. Bring up the
| | 06:49 | sharpening a little bit, drop the
detail down, bring up the masking somewhere
| | 06:53 | right in here. This isn't overdone.
It's just enough. It is not too much.
| | 06:58 | Next, noise reduction. Bring that up
somewhere probably around in the 30s or so.
| | 07:03 | And same thing with your color noise
reduction, just a touch to kind of sweeten
| | 07:07 | those images up. All digital files will
need an amount of sharpening and noise
| | 07:12 | reduction. And here, we're choosing a
relatively moderate amount just to batch
| | 07:17 | process all of these pictures.
| | 07:19 | Well, now that we have made those adjustments,
they have all been applied to the entire set.
| | 07:25 | As we were moving the sliders because
we had Auto Sync turned on, and because we
| | 07:31 | had predefined which settings we wanted
to modify, well, those are now applied to
| | 07:35 | the entire group of pictures.
| | Collapse this transcript |
| Finishing the batch processing| 00:00 | The last thing that you'll want to do
here is you'll want to take a look at
| | 00:03 | some specific images.
| | 00:06 | Down below my filmstrip everything is
selected. How can you deselect in Lightroom?
| | 00:11 | So I could just then select one image,
because if I select an image and
| | 00:15 | make a change to it, it--well--changes everything.
| | 00:18 | How do I kind of get out of this mode?
We have a few options.
| | 00:22 | One option is, of course, to turn off
Auto Sync. You can flip that switch. Well, that
| | 00:27 | could be helpful, right? You could then
go to the photograph. Click on it here.
| | 00:31 | Let's say we'll go to one of these
pictures in the filmstrip and then realize
| | 00:34 | that, you know what? This picture,
it needs some specific processing.
| | 00:38 | You could go to the Basic panel. Here, we
need to work on our highlights and our whites.
| | 00:42 | We want to bring those down a little
bit and modify the exposure maybe, in order
| | 00:46 | to get this image to look good.
| | 00:48 | Another way that we could do this is
rather than turning off Auto Sync, we could
| | 00:53 | deselect. The shortcut, it's Shift+Command+D,
that deselects every image but the
| | 00:59 | image that you have selected.
| | 01:01 | I find that helpful, because what you
will find is you'll have images which are
| | 01:05 | alike, like these two.
| | 01:08 | So here I want to click on one, hold
down Command and click on another--and
| | 01:13 | leave Auto Sync on--and that way if I
need to make a highlight correction or an
| | 01:17 | exposure correction or do with my whites,
| | 01:20 | I could do that by using these controls.
And what you will find is with some
| | 01:25 | images you may need to go beyond the
Basic panel. This one, the white here in
| | 01:30 | this dress, there isn't much detail
there. Well, in that situation, perhaps, I will
| | 01:35 | go to another panel.
| | 01:36 | Here I'll close the Basic panel and then
go to Tone Curve. In Tone Curve I am in
| | 01:42 | a linear curve. You can change
that by clicking on this icon here.
| | 01:46 | I'm just going to drag down
my white point a little bit.
| | 01:49 | Now as I do that, what is happening is
it's going to bring down that little
| | 01:53 | whites. I want to make sure that's
autosynched. I'm going to turn off Auto Sync and
| | 01:57 | go to synchronize and then turn on the
option for working on Tone Curve--or make
| | 02:02 | sure that is selected. Here it is.
| | 02:04 | So now go back to Synchronize, flip that on, and
then I will just bring this down a little bit.
| | 02:10 | So again, if ever you veer out to
other panel--or go to make other specific
| | 02:14 | adjustments--you just want to make
sure that those settings match up, so you
| | 02:19 | indeed are autosynching those files.
| | 02:21 | Well, as you can see, this process that
we have gone through, well, it got a little
| | 02:25 | bit more involved. How involved you
get with your photographs really is up to
| | 02:30 | the amount of time you have.
Sometimes you may not have any time at all.
| | 02:35 | Perhaps what you will need to do is
just make those simple basic adjustments
| | 02:39 | here, and then you want to make some simple
detail adjustments--as we did here--and that is it.
| | 02:45 | Well, if those are all the adjustments
that you know you are going to need
| | 02:49 | to make, you might as well create a preset and
then apply that preset to all the photographs.
| | 02:54 | Again, you could do this before the
event or the wedding. In the presets
| | 02:58 | panel, click to expand it, and then
click on the Plus icon. And I'm just going
| | 03:03 | to name this Stephanie and Cameron. I
want to include all of these settings
| | 03:08 | here and then click Create.
| | 03:11 | The advantage of having a preset is
that once you have created this--either
| | 03:15 | before the event or during the event--
is that once you offload more images,
| | 03:20 | rather than going through all the
controls and all the panels and whatnot, you
| | 03:24 | just simply select all the photographs--
Command+A--and then click on the preset,
| | 03:30 | and it will apply all of those
settings to that entire group of pictures.
| | Collapse this transcript |
| Launching the event slideshow| 00:00 | After we have batch processed our files,
we're just about ready to launch the slideshow.
| | 00:05 | Yet, first let's simulate a workflow
here, because typically what happens when
| | 00:09 | you are on location is you are
doing a lot of your multitasking.
| | 00:13 | So let's say we're in the develop
module and we get distracted.
| | 00:17 | We go back to the Library module, and
what we do here is we accidentally turn
| | 00:21 | off our filtering so that rather than
just seeing the photographs with the flag,
| | 00:25 | we see all the pictures, and then we import more
photographs--or who knows what. We get distracted.
| | 00:32 | Well, the great thing about this is
because we added the flags to these pictures,
| | 00:37 | we can tap into that or take advantage
of that in the slideshow module. So all
| | 00:41 | that you need to do is to target the
collection or the folder or photographs.
| | 00:45 | You do not need to have the filtering
turned on. And then next, you can navigate
| | 00:50 | to the slideshow module.
| | 00:51 | Well, here in the slideshow module, rather
than using all filmstrip photos, you can
| | 00:56 | click in the toolbar to use the flag
pictures. When you do this, you will notice
| | 01:00 | a change in the filmstrip. It grays out
those photographs that aren't going to be
| | 01:05 | included in the slideshow, and that is great.
| | 01:08 | Next, you'll want to click through the
images just to review these, and you want
| | 01:11 | to see how these look. And again, what
happens a lot times here is you're just
| | 01:15 | double checking things. And as I do this,
I am moving quickly, and I am liking what
| | 01:19 | I am seeing. This looks great. And I am
really liking the color and tone and
| | 01:23 | everything. It is wonderful. And
then I get to this image. It is just too
| | 01:28 | yellow, as is the first picture.
| | 01:31 | I cannot start off with this warm
yellow color and then all of a sudden have
| | 01:35 | that disappear. There is discontinuity here.
| | 01:38 | What we need to do is to go back and
process two images. That is really easy.
| | 01:44 | Just go to the Develop module--press
the D key or click on the Develop module
| | 01:48 | button--then click on the image that
you want to target or work on. Hold down
| | 01:53 | Command or Ctrl, click on the other
image, turn on your Auto Sync button--
| | 01:58 | you can make sure you have the settings you
want to modify--select it there, and you
| | 02:02 | can turn on Auto Sync by flipping
the switch, and then make the needed
| | 02:06 | adjustment. Here, we just need to
cool this image off. The color temperature,
| | 02:10 | well, it was just way too yellow.
| | 02:12 | We also might want to add, perhaps, a
little bit more contrast or maybe modify
| | 02:17 | the whites here and just brighten this one
up a little and just customize the processing.
| | 02:21 | Again, here I am trying to simulate
what happens is that right before the
| | 02:25 | slideshow, you will find these little
issues. You want to correct those, and
| | 02:30 | that is easy to do. Well, after you have
done that, you go back to the slideshow module.
| | 02:34 | Here, in the slideshow module, it
already picked up that we want to just use our
| | 02:38 | flagged photos. Perfect! You want to
start with the first picture in the set, so
| | 02:43 | click on that and then click preview.
When you do that, it will launch the
| | 02:46 | slideshow so you can start to see it.
| | 02:49 | This will show you the transitions
and how the slides will appear.
| | 02:53 | Okay, looks good.
Click on the images to exit the preview.
| | 02:57 | The next thing you want to do is click Play.
| | 02:59 | So we'll click Play, and this will
launch the slideshow, and then you want to use
| | 03:03 | your arrow keys--and here I am going to
use my left arrow key to go back to the
| | 03:07 | beginning--and then press the spacebar key.
| | 03:10 | I want to be on the first image in the
slideshow, and the spacebar key allows me
| | 03:15 | to pause. Here, at this point, I would
reposition the laptop and call people to
| | 03:20 | gather around to view the slideshow, or
I would connect the projector and turn
| | 03:24 | it on so that this image would show up.
And then once everyone was there--or you
| | 03:29 | are ready to begin the slideshow--what
you would do is simply press the spacebar
| | 03:33 | key, and then the slideshow would begin. And
after having spent all this time setting it up,
| | 03:39 | hopefully it is going to look great.
And these images, well, they're going to be
| | 03:43 | compelling and engaging and enlivening--
they're going to warm and endear kind of
| | 03:47 | the crowd to your photography.
| | 03:49 | This is going to help you make some
natural connections. You know, so often what
| | 03:54 | happens with wedding and event
photography is only a few people see the
| | 03:59 | pictures. And often, by including others
in this photographic process where you can
| | 04:04 | share your work, you are adding value to
your photographic services. And also you
| | 04:09 | are making connections by people
seeing these pictures where you're going to get
| | 04:13 | other photographic jobs out of showing
your work in this way. And while these
| | 04:18 | movies have been a bit longer, my hope
is that by watching these movies, you have
| | 04:23 | seen how this process works. And once
you set this up and do it once, well, it is
| | 04:28 | really easy and straightforward.
| | 04:31 | And another thing that you might want to
do is have one of your assistants watch
| | 04:35 | these movies and do this for you so
that you are not distracted by creating
| | 04:40 | something on-site or on location, so
that you can focus on shooting. And then the
| | 04:45 | assistant, well, here she can set this up
and get this running in the background.
| | 04:49 | And again, you can add value that way
without taking away from the other tasks,
| | 04:54 | which is really important.
| | 04:56 | And that is the task of capturing photographs.
| | 04:58 | All right. Well, as you work through
your images--and as the slideshow runs--
| | 05:02 | eventually there is going to be a point
when the user may want to stop. What that
| | 05:07 | means is just press the spacebar key--
leave this up on an image which you think
| | 05:12 | works. Or give them some controls. Tell
them they can use the forward arrow key or
| | 05:18 | the back arrow key. They may want to go
forward or backward. They say, "Oh I really
| | 05:22 | liked that one image. I want to go back
to that one." Well, tell them how to do that.
| | 05:27 | Give them control. It will make this
whole process that much more enjoyable
| | 05:32 | and meaningful for everyone.
| | Collapse this transcript |
| Uploading photos to Facebook during the event| 00:00 | Social networking has really changed
the way that we communicate--and how
| | 00:03 | quickly we communicate. One of the
things that you might want to do as a
| | 00:07 | wedding or event photographer is
upload your photographs to a site like
| | 00:11 | Facebook during the event.
| | 00:13 | So many people are able to view and
access this with their smart phones or
| | 00:16 | tablets. It can be a way to really
quickly generate some excitement or some
| | 00:21 | feedback about the event
while it is taking place.
| | 00:24 | Sometimes you also do this after the
fact, so whether you are doing this at the
| | 00:28 | event or after the event, you can
find this process really helpful.
| | 00:33 | What you want to do is in your library,
turn on filtering so you can see those
| | 00:36 | pictures which are flagged. Those
ideally are the photographs which are more of
| | 00:41 | the keepers. Next select one, say like
this picture here--and we'll zoom in on it.
| | 00:46 | And what we want to do is we want
to upload this picture to Facebook.
| | 00:49 | Well, to do that, in the library
module you navigate to publish services in
| | 00:54 | Facebook. You click on Set Up.
| | 00:56 | This will open up the Publishing
Manager dialog. Here it is asking if I can
| | 01:01 | allow this to tap into my Facebook
account because I have used this service
| | 01:04 | previously. If you have not, all that
you need to do is to click on Authorize on
| | 01:09 | Facebook and just make sure you are
logged into Facebook and it will take care
| | 01:13 | of making that connection for you.
| | 01:15 | Next, we need to give this a name, so
I'm going to go ahead and name this
| | 01:19 | Facebook and then - CO--just my general
Facebook publish service here. Now I'm
| | 01:24 | going to upload this to my wall photos.
I can determine the Facebook title, if I
| | 01:28 | want a title on the picture. Here, I'm
going to leave it blank because typically
| | 01:33 | when you are working quickly, well, your file
names are just kind of funky. It is_MG_0051.
| | 01:38 | I do not want that included, so I'm
going to leave the Facebook title blank.
| | 01:44 | Another option might be to rename the
file, if you want to do that. I'll leave
| | 01:47 | the file name as is, here. Does not really matter.
| | 01:50 | It is not something that's
that visible on Facebook.
| | 01:53 | Next, skip the video settings.
This isn't a video file.
| | 01:57 | Here, we can use the file settings.
What I'm going to do is a JPEG, and I can
| | 02:01 | choose my quality. In this case I want a
relatively high quality, somewhere around 75
| | 02:06 | or 80, resize this image. Well, Facebook's a
pretty small site when you really look at it.
| | 02:12 | So we could get away with something,
say, around 550 at the long edge. Want to
| | 02:16 | make sure we're not enlarging the
photographs in case we accidentally selected a
| | 02:21 | really small JPEG or something.
| | 02:23 | It is always a good idea
to have this checked on.
| | 02:25 | Next, output sharpening. We need to turn
this on. We're going to sharpen for screen.
| | 02:30 | Typically Standard works best.
| | 02:32 | Once you have done this, what we
want to do is then click Save.
| | 02:35 | This just creates this Facebook
publish services--we can see that here.
| | 02:41 | Ideally you set this up before the
event, and then during the event you go ahead
| | 02:45 | and select the photograph or
photographs that you want to add here--and I'll
| | 02:49 | click on that, drag back
into this publish service here.
| | 02:52 | Next, you can click on the publish
service, and this will show you the image.
| | 02:56 | And we can see that I want to go to the
grid view. Press the G key. Here in the grid
| | 03:01 | view it shows me I have a new
photo to publish to Facebook.
| | 03:05 | In order to publish this picture, we can
either click on the publish button here
| | 03:10 | or here. Let's go ahead and do that.
| | 03:12 | The great thing about this is it will
remember what we have done. And I will go
| | 03:16 | ahead and authorize that. It's going to
update my wall photo. It will take this
| | 03:20 | picture--if it is a giant RAW file, well,
it's going to compress it down to a nice,
| | 03:25 | small, little JPEG--and then upload it to Facebook.
| | 03:29 | Once this process is complete--let's
go ahead and open up the web browser, and
| | 03:33 | here I'll refresh my wall where I
posted this to--and what we'll be able to see
| | 03:38 | is that I added this new picture. And
you can see that, here inside of this post
| | 03:43 | on Facebook. And the great thing about
this is that this will just give people
| | 03:48 | the ability to respond to this. And
what's amazing to me about Facebook is it
| | 03:52 | was just posted and someone already
said that they liked the picture. Again, the
| | 03:56 | speed, the way that things are
communicated on Facebook is just kind of stunning.
| | 04:02 | And it can build some real excitement about the
event or about the wedding that you are shooting.
| | 04:07 | It can also show people what you are
doing currently and just get that out
| | 04:11 | there, and this can be a nice way for the bride
and groom to also share some of these pictures.
| | 04:16 | Now, whenever you do this and
whenever you get to the point of publishing
| | 04:20 | pictures in other places, say, like this
to Facebook, you want to get permission, right?
| | 04:25 | You want to ask the bride and groom
beforehand, or in this case the bride
| | 04:29 | and daughter and say, "I have this, just
great picture. Wouldn't it be fun to put
| | 04:33 | this on Facebook, you know? Are you
all right with that?" Or ask the event promoters
| | 04:37 | or the people who are putting that together.
| | 04:39 | And if you have people who it might be
questionable about what you are including,
| | 04:44 | like with this picture.
| | 04:46 | This isn't questionable.
| | 04:47 | I know these two people. I got permission;
they are fine with it. But if there are
| | 04:52 | some strangers in the crowd, well, you
may not want to do that, so you just want
| | 04:56 | to make sure that you're
sensitive to those issues.
| | Collapse this transcript |
|
|
2. Wedding or Event Workflow: Back HomeGrouping photos into general collections| 00:00 | In wedding and event photography,
because we shoot such a high volume of
| | 00:04 | photographs, we need to figure out a
way to organize or group these pictures,
| | 00:08 | otherwise we're going to end up having
a folder with literally thousands and
| | 00:13 | thousands of images. And sometimes having
hundreds or thousands of photographs in
| | 00:17 | a folder, well, it can just be overwhelming.
| | 00:21 | So in order to divide things up a
little bit, you can use collections. And here
| | 00:25 | you'll find that collections, well,
they will really just save the day.
| | 00:29 | Let's take a look at how we could come
up with a collection strategy in order
| | 00:33 | to group these pictures together.
| | 00:35 | The first thing that you'll want to do
is go to the collections panel and click
| | 00:39 | to create what is called a
collection set. This is a main or kind of
| | 00:42 | hierarchical organizational folder. In
a sense, this is the main folder or the
| | 00:47 | main collection for our pictures.
| | 00:50 | Here, what I want to do is just go ahead
and type this out as the event name, and
| | 00:54 | I'll type out Stephanie and Cameron Wedding.
| | 00:57 | I want this to be top level,
and then I click Create.
| | 01:00 | So here you can see we have this box.
Now this isn't really a folder, but it is a
| | 01:05 | way to start to group things. Inside
of this I want to create a few other
| | 01:10 | collections. So with this targeted,
click on the Plus icon. Here, what I'll do is
| | 01:15 | create yet another collection set.
And what you'll want to do is create
| | 01:19 | collection sets which allow you to group
images together, either based on subject
| | 01:25 | or, perhaps, chronological order of the event.
| | 01:28 | Let's keep things really simple here,
and let's simply create some collection
| | 01:32 | sets like After or Before or the Ceremony.
| | 01:36 | Let's keep our naming convention
really simple as well.
| | 01:38 | This will create a problem for us, but
we will fix that later. So the first one
| | 01:43 | I'm going to create is before.
| | 01:44 | This is where I am going to group the
pictures which were captured before the
| | 01:49 | ceremony--before everything as the
bride and groom are getting ready, or perhaps
| | 01:53 | as the family was together.
| | 01:54 | So here we'll click on create. Here is
our first collection. In this case I added
| | 02:00 | this to the wrong location, made a
mistake. If you do that, just drag and drop it
| | 02:05 | into this collection set so
that this is inside of this here.
| | 02:09 | Next, I'll click on the Plus icon, create
another collection set, and I'll do another
| | 02:14 | one which is Ceremony.
| | 02:16 | I want to make sure this is in the right
spot this time, so I include this inside
| | 02:20 | of Stephanie Cameron Wedding.
| | 02:22 | Another way to do that, as you saw, is
just have this right next door to the
| | 02:26 | Before collection--in other
words, just have it in the same area.
| | 02:30 | Both of these options--either this
one here or this one here--are identical.
| | 02:36 | All right. Click Create. So you can see I
now have Before, I have the Ceremony, now
| | 02:41 | I want another one which is After. Click
on my Plus icon, create that collection
| | 02:46 | set, name this one After, and then click Create.
| | 02:50 | All right. Well, great. Except that I
created a problem, another mistake.
| | 02:55 | We can see the order is After, Before,
Ceremony. That is kind of awkward or strange.
| | 03:02 | What you can do is you can name these
with numbers so that the flow of your
| | 03:06 | collection sets follow
the chronology of the event.
| | 03:10 | I find that is a great way to organize
things. So let's go to After, right-click
| | 03:15 | or Ctrl-click, and name this 03,
because this is my third collection set.
| | 03:21 | And go to Before, right-click or Ctrl-click,
choose rename, and then type out 02.
| | 03:28 | And of course, now that you know this, when you
create yours, the first time you will use numbers.
| | 03:33 | I just want to illustrate this because
I think it is a mistake that a lot of
| | 03:36 | us make, and I hope that this
convinces you to use numbers as you're naming
| | 03:41 | these collection sets.
| | 03:43 | This gives you the ability to organize
them, and it looks like I made a little
| | 03:46 | mistake there because I was trying to
talk at the same time. That one is the
| | 03:49 | second one, and then the
before, that one needs to be 01.
| | 03:53 | All right. It's great that we have
flexibility to make those changes.
| | 03:58 | Okay. Well, now that I have these sets, you can
see that I can start to group these together.
| | 04:03 | I have my Main collection. Inside of that,
I'll have pictures that were captured
| | 04:08 | before and then during the
ceremony and then after the ceremony.
| | 04:12 | Inside of these collection sets I am
going to want to make some collections and
| | 04:17 | also have images probably
in multiple collections.
| | 04:20 | So it's going to get kind of interesting.
So before we start to divide things up
| | 04:25 | we then ask ourself, "Well, are there any
other collections we want to create?"
| | 04:30 | Well, perhaps we want to add a collection
set or create one which is different than
| | 04:35 | what follows the chronology--for example,
one that I might want to create here.
| | 04:39 | Go to create another collection set is this,
I'm going to name this one 04_Wedding_Book.
| | 04:47 | This way I can have some pictures that
I think are just outstanding, and if ever
| | 04:51 | I come across a photograph that I want to
include in a wedding book, well, I now have
| | 04:56 | that collection pre-built.
It's already there for me.
| | 04:59 | And when it comes to building these
collections, a lot of times one of the ways
| | 05:03 | that you can prepare for a wedding
or event is to build the structure
| | 05:08 | beforehand, get this all set up so that
after the event--once you have captured
| | 05:12 | the images--all that you need to do
is to go to that folder and then really
| | 05:16 | begin the organizational process.
| | 05:19 | Well, let's take a look at
how we can do that process,
| | 05:22 | And let's do that in the next movie.
| | Collapse this transcript |
| Using collections to sort out the keepers| 00:00 | The next step in this organizational
process of working with collections is to
| | 00:05 | add our images to specific collections.
| | 00:08 | Yet I want to do this
with a real focused intent.
| | 00:11 | Here, what I want to do is create
collections which will allow me to separate the
| | 00:15 | wheat from the chaff. I want to
create collections which allow me to group
| | 00:20 | together the images which I feel are keepers.
| | 00:23 | Let's take a look at how we might do
this. Well, what I do in my own workflow
| | 00:28 | is I have these broad categories--as we
have here Before, Ceremony, After--name
| | 00:33 | these categories in a way that is
specific to the shoot. They could be based
| | 00:37 | on subject, or it could be like here, just
simply following the chronology of the event.
| | 00:43 | Next, what you'll want to do is you'll
want to select the pictures which fit
| | 00:46 | inside of Before. I'll click on the
first image and then scroll down and then
| | 00:51 | right before the ceremony is--this
is the last image from this set.
| | 00:56 | I'll Shift-click on that one, then I'll click on
the Plus icon, and here what I'm going to
| | 01:00 | do is create just a regular collection.
| | 01:02 | This one, it needs to be inside of the
collection 01_Before, and I call these
| | 01:08 | something really simple. I
call them r1 for Round One.
| | 01:13 | In my own workflow, round one
well, that's just everything.
| | 01:16 | I am including everything that I shot.
I want to include all of those pictures.
| | 01:21 | So here I'll simply click Create.
| | 01:23 | So now I have all of the photographs
that were captured before the ceremony, or
| | 01:27 | the first part of this particular event.
| | 01:29 | Next, I'll go to the Wedding folder.
I'll go down, these images will still be
| | 01:34 | selected, so it will be easy to find my
ending point. Click on the next stage of
| | 01:39 | this, which is up to here. Click on the
last image of that stage, and then click on
| | 01:45 | the Plus icon. Create a collection on
this one, r1. This time it's going to be
| | 01:50 | inside of the collection set 02 ceremony.
| | 01:53 | This won't exactly make sense why I am
doing this just yet, but stick with me for
| | 01:58 | a second, let me complete this process
and get the last set here, and then we'll
| | 02:02 | talk about it a little more. Click on
this image, Shift-click on the last
| | 02:06 | image, Plus icon. You know the routine.
We're going inside of 03_After, and on this
| | 02:12 | one, r1 as well, and then click Create.
| | 02:15 | So what I am doing here is I am
creating these different folders.
| | 02:19 | I am using the same naming convention
so that if ever I need to see the first
| | 02:24 | set of images, or all the photographs, I
just know I go to that set, and then I can
| | 02:27 | see those. This way here are all of the pictures.
| | 02:30 | Well, then what I want to do is I want
to start separating the wheat from the
| | 02:34 | chaff. The way that I do that is I
create a new collection, so you can go to one
| | 02:40 | of your collections, like r1. Say this
one here, and you can start to rate, rank,
| | 02:45 | sort, and filter your photographs.
| | 02:47 | Let's do this in a really kind of simple way.
| | 02:50 | I'll double-click on the image, and I'm
going to use star rating here. I'll press
| | 02:54 | the T key to bring back my toolbar. If
that is hidden, T will either show or hide
| | 02:59 | that, and with this image I'm
going to give this a 1-star rating.
| | 03:02 | And I am going to use 1-star rating as a
criteria to go to my next collection level.
| | 03:08 | Next, I'll press the right arrow key,
and I will just add one star to a few
| | 03:12 | pictures that I think are kind of fun
here, and I am looking to try to find the
| | 03:16 | photographs that I like a bit more.
| | 03:18 | Now these images--for the most part--
they are all really good, but I'm just going
| | 03:21 | to select a few of these photographs
so that we can kind of see how this
| | 03:25 | would work. And I'll make some
selections of these pictures and let's see if
| | 03:30 | we can get to just a couple more so that we
have kind of a sense of how this might work.
| | 03:35 | All right. Well, after we have selected
pictures, we have either perhaps used flags
| | 03:39 | or labels--or whatever it is that we like
to use to rate, rank, sort, or filter--the
| | 03:44 | next thing that we will want to do is
press the Backslash key. This will take us to the
| | 03:48 | library filter. Here we can
filter based on an attribute.
| | 03:53 | Now we have already used the attribute
of the flag before. The trick was that
| | 03:57 | though is you may or may not like that
attribute or you may or may not create
| | 04:01 | slideshows, so I am going to turn that
off and pretend we did not do that and
| | 04:06 | just turn on the option for 1-star rating.
| | 04:09 | So here I have my images, the 1-star
pictures from this round one set, and
| | 04:14 | typically it is like this: you have
maybe 100 photographs and then to go to the
| | 04:19 | next round--to really find the
keepers--well, we go from 100 maybe to 20, or
| | 04:25 | something along those lines or however it works.
| | 04:28 | What you want to do next is select
all of these images, Command or Ctrl+A,
| | 04:33 | then click on your Plus icon,
create another collection.
| | 04:36 | This one is going to be r2.
This is round two.
| | 04:39 | I want this one right next to r1,
include these photos, and then click Create.
| | 04:44 | So here you can see we can start to
have this criteria, and what I would do is
| | 04:49 | I would then take this even further.
With this set of photographs I would then
| | 04:53 | go through these and say, "Well, you know
what? This one, it's a two-star." And I
| | 04:57 | would find a couple of 2-star photographs
that I really like, and I would
| | 05:01 | select those perhaps by navigating through
these pictures and including those in the set.
| | 05:07 | The next thing is that same process,
press the Backslash key, then change your rating to
| | 05:12 | two stars. Well, now here we have fewer
images. We had 13, now we have six.
| | 05:18 | With all of these selected, press Command
or Ctrl+A, create one more collection.
| | 05:23 | Click on the Plus sign to add a collection.
We'll name this one r3. Keep these as is.
| | 05:29 | And then click Create.
| | 05:31 | So by doing this, I have
this built-in organization.
| | 05:36 | What this will help me to do is it will
help me to really find and access my files.
| | 05:40 | And I find that using collections
to group these together in this way--it
| | 05:45 | just embeds this organizational
structure into this process, and it makes it so
| | 05:50 | nice so that if ever I need to see
all of my r3 or r2 or r1 images, I just
| | 05:56 | click on one collection, hold down
Command or Ctrl, and then click on another.
| | 06:00 | And then that adds all of those
pictures to what we're viewing inside of this
| | 06:04 | window--and by doing this in
a way that I am consistent.
| | 06:06 | In other words, I do this regardless
of the type of photography I am doing.
| | 06:12 | It gives me these collections which
help me find those good images.
| | 06:16 | It also helps me backtrack a little bit.
| | 06:19 | Let's say we get to r3 and we think,
"You know, there's an image I really liked.
| | 06:23 | I just can't find it."
| | 06:24 | I can go back to r2 and look here for it.
| | 06:28 | And if ever I want to elevate a
photograph, if I want to bring a picture up,
| | 06:32 | I can click on it and then drag it to the
new collection so that exists there as well.
| | 06:37 | Another way to do this--which I
think is phenomenal--is you can create a
| | 06:41 | collection, say, like r3 right here. You
can right-click or Ctrl-click and set
| | 06:46 | this as a target collection.
| | 06:48 | Once it is a target, there
is a Plus icon next to it.
| | 06:52 | Then as you move through your pictures,
if ever you find a photograph--let's say
| | 06:57 | where in r1 we realize we skipped a whole
section of pictures that we want to add.
| | 07:02 | Well, you can select an
image and press the B key.
| | 07:06 | When you press the B key, it adds a
photograph to your target collection, if you
| | 07:10 | have created or targeted a collection.
| | 07:13 | So here I could move through these
images pressing the B key, and you can see
| | 07:17 | that my numbers in that particular
collection are increasing so that these
| | 07:22 | photographs are then
included in that collection.
| | 07:25 | You could then go to the collection.
| | 07:27 | Once there, if you decide, "You know what? I
have one image I don't like in the collection.
| | 07:32 | I want to demote this image or get rid
of this. This isn't a final keeper here."
| | 07:37 | Well, just press Delete or backspace,
and it will remove it from the
| | 07:41 | collection. It will not remove it from
your hard drive, it is just removing it
| | 07:45 | from this collection here.
| | 07:47 | It still exists on your folder,
on your hard drive, just not in this
| | 07:51 | particular collection.
| | 07:52 | So as you can see, here we can use
collections in a unique way to start to filter
| | 07:57 | or to group our pictures together.
Well, here what I want to do is stop this
| | 08:00 | movie, because I do not think there is
really a need to replicate that process with
| | 08:05 | 02 ceremony and 03_After. I
think you get the gist of it now.
| | 08:09 | Yeah, if this were a real workflow, I
would recreate those r1, r2, and r3 folders
| | 08:14 | in the other collection sets so
that I replicated this everywhere.
| | 08:18 | Yet I think now we get how this works,
and we're ready to move to our next step in
| | 08:22 | regards to looking at how we can use
collections in a way to group images or
| | 08:27 | group like images together.
| | Collapse this transcript |
| Organizing collections based on subject matter| 00:00 | So far we have taken a look at how we
can use collections in one particular way,
| | 00:04 | and that is to separate the wheat from
the chaff. That is to try to find those
| | 00:09 | keepers and to organize those into
collections. And the great thing about this is
| | 00:14 | that what we have done is
we have used star ratings.
| | 00:17 | You could also use flags or labels,
and we have also used these collections.
| | 00:21 | These groupings now contain these
images, and what's interesting about these
| | 00:25 | images, if we were to select one of
them and, say, go to the loop view mode.
| | 00:29 | We can see that this image
has a 2-star rating on that.
| | 00:33 | I want you to remember that as we move
forward to looking at another method for
| | 00:38 | working with collections.
| | 00:39 | This method has to do with
organizing our images based on subject matter.
| | 00:44 | In order to talk about this, let's
click on our Main collection here so that we
| | 00:48 | can view all of these photographs.
| | 00:50 | These are all the pictures which were
captured at this event or at this wedding.
| | 00:54 | What I want to do is I want to close my
01 folder, and I want to focus in on this
| | 00:59 | Wedding Book folder.
| | 01:01 | Perhaps in this project I want to have
pictures which are focused on one subject.
| | 01:06 | The first grouping that I want to do
here has to do with the daughter, Sydney.
| | 01:10 | So here I'll click on one image, hold
down the Shift key, and then click on the
| | 01:15 | last image--all of these
beautiful pictures of her.
| | 01:18 | I want to just have pictures of her alone.
| | 01:20 | So I want to remove these two. To
remove images from a selection, hold down
| | 01:25 | Command or Ctrl, and click.
Those are now removed from this.
| | 01:29 | I can also scroll down. I could
scroll down to see if there are any other
| | 01:33 | pictures with Sydney by herself.
| | 01:35 | There aren't any. I just want to include these.
| | 01:38 | Well, now I'm going to create this
collection. Here, we'll click on the Plus icon
| | 01:42 | and choose Create Collection. I'll
name this one Sydney, and this needs to go
| | 01:47 | inside of the collection set Wedding Book.
| | 01:50 | Include those selected photos and then
click Create. Let's create one more just
| | 01:55 | for demo purposes, here. I will
go back to this main folder.
| | 01:59 | This time I want to create a
collection which contains pictures of the
| | 02:02 | family, this new family.
| | 02:04 | So I'll click on these photographs, hold
down Command or Ctrl, and I want to
| | 02:08 | have pictures which have all three
family members. And I just want to bring in
| | 02:12 | all of these photographs.
| | 02:13 | Now I'm not being very critical with
what I am selecting. Anytime I see all three
| | 02:18 | members of the family, well, I am
selecting that picture. And the reason why I am
| | 02:23 | not being critical is because we have
already added labels or stars or flags to
| | 02:29 | these pictures, and we
can take advantage of that.
| | 02:32 | All right. Well, once you have made this selection,
go ahead and create that collection.
| | 02:37 | We want to name this one family.
| | 02:39 | It is going to go inside of our
Wedding Book collection set here, and then
| | 02:43 | we'll click on Create.
| | 02:45 | Well, now here we have these different
collections, and you can use collections,
| | 02:49 | really, in so many different ways--
whether it is to organize your photographs to
| | 02:54 | rate, rank, or filter them, or to organize
them by subject matter, which is what we have done
| | 02:58 | here. And the benefit of doing this--
or of following the workflow that I am
| | 03:03 | suggesting--is that if I go to this
folder, say Sydney, I can then filter these
| | 03:08 | pictures. Rather than viewing all of
the photographs, I could go to attribute.
| | 03:14 | Here, I could click on two stars,
just show me the pictures out of this
| | 03:18 | collection which have a rating of
two stars, and then I can see those
| | 03:22 | photographs, work with them, and
access them. And the beauty of working with
| | 03:26 | collections is that what it does is it
makes our photographs and our overall
| | 03:31 | photographic process more manageable.
| | 03:34 | It breaks things down into smaller
groups, and by following a workflow which is
| | 03:39 | consistent--and what I mean by
consistent is this: if you're a wedding or event
| | 03:44 | photographer, all of your collections,
the way they're structured or organized--
| | 03:47 | ideally, they are all identical.
| | 03:50 | By doing that--by using stars or
flags or labels or collections or
| | 03:55 | collection sets in a similar way--
this consistency, well, that can really
| | 04:00 | speed up your workflow.
| | 04:01 | This speed, it is not just about being
quicker, but it is about gaining some
| | 04:05 | buoyancy. It is about getting a
little bit of a boost so that you're more
| | 04:09 | passionate about photographing and
about creating and capturing pictures.
| | 04:13 | And by using collections you can do this, and I
think it can really help out your workflow.
| | 04:18 | So what you want to do here is this:
after having learned a little bit about
| | 04:22 | collections and after having learned
a couple ways that you might integrate
| | 04:26 | these into your workflow, you just sit
down with a pen and a piece of paper and
| | 04:30 | draw out some ideas. How might I use collections?
| | 04:34 | What type of naming convention
might I consider based on the type of
| | 04:37 | photography that I do?
| | 04:39 | And then eventually you just want to
commit to something and try it out.
| | 04:43 | And I think as you try this out and as you
start to use these methods and these
| | 04:48 | techniques, well, they can
really speed up and help out
| | 04:51 | your overall workflow in great ways.
| | Collapse this transcript |
| Batch processing color and black-and-white images| 00:00 | Another way that you can use
collections is to create Virtual Copies.
| | 00:04 | Virtual copies give you the ability to
process your images in a different way.
| | 00:08 | Let's say that here what we want to do
is we want to give to the client all of
| | 00:12 | the color photographs.
| | 00:14 | We also want to give them another set
of the pictures but in black and white.
| | 00:17 | Well, here you can see I have
targeted the collection set.
| | 00:21 | We have all of the pictures inside of
this, and I'm going to highlight all of
| | 00:24 | those by pressing Command or Ctrl+A
So click on one image, then press
| | 00:29 | Command or Ctrl+A.
| | 00:31 | Next step, I'll click on the Plus icon,
and I'm going to create a collection.
| | 00:35 | I'll name this one 05_BW for black and
white. I want to have this one inside a
| | 00:41 | collection set, make sure it's
inside of the correct spot, include these
| | 00:45 | selected photos but also
make new Virtual Copies.
| | 00:49 | This will create another version
of all of the images that we have
| | 00:52 | selected. Here, click Create.
| | 00:55 | Well, now that we have this new
collection, once it is complete you notice that
| | 00:59 | we're inside of this area and we have 83
pictures here. Well, what we can do with
| | 01:04 | this collection is we can then convert
these images in a different way, which is
| | 01:09 | different than the other photographs.
| | 01:10 | For example, we could go ahead and
select all of these photographs--again, press
| | 01:15 | Command or Ctrl+A--then
navigate to the Develop module.
| | 01:18 | Once you are in the Develop module,
want I want you to do is to turn off Auto Sync
| | 01:23 | and to click on the Synchronize
button. Here, I am going to go ahead and
| | 01:27 | select Check All. I want to mirror the
processing to all of the photographs.
| | 01:32 | Here, we will go ahead and click Synchronize.
| | 01:34 | Well, we have not really done anything yet,
but we're just dialing in these settings.
| | 01:38 | Next, let's flip on this option. So
Auto Sync is turned on, and then we can
| | 01:43 | convert to black and white. We'll do
so by clicking on this black and white
| | 01:47 | treatment button up top.
| | 01:49 | Once we have done that, we may want to
make some general adjustments as well--
| | 01:52 | perhaps a little bit of a boost of
exposure, a little bit more contrast, a
| | 01:56 | little bit deeper blacks.
| | 01:58 | These are just typical adjustments
that we may find helpful with most
| | 02:01 | black and white photographs. We'll
of course, want to look at the specific
| | 02:05 | images. You can do that by pressing the
right arrow key. You can go through and
| | 02:09 | look at the photographs.
| | 02:11 | We could also deselect.
| | 02:13 | If we get to an image--say that we see
one that does not really look that good,
| | 02:17 | the black and white conversion is not
that compelling--I'm just going to go down
| | 02:21 | the line 'til I see one like this one
here, you could then deselect with your
| | 02:26 | deselect shortcut. Press Shift+Command+D--
D for deselect--and that is on a Mac on
| | 02:33 | Windows press Shift+Ctrl+D.
| | 02:35 | Well, now with just one image selected,
what I could do is I could change the
| | 02:39 | overall processing of this
photograph so that this one looks good.
| | 02:43 | In other words, we can batch process
everything and then as needed, make specific
| | 02:48 | adjustments to the images
that need those changes.
| | 02:51 | All right. Well, now that we have done all
of this, let's go back to Library module.
| | 02:56 | Well, here in the Library module--and
this is great--what we can do is we can work
| | 03:00 | with all of these photographs.
| | 03:02 | And once this updates we'll see all of
these pictures will come in as black and white.
| | 03:07 | So here you can see that we have
these photographs in black and white.
| | 03:11 | As we double-click on them to open them up,
we can view these pictures and this entire
| | 03:14 | set--well, it is all in black and white.
And what is great about this is we now
| | 03:18 | have another version of these photographs
which we could then deliver to the client.
| | 03:22 | The one thing, though, that
I have to point out is this:
| | 03:26 | if we go back to our other collections--
for example, I'll go to 01_Before
| | 03:30 | and click into this collection--we will not
see any of those black and white pictures.
| | 03:35 | This will be all of the color photographs. That
is one of the great things about collections.
| | 03:40 | Yet if we go back to the main folder--
the Wedding folder--here, we're going to see
| | 03:45 | all of the color and also those
Virtual Copy black and white pictures.
| | 03:49 | If this ever becomes kind of distracting
or overwhelming as you are working in
| | 03:53 | the folder, well, you can just filter this out.
| | 03:56 | So you can look at the Virtual Copies
or you can look at the Main or Master,
| | 04:01 | negative pictures. To do that, go to
the attribute here and next click on the
| | 04:05 | kind that you want to view.
| | 04:07 | You could click to just view the
master photo by clicking on this icon.
| | 04:10 | This will hide all of those black and
white or Virtual Copy images--or if you
| | 04:16 | just want to see the Virtual Copies,
click on this icon here, and it will just
| | 04:20 | show you those images. And I just want to
point that out because as you work with
| | 04:24 | collections, occasionally you will go
back to the folder and you may run into
| | 04:29 | this issue of having these duplicates--
or what looks like duplicates--of these
| | 04:32 | images side by side these virtual
copies, and it maybe a little bit cumbersome.
| | 04:37 | So if it is, just use filtering in order
to sort things out. Yet that being said,
| | 04:42 | once you start working with collections,
what you soon will find is that you will
| | 04:46 | abandon a lot of the work you used to
do in folders, what you used to do there.
| | 04:50 | Well, now you are doing collections
because, well collections, they just work more
| | 04:54 | efficiently and effectively.
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| Exporting photos for lab printing| 00:00 | When it comes to printing a high volume
of photographs, typically it is more time
| | 00:04 | and cost efficient to have someone else
print those pictures for you, yet let's
| | 00:09 | take a look at how we can use Lightroom
in order to prepare those pictures and
| | 00:13 | then export them from Lightroom so
that they can be uploaded to the printing
| | 00:17 | services site and then the
order or the prints can be ordered.
| | 00:21 | Let's say that the client wants one of
each image. They want black and white and
| | 00:25 | they want 4x6 images. Well, the first
step, of course, is to select the images.
| | 00:30 | So here I've selected the
collection 05_black and white.
| | 00:34 | Next, we want to navigate to the print
module. You can do so by clicking on the
| | 00:38 | button in the module picker or by
pressing Command or Ctrl+P.
| | 00:43 | Let's navigate to the print module.
| | 00:45 | The first thing that we'll want to
do is go to our Page Setup options.
| | 00:49 | You can access those by clicking on
this button in the bottom left. As far as
| | 00:53 | our paper size, we're going to look
for a paper size based on the size that
| | 00:57 | the client wants. Here it is: 4x6, auto
expand, no borders or edges. There. And click OK.
| | 01:04 | Once I have done that, I realize the
orientation was wrong made that mistake, so
| | 01:09 | let me go ahead and flip that
to correct that, then click OK.
| | 01:12 | All right. Well, it is looking good,
except obviously I have all of this space.
| | 01:17 | I need to fix that. What I need to do is
to go into the layout panel. In the layout
| | 01:22 | panel I'm going to remove all of my
margins. It's just remembering these from
| | 01:26 | one of the presets I had previously selected.
| | 01:29 | So now, here the image is taking up the
entire space. Now what about if I click
| | 01:34 | on vertical? Well, here we can see it
is rotating to fit that. You want to make
| | 01:39 | sure you have that option clicked on here.
| | 01:42 | Typically, it is by default, but just
make sure it is checked so that this
| | 01:45 | will Rotate to Fit.
| | 01:46 | Otherwise, you'll have an image which
will be rotated in a different way, which
| | 01:51 | will work on some images and
then on others it will not.
| | 01:54 | So again, make sure that option is turned on.
| | 01:57 | Next, what you'll want to do is just
click through your pictures and see how
| | 02:00 | these photographs look inside of this
setting and see if this is looking good,
| | 02:04 | see if you are liking how these pictures
appear inside of this window. And here I
| | 02:08 | think this is looking nice. With this,
if you find that your photographs--for the
| | 02:13 | most part--are oriented vertically
rather than horizontally,
| | 02:17 | you can always go back and change page
setup. This does not really do anything.
| | 02:21 | It just changes the way that
you are viewing that picture.
| | 02:24 | All right. Well, now that we can see this
photograph and see how it fits inside
| | 02:28 | of the space, now that we have
customized our image settings, Rotate to Fit is
| | 02:33 | kept on, we also dialed in our
layout to make sure we did not have any
| | 02:37 | margins, increased the cell size to the
actual size here, 4x6, we are ready to print this.
| | 02:44 | In order to print this, we go to Print Job.
Here, we want to print to--rather than
| | 02:48 | the printer--we want to print to a JPEG file.
| | 02:52 | Typically, most printing services, they
use JPEG, and they use an sRGB color space.
| | 02:58 | So I'll want to turn off draft mode
printing. We want a high-quality print.
| | 03:02 | We'll determine our print sharpening. In
most cases standard works well. Media type,
| | 03:07 | again, this just depends on how we're
going to print this--I'll go for glossy or matte.
| | 03:11 | Again, it is up to you.
| | 03:13 | JPEG quality, leave that cranked all the
way up. Profile we'll leave on sRGB, and
| | 03:19 | then we will leave a rendering intent, the
default relative--which will work well here.
| | 03:23 | Next, for Print Adjustment we can use
this if we've worked with a printing bureau
| | 03:28 | before and found out that our prints,
well, they were a little bit dull and
| | 03:32 | lacking contrast. If that is the
case, you can crank up this amount.
| | 03:36 | Now there is nothing visual. You are
going to see here there is no difference
| | 03:40 | with any of the photographs. As you
click through them, you will not see any
| | 03:43 | changes on those pictures, yet you
will see changes in the final print.
| | 03:48 | So again, you'd have to have printed
with a company before to know how much
| | 03:52 | to adjust that and you would have had to
experiment a little bit with those settings.
| | 03:56 | Well, after you have done that, you are
ready to export or to create these JPEG
| | 04:00 | files. The way that you do that is you
select all of these images, press Command
| | 04:05 | or Ctrl+A to do that. You can see it
now has all of these pictures selected.
| | 04:10 | What we want to do is print these to file.
| | 04:13 | So we'll go ahead and click on print
to file, and then we could determine a
| | 04:17 | location where we want to save
these--perhaps on our desktop.
| | 04:20 | We would just give this a name.
| | 04:21 | In other words, I will just name
this wedding and then click Save.
| | 04:25 | What this would then do is it would
convert these files to this color space--
| | 04:29 | and also to those dimensions that we
specified--and it would take all of these
| | 04:34 | pictures and export them to that
particular location. Now after this process was
| | 04:38 | complete, what we would then do is
upload those photographs to our printing
| | 04:43 | service provider so that those
prints could be ordered from that side.
| | Collapse this transcript |
| Exporting high-resolution photos for DVD or drives| 00:00 | When you are photographing a wedding or
an event, there will be those situations
| | 00:04 | where the client will request or
purchase the full high-resolution photographs.
| | 00:08 | Let's take a look at how we can export
these files as high-resolution files so
| | 00:13 | that they can be burned to a CD or DVD or
copied to an external hard drive or a thumb drive.
| | 00:19 | Well, the first thing you want to do
is to select the pictures. Here you can
| | 00:23 | select the pictures by pressing Command
or Ctrl+A, and that's what I've done
| | 00:27 | with this collection of
black and white photographs.
| | 00:30 | The next step is to navigate
to the File pulldown menu
| | 00:34 | and here, select Export.
| | 00:36 | This opens up the export dialog. You
want use this first preset if you want to
| | 00:41 | burn these files as full-size JPEGs.
Click on that and it will change your
| | 00:46 | export option to CD or DVD rather
than hard drive. The reason why you might
| | 00:51 | want to do this is if you have images that
you want to deliver on one of these formats.
| | 00:56 | Well, why in JPEGs?
| | 00:58 | So often we think of JPEGs as small
files, as not very good files. Well, this
| | 01:03 | format is actually phenomenal if we
increase the quality all the way up.
| | 01:07 | This will give us a small file size, but it
will be a really nice high-resolution image.
| | 01:12 | Yet the file will not be too big. In
other words we could include many more JPEGs
| | 01:17 | on a CD or DVD than we could TIFF files.
| | 01:21 | Now in certain situations, say, with
publications, if I'm going to have an image
| | 01:25 | printed in a national magazine, sometimes
I'll request full-res JPEGs, other times full-res TIFF files.
| | 01:32 | So you will need to make this
decision based on the client's needs.
| | 01:36 | Yet, in most scenarios, if you're a wedding or
event photographer, JPEG is going to be the call.
| | 01:41 | Next, for your color space. This depends
upon how the image will be printed.
| | 01:46 | If it is a magazine and you know that
they have a specific color space.
| | 01:50 | Well, you are going to probably want
something higher than sRGB, yet if it is
| | 01:54 | just the bride and she's going to
take these images to her local store and
| | 01:58 | have them printed, or perhaps upload them to a
printing service site and have those prints made,
| | 02:04 | well, typically in those scenarios,
they use this sRGB color space.
| | 02:08 | So in most cases sRGB is going to work well.
| | 02:12 | Next, we want to make sure there is no
resizing here. So we turn off that option.
| | 02:16 | And then if we scroll down we can
sharpen for--in this case, not Screen but the
| | 02:21 | paper type. Let's say they want to
print these on glossy paper and we use a
| | 02:25 | standard amount of sharpening. All right.
| | 02:26 | Well, after we have chosen these
settings, it's just a matter of clicking Export.
| | 02:31 | And what it would do is it would export
all these files, it would convert them to
| | 02:35 | this JPEG format and also this color
space, and then afterwards it would trigger
| | 02:41 | the burning process. It would open up a
dialog which would allow you to push a
| | 02:45 | button in order to burn that CD or DVD.
| | 02:48 | Well, what about the scenarios where
you have too many images, more images than
| | 02:53 | can fit on a CD or a DVD? Well,
that's typically the case for me. In those
| | 02:58 | situations I find it is more cost
effective and time efficient to use an
| | 03:02 | external hard drive and to give the
client that hard drive or thumb drive.
| | 03:07 | To do that, we can simply change this
option to Hard Drive. Now here it will
| | 03:11 | remember all of our file settings, also
our image sizing output, sharpening, et cetera.
| | 03:17 | It just gives us one new option.
| | 03:19 | Here, we can export these files to a
location. I'll choose a specific folder.
| | 03:24 | Here, I'll go ahead and click Choose,
and here on my desktop I'm going to name
| | 03:28 | this folder, Wedding,
click Create, and then choose.
| | 03:32 | Next, I do not need to put these in a
subfolder because I've already defined that
| | 03:36 | folder there, and then, really, I am good to go.
| | 03:39 | There is only one more thing we might
want to change. If you scroll to the bottom,
| | 03:44 | you also have this option for Post-Processing.
| | 03:47 | After this is done--after the export--
what you want to do--well, I like to choose
| | 03:52 | Show in Finder or Explorer.
| | 03:55 | This will then open up a Finder or
Explorer window, which will then remind me,
| | 03:59 | "Oh yeah! I need to copy these files to
an external hard drive or to a thumb
| | 04:04 | drive or to wherever." It will then
remind me that I need to take that step in
| | 04:08 | my overall workflow.
| | 04:10 | So here, as you can see, exporting these files
as full high-resolution files is really simple.
| | 04:16 | And once you have dialed in these
settings, one of the things that you might
| | 04:19 | want to do is save these out as a preset.
If you do that, though, you'll have to
| | 04:25 | remember that you are going to have to
change the folder destination, because you
| | 04:28 | won't always want to export all of these
images to that same folder. That being
| | 04:33 | said, let's take a look at
how we could create a preset.
| | 04:36 | Here, just click on add, and I'll go
ahead and name this one full and then
| | 04:40 | Sized-JPEGs and then click Create.
| | 04:45 | So now I've saved all of those
settings here. And if I want to use this again,
| | 04:49 | what I could do is with a different
batch of images--well, I could just go
| | 04:53 | through the process of changing the
folder. Choose a different folder--perhaps
| | 04:56 | this one here--and then click Choose, and
we could see how that would update that,
| | 05:01 | and then just click Export.
| | 05:02 | Well, that's not the folder I want. I'll
go back to my full-size JPEGs here, and
| | 05:07 | then I'm going to simply click Export.
What that will do is it will then prepare
| | 05:12 | these files, and it will take the files
and convert them to that JPEG format and
| | 05:16 | that sRGB color space.
| | 05:19 | It will apply some sharpening to these
images, and this works with all sorts of
| | 05:23 | file formats--whether you have PSD,
TIFF file, DNG, RAW, you name it.
| | 05:28 | You can take all of those file formats
through this workflow in order to export
| | 05:32 | high-resolution photographs.
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| Compressing and archiving the images| 00:00 | One of the things that obviously happens
when we capture a lot of photographs is
| | 00:04 | that all of these photographs--well,
take up a lot of space on our hard drives.
| | 00:09 | So one of the steps that you might
want to take in your own workflow is to
| | 00:13 | archive some of your images. A certain
select amount of these photographs,
| | 00:17 | you might want to archive them in a way
that you save a smaller version of the image.
| | 00:23 | This is something you might want to do
with those pictures, say, that are not the
| | 00:27 | keepers. Maybe there are those pictures
that you do not want to delete, but you
| | 00:30 | still want to hang on to because you
might need them, but you do not need the
| | 00:35 | full high-resolution file.
| | 00:37 | Let's simulate that.
| | 00:38 | And let's take a look at how we can
deal with images like that, how we can
| | 00:42 | compress or reduce their file
size for archiving purposes.
| | 00:47 | Well, here in this folder you will notice
that I have a number of different images.
| | 00:50 | The first three files here, they're
full-resolution raw DNG files.
| | 00:56 | I have not included all the files as
RAW or as in DNG because then our exercise
| | 01:01 | files folder, well, it would just be
huge. But I have included these three so
| | 01:05 | that we can look at these
three and work with them.
| | 01:08 | The first thing I want to do is
right-click or Ctrl-click and then
| | 01:12 | select show and Finder.
| | 01:14 | This will open up our Finder window.
| | 01:16 | Now this first image, we can see it
is about 23 megs, as is the other two.
| | 01:22 | Let's say that one of these images is
not that much of a keeper. It is an image
| | 01:26 | we want to hang on to, but we do not
need all of this data, all of this
| | 01:31 | information. Perhaps it is image
number two here. Rather than having a 22 MB
| | 01:37 | file, we're interested in
having a smaller file size.
| | 01:40 | Well, we can convert this image to what
is called a lossy DNG file. In order to
| | 01:45 | do this, let's take a look at that
process, and then let's come back to this
| | 01:49 | window to explore--or look at--the
file size difference. All right. Well, I'm
| | 01:53 | going to select the photograph. Let's
say it's this picture here. I will go
| | 01:57 | ahead and zoom in on it.
| | 01:58 | The next step is to go to our
Library pulldown menu and then to select
| | 02:02 | convert photo to DNG.
| | 02:05 | Well, this file is a DNG. We're going to
convert it to a different type of DNG.
| | 02:09 | We're going to choose Use Lossy Compression.
| | 02:13 | Turn this check box on. What lossy
compression does is it loses or
| | 02:18 | reduces information.
| | 02:20 | It reduces file size.
| | 02:22 | Why would you want to do this? Well,
just if you want a file which is smaller.
| | 02:26 | What is the downside? Well, the downside
is that you are losing information, you
| | 02:30 | are not going to have as much data there.
| | 02:32 | What lossy compression tries to do is
to get rid of information, get rid of file
| | 02:37 | size without sacrificing quality.
| | 02:40 | Of course, there will be some quality
lost here, but it is going to try to do this
| | 02:44 | in a really smart way so that
we do not lose too much quality.
| | 02:48 | This compression is similar, say, to JPEG
compression, but here we still get access
| | 02:52 | to many other different RAW controls.
| | 02:55 | So by turning that option on, I can then
click OK. Well, what happened is Lightroom
| | 03:00 | will go through the process of converting
this file, and it is now including
| | 03:04 | this converted file inside of my catalog.
| | 03:06 | Let's jump back to the Finder or
Explorer window to see the difference.
| | 03:10 | Well, the difference, as you can see
here, is that one file--this one here--is now
| | 03:16 | 7 megs rather than being 22 megs, so
it has given me a smaller file size, and
| | 03:22 | that smaller file size is really nice.
| | 03:25 | Imagine that wedding that you
photographed. You have 2,000 images you captured,
| | 03:30 | yet there really are only 300 keepers.
| | 03:33 | Well, you could then take the rest
of those images, all 1700 of those
| | 03:38 | photographs that you want to keep
that you are never going to give to the
| | 03:41 | client, but you might need.
| | 03:43 | Well, you could then convert those to
this lossy DNG format--in order to archive
| | 03:48 | them, in case you do need them at some point.
| | 03:50 | Of course, you want to be careful with
this process because whenever you're
| | 03:54 | reducing file size or getting rid of
data, you just want to make sure you are
| | 03:58 | doing this with those images
that are not that important.
| | 04:01 | All right. Well, now that we have that,
now that we have this image here,
| | 04:04 | let's take a look at them. Well, if we
look at this image and zoom in to 100%--
| | 04:09 | and let's go ahead and look at the
eye detail--we can still see that we have
| | 04:12 | great structure with this image. The
structure of the photograph, it looks nice to our
| | 04:18 | eye, and it looks like a really
good, full, big, wonderful photograph.
| | 04:23 | The one thing that will happen, though, is
while this image looks good, if we're to
| | 04:27 | go to the Develop module and in the
Develop module if we need to make, let's say,
| | 04:32 | drastic adjustments--say, maybe
modifying our exposure really strong one way or
| | 04:36 | another--well, we would have a little
bit less latitude. In other words, because
| | 04:41 | there is less data there, the image has
a little bit less depth. We cannot swing
| | 04:46 | our controls quite as hard or quite as
far. We cannot recover highlights quite as
| | 04:51 | effectively as we could with
a full-resolution RAW file.
| | 04:55 | So just know that as you make this
change, the image--well, it will maintain a lot
| | 04:59 | of its quality, yet a few areas where
you might run into issues is when it
| | 05:04 | comes to processing.
| | 05:05 | Well, with a picture like this which
needs minimal processing, that is not that
| | 05:10 | big of a deal. But let's say the image
was four stops underexposed and I needed
| | 05:15 | to boost the exposure dramatically,
well, then in a scenario like that, it would
| | 05:20 | be more problematic.
| | 05:21 | Well, all that being said and all of these
warnings embedded into this movie about
| | 05:26 | being careful about this process, know
that this process, it can really help you
| | 05:31 | out when it comes to archiving those
photographs that you are interested in
| | 05:34 | keeping but you just do not need to
keep as full high-resolution files.
| | Collapse this transcript |
|
|
3. Travel Photography Workfow: In the Field Getting started with travel collections| 00:00 | Traveling and taking pictures has
to be one of the world's greatest
| | 00:03 | combinations. You know, you can
get so much more out of your travel
| | 00:06 | experiences when you have that camera
in hand, and in your travel photography
| | 00:11 | it requires a specific workflow.
| | 00:14 | Let's take a look at how we can
begin that workflow process here.
| | 00:17 | One of things that we have to think
about is how we work on our images when
| | 00:20 | we're capturing these travel photographs.
| | 00:23 | Well, typically when you are traveling--
whether it is a vacation or a short trip,
| | 00:27 | or perhaps a photographic assignment--
really, we're there to experience it all, to
| | 00:31 | immerse ourself, and to really observe
the people, the place, and the culture.
| | 00:36 | Therefore, when we start to work in
Lightroom, typically it is after the fact or
| | 00:40 | at the end of the day. In other words,
after taking pictures all day, we go to a
| | 00:44 | cafe or to our hotel and we start this
process. Or in my own experience, what I
| | 00:49 | like to do is I like to work on
my images on that plane ride home.
| | 00:53 | I do not work on my photographs at the
location, because while I'm there, I just
| | 00:57 | want to soak it all up.
| | 00:58 | So in this after-the-fact context,
let's take a look at how we can begin.
| | 01:02 | Well, one of the things that goes without
saying is that we'll be working on a laptop.
| | 01:06 | This is an important consideration
which will come into play as we talk about
| | 01:10 | merging our catalogs later. But let's
assume that we're on a laptop, we have
| | 01:15 | imported our photographs, and we
have imported them into a folder.
| | 01:18 | One of the first things you'll want to
do, then, is to create a collection.
| | 01:22 | We want to create a collection of these
photographs, but to do that we probably want
| | 01:26 | a collection set first.
| | 01:28 | I like to do it this way: in the
collections panel, click on the Plus icon and
| | 01:32 | choose create collection set.
Next, we'll name this travel.
| | 01:35 | This will be our overarching collection set.
| | 01:38 | This will be at the top level. Click Create.
| | 01:41 | Next, we want to add to this different
collections of the various places that
| | 01:45 | we've traveled to. Let's select one folder, one
set of images. Let's click on our travel folder.
| | 01:51 | Here, we're going to learn a really
valuable shortcut for working with
| | 01:54 | collections. And shortcuts, when you
are working in the field or when you are
| | 01:58 | traveling, they are really helpful
because time is limited. All right. Well, let's
| | 02:02 | select all these pictures. Press Command
or Ctrl+A, then rather than clicking
| | 02:08 | on the Plus icon and choosing Create Collection,
| | 02:11 | let's use the shortcut. The shortcut, to
do that is Command on a Mac, Ctrl on
| | 02:16 | Windows, and then N--think N
for new or new collection.
| | 02:20 | This will open up the Create Collection
dialog. Here, we will go ahead and type
| | 02:24 | out the name of the place that we
traveled to. Sayulita, Mexico.
| | 02:29 | This is going to be inside a collection
set inside of our travel collection set
| | 02:33 | there, and we'll include these
selected photos. Go ahead and click Create.
| | 02:38 | Well, now we have all of these images
inside of this collection, and what's great
| | 02:42 | about this is we can have various
collections for the different places which
| | 02:46 | we've traveled to. And here, these
photographs, they are the RAW files directly
| | 02:51 | out of the camera. Nothing has
been done to these pictures.
| | 02:54 | Well, before we even begin to process
them, one of things that we'll want to do is
| | 02:58 | start to select the keepers.
| | 03:01 | Let's take a look at how we can
select these photographs and how we can do
| | 03:04 | this efficiently when
working with travel pictures.
| | 03:06 | And let's do that in the next movie.
| | Collapse this transcript |
| Labeling the photos| 00:00 | When you are traveling, and when it
comes time to start to work on your
| | 00:03 | photographs in Lightroom, you may find
yourself on a beach chair underneath a
| | 00:07 | cabana or maybe you are in that bustling
cafe or perhaps you're riding the plane
| | 00:11 | on that plane trip home.
| | 00:13 | Well, in all of these situations we'll
have different ambient light, and this
| | 00:18 | ambient light, it will affect how we
review and evaluate our photographs.
| | 00:22 | When we're home at our studio or in
our office, we can control that. But out
| | 00:26 | there when traveling, we cannot.
| | 00:28 | Therefore, what we will want to do is
to minimize or maybe customize the Lightroom
| | 00:32 | interface a little bit so that we
can really evaluate these pictures in
| | 00:36 | order to select the keepers.
| | 00:38 | Let's take a look at how we can do
that and also how we can really simply
| | 00:41 | select the photographs
that we want to work with.
| | 00:44 | Well, the first thing that we need to do
here is to deselect. Previously, we had
| | 00:48 | selected all, so let's
deselect by way of a shortcut.
| | 00:52 | You may remember this shortcut. It's
Shift+Command+D on a Mac, Shift+Ctrl+D on
| | 00:57 | Windows. Next, change this to the loop view,
and let's do that by pressing the E key.
| | 01:02 | In this way, we can see the
image a little bit more clearly.
| | 01:06 | The next thing that I want to do is
minimize my interface a little bit.
| | 01:10 | You might simply want to hover
over the edge of your panels.
| | 01:13 | When you do that, you will see a cursor.
| | 01:15 | If you click and drag, that allows you to
decrease or to increase the size of the panels.
| | 01:20 | Let's go ahead and decrease those
to make sure that they are as small as
| | 01:23 | possible so that they're tucked away so
that we can really focus in on the image.
| | 01:28 | The next thing you might want to do
is to hide them altogether. There are a
| | 01:32 | number of different ways to do this. One
shortcut that you could use is the Tab key.
| | 01:36 | That quickly hides the panels on
the left and the right, and that shortcut--
| | 01:41 | well, it works in various
programs like Adobe Bridge or Photoshop.
| | 01:45 | So here it just removes or minimizes
those panels, so we're not focused on them.
| | 01:49 | Next thing I want to do is I want to
add a star, a flag, or a label--or do
| | 01:54 | something to mark my images as keepers,
mark the ones that I really like.
| | 01:58 | And rather than doing something
incredibly elaborate that uses all of these
| | 02:02 | different methods--and also
collections and multiple collections--
| | 02:06 | I want to keep it really simple,
because remember I am in that bustling cafe
| | 02:10 | and I can't afford to have some
complex or elaborate system that is not going
| | 02:14 | to help me out here.
| | 02:15 | And what I typically do is I choose a
label. In my own case, I say red
| | 02:19 | label, that's a keeper, and that is it.
| | 02:21 | It is really simple, really easy to do.
In order to add this label in your
| | 02:25 | toolbar, you can add it simply by
clicking on the label icon here.
| | 02:29 | If this isn't visible, go to the far
right of your toolbar and then click on
| | 02:33 | this option so that those options appear. So
we can simply add this label by clicking here.
| | 02:39 | So this image now has a red label.
| | 02:41 | We could then also do this by way of a
shortcut. If you press your right arrow
| | 02:46 | keys to navigate to the next image,
| | 02:48 | you can then press the 6 key. The 6 key
is the key which allows you to add
| | 02:52 | or remove a label. Press it
again, and that label is now gone.
| | 02:57 | So what you want to do is have one
finger on the 6 key, one finger on the arrow
| | 03:01 | key so that you can add a label. Press
the right arrow key and then select these
| | 03:06 | pictures that you like and make your
way through the photographs that way.
| | 03:10 | Another thing that you might do is you
might decide to turn on what is called
| | 03:13 | auto advance. You may remember this
from one of our previous conversations.
| | 03:18 | If you press the caps lock key and
then add a flag or star or label, it will
| | 03:24 | automatically add that or remove
that or change that and then advance to
| | 03:28 | the next photograph.
| | 03:29 | Let me show you what I mean. So here
I'm going to click on my next image.
| | 03:32 | I'm going to add a red label to it.
| | 03:34 | So when I press six, it will add that
label and instantly jump to the next image.
| | 03:39 | And again, this gives you a little bit
of a jump start and just allows you to
| | 03:42 | quickly move through your photographs.
If ever you just want to advance without
| | 03:47 | adding a label, well, just use that arrow key.
| | 03:49 | So again, sometimes some people find this,
that it helps to speed up their workflow.
| | 03:54 | Once you have done that, though, make
sure you press caps lock again to turn that
| | 03:58 | off, otherwise that will interfere
with other things that you're going to do
| | 04:01 | with your photographs.
| | 04:02 | From here, I'll go ahead and just add a
few more labels in order to select these
| | 04:06 | pictures. And I really like this set of
photographs, so for the most part I have
| | 04:10 | selected a lot of the photos.
| | 04:11 | Well, let's bring back our panels on
the left and the right. To do that, we can
| | 04:16 | press the Tab key. Another thing that
you might want to do is you might want to
| | 04:20 | dim the lights as you work on your
pictures. You remember that L allows you to do
| | 04:25 | that press out once it dims those lights,
press Shift+L and it brings those back,
| | 04:30 | or you can just press L. They cycle
through the different modes so that it can
| | 04:34 | dim or darken this all the way.
| | 04:36 | Sometimes when you are in a really
bright environment, this can help you focus
| | 04:40 | in on the image and remove all of
the rest of the light on your laptop.
| | 04:44 | All right. Well, let's turn the lights up.
Another thing you might consider, rather
| | 04:48 | than dimming the lights is changing
the background. The background helps us
| | 04:52 | evaluate our photographs, yet sometimes
there can be so much ambient light that
| | 04:57 | we're not really seeing them well. If
you right-click or Ctrl-click over that
| | 05:01 | background, you can change this.
| | 05:03 | Perhaps you may find it more
helpful to evaluate this with a dark gray
| | 05:07 | background, especially if you
are in a bright environment.
| | 05:09 | You'll just want to experiment and see
what will work best with your pictures.
| | 05:13 | Okay. Well, I'm going to go ahead and
take this back to the default setting.
| | 05:16 | And now that we have done that and
selected the keepers, selected certain
| | 05:20 | photographs from the set, let's go ahead
and move to the next step of our workflow.
| | Collapse this transcript |
| Adding travel-specific keywords and captions| 00:00 | One of the things that's so enjoyable
about travel photography is that it
| | 00:03 | exposes you to different ways of seeing
and living and thinking, and as a result,
| | 00:08 | your pictures, well, will just been different.
| | 00:10 | Therefore, it may be a good idea to add
some keywords and also some metadata to
| | 00:15 | your pictures in order to organize these
and take advantage of some of these new
| | 00:19 | things that you are discovering.
| | 00:20 | Let's take a look at how we can first
add some keywords to this entire set of
| | 00:24 | photographs. In order to select the
pictures, press Command or Ctrl+A. Next, in
| | 00:30 | the Library module, open up the
keywording panel. Here, we can add keywords by
| | 00:35 | clicking into this field
and simply typing them out.
| | 00:37 | I'll go ahead and type out Sayulita and
then press Enter or Return. Also add the
| | 00:42 | keyword Mexico and travel in colors,
and here you can see we're adding some
| | 00:49 | pretty general keywords that
apply to this entire group.
| | 00:52 | Yet I have an idea for a few more
keywords. One of things that I want to do is I
| | 00:57 | want to add a keyword which is hand-painted.
I noticed that almost everything
| | 01:01 | here is hand-painted, so I go ahead and
I add that in my enthusiasm, and then I
| | 01:06 | noticed, "Oh shoot! I made a mistake."
| | 01:09 | Well, this isn't hand-painted. These are
just bags here. And perhaps this hat, well,
| | 01:14 | that is not hand-painted--or these garments.
| | 01:16 | I need to undo or remove those
keywords. That's actually really easy.
| | 01:21 | You can deselect by pressing Shift+Command+D,
then navigate to the photograph
| | 01:26 | that you want to change.
| | 01:27 | In this case, I am going to click on
this image here of the bags and then click
| | 01:31 | into the Keyword panel and hit Delete, or
backspace. And then you can remove them.
| | 01:36 | You can do that with those other
photographs as well, just navigating to those
| | 01:40 | images and then making changes.
| | 01:42 | So here you can see that you can make
changes to specific images or to the entire group.
| | 01:47 | All right. Well, let's make a few more
keywords, here. I'm going to type out hat,
| | 01:52 | and then this one and also this image
next door. I'll hold down the Command key
| | 01:57 | to select both of those and add the
keywords bags. In other words, you can add
| | 02:02 | keywords to the entire set, make
changes to individual images, either to remove
| | 02:07 | or to add keywords.
| | 02:09 | You also may notice that as you progress
through this process that when you click
| | 02:13 | on an image, it is going to give you a
few suggestions. It is going to try to
| | 02:17 | figure out what might be
associated with this particular image.
| | 02:21 | It's going to look at the other
keywords and see if there are any similarities.
| | 02:25 | If you see a keyword which connects
with something else--for example, let's say
| | 02:29 | we want to add a keyword and we see
the suggestion hat because this little
| | 02:33 | character here has a hat--well, you can
just click on that and it will add that
| | 02:37 | keyword to the image.
| | 02:38 | All right. Well, what can we do with
keywording? Let's go ahead and change the
| | 02:43 | thumbnail side so we can see all
the photographs. Next, let's close the
| | 02:47 | keywording panel and open up the keyword list.
| | 02:50 | What is interesting about this is
here you can see it is showing me all of
| | 02:54 | the keywords that an image has. As I click
through these images, you can see that this changes.
| | 03:00 | What's fascinating about this is
you can actually tap into this in some
| | 03:03 | really wonderful ways.
| | 03:05 | For example, hat. Look at that keyword.
| | 03:07 | There are two images which
have that associated with it.
| | 03:11 | If you click on this icon here, it's a
little arrow that will then show you
| | 03:15 | those two photographs.
| | 03:17 | Can you imagine if you traveled through
Mexico for a month and you had that keyword, hat.
| | 03:22 | You could then filter
through all of your photographs.
| | 03:24 | Everything inside of your Lightroom
library that has that keyword
| | 03:27 | associated with it.
| | 03:29 | Or maybe one like hand-painted. Click on
that. We could see all the images which
| | 03:33 | have that keyword associated with it.
| | 03:36 | Imagine all of the different things,
the beautiful colors, all the details that
| | 03:41 | you would have captured. So keywording,
it allows you to organize these things
| | 03:45 | that you are seeing. And coming up with
creative ways to use keywords or to name
| | 03:49 | your images with keywords, it is really helpful.
| | 03:52 | Perhaps it is something that you noticed or
a detail that you liked about the picture.
| | 03:57 | What you want to do is use your own
keywords, not someone else's.
| | 04:01 | Write keywords that make sense to you and to the
type of photography that you do.
| | 04:06 | All right. Well, one more thing before
we wrap this movie up. Let's go ahead
| | 04:08 | and close keyword list. The last thing I
want to look at is metadata and adding captions.
| | 04:14 | In the metadata panel, there is this
pulldown menu. We can choose between default,
| | 04:18 | or if we're going to add captions we
can choose what's called large caption.
| | 04:22 | Let's go ahead and open that up. And
here you can see we have space to add a
| | 04:26 | caption. To add a caption to our
photograph, we could do that by clicking on one
| | 04:31 | image or more than one photograph.
| | 04:33 | Here I'm going to go ahead and type
out a caption. I'm just going to type out
| | 04:37 | hand-painted sign for a small jewelry
shop, and by adding a caption, what it can
| | 04:45 | do is it can remind you or trigger
something in regards to a memory about a
| | 04:50 | picture. It can help you kind of save
information about these different things
| | 04:54 | that you've seen, because after the fact,
you may really forget this. You may
| | 04:58 | lose these details, and these captions,
well, they can come in handy--well, if
| | 05:03 | you're going to design a book or create
slideshows or share these images or sell
| | 05:07 | these photographs. So those captions
can really add something to your pictures.
| | 05:11 | Once you have typed out the caption and
you want to apply it--we'll just click
| | 05:14 | off of that field--then it
will be part of that photograph.
| | 05:17 | You can also apply captions to more
than one picture. So if you select more
| | 05:22 | than one picture and add a caption,
well, it will apply that to all
| | 05:25 | of the images that you've selected.
| | Collapse this transcript |
| Adding locations to the Map module| 00:00 | I had this roommate in college who had
literally traveled to dozens and dozens
| | 00:04 | of countries. He had so many stories.
And on his wall he had this world map, and
| | 00:09 | on the map he had these markers, these
pins which showed all the different
| | 00:12 | places that he had traveled to. And you know, we
can do something similar inside of Lightroom.
| | 00:18 | We can add our images to a specific
location and we can save that location and
| | 00:23 | this can give us yet another way to
organize or to group our pictures.
| | 00:27 | Well, first you need to select the
photographs you want to work on. We'll be
| | 00:30 | working with these pictures you
can find inside of this travel folder.
| | 00:34 | The next step is to click on the map
button in the module picker, and this will
| | 00:38 | take us to the map. From here we want
to go to the location filter and do a
| | 00:43 | search for the location, Sayulita,
Mexico, and press Enter or Return.
| | 00:48 | The next thing that I need to do is
I need to save this as a location.
| | 00:53 | To do that, go to the Save Locations panel,
click on the Plus icon--and we'll name
| | 00:58 | this one Sayulita--and then click Create.
| | 01:02 | Now that I've created that, I can change
this up a little. The radius that I have
| | 01:07 | here is a little bit too big. You can
click on one of these two nodes--the outer
| | 01:11 | node--and click and drag down. And you
can see that I can change the size of that
| | 01:14 | or increase the size of that area.
| | 01:16 | I'll make that much smaller.
| | 01:18 | Next, the center node, I can click and
reposition that in order to highlight this
| | 01:23 | area where these pictures were
captured in this relatively small little town
| | 01:27 | right on the coast a beautiful quaint town.
| | 01:29 | Sometimes it is fun to view
these maps a little bit differently.
| | 01:33 | Here, I can click on the map
and drag in order to reposition.
| | 01:37 | I can also change my zoom. You can do that by
zooming in or out by using this slider here.
| | 01:43 | If you double-click, that allows you to
zoom in closer. Another way that you can
| | 01:47 | change this is by changing the map style.
| | 01:50 | Currently the map style is terrain.
| | 01:52 | You can choose other options like
satellite or roadmap, and this will show you
| | 01:56 | different view options with the map.
| | 01:59 | You can also change those by way of a
shortcut, on Mac hold down Command, on
| | 02:04 | Windows Ctrl, and then type the keys 1,
2, 3, 4, 5, or 6. In this way you can change
| | 02:10 | the view. And sometimes it is fun
to see this view in different ways.
| | 02:14 | It will give you insight into a
location or help you focus in on a
| | 02:18 | specific aspect of it.
| | 02:19 | Like this one here: I love
seeing all the vegetation and also the
| | 02:23 | watercolor beautiful.
| | 02:25 | All right. Well, back to the save
location. Well, here it is. We have that saved
| | 02:28 | location, here. It's showing us this area.
We can add photographs to that area in
| | 02:34 | my filmstrip. Click on one image, hold
down the Shift key, then click on the last
| | 02:38 | image. And then I'm going to drag and
drop these into this area. As long as this
| | 02:43 | is inside of the circle, these will
now be part of this saved location.
| | 02:48 | I can click on this icon for my images
and then click through these photographs.
| | 02:52 | And what is fun about this is that as
you travel to more and more places, well, your
| | 02:57 | map module, it will become like
my roommate's map on his wall.
| | 03:01 | There will be all of these different
pins and you can click on those and as you
| | 03:05 | do it will pull up those
images in your Lightroom library.
| | 03:10 | Another thing that you can do is
enable reverse geocoding. You may have seen a
| | 03:14 | dialog in your version of Lightroom
the first time you did this.
| | 03:18 | What that allows you to do is to
automatically add some GPS information,
| | 03:22 | also some metadata, the city, the
state, and the country--and also the ISO
| | 03:27 | country code. By doing that, you have some
really valuable metadata added to those pictures.
| | 03:33 | So I recommend that you turn that
option on. Once you have turned it on, as I
| | 03:37 | have done previously, it will stay
on and it will automatically add that
| | 03:41 | information to your photographs, and so
again, this is another nice way to add
| | 03:45 | some helpful metadata to your photographs.
| | Collapse this transcript |
| Processing the images| 00:00 | As you already know, all of these
images are RAW files straight out of the
| | 00:03 | camera. And RAW files, well, typically
they are little bit lackluster. They are
| | 00:08 | lacking a little bit of contrast and color
saturation and life. We want to bring some of that back.
| | 00:13 | We want to process these photographs.
And while we're traveling, typically we're
| | 00:17 | doing all this work while sitting on
that beach chair underneath the cabana, or
| | 00:21 | perhaps we're on the plane ride home.
| | 00:23 | So we need to come up with a workflow
which is really quick and easy and
| | 00:27 | effective. What you typically want to
do is work on groups of pictures at a time.
| | 00:32 | You want to find photographs like
these here, which are all pretty similar.
| | 00:36 | Sometimes you have groups where you have
five images which were captured in one
| | 00:40 | setting and then ten in another and
then 13 in another. Well, select the group
| | 00:45 | where the photographs are the same.
| | 00:47 | What you want to do is select those
pictures and work on them at one time so you
| | 00:51 | can batch process or Auto Sync these images.
| | 00:54 | Let's go to the Develop module and do
this. Here in the Develop module, what I
| | 00:58 | am going to do is I'm going to ahead
and select an image that we can see
| | 01:01 | something here. And then I want to
select actually multiple files, so hold down
| | 01:05 | Command or Ctrl and click on another file.
| | 01:07 | This will then activate my sync
dialog, and I want to turn off Auto Sync
| | 01:12 | and open up Sync... When you see dots, that
tells you, you are going to see a dialog.
| | 01:17 | In this dialog, I am going to
Check All and then click Synchronize.
| | 01:22 | The reason I did that was to make sure
I can synchronize everything across all
| | 01:26 | of these photographs.
| | 01:28 | Next, what I want to do is I want to
flip the switch. I want Auto Sync to be on.
| | 01:34 | Now that Auto Sync is on, I need
to select my group of pictures.
| | 01:38 | Remember, whatever that group is, perhaps
three photographs or five or 10--in this
| | 01:43 | case we have a group
which are all pretty similar.
| | 01:46 | So here we'll press Command or Ctrl+A,
in order to select those. The next step,
| | 01:51 | of course, is to do some processing.
Almost all RAW files, what do they need?
| | 01:56 | Well, they need a bit of contrast
so we can instantly crank that up.
| | 01:59 | They also need a little bit of clarity.
| | 02:01 | These pictures, they are about color, so
I want to add or increase some vibrance
| | 02:05 | and saturation, also perhaps a little
bit of my highlights and my whites,
| | 02:10 | my shadows there and exposure.
| | 02:13 | I am looking to bring this up to increase
the visual impact of these photographs.
| | 02:18 | What I want to so is as I am making
these changes, I want to press my arrow keys
| | 02:21 | to scroll through the photographs. As I
go through these pictures I can see that
| | 02:26 | these images, well, they're becoming
much more alive, much more vibrant. Yet I
| | 02:30 | notice a problem: they're almost too
vibrant, they're surreal, they are neon,
| | 02:36 | they're glowing, they are not really realistic.
| | 02:38 | So here I need to bring this back down.
I got a little bit overambitious with my
| | 02:42 | saturation and also my vibrance, and
this is really important, because travel, you
| | 02:48 | know, it is incredibly exciting, and
what we want to do is just draw out as much
| | 02:52 | as we can, as much as possible.
| | 02:54 | We need to be careful that as we
process our images that we funnel that
| | 02:58 | enthusiasm to quality and to not overdoing it.
| | 03:01 | Another thing that we might notice as
we scroll through these photographs--as I
| | 03:05 | noticed back a few images--is that one
of the images needs to be cropped. It is
| | 03:09 | this picture right here. I want to
crop off this edge. In order to apply
| | 03:14 | something that is specific to an image, we
need to deselect and then just work on one image.
| | 03:20 | The shortcut to deselect it is
Shift+Command+D on a Mac, Shift+Ctrl+D on
| | 03:25 | Windows, then press the R key for the
crop tool, then simply click and drag in.
| | 03:30 | And here we will go ahead and just do
a little freeform crop on that, and then
| | 03:34 | press Enter or Return to apply that.
| | 03:37 | So again, anything that you need to do
on one image, you can always do that
| | 03:41 | rather than always applying all
these adjustments to every image.
| | 03:44 | Well, now that I have done that, I need
to get back to the group. So Command or
| | 03:48 | Ctrl+A, press that and select all.
What else do we need to do here?
| | 03:53 | Well, we have already worked on our Basic
panel, and really I am done with the Basic panel.
| | 03:57 | I want to close that, get rid of it. In
order to do that, press Command or Ctrl+1.
| | 04:03 | That is the shortcut to open
or to close the Basic panel.
| | 04:08 | Next, we want to do a little
bit of work on the detail.
| | 04:11 | We've seen how we can do this before.
You press Command or Ctrl, and then
| | 04:15 | there are number keys associated with
all of these panels: 0, 1, 2, 3, 4, 5, 6, 7, 8.
| | 04:22 | We want to go to the detail panel, so
we'll press Command or Ctrl+5 in
| | 04:26 | order to open that up.
| | 04:28 | With images like this, going to have
some nice crisp edges, so I'm going to
| | 04:32 | increase my sharpening. I want texture,
so my detail slider, I'll leave that
| | 04:36 | where it is. I'll reduce some of
the noise and also a little bit of the
| | 04:39 | color noise that we have there. And now
these images, well, they are just much more alive.
| | 04:45 | If I press the Backslash key, I can see there is
my before. Press it again, there is the
| | 04:50 | after, and then press the arrow key in
order to scroll to another image, look at
| | 04:55 | the before and after. Backslash key shows me
before, press it again, there is the after. I am
| | 05:01 | looking to see if I am moving these
images in a good direction. As I get to one
| | 05:04 | photograph I look at the before and
then after. I realize that this one, perhaps
| | 05:10 | it needs some customization. Do that same thing
that we did before, Shift+Command+D to deselect.
| | 05:16 | You just work on that image. This one, I
want to crop, and so I go ahead and I'm
| | 05:21 | going to lock down my crop ratio there
this time, just to keep that consistent.
| | 05:25 | I will go ahead and change this one
a little bit, apply a little bit of a
| | 05:29 | different crop to try to change it up.
And I kind of like that. I think that this
| | 05:33 | changes the image--makes
it a little bit more clean.
| | 05:35 | And regardless of what you are doing
to your photographs, what I am trying to
| | 05:38 | get you thinking about is this flow of
working on all the images, to making these
| | 05:42 | really broad global adjustments, but
also not holding back from making specific
| | 05:47 | adjustments at the same time.
| | 05:49 | The other thing I want to highlight here
is how you can use the shortcuts to get
| | 05:53 | in and out of the panels on the right-
hand side. And then, finally, the other
| | 05:58 | important step that we talked about was
that before and after view, Backslash key gives us
| | 06:03 | before, press it again and we see the after.
| | Collapse this transcript |
|
|
4. Travel Photography Workflow: Back HomeCombining multiple catalogs| 00:00 | Well, let's say we have returned from
our adventurous and refreshing trip, and
| | 00:04 | here we are back home at our home
office or studio and we open up our laptop.
| | 00:09 | Now on our laptop we have these
photographs and also all the work that we have
| | 00:13 | done to these photographs here
inside of this Lightroom catalog.
| | 00:17 | What we need to look at now is how we
can export these images and all the work
| | 00:22 | that we have done in order to be able
to merge or to integrate these pictures
| | 00:26 | into another catalog.
| | 00:28 | Let's take a look at how we can do that.
In order to really understand this process,
| | 00:32 | what I want to do here is first exit
Lightroom and go through a few slides
| | 00:36 | which will help us understand catalogs,
and also understand this whole process
| | 00:40 | then we will return to Lightroom
and do this process ourselves.
| | 00:44 | All right. Well, let's jump to those
slides. Well, the first light poses a
| | 00:47 | question: what is a Lightroom catalog?
| | 00:51 | Well, you'll find your Lightroom catalog
file on your hard drive. And the catalog,
| | 00:54 | it contains previews, file location,
metadata, developed module settings,
| | 00:59 | ratings, keywords, and collections.
| | 01:01 | So how, then, do we deal with
multiple Lightroom catalogs?
| | 01:05 | How do we deal with a situation where
we have a laptop, our travel computer, and
| | 01:10 | we have this catalog on this laptop
and we also have our desktop, and here we
| | 01:15 | have our main photographic library--
all of our images--inside of this catalog?
| | 01:20 | How do we bring both
of these catalogs together?
| | 01:23 | Well, the first step is to export a
catalog. We can export a catalog, put it on a
| | 01:29 | hard drive, and then plug that hard
drive into a desktop computer so that the
| | 01:33 | desktop computer can recognize it. Well,
recognizing the catalog isn't enough, right?
| | 01:38 | We need to somehow combine these
two together. We need to combine them
| | 01:42 | together so that these two
catalogs, well, they equal one.
| | 01:46 | In order to do that in Lightroom,
what you can do is you can navigate your
| | 01:50 | File pulldown menu.
| | 01:52 | Here, you can choose File >
Import from Another Catalog.
| | 01:55 | What this does is exactly this, it
takes two catalogs and turns those two
| | 02:00 | catalogs into one. Once we have one
catalog, the beauty of this is that we can
| | 02:05 | then work with all of these images.
We'll be able to view and access these
| | 02:09 | photographs. We'll also be able to see
all the work that we have done. We'll see
| | 02:13 | the previews, the file location, the
metadata, the developed module settings,
| | 02:17 | keywords, ratings, collections, et cetera.
| | 02:20 | Again, all the work that we did on the
travel laptop in that catalog, well, it's
| | 02:24 | now part of our main catalog.
| | 02:27 | So, when we're working with multiple
Lightroom catalogs, the trick is, of course,
| | 02:31 | to merge these two together so
that two catalogs become one.
| | 02:35 | All right. Well, now that we've been
introduced to this whole topic--and now that
| | 02:39 | we've seen how this process works in
these slides--let's take a look at how we
| | 02:43 | can actually do this and how we can
actually do this inside of Lightroom.
| | 02:46 | And let's do that in the next movie.
| | Collapse this transcript |
| Exporting images and merging laptop and desktop catalogs| 00:00 | Well, let's say that we now have
returned home from our refreshing and
| | 00:03 | adventurous trip, and we get home to our
home office or a studio and we open up
| | 00:07 | our laptop and here we have these
pictures, we can see the photographs and all
| | 00:12 | the work that we have
done with these photographs.
| | 00:14 | Well, now what we need to do is we need
to export these pictures and all the work
| | 00:19 | that we have done so that we can merge
or integrate this with our main catalog
| | 00:24 | on our desktop computer.
| | 00:25 | Let's take a look at how we can do that here.
| | 00:28 | Well, the first thing that we are going
to do is take advantage of the collection
| | 00:31 | that we created. We can click on that
collection in order to highlight or to
| | 00:34 | select all of these photographs.
| | 00:36 | The next step is to navigate to the File
pulldown menu, and here what you want to
| | 00:40 | choose is Export as Catalog.
| | 00:43 | This will give us the ability to export
the photographs and also all of the work
| | 00:48 | that we did with these
photographs inside of Lightroom.
| | 00:51 | So let's go ahead and click this option.
| | 00:53 | This will open up a dialog which
allows us to save this to a particular
| | 00:56 | location. I'll save this as Travel on my
desktop. You want to make sure to check
| | 01:01 | on export your negative files, include
available previews, include all the work
| | 01:06 | that you have done with these photographs.
And here, simply click Export Catalog.
| | 01:11 | What this will do is it will take these
pictures and the various things that we
| | 01:15 | have done with these photographs and it
will put them in a folder. In a sense,
| | 01:19 | they'll be self-contained.
| | 01:21 | Once we look at that folder, you will
see that it will contain a catalog file or
| | 01:25 | a preview file and also all of the photographs.
| | 01:28 | What we can do next, then, is we can merge
or integrate that into another catalog.
| | 01:34 | Well, here what I want to do is I want to
wait for this export process to be complete.
| | 01:38 | Once this process is complete, I'm going
to go ahead and hide Lightroom so I can
| | 01:42 | look at the desktop. In order to hide
Lightroom, you can press Command+H.
| | 01:46 | All right. Well, here on my desktop, I
now have two different catalogs.
| | 01:51 | So let's say that what we have done is
we have exported this catalog and we put
| | 01:54 | this on an external hard drive.
| | 01:57 | We then plug that external hard
drive into our desktop computer.
| | 02:01 | Here you can see your desktop catalog
If we open up this folder, what you will
| | 02:05 | see inside of this is our main catalog here.
| | 02:08 | Now what I need to do is somehow get
this catalog that I can see here and this
| | 02:13 | catalog in my travel folder together.
| | 02:16 | I need to bring these two catalogs
together. Well, how can we do that?
| | 02:20 | Well, here in the travel folder you can
see I have my exercise files and all of
| | 02:24 | those travel pictures that we worked
with, previews, and Lightroom catalog.
| | 02:29 | We need to do this by
merging these two together.
| | 02:32 | In order to do that, what you will do
is you would go to your desktop computer
| | 02:35 | and you would fire up Lightroom. By
default it would open up your default
| | 02:39 | catalog, which in this case is
called Chris Orwig main catalog.
| | 02:44 | In order to launch my desktop, what I am
going to do is I'm going to double-click
| | 02:47 | this catalog. That is one way to open up
Lightroom with a catalog. And so I'll
| | 02:52 | go ahead and do that.
| | 02:53 | When I do that, it will ask me if I
want to relaunch Lightroom with this
| | 02:56 | catalog. I'll go ahead and say sure.
Typically you will not see this in your
| | 03:00 | workflow because you will be working on
two different computers, two different
| | 03:04 | versions of Lightroom. Well, here I
see this because, well, I am only on one
| | 03:08 | computer, so I'll simply click relaunch.
| | 03:11 | This will then relaunch Lightroom, and
here you can see I have my main catalog.
| | 03:16 | What's great about this is I have all
of my photographs which we can scroll
| | 03:19 | through. We can work on these pictures,
and again this is our main or our big or
| | 03:24 | our central catalog.
| | 03:26 | What I need to do is I need to bring in
all those pictures that I captured while
| | 03:30 | I was traveling, and I want to bring
along with those photographs all the work
| | 03:34 | that I did on those pictures while I
was on that trip, or while I was flying on
| | 03:38 | the plane ride home.
| | 03:40 | In order to do that, we navigate to the
File pulldown menu. Here, we go ahead and
| | 03:44 | select file import from another catalog.
| | 03:48 | Once you select this it gives you the
ability to select the catalog you want to
| | 03:52 | import, or you want to merge. In this
case, we're going to select travel. And then
| | 03:57 | click Choose. This will open up a
preview dialog so that we can then import
| | 04:01 | these pictures, click on this button
here to be able to see the photographs.
| | 04:06 | And in this import dialog it is telling me
I am importing these photographs. How do
| | 04:10 | I want to handle them?
| | 04:11 | Well, you can either choose to add these
new photos to the catalog without moving
| | 04:16 | them, if you want them to stay on the
hard drive where they are currently, or you
| | 04:20 | can choose to copy these
photos to a new location.
| | 04:23 | Perhaps you have a different hard drive
where you want to save these images.
| | 04:26 | Well, you could do that here.
| | 04:28 | What I am going to do is I am going to
choose to add new photos to a catalog
| | 04:32 | without moving. This is going to create
a little bit of a problem for me, yet I
| | 04:37 | want to show you this so that I can
show you how you can fix that later.
| | 04:40 | All right, well, after having dialed
in these settings, we'll go ahead and
| | 04:43 | click import. What will happen is this
will bring in all of these photographs,
| | 04:48 | their keywords, metadata, Develop module
settings, and bring those into our main catalog.
| | 04:54 | Here, you can see we have the photographs.
| | 04:56 | These photographs live on this external
drive here. We have the collection I've
| | 05:01 | brought in. If we go to the map module--
well, in the map module we would see also
| | 05:05 | brought in this saved location,
and we could see that on the map.
| | 05:09 | We could also go to the Develop module
by clicking on the Develop module button,
| | 05:14 | and when you navigate to the develop
module, you can see all of the settings
| | 05:17 | that we applied. Well, they
are now part of these images.
| | 05:20 | In other words, all of that work that we
did on that other catalog, well, it's all here.
| | 05:25 | The images are here and all the work,
yet I have one problem. I mentioned that we
| | 05:30 | would have this problem: that
I forgot to move these files.
| | 05:34 | Now sometimes it is a good idea to
move them as you import, but perhaps you
| | 05:38 | forgot to do that as I did here. Well,
how can we fix this? We need these images
| | 05:43 | to be on a different drive.
| | 05:45 | In order to move files, all that you
need to do is to select the folder like
| | 05:49 | this and simply click and drag and then
drop. This will tell me, "Hey, you're going
| | 05:54 | to move these files and you are moving
them from one location to another."
| | 05:57 | Well, that's fine. I want to do that because I
neglected to do that when I was importing.
| | 06:03 | So here we will simply click move and
that will then move those files over.
| | 06:07 | It's going to take them from one
hard drive and put them on another.
| | 06:11 | You can see that it is updating
this process here, and all of the other
| | 06:14 | information with these images in regards
to the keywords, develop settings, et cetera,
| | 06:18 | well, that's still part of these photographs.
It is just that we have moved them
| | 06:23 | to a different spot.
| | 06:24 | We can click on that folder and
then view those pictures here.
| | 06:28 | We may want to get rid of this,
because we do not need this anymore, so
| | 06:32 | I'll go back to this old folder and then hit
my Minus sign icon in order to remove that.
| | 06:37 | I want to clean things up. When you are
merging you want to make sure that you
| | 06:41 | do this in a way so that it is really
clean so that you are paying attention to
| | 06:45 | all of your files and so that
everything is in just the right spot.
| | 06:48 | Well, now we have successfully merged
these two catalogs. Our travel pictures
| | 06:53 | and all the work that we have done on
those pictures, well, it's part of our
| | 06:56 | main Lightroom catalog.
| | 06:58 | The only other thing that you might
want to do here is this: you might want to
| | 07:02 | hide Lightroom. You can do that by
pressing Command+H, and then on your desktop
| | 07:08 | you'll notice that you have that
exported catalog and that folder still here.
| | 07:12 | That's still living on your desktop.
| | 07:16 | Well, we do not need that anymore.
That was just something which we created
| | 07:19 | temporarily in order to be able to
merge these two catalogs together.
| | 07:23 | So what you might want to do is take
this and trash it or delete it. I'll go
| | 07:27 | ahead and do that. And here I'll
just right-click or Ctrl-click and
| | 07:30 | choose move to trash, and that wraps up
our conversation about merging multiple catalogs.
| | Collapse this transcript |
| Designing a Blurb book| 00:00 | A great way to share and to savor your
travel pictures is to create and design a
| | 00:04 | custom book. Let's take a look at how
we can do that with these photographs
| | 00:08 | using the book module.
| | 00:10 | The first thing you want to do is select
your collection. So here we'll click on
| | 00:14 | the collection Sayulita Mexico.
Next, to navigate to the book module,
| | 00:18 | click on the button up here in the
module picker. And what we need to do first is
| | 00:23 | define a few book settings.
| | 00:25 | So here in the book settings panel, we
want to determine if I we are going to
| | 00:28 | have Blurb print this book, or if we
choose PDF we could then send this to
| | 00:33 | another printing company to make the book.
| | 00:35 | Well, I'm going to choose Blurb, just
because I like how integrated the process is.
| | 00:39 | It shows me estimated prices. I can also,
at the end of the process, simply click
| | 00:44 | send book to Blurb, and it will upload
the images and create the layout and I can
| | 00:49 | order the book really easily. All right.
Well, next I need to choose my size.
| | 00:53 | Here, I want a nice small book, so I use
the small 7x7-inch square. As I do that I
| | 00:59 | can then choose my cover size, I
want to choose soft cover. The difference
| | 01:04 | between hard covers and soft covers,
well, they are really significant when it
| | 01:08 | comes to price. You can see that the
price is much less when I choose the soft
| | 01:12 | cover, compare that, say, to the hardcover.
| | 01:15 | So you can choose the option here which
you like or which fits your budget.
| | 01:19 | In this case, I just want to create a
small nice book which captures some of the
| | 01:23 | things that I saw on this trip,
so I'm going to use a simple soft cover.
| | 01:27 | Next, for our paper type, you'll notice
you have different options here, and as you
| | 01:31 | choose these different options, there
isn't a huge variation with your overall
| | 01:35 | cost. Let's see, from premium luster
all the way up to the Pro line Perl paper,
| | 01:40 | well, it's only about five dollars different.
| | 01:43 | So again, choose a paper type that you
like there and then find the logo page.
| | 01:48 | This allows you to either include the
logo on the back page here at a discounted
| | 01:52 | price, or if you want to remove all
other branding you can click none.
| | 01:57 | That is what I want to do here. All right.
Well, now that we have defined the
| | 02:01 | settings in regards to the size, the
cover, the paper type, next thing I want to
| | 02:05 | do is go to the layout.
| | 02:07 | I want to have this book module
help me create an auto layout.
| | 02:11 | You will notice that you have a preset.
Here is a preset which was previously
| | 02:15 | used. To use this you click on auto
layout and it will create a layout of your
| | 02:20 | pictures. As I scroll through the
layouts I do not really like this.
| | 02:24 | It is not vivid enough for me.
| | 02:26 | I want bright big, bold colors. I want
images that take up a lot of the page,
| | 02:31 | especially because this is a smaller book.
| | 02:34 | So in this preset dialog, if you click
on it, you can go down to edit an auto
| | 02:40 | layout preset. Here, what I want to
do is choose one of my own layouts.
| | 02:44 | First on the left-hand page, I want
that same as the right on the right,
| | 02:49 | it's going to be fixed one photo.
| | 02:51 | You have other options as well.
| | 02:52 | You can click through these options
and you can see all of these various
| | 02:56 | settings that you can choose.
| | 02:57 | Well, let's go back to that one photo.
In the one photo layout I want to scroll
| | 03:01 | down and find one which has a really big
image area with a little bit of a border.
| | 03:06 | That is nice. All right.
| | 03:07 | Well, next, how do we want the images to
fit inside of the cell, inside of that area?
| | 03:13 | If it is zoomed to fit, what will
happen is the images will fit, there won't
| | 03:18 | be any cropping at all. If it's
zoomed to fill, well, it will then crop or
| | 03:23 | enlarge the image size so that, that
entire window area--the grayed out areas
| | 03:27 | here--is filled with a photograph. That
is what I want with images like this.
| | 03:31 | This will work really well.
| | 03:33 | Next, add captions. No, turn that off.
I want this clean and simple and crisp.
| | 03:38 | I want this to be about the
pictures, not about captions.
| | 03:40 | Oops! Here I've created this preset, so
I'll click Save, and I will go ahead and name
| | 03:45 | this one CO - simple.
| | 03:48 | The next step is to click Create. Once
you have done that, you will notice the
| | 03:52 | preset will be selected here in the
auto layout panel. To use it, you have to
| | 03:57 | first clear the layout and
then click on auto layout.
| | 04:01 | This will show you your images, which you
can now see, and these look pretty cool.
| | 04:05 | You can see them side by side and see
how they fit into these different pages.
| | 04:10 | To view the pages, well, you can click
on one, and then in the toolbar below
| | 04:15 | there is an icon which allows you
to view just one spread. This can be a
| | 04:19 | helpful perspective.
| | 04:21 | You can then, here, click through
these different spreads and see how these
| | 04:24 | images work together.
| | 04:26 | As you click through these, if you
notice you want to change an image, well,
| | 04:29 | just click on it. Here, you can
click to move it around.
| | 04:31 | You can also change the zoom, if you
want to focus in on different details or
| | 04:35 | reposition the way that
this fits inside of the frame.
| | 04:39 | So here we can change that.
| | 04:40 | Just make sure that when you change
it that you do not zoom out too far,
| | 04:44 | otherwise you can have negative space
inside of this area. So in order to be
| | 04:48 | consistent, I want to make sure I'm
zoomed in nice and far, here, in order to see
| | 04:52 | the details of the photographs.
| | 04:54 | All right. Well, let's keep clicking
through these pictures. This is looking
| | 04:58 | pretty fun here, seeing all these
bright, vivid colors, and just making some
| | 05:02 | changes to the layout so that this
kind of has a little bit more graphic
| | 05:06 | appeal. And as you do this, of course,
what you are going to want to think about
| | 05:10 | is how you're cropping the pictures and how
that is changing the overall feeling or mood.
| | 05:16 | This really is a way to crop or to
change the composition of a photograph, so
| | 05:20 | again, be careful. Spend some time to
make this look really good and get those
| | 05:25 | pictures exactly where you want them.
| | 05:27 | After you have worked through your
pictures, to zoom back out to that multiple
| | 05:31 | spread view, click on this icon here.
And you can scroll around, and as you
| | 05:36 | scroll around and view these images
you may decide that you need to move
| | 05:40 | things around a bit.
| | 05:41 | Perhaps you need to move an image or
swap images or move an entire layout.
| | 05:47 | Well, let's take a look at how we can
further customize this book, and let's do
| | 05:50 | that in the next movie.
| | Collapse this transcript |
| Customizing the interior of the book| 00:00 | Let's take a look at how we can
further customize the interior of our book
| | 00:03 | project by changing pictures and also by
rearranging the overall layout or flow of the book.
| | 00:10 | In order to do this, I like to
minimize some of the Lightroom interface.
| | 00:13 | You can do that by pressing the Tab key.
It will hide those panels on the left
| | 00:18 | and the right, and sometimes this gives you a
little bit better of an overview of your project.
| | 00:23 | Now when I go to this view I notice
that I want to make a few image changes.
| | 00:27 | I want a few images to be side by side.
| | 00:30 | This picture here, and this one down
here, I also perhaps want to swap some
| | 00:34 | photographs. So if you click and drag
one picture to a new image area, it will
| | 00:39 | place that there. And then it will move
the other image to that other spot, and we
| | 00:43 | can do this with various photographs.
And here I'm just going to click and drag
| | 00:47 | around a little bit, swapping up some
images in order to try to create a little
| | 00:51 | bit better combination with the
different colors that we can see here. And I will
| | 00:55 | just change these sizes so that this
kind of connects a little bit better with
| | 00:59 | this over here. So we have these
two connecting across in a spread.
| | 01:04 | I'm going to move around a little bit
more and see if there is anything else.
| | 01:08 | Might be fun to bring those two together.
Also, I'm thinking about colors here and
| | 01:12 | just looking at how different colors
might work together. And a lot of this is
| | 01:16 | just kind of fun, experimenting and
seeing how you can customize the layout.
| | 01:21 | After you have swapped images, let's say
that you want to move an entire layout.
| | 01:25 | You have a spread that you
wanted to be in a different spot.
| | 01:29 | I want to start off with this green and
red and then have reds right after this.
| | 01:33 | Well, this layout has some nice reds.
Click on one page, hold down the Shift key,
| | 01:38 | click on another. You will notice there
is a yellow tab. Click on the yellow tab
| | 01:42 | and drag it to a new spot, then
drop, and you can rearrange that.
| | 01:46 | You can also do this by working with
multiple images or multiple spreads.
| | 01:51 | Click on one page, hold down the Shift key,
then click on another. So now we have two
| | 01:56 | spreads selected. Click and drag those,
and you can rearrange that way as well.
| | 02:01 | All right. Well, now that we have
rearranged things a little bit, I am liking the
| | 02:04 | overall flow. Yet as I scroll
up or as I look at the top,
| | 02:07 | I notice that I just do not like the
cover. If we zoom in on that by clicking on
| | 02:12 | the icon--which takes us to the spread
view--I get close, and it is just too much.
| | 02:17 | The rest of the book, well, it feels kind of
bright in area. There is lots of negative space.
| | 02:22 | This is a little bit too strong. I want
to customize the front and the back cover.
| | 02:27 | Let's take a look at how we
can do that in the next movie.
| | Collapse this transcript |
| Customizing the book cover| 00:00 | Let's take a look at how we could
customize the cover of our book project.
| | 00:04 | In order to change a page layout, what
you can do is you can click on the page,
| | 00:08 | and you notice an icon in the bottom
right-hand corner will appear. If you
| | 00:12 | click on that icon, it opens up a
dialog which allows you to change the layout.
| | 00:16 | And this is true, whether you are
working on the cover or one of the interior
| | 00:20 | pages. Well, here what I want to do is I
want to have a cover which allows me to
| | 00:25 | perhaps work with copy.
| | 00:26 | I also want to have a back cover which
has copy and more images. If you scroll
| | 00:32 | through these options, you can look
and see if one fits what you want to do.
| | 00:36 | I want to try this one out. So simply
click on that in order to apply it.
| | 00:40 | This then applies this. Yet I need to
populate it with images, so first the
| | 00:44 | cover. I will go ahead and select an
image and drag and drop that, and then here
| | 00:48 | I am to reposition this so that I can
have this in a nice spot. I'm just going
| | 00:52 | to change the way that this looks in
the overall positioning of this picture.
| | 00:55 | So I have this crop with this
nice kind of cover picture here.
| | 00:59 | The next thing I need to do is to add
pictures to the back of the book.
| | 01:02 | To do that, you could go ahead and click on
one image, hold down the Shift key, then
| | 01:07 | click on another, inside of the
filmstrip and then simply drag and drop.
| | 01:12 | Bring these up, and it will fill up this
grid here. I want to move these around a
| | 01:16 | little bit so I have a grid which goes
all the way across. Also might want to
| | 01:20 | just change this up a little bit,
depending on what pictures I have here.
| | 01:25 | And for the most part, I am liking the
photographs. Yet one of the things that I notice is
| | 01:29 | that I have one image repeated twice,
and I obviously have these two down here
| | 01:34 | that I need to remove or get rid of.
| | 01:36 | To remove a picture from a cell right-click
or Ctrl-click and choose remove photo.
| | 01:41 | And this works with
all of the different layouts.
| | 01:44 | Again, click on it, right-click or
Ctrl-click, and choose remove photo, okay.
| | 01:50 | What about adding some copy? Well, let's
go to the cover first. Well, in the cover
| | 01:55 | you notice we have this gray area.
Well, this layout has a text field.
| | 02:00 | You can click into that text field. I
am going to go ahead and type outside
| | 02:03 | Sayulita, and then press Enter or
Return and type out my name, and I will type
| | 02:09 | this out, Chris Orwig.
| | 02:12 | Next thing I want to do is I want to
bring back my panels. So you can click off
| | 02:17 | of the page layout and then press the
Tab key. This will bring back your panels.
| | 02:21 | you will notice that you have a Type panel.
This panel can really help out.
| | 02:25 | So here we could go back to this
type area and highlight it and change
| | 02:29 | where this type shows up.
| | 02:31 | If we want this to be right justified, we
could push this over to this right side.
| | 02:35 | Perhaps we want the word Sayulita
bigger. Well, we could change that font size
| | 02:39 | here and go ahead and choose a color, or
perhaps have that white or maybe choose
| | 02:44 | a nice bright hue. We could
make something like red or yellow.
| | 02:48 | And when you do that, the trick will be
to make that change and then click off
| | 02:53 | the page to evaluate it.
| | 02:55 | Do you like how it looks?
| | 02:56 | If not, make changes--or perhaps make
changes to the photograph so you can move
| | 03:01 | things around so that this
fits well with your overall cover.
| | 03:05 | Next thing you need to do is change the
spacing here. So go back into this text
| | 03:09 | field and highlight these two lines of
text that I've created. And I am going to
| | 03:12 | change the lighting here. Here I can
decrease that so that this is up closer, and
| | 03:16 | we will go ahead and have
that a little bit closer.
| | 03:20 | Again, to make more changes, just go into the
text field. Highlight the text, make that change.
| | 03:26 | You can change the font size, the
opacity, the space between the letters.
| | 03:30 | There is a lot that you can customize here.
| | 03:33 | Okay. Well, what about the back cover?
| | 03:35 | Well, the back cover, I will go ahead
and just type out sample back cover copy.
| | 03:40 | Here, we could type out a message about
our book project, and again highlight that
| | 03:44 | text. You could center this, you could
also change its color. Perhaps gray would
| | 03:49 | look nice back there, maybe even a
lighter gray, perhaps something down in there.
| | 03:54 | We could change the size of the font
there so that, that then shows up, and I'll
| | 03:58 | go ahead and just replicate that by
copying and pasting it so you can see how it
| | 04:02 | would look if you had multiple lines of text.
| | 04:05 | And again, it just says sample copy, but
you could write some copy which really
| | 04:09 | would fit your overall book project.
| | 04:11 | And once you have done this, you are
going to want to evaluate the book.
| | 04:15 | One of the ways that you can do that is you can
press the L key to dim the lights down.
| | 04:20 | Press it again to darken them all the
way and then use your arrow keys.
| | 04:24 | The right arrow key allows you to
click through the different spreads.
| | 04:28 | Well, these are all really small. To make
them bigger, press your Tab key. That will
| | 04:32 | minimize the panels and give you more
space to view the images. And again, it is
| | 04:37 | just a nice way to kind of
reflect and evaluate this project.
| | 04:41 | To turn the lights back on, you press
the L key. To bring back your panels, you
| | 04:45 | press the Tab key. And here, what I am
most interested in is just in evaluating
| | 04:49 | the overall flow of this book. Also, I
want to see if this cover works for these
| | 04:53 | interior pictures. And you know what?
I think it does.
| | 04:56 | I think it is nice and clean and
graphic. All right. Well, here, now we're done
| | 05:00 | customizing this book project. It looks good.
| | 05:02 | The next step is to send this book to Blurb.
| | Collapse this transcript |
| Sending the book to Blurb| 00:00 | There are just a few final steps in this
book building process that you'll want to take.
| | 00:04 | The first one is to
export the book to a PDF file.
| | 00:08 | If you do this, what it will do is it
will create a PDF document which you could
| | 00:11 | then print on your own desktop printer.
You'll want to do that in order to
| | 00:15 | evaluate the book, to read over the
copy that you've added, to make sure that
| | 00:19 | everything is exactly right.
| | 00:21 | Next, after you have done that, you can
click on this button to send the book to Blurb.
| | 00:25 | Here, you'll want to go ahead
and log in to Blurb. If you do not have an
| | 00:29 | account, you can navigate
to Blurb.com and create one.
| | 00:33 | Once you have that account, you can
enter in your account information here and
| | 00:37 | then go ahead and sign in.
| | 00:39 | Once you have done this, you need to
give your book a title. I will go ahead and
| | 00:42 | call this one Sayulita, and I'll give
this a subtitle: Los Colores De Mexico.
| | 00:50 | All right. After I've done
that I'll click Upload Book.
| | 00:53 | This will then take these full high-resolution
files, and what it will do is it will
| | 00:58 | configure them into these pages and it
will create these page layouts and it
| | 01:02 | will upload this to Blurb.
| | 01:04 | Once this is complete, it will open up
the Blurb web site and show us our book so
| | 01:08 | that we can preview it.
| | 01:09 | For the sake of demo here, we're going
to speed up this process. And now here
| | 01:13 | you can see this process is complete.
It has opened up the Blurb web site, and
| | 01:17 | here I have my book.
| | 01:18 | I will go ahead and click on preview book.
| | 01:20 | This will open up the book so that I
can see it as if it is really part of or
| | 01:25 | inside of this book we can see the
cover has some details or graphics.
| | 01:29 | Also, the interior pages, again the
layout is now set inside of this context
| | 01:34 | which can help us evaluate our project.
And if we click through this and like
| | 01:38 | this project if it is looking good.
To finish it up, all that you need to do
| | 01:42 | is to click on this buy button in order to
finish the process and to order your book.
| | 01:47 | You can also evaluate your book
by clicking on the thumbnail view.
| | 01:50 | This will show you the different
spreads, and this looks similar to what we have
| | 01:54 | seen before, right? And as we
review the book in Lightroom.
| | 01:56 | The other thing that I want to
highlight here is that if ever you do not like the
| | 02:01 | book, perhaps you want to make some changes.
| | 02:03 | All that you need to do there is just
go back to Lightroom and then make those
| | 02:06 | changes and then re-upload this to Blurb.
| | 02:10 | The other thing that I would highlight
here is that once you've created a layout,
| | 02:13 | you'll want to save this.
| | 02:15 | In order to save this, you can click on
the button at the top right-hand side of
| | 02:18 | the work area. This button says Create
Saved Book. I'll go ahead and name this
| | 02:22 | one Sayulita, and then click Create. Now
you can see here in my collections panel
| | 02:28 | I have this book and all of these
settings all of the customization that I
| | 02:31 | applied to this book now saved
inside of this collections panel.
| | Collapse this transcript |
| Creating multiple-image print layouts| 00:00 | If you flip through practically
any of the top travel publications or
| | 00:04 | photography books, what you will find
is that they'll create spreads by using
| | 00:08 | multiple photographs.
| | 00:10 | A lot of times with travel photography,
if you combine images together in a
| | 00:14 | layout, well, you can really tell an
interesting story. And these images, well, the
| | 00:18 | story is all about color. So what I
want to do is take a look at how we can use
| | 00:22 | the print module in order to come up
with some creative print layouts in order
| | 00:26 | to lay out multiple images on one page.
| | 00:29 | We'll be working with the collection
Sayulita, so let's click on that to target
| | 00:34 | that collection. Next, let's navigate
to the print module. You can do so by
| | 00:38 | clicking on the Print button in the
module picker up here, or you can press
| | 00:42 | Command or Ctrl+P. Well, here let's
open up the template browser and choose
| | 00:47 | 01 4x6 template. This is a single image
contact sheet template, one image center
| | 00:53 | of the page, pretty straightforward.
| | 00:55 | I want to make this more interesting.
One of the ways that you can do this is
| | 00:59 | you can select more photographs and then make
changes to the image settings in the layout.
| | 01:05 | So let's first select more pictures.
To select more pictures, press Command or
| | 01:09 | Ctrl+A. Once you have done that, you
will see those pictures highlighted in
| | 01:13 | the filmstrip below.
| | 01:15 | Next, open up the image settings panel.
Now here we have a couple options: Zoom
| | 01:20 | to Fill and Rotate to Fit. For what I am
going to create, I want to turn off Rotate to Fit.
| | 01:26 | I want all of my images to have the same
orientation regardless of the cell size.
| | 01:32 | I'll show you what I mean in a second.
Next, let's open up the layout panel.
| | 01:36 | Well, here in the layout panel, I'm
going to increase the number of rows.
| | 01:39 | I am going to crank this way up,
perhaps, five and five columns.
| | 01:42 | Now as I do that, you can see I now have--
all of a sudden--this really vivid splash
| | 01:47 | of color, yet it needs some work.
| | 01:49 | It is not quite there.
| | 01:51 | Yet what I do want to highlight is
if I turn on this option, Rotate to Fit,
| | 01:55 | what's going to happen is it is
going to flip a lot of my pictures. So the
| | 01:59 | orientation, well, it goes horizontal, vertical.
It's kind of flip-flop. It does not really work.
| | 02:04 | So again, having this option
turned off will work well.
| | 02:08 | Okay. Well, let's focus in on our layout.
Well, now here the trick with this is
| | 02:12 | that it is just a bit too cluttered.
We can make it less cluttered by adding
| | 02:16 | some cell spacing, increase our vertical
and our horizontal spacing, and all of a
| | 02:20 | sudden these images, well, they
have a little bit of breathing room.
| | 02:24 | Another thing that we could do is we
could reduce the number of rows or columns.
| | 02:29 | Here, I'm going to go ahead and take this
down, and I'll decrease this--decreasing
| | 02:32 | this to four--and then I'll try three.
And as we do this, we can see that we can
| | 02:36 | have these nice vivid colors, but
it is not quite so overcrowded.
| | 02:41 | Of course, how many spaces you want to
have here is really up to your own style,
| | 02:45 | and how you want to display your photographs.
But I will go to something, perhaps a 4x3.
| | 02:50 | Next, for the margins I'm going to
increase the bottom margin so that I can
| | 02:54 | have some more space down there. I want to
have a word which describes these pictures.
| | 02:59 | All right, what about selecting
photographs to be included inside of this
| | 03:04 | creative layout? Well, you can add or
remove photographs by holding down the
| | 03:09 | Command or Ctrl key and then
clicking on those pictures here in the
| | 03:12 | filmstrip. You can see that as I
click on these pictures, well, these are
| | 03:16 | removed from this layout.
| | 03:17 | We can do this also the other way: hold
down Command or Ctrl, click on an image
| | 03:22 | in order to add it. Well, if you want to
be a little more particular about what
| | 03:27 | photographs are included here, you
might as well deselect everything and then
| | 03:31 | select the exact pictures that you want to use.
| | 03:35 | To do that press Shift+Command+D on
a Mac, Shift+Ctrl+D--think D for
| | 03:40 | deselect--on Windows.
| | 03:42 | Next, go ahead and click on your first
image, then hold down Command or Ctrl,
| | 03:47 | and click on the other images
that you want to include here.
| | 03:51 | We can go through the filmstrip and
just select these photographs and select
| | 03:55 | pictures that we think
might be fine for this layout.
| | 03:58 | If ever we miss a photograph, we
can always go back and add one of
| | 04:02 | those pictures later.
| | 04:03 | Yet here I think this looks kind of
interesting, nice bright, vivid colors,
| | 04:07 | the splash of color.
| | 04:09 | Well, the last thing I want to do here
is I want to add a bit more to this page.
| | 04:13 | So let's go to the page panel.
| | 04:14 | We'll close our layout panel and open
up the page panel. Here I'm going to add
| | 04:20 | an identity plate. Well, go ahead and
click on the identity plate button. You can
| | 04:24 | barely see that in the center of the
stage here, so I'll click and drag this
| | 04:27 | down, and then I'm going to drag these
corner points out so that I have more space here.
| | 04:33 | Well, rather than an identity plate in
the traditional sense, I want this to say
| | 04:37 | Sayulita Mexico or the colors of
Sayulita or Los Colores De Sayulita or
| | 04:42 | something along those lines.
| | 04:44 | So in order to change that, what we will
do is we will go ahead and click on this
| | 04:48 | icon and then click on edit.
| | 04:51 | This will open up our identity plate
editor. Here, I will go ahead and type out
| | 04:55 | Los Colores De Mexico. That may look good.
| | 04:58 | Next, I can click OK in order to
apply that, and then I'm just going to click
| | 05:02 | and drag to expand this, make this
a little bit bigger, so I have this
| | 05:05 | sitting right here.
| | 05:07 | If ever we want to change this, what
you can always do is go to override
| | 05:11 | color, if you want to change its color. And we
could choose a color, perhaps from the image.
| | 05:16 | Click and drag in this area and keep
clicking and holding and then hover over
| | 05:20 | your photographs, and you can see here
how we can select colors from the images
| | 05:24 | themselves. I'll look for nice
blue and then click to close that.
| | 05:28 | And with that final adjustment, it is a
wrap. Here we have successfully added
| | 05:33 | multiple images to one page. And you
know, the print module it is really powerful.
| | 05:37 | It can let you customize these
layouts in some really unique ways,
| | 05:41 | whether you're using a grid like this
or a bit more of a free-form layout.
| | 05:45 | And sometimes when you are working
with travel pictures, having more than one
| | 05:49 | picture on a page, well, it can help
you clarify the story that you want to
| | 05:52 | tell. It can somehow add to the
overall message that you are trying to
| | 05:56 | communicate with your pictures.
| | 05:57 | So if you haven't experimented with
creating these layouts, or you have more than
| | 06:01 | one image on a page, well, it
might be worth trying out.
| | Collapse this transcript |
|
|
5. Editorial or Commercial WorkflowProcessing the images| 00:00 | When you are doing client work--whether
it is editorial or commercial--you have
| | 00:04 | something very particular in mind.
| | 00:05 | What you typically want to do is capture
images which satisfy your own visual aesthetic.
| | 00:10 | Capture images that you like, but
you are also thinking about the client, the
| | 00:14 | editor. You want to capture those
images in a way that makes sense to them--
| | 00:18 | that's going to work for the article
or for the particular product or for
| | 00:21 | whatever you are doing.
| | 00:23 | Well, here I have a set of pictures,
these are editorial portraits, and I
| | 00:27 | know that I need to convert all of these to
black and white. That's what the client wants.
| | 00:31 | They also want a similar mood.
| | 00:33 | They want really deep, rich black,
so a lot of contrast, bright whites.
| | 00:38 | So, what I'm going to do in this first
step is just take a look at how we can
| | 00:40 | process these pictures.
| | 00:42 | So first we'll go ahead and select all
of them. We can do that by clicking on
| | 00:46 | one picture and then pressing command or
Ctrl+A. Next, navigate to the develop
| | 00:51 | module by clicking on the button in the
module picker. Well, here we are going to
| | 00:55 | start off with is the Basic panel.
| | 00:57 | Up in the Basic panel we want to
convert these to black and white. Before we do
| | 01:01 | that, though, we want to turn on Auto Sync.
| | 01:04 | So day onto the sync button. If
you click on that, you'll open up your
| | 01:08 | Synchronize settings. Let's synchronize
all, so we'll click Check All and then
| | 01:12 | Cancel, and then we'll flip
the switch to turn on Auto Sync.
| | 01:17 | Now that, that is on when we click on
our color treatment of black and white.
| | 01:21 | This will apply this color
treatment to all these photographs.
| | 01:24 | The next thing that I like to do here--
even before I start adding the Magic or
| | 01:29 | making these images come alive--is
just to scroll through them. You can do
| | 01:33 | that by pressing your arrow key and just
getting a feel for what images you have here.
| | 01:37 | All right. Well, now that I have a sense of
these photographs, I'm going to go ahead
| | 01:41 | and start off--I want to deselect what
I have selected. To deselect, press
| | 01:45 | Shift+Command+D. Next, I will go to my first
image. The first image and the second
| | 01:51 | image, well, they're pretty similar, so
I click on one, hold down Command or
| | 01:55 | Ctrl-click on the other.
| | 01:56 | And leave Auto Sync turned on.
| | 01:59 | We know what we need to do here, right?
We're going to increase our contrast,
| | 02:02 | deepen those blacks, bring up some
clarity. We're really looking to try to
| | 02:06 | create a tone or look here that the
client is going to like, those deep rich
| | 02:10 | blacks, also nice bright whites. And
here, I am just modifying my sliders until
| | 02:15 | I get to that look.
| | 02:17 | Press the Backslash key. There is the before
in color, and now here is the after.
| | 02:22 | The reason why I wanted to show you
that is important, when you are shooting
| | 02:25 | your images you are also
thinking about that final output.
| | 02:28 | If they want black and white, a lot of
times I would like to increase my exposure
| | 02:32 | just a little bit more because that
helps me create that punchy look, especially
| | 02:37 | when shooting in lighting situations like this.
| | 02:39 | All right. Well, I processed these
first two images, and let's press our
| | 02:43 | right arrow key so we can see the
second image. That looks fine.
| | 02:46 | Next, I'll go to this next image here.
This one kind of stands by itself.
| | 02:50 | There aren't any other images like this, so
quickly I'll go through this routine here
| | 02:54 | of adding my contrast, deepening my
blacks, and working on my overall exposure.
| | 02:59 | As I do that, and as I get a nice tone here,
I notice I need some detail in the face.
| | 03:03 | I need to brighten up that face, because
again, the client likes those brighter
| | 03:08 | tones, especially on skin.
| | 03:10 | So I'll click on my adjustment brush.
With the adjustment brush, we will
| | 03:13 | increase our exposure. Go ahead and
reset saturation, just a little bit of
| | 03:17 | exposure there. We have a nice
small brush size, and the flow will bring
| | 03:22 | this somewhere below 50.
| | 03:24 | Here, all that we have to do is to paint
across the face, and this will paint in
| | 03:28 | this effect to this area, the picture.
I'm just painting back and forth to try to
| | 03:32 | even this out a little bit, so I can
bring a little bit more brightness to that
| | 03:35 | area. Also, a little bit to the arm over
here and over here, and then a touch to
| | 03:40 | the shoe, just trying to
add some visual interest.
| | 03:44 | To see the before and after of the
adjustment brush work, we'll flip this
| | 03:48 | switch. Here it is before, and now after.
And the point of doing this is trying
| | 03:52 | to illustrate how when you're doing work for a
client, you want to show that you can be consistent.
| | 03:58 | Of course, these pictures, well, I
need to meet the needs of the client.
| | 04:01 | Editorially, they're going to match the
story, they need to have the certain type
| | 04:05 | of depth but they also
need to have this aesthetic.
| | 04:09 | When you are shooting them with
different lenses and lighting situations, your
| | 04:13 | processing, or your workflow, well, it's
all about trying to bring those different
| | 04:18 | elements together, again, to show consistency.
| | 04:21 | Let's look at a few more
images here really quickly.
| | 04:23 | This next set, here we can see
these are all pretty similar.
| | 04:27 | So I'll click on one, hold down the
Shift key, then click on the others.
| | 04:31 | Next, we will go to our Basic panel,
and the Basic panel--again we're going to
| | 04:35 | look at our contrast, perhaps work
on those blacks, maybe a little bit of
| | 04:39 | shadows and try to come up with this
really bright white, vivid type of a look
| | 04:43 | for these photographs.
| | 04:44 | As I do that with these pictures,
I notice that it darkens the edges.
| | 04:48 | There was a shadow on the background,
and over here I do not want that.
| | 04:53 | The client does not like vignetting.
| | 04:55 | Well, this vignetting, for me it kind of works.
I'm going to let go of that.
| | 04:59 | I am going to trust the client here or
try to create or process this image in a
| | 05:03 | way that the client will like.
| | 05:05 | So we will go and close the Basic
panel, open the Lens Corrections panel in
| | 05:10 | manual we can crank this up in order to
brighten up the edges of the image, and
| | 05:14 | I'll just do this in a way so that
this is nice and subtle, bringing in some
| | 05:18 | brightening there as I do that,
I'm just looking around the image.
| | 05:23 | Next thing I need to do is to
darken back my blacks a little more.
| | 05:27 | So we go back to the Basic panel,
deepen those up a little bit more here.
| | 05:31 | All right. Well, the whole intent of this
movie isn't to show you this again and
| | 05:35 | again. I think we've seen enough. But
it's to get you into this whole sense of a
| | 05:39 | workflow, when you are working for a
client that you have these two worlds, these
| | 05:43 | two considerations. You are considering
what do I like? How do I want to
| | 05:46 | process these images? But you are
also considering the client, and you are
| | 05:50 | making really critical decisions
based on the client's needs so that you can
| | 05:54 | deliver to them exactly what they want.
| | Collapse this transcript |
| Emailing low-resolution photos for client review| 00:00 | At this point in our workflow, I'll
assume that the processing of your images has
| | 00:04 | been completed. Yet before we advance
to our next step, first a quick comment.
| | 00:09 | The point of the previous movie, it
was not to show you all of the different
| | 00:12 | things that you can do in regards to
processing your images. I have covered that
| | 00:16 | in other movies and in other places.
| | 00:18 | Yet the point was to get you thinking
conceptually about how you can process
| | 00:23 | your pictures so as to
meet the needs of the client.
| | 00:26 | Well, here let's assume that we have done that.
We have processed these files. Well, what next?
| | 00:31 | Well, the next step, perhaps the most
immediate step is to select all of these
| | 00:34 | images and to send a low-resolution
version of these images to the client.
| | 00:39 | I find that the sooner that I do
that, well, the better the results.
| | 00:43 | So let's go ahead and select these files.
We can do that by pressing Command or
| | 00:47 | Ctrl+A. We want to email the client
all of these pictures.
| | 00:51 | The next step is to navigate to the File
pulldown menu and then to choose email photos.
| | 00:56 | There is also a shortcut you might want
to write down. It's Shift+Command+M on a
| | 01:00 | Mac, Shift+Ctrl+M on Windows. Let's
click on that option, and this will open
| | 01:06 | up our email dialog.
| | 01:08 | The first thing you want to do before
you even really get oriented with this
| | 01:11 | dialog, is you need to go to this
From field. Here you want to click on this
| | 01:16 | and go to the Email Account Manager.
| | 01:18 | This will give you the
ability to add an email account.
| | 01:21 | So here I'll go ahead and click add.
I'm going to add the account name,
| | 01:25 | Chris Orwig - Gmail.
| | 01:29 | Next, the service provider, obviously
is Gmail here. And I'll click OK.
| | 01:33 | This will then enter in some outgoing
settings. I need to add my credentials, add
| | 01:38 | my email address, Chris@ChrisOrwig.com,
and then my password as well.
| | 01:43 | I want to validate this password just
to make sure that I enter that correctly.
| | 01:47 | And we can see in the top left that I
did. This is now lit up green, so here
| | 01:51 | we will click done.
| | 01:53 | So this email is going to come from
this particular email client, Gmail.
| | 01:57 | I'm going to send this to myself because I
want to run a test here to make sure that
| | 02:01 | this will work properly. And typically
you want to do that: send a test email to
| | 02:05 | yourself before you send
something to the client.
| | 02:08 | I will not go ahead and give this a
subject line if editorial after portraits.
| | 02:14 | Next, I'll type out a message. All right.
Well, after I have typed out a message--
| | 02:19 | because I want to see how that is
formatted and see how this works--what I want
| | 02:23 | to do next is take a look at the attached files.
| | 02:25 | Here, it is showing me all of
the images that I had selected.
| | 02:28 | Want to make sure to choose a preset.
| | 02:31 | The presets I want to choose when we
have a lot of photographs is going to be one
| | 02:35 | of the smaller ones.
| | 02:36 | You either want to choose small or medium.
| | 02:38 | Otherwise, you will just clutter their
inbox, and it will just be too big to view
| | 02:42 | all those photographs.
| | 02:43 | You want to give them a little sample.
You don't want to give them too much.
| | 02:47 | So here I'll choose the small size. The
next thing I'll do is simply click send.
| | 02:52 | The great thing about this is it will
prepare this all in the background, and it
| | 02:55 | will send this email.
| | 02:57 | I do not need to open up my email program.
| | 02:59 | It will take care of this whole process for me.
| | 03:02 | I can keep working on the images and doing
other things, and once this email has been sent,
| | 03:07 | It will give me that update
at the top left-hand corner.
| | 03:09 | The task has been completed.
| | 03:11 | At this point, I'm going to go ahead and
open my email program and navigate to
| | 03:15 | that, and I'll take a look at this email
that was sent, in this case editorial
| | 03:19 | after portraits. Here, we can see how it
is formatted, the font size, good morning.
| | 03:24 | Here are the photos. And then I can
scroll through and see the pictures.
| | 03:27 | I'm going to see the quality setting
and see how they appear inside of this
| | 03:31 | email, and again, as I scroll through
these pictures, I am just thinking about
| | 03:35 | how the client is going to view these
and how these will look and appear inside
| | 03:39 | of their inbox. And as I scroll
through them, I think these look great.
| | 03:43 | They have a nice quality to them, and they
fit very well inside of this email program.
| | 03:47 | So by using this technique, what you can
do is you can quickly communicate with
| | 03:52 | your client, or with the
person that you photographed.
| | 03:55 | So after you have done this test email,
the next step of course is to go back to
| | 03:59 | Lightroom, go back to the File pulldown
menu, and then choose email photos, and
| | 04:04 | this time pen the same or similar email, but
this time, of course, send it to your client.
| | 04:08 | Well, before we exit this conversation,
the last thing I want to point out is if
| | 04:12 | you click on this Address button in
the far right, what you can do is you can
| | 04:16 | actually add addresses here.
| | 04:18 | You can then select those
as you create these emails.
| | 04:21 | This can be really helpful if there is
people that you are emailing quite frequently.
| | 04:25 | So, for example, if we want to add a new
address, we'll click on that, and I will
| | 04:29 | go ahead and type out my own name because I do
send myself the sample or test or demo emails.
| | 04:35 | So go ahead and add that and then click OK.
What you can do is you can use this address.
| | 04:40 | If this is the person you want to send
this to, just click the check box and click
| | 04:44 | OK, and it will add that email
address inside of this email field.
| | Collapse this transcript |
| Creating a web gallery for client review| 00:00 | Another way that you can communicate
with the client and get some really
| | 00:03 | valuable feedback is by
creating an online web gallery.
| | 00:06 | By creating this gallery, what you can
do is then email out a link to multiple
| | 00:11 | people so that they can click on
the link and then review the pictures.
| | 00:14 | Let's take a look at how we can do
that with these photographs. Well, the first
| | 00:18 | thing you want to do, of course, is to
select the collection or the folder of
| | 00:22 | images. Next, we'll navigate to the Web module.
| | 00:25 | Let's do that by clicking on the Web
module button, up here in the module picker.
| | 00:29 | The next step is to choose a template
that's going to fit your needs.
| | 00:33 | Typically what I do with my clients is I go
for a template which is really clean and simple.
| | 00:38 | Let me show you the one that I use.
| | 00:40 | If you open up the template browser and
scroll down about three quarters of the
| | 00:44 | way, you'll find a template called
slideshow. This one--at least in my opinion--is
| | 00:49 | really clean and elegant.
| | 00:50 | The background is black.
| | 00:52 | You can see the image, and you
can click through these images.
| | 00:55 | The advantage of using these type of
online galleries is that what it can do is
| | 00:59 | it can help the client view the
photographs, click through them, and then make
| | 01:03 | decisions. They'll say, "This is the
picture I want. Send me a high-resolution
| | 01:07 | version of picture number six."
Here, we can see this is six of 13.
| | 01:12 | And again, this just helps client
communication. Well, once we have created this
| | 01:16 | or selected the template, we then need
to connect this to our server and upload
| | 01:21 | it. The way that you do that is
you navigate to upload settings.
| | 01:25 | So here, we will click on upload settings.
We have an option for our FTP server.
| | 01:31 | This is the host company which hosts
our web site or our domain name. Next, we
| | 01:36 | will click on custom settings and choose edit.
| | 01:39 | Well, here in these fields I have
already entered my information, because I have
| | 01:42 | done this previously. If you have not
done this before, you'll enter in your
| | 01:46 | domain name here in the server field,
your username here in the username field,
| | 01:50 | and then your password.
| | 01:52 | Typically it is a good idea to check
this box so that you can reuse these
| | 01:56 | settings if you're going to upload
another web gallery at another time.
| | 01:59 | You also may want to define your server path.
| | 02:02 | You can find this information out from
your server company, but each server, well,
| | 02:06 | has a particular folder where you
have all of your public or web documents.
| | 02:11 | In order to find that, you can also
click the browse button and navigate around.
| | 02:15 | Okay. Well, once you have defined
these settings, go ahead and click OK.
| | 02:19 | The next thing that you need to do is
to determine a subfolder, otherwise this
| | 02:24 | would overtake or replace your main web site.
| | 02:27 | So here I am going to name this
subfolder After and then go ahead and
| | 02:30 | press Enter or Return.
| | 02:32 | So in order to view this web
gallery, the full URL address would be
| | 02:36 | chrisorwig.com/actor.
| | 02:40 | All right. Well, that looks pretty good.
| | 02:42 | I have tested out the gallery here by
clicking through it, making sure it works,
| | 02:46 | I like it. I like the images which are included.
| | 02:48 | Next step, simply click upload. This will
then go through the process of building
| | 02:54 | this gallery. It will also create
different versions of your files, and that
| | 02:58 | gallery will select the version of the
file based on the monitor resolution.
| | 03:02 | In other words, these web galleries
are pretty smart and they are also color
| | 03:06 | managed so that the color of your
pictures will look really good.
| | 03:09 | Well, once the web gallery build is
complete, it will then upload the web gallery
| | 03:14 | and that process is now being taken care
of, so what I'm going to do is open up
| | 03:17 | my browser and navigate to this gallery.
| | 03:21 | So here in my web browser I'll
type out chrisorwig.com/actor
| | 03:26 | and then press Enter or Return.
| | 03:28 | I'll expand this, make this a little bit
bigger so that we can see the images.
| | 03:32 | And again, it will pull from the different
files based on the size of my monitor
| | 03:36 | resolution, and also how big I
have this browser window open.
| | 03:40 | The great thing about galleries like
this is that it does queue loading.
| | 03:44 | In other words, it does the loading of the
image, really, behind the scenes so that
| | 03:48 | there isn't wait time.
| | 03:49 | You can click through these pictures
pretty quickly in order to view them and to
| | 03:53 | see the photographs that you have.
| | 03:55 | Well, after you have clicked through
the entirety of your gallery and you want
| | 03:58 | to look at all the images--make sure that it
is perfect. That's really good. That looks great.
| | 04:03 | Next, what we want to do is
we want to email this out.
| | 04:06 | So here I'm going to go ahead and
highlight this full URL string. You want to
| | 04:10 | highlight everything
HTTP://domain name.com/the subfolder.
| | 04:17 | Keep in mind the subfolder, well, the
name of that is going to be whatever you
| | 04:21 | entered into this field here,
so these two names need to match.
| | 04:26 | All right. Well, now that those match, what
I'm going to do is go ahead and pull up
| | 04:29 | my email program. All right. I'll send
myself an email just to test this out.
| | 04:33 | Again, it is always a good idea to do
that. I'll name this test, and then I'll
| | 04:37 | press Command or Ctrl+V in order
to paste that URL into this email, and
| | 04:42 | then I'll click send.
| | 04:44 | This will then send that message to my
inbox, and what I'll do is I will click on
| | 04:48 | that in order to open it up.
| | 04:49 | And here you can see I have this email.
I want to click on this link, and I
| | 04:54 | want to click on the link to make sure
that it is active, that it indeed opens
| | 04:58 | up this web gallery--also just double
check that the web gallery works, looks
| | 05:02 | like it is working great.
| | 05:03 | The images look good. And then the final
step, of course, would be to create a new
| | 05:07 | email and to send this URL to your client.
| | Collapse this transcript |
| Exporting and sending full-resolution photos| 00:00 | After having emailed the client
low-resolution JPEGs and also posting
| | 00:04 | an online web gallery,
| | 00:05 | the client has made a decision. They
want high-resolution TIFF files. Let's take
| | 00:10 | a look at how we can send high-resolution
TIFF files and how we can do that
| | 00:14 | effectively, starting off here in Lightroom.
| | 00:16 | What we first need to do is to select
the photographs. We know the pictures that
| | 00:21 | they selected so we can go ahead and
choose one and then hold down Command or
| | 00:25 | Ctrl and then select the others. In
this case it is these three photographs.
| | 00:29 | The next step is to navigate to
export. You can do that by clicking your
| | 00:33 | Export button here.
| | 00:35 | This will open up the export dialog.
Here we're going to export these files to
| | 00:39 | our hard drive, in this case save them
to the desktop, and I will put them in a
| | 00:43 | subfolder. I'll call the subfolder actor.
| | 00:45 | Next, file naming. If we desire to
change that we can change that there.
| | 00:50 | There aren't any video files here,
so this is irrelevant.
| | 00:53 | We also have file settings. In this
case, we'll choose our image format of TIFF,
| | 00:58 | color space, crank that up. Pro photo
RGB. They want the res 16 bit--best color
| | 01:04 | space possible. We're going to give it to them.
| | 01:06 | Again, you want to know what your
client wants and then dial in these
| | 01:09 | settings appropriately.
| | 01:11 | Next up is image sizing. There is no
image sizing needed here, so we will leave
| | 01:15 | this one blank. Output sharpening,
well, what we'll do for output sharpening
| | 01:19 | is we'll sharpen for the final output
in this case, perhaps, a matte paper and use
| | 01:24 | a standard amount. Or if we just are
not certain--if we think it is going to be
| | 01:28 | glossy we may desire to choose a low
amount so that these images aren't over
| | 01:32 | sharpened before giving them high-resolution
files, and if we know that the client
| | 01:36 | takes those files and then repurposes
them or resizes them and has a good
| | 01:41 | team to do that, well, then we may
turn this option off altogether.
| | 01:45 | Again, here it's really important
to know your client needs.
| | 01:48 | We have the ability to add some metadata.
What you could do with the metadata is
| | 01:52 | add your copyright information here.
| | 01:54 | We'll go ahead and add copyright and
contact info. Next, scrolling down. No need
| | 02:00 | to have a watermark. And then Post-Processing,
after this is done we'll just have this do nothing.
| | 02:06 | All right. Well, now that we have dialed
in these settings, click Export. This will
| | 02:11 | then export these photographs, and it
will take them and convert them to this
| | 02:15 | high-resolution TIFF file format.
| | 02:17 | Next thing that I need to do is to
exit or hide Lightroom. Here, I'll go
| | 02:22 | ahead and do that by pressing Command+H.
Now on my desktop I can see that I
| | 02:26 | have this actor folder.
| | 02:28 | This is the folder which has all of
these images which we can see here.
| | 02:33 | The next step is going to be to compress
this folder. To do that on Mac or Windows, we
| | 02:38 | can right-click or Ctrl-click and
then choose Compress. This will allow you or
| | 02:43 | give you the ability to create a zip
file. Here we can see this zip file right
| | 02:48 | next door to the folder.
| | 02:49 | Well, this is the file that we want to
send, because by sending this together all
| | 02:54 | zipped up, it will be one group.
| | 02:56 | Therefore, when the user or the client
downloads the image, they will only have
| | 03:00 | to download it once rather than
making a download for each image.
| | 03:04 | The next that is going to be to open
up our browser, there are different
| | 03:08 | solutions for sending high-resolution files.
| | 03:10 | One of the most popular is youSENDit.
You can sign up for a free trial in
| | 03:15 | order to test this out. But basically,
what this allows you to do is to send an
| | 03:19 | email to your client to select that file--
| | 03:22 | the actor zip file--and then
deliver these files digitally.
| | 03:26 | Therefore, there is no need to burn
these files to a disk and then to mail your
| | 03:30 | client that disc. And this whole process
will make your workflow seem and be more
| | 03:34 | professional by delivering
these files digitally.
| | Collapse this transcript |
|
|
6. Personal and Creative WorkflowEvaluating and processing the photos| 00:00 | In this chapter, we're going to look at
some workflow techniques that are going
| | 00:03 | to be a bit more creative and free
flowing, and in this first movie I want to
| | 00:07 | take a look at how we can use
color creatively inside of Lightroom.
| | 00:11 | One of the reasons why I love photography
is because you can use photography to
| | 00:15 | experiment, to express, to discover,
and to grow. And sometimes as photographers
| | 00:20 | we capture images just to test out ideas,
just to try to discover something new.
| | 00:26 | And that was the case with these photographs.
These are personal pictures.
| | 00:30 | These are pictures which aren't created
for a client or for a portfolio or for
| | 00:35 | anything but myself.
| | 00:37 | These particular photographs here are
captured at Brooks Institute, where I teach
| | 00:40 | a photography school.
| | 00:42 | I wanted to test out these
lights. Now I never use lights.
| | 00:46 | So I set these up and I asked a few of
the students who were walking by to step
| | 00:49 | in front of the camera, and this is what I got.
| | 00:52 | And so I wanted to just have some fun with these.
| | 00:54 | My intent with my workflow, it is not
efficiency, it is not learning how to
| | 00:59 | effectively work with these
tools, rather it is creativity.
| | 01:03 | Well, the first thing that I'll do with a set
of pictures like this is just look at them.
| | 01:08 | I'll look at them in the Library module.
To do that, well, press the E key, this
| | 01:12 | will take these pictures to the loop
view, then I'll use my arrow keys, and just
| | 01:16 | scroll through them quickly.
| | 01:17 | I want to get with what I have, what
happened, how did that light work, what type
| | 01:22 | of expressions or details can
I notice in these photographs?
| | 01:25 | One of the things that I noticed is
that I like the light, and I think there
| | 01:29 | are some interesting pictures here. Then
I will select one or a few that I want
| | 01:33 | to work on. Here, let's start with
the beginning. I'll click on this first
| | 01:37 | picture. I like the closed eyes, kind
of that sideways glance, and I want to
| | 01:41 | have some fun with color.
| | 01:43 | So let's go to the develop
module. To do that, press the D key.
| | 01:48 | Once inside of the Develop module,
| | 01:49 | the first place I'm going to go isn't
the Basic panel--in most workflows you
| | 01:54 | start in basic, you turn on your
clipping indicators--I'm going to skip that
| | 01:58 | because I am not too concerned about
clipping, rather I want to have some fun with color.
| | 02:02 | So here we jump to the Split Toning
panel. I'm going to add some yellows to my
| | 02:07 | highlight. I'll bring those in, bring in
a lot of yellow, perhaps some blues into
| | 02:11 | the shadows--bring in a lot of blue.
| | 02:13 | As I do that the combination, well, it
looks a little almost kind of sickening.
| | 02:18 | It's a kind of green-yellow.
It is not really working.
| | 02:21 | Well, you can customize that. You can
click and move this, perhaps, to find a better
| | 02:24 | yellow or just remove that color.
| | 02:27 | When I remove that yellow and
desaturate it, all of a sudden I start to see
| | 02:32 | something I kind of like that.
| | 02:34 | I like that feeling here.
| | 02:36 | I am looking to try to
create mood or expression.
| | 02:39 | I am not trying to create perfect pixels.
| | 02:42 | Rather, I am trying to just express,
experiment, discover. So far so good.
| | 02:48 | Well, after we added a little bit of
color, I'll go back to the Basic panel.
| | 02:52 | In the Basic panel I'm going to
use some of my typical controls here.
| | 02:56 | I like to add contrast to
almost all of my photographs.
| | 02:59 | Here, also a bit of clarity as well.
What would happen if we were to remove
| | 03:04 | contrast? Rather than doing what we
always do, how about if we remove that?
| | 03:08 | Well, this would give this a different
look, a different type of a photograph.
| | 03:12 | When you are getting creative you kind
of want to go against the grain a little
| | 03:16 | bit, swing these controls in really
dramatic ways and just see what happens.
| | 03:21 | Sometimes you can come up with
some interesting discoveries.
| | 03:24 | Here I am reminded of why I like contrast.
I like the depth and the presence that
| | 03:29 | it adds to a photograph, so I'm going
to keep that, boost the shadows a little
| | 03:32 | bit, a little bit of detail inside of
there, and perhaps a little bit of vibrance
| | 03:37 | as well, and then modify my color
temperature and drag that to the right to see
| | 03:41 | what yellow does. Drag
it to left to cool it off.
| | 03:44 | Perhaps just a little bit off to the
right, a little warmth there. Well, this
| | 03:48 | processing, it's just kind of fun.
Let's look at it before and after.
| | 03:52 | Here's before and then here's after.
| | 03:56 | The next thing I want to do is exaggerate
the vignette. I want to darken up those
| | 04:00 | corners. We can do that by going down
to our Lens Corrections panel. You will
| | 04:05 | find that all the way down here in
the stack, and if you click on the manual
| | 04:09 | button that allows you to
increase or darken those edges.
| | 04:13 | And I want to do that, darkening up the
edges of this photograph. Well, once I
| | 04:17 | have applied these settings to one
picture, I then want to apply them to the
| | 04:22 | other two--these other two pictures
which are sitting next door to this picture,
| | 04:26 | all captured by the same person, the same light.
| | 04:29 | So we'll click on the first image, hold
down Shift, and then click on the last
| | 04:33 | image and then click on the Synchronize button.
| | 04:36 | This will open up a dialog which
allows us to choose what we want to
| | 04:40 | synchronize. Now when you are getting
creative, you may not even remember what
| | 04:44 | you have done, so here what I'll do is
simply Check All, click on this box here to
| | 04:49 | make sure all of those options are
selected, and then click Synchronize.
| | 04:54 | When we do that we'll now have all
of these images applied with these
| | 04:58 | settings. At this point, I like to
survey these pictures. I like to see if they
| | 05:02 | might work well together.
| | 05:05 | To survey the pictures or to see
multiple pictures at once, press the N key.
| | 05:09 | This will open up this
view in the Library module.
| | 05:12 | Now we could change this or could
remove photos either by clicking on the X in
| | 05:17 | the bottom corner here. So we now have
two pictures up. We could remove that one.
| | 05:21 | If we want to add a picture, hold down
Command or Ctrl and click on that
| | 05:26 | photograph in the filmstrip.
| | 05:27 | When I do this, it gives me this
really interesting view of these pictures
| | 05:31 | side by side. It makes me think, well,
this kind of diptych, this two-image view
| | 05:36 | might be fascinating. I'll press the L
key to dim and then darken all the way,
| | 05:42 | press the L key again and it just
gives you this kind of an interesting view
| | 05:46 | of these photographs.
| | 05:47 | Then we can turn the lights
back up by pressing the L key.
| | 05:51 | So what is the whole point with this movie?
| | 05:54 | Well, the point is that sometimes when
we're working in Lightroom, we get too
| | 05:58 | technical, too functional. Every once in
a while you just want to have some fun.
| | 06:03 | One way that you might have fun
with your own personal projects is by
| | 06:07 | experimenting with color. And then by
using the other controls--contrast and
| | 06:11 | clarity, those other settings, or
perhaps other settings like adding a vignette--
| | 06:16 | in order to creatively modify your pictures.
And the great thing about this is
| | 06:20 | that this is completely nondestructive.
If ever we want to reset these images, we
| | 06:25 | can always do that. And then, finally,
after you have made those adjustments, you
| | 06:30 | want to evaluate those pictures in a
creative way, perhaps by using survey or
| | 06:35 | maybe by dimming the lights. And by
doing this and by making adjustments like
| | 06:39 | this, well, we can keep that creative
spark alive inside. If you can remind you
| | 06:44 | why you got into photography in the
first place, it can remind that photography--
| | 06:48 | well, it's about experimentation, it's
about testing out ideas. And by playing
| | 06:53 | or tinkering--or having a little bit of
fun like this--well, many times this can
| | 06:57 | sharpen your skills. And one of the
results is it can improve your other
| | 07:00 | workflows as well.
| | Collapse this transcript |
| Working with virtual copies| 00:00 | Let's take a look at a few more
techniques that we can use when we want to get
| | 00:03 | creative with our photographs when we're
working on these personal projects.
| | 00:07 | And here, let's focus in on using virtual
copies, cropping, and also flip-flopping the
| | 00:12 | perspective of our pictures.
| | 00:14 | We'll be working with this photograph here.
Let's go ahead and zoom in on this picture.
| | 00:19 | Typically I like to zoom in on the
picture at least at some point to evaluate
| | 00:22 | the color and tone or detail, and this
is the image straight out of the camera.
| | 00:26 | While it looks really good,
there is not a lot we need to do.
| | 00:30 | Perhaps you'll want to boost the
clarity, maybe the vibrance a little bit.
| | 00:33 | But really, for the most part, it is great.
| | 00:35 | You want to make any subtle adjustments
first and then make your Virtual Copies
| | 00:40 | and then get really creative.
| | 00:42 | Okay. Well, we made these initial
adjustments, next step press Command
| | 00:46 | or Ctrl+Apostrophe to create a Virtual Copy.
| | 00:49 | This will create a new version of the
file. You can see the copy in the filmstrip.
| | 00:53 | The benefit of this is that this copy--
it does not add any file size. A lot of
| | 00:59 | times what happens with most workflows
is that people are really functional in
| | 01:02 | Lightroom, yet they reserve all
of their creativity for Photoshop.
| | 01:06 | What I found is we can start to get
pretty creative in Lightroom and we can do
| | 01:10 | this in a way that is nondestructive by
working on these Virtual Copies. We can
| | 01:14 | always delete these or reset them, and
again, there is no saving or render time,
| | 01:19 | so we can do this really quickly.
| | 01:21 | Okay. Well, let's do some creative
cropping. To access the crop tool,
| | 01:25 | press the R key. Next, what I want to do
is I want to unlock the aspect ratio.
| | 01:30 | You'll notice we have this aspect ratio
here. Press your A key to either unlock or
| | 01:35 | lock that aspect ratio.
| | 01:37 | We want to unlock, so press the A key.
| | 01:40 | Next, hover over your image and simply
click and drag, and here we're going to
| | 01:44 | click and drag to create a free-form
crop that we think might look good.
| | 01:48 | Go ahead and reposition that and then
press Enter or Return. There is our first
| | 01:53 | crop. It is nothing revolutionary or
exaggerated, but it does create a different
| | 01:58 | mood for the picture. Rather than the
subject sitting low in the frame, all of a
| | 02:03 | sudden they are a bit more
prominent. They're filling the frame.
| | 02:06 | It creates a different story. Let's
create a few more Virtual Copies, so press
| | 02:10 | Command or Ctrl+Apostrophe. The
next one that I want to do is a little bit
| | 02:15 | unorthodox, so let's press the R
key to reactivate the crop tool.
| | 02:19 | This time, rather than cropping and
kind of keeping that same perspective as
| | 02:23 | before, I want to communicate something
completely different. I am going to move
| | 02:27 | this near the top edge of the frame,
and I'm going to crop off a lot of the
| | 02:31 | photograph. Here, I'll go ahead and
bring in the sides of the picture and just
| | 02:35 | see if I can come up with something
that might be--well--just different.
| | 02:39 | Okay. I will double-click to apply that.
Here, we have yet a completely different story.
| | 02:45 | Now I know what you may be thinking:
"Well, you cannot do that. You lost all this
| | 02:48 | data. You cropped out too much."
| | 02:51 | Well, what I found is with digital
capture you can get away with cropping a ton,
| | 02:56 | especially if it is a personal project.
| | 02:58 | Perhaps this print isn't going to be very big.
| | 03:00 | Or maybe I am just going to post this
on my blog. In those situations, well, it
| | 03:04 | really is irrelevant.
| | 03:05 | I can get down to a really small file
size and still have enough data in order
| | 03:09 | to create a post on Facebook or on my blog.
| | 03:12 | All right. Well, let's take
this even a little bit further.
| | 03:16 | Another way that we could modify this
crop, perhaps, is by removing even more.
| | 03:21 | So lets press Command or Ctrl+Apostrophe.
This will create another virtual
| | 03:25 | copy of this. Here, I'll press the R key,
and I am just going to click and drag up
| | 03:29 | to remove the mouth and then double-click
to apply that, yet another story with
| | 03:34 | the same image. And the whole point here
is that we can just start to get kind of
| | 03:38 | creative. We can come up with some
options for images that are perhaps a little
| | 03:43 | bit off the wall or different, and
sometimes what this can do for us is it can
| | 03:47 | just get us thinking about composition.
| | 03:49 | Sometimes this can help us when we go
back to taking those pictures. Maybe we'll
| | 03:54 | never ever use this, but again, it will
get us to think about how usually when I
| | 03:58 | take pictures, I compose one way
and I just try different ideas out.
| | 04:03 | All right. The last thing I want to look
at is how we can flip-flop our images.
| | 04:08 | So with this one, let's right-click
or Ctrl-click on top of the image and
| | 04:12 | then go to transform here.
I'll select Flip Horizontal.
| | 04:16 | This allows me to flip that image
and just create a little bit of
| | 04:19 | a different perspective.
| | 04:21 | We can also turn this back by
right-clicking or Ctrl-clicking and then
| | 04:25 | choosing to flip horizontal again.
| | 04:27 | Now it's back at the original orientation.
Sometimes with certain images, by
| | 04:32 | flipping them, well, they can all of a
sudden become dynamic or a little bit
| | 04:35 | off balance in an interesting way.
| | 04:38 | We can also right-click or Ctrl-click
and then go to Flip Vertical. This with
| | 04:43 | certain images, again, can just create
something which is--well, in this case,
| | 04:47 | completely different.
| | 04:48 | We may have never ever have thought of
something like this, and here we could
| | 04:53 | move this even more.
| | 04:54 | Press the R key, crop in perhaps even
further, change your crop, maybe rotate it a
| | 04:59 | little bit, change the perspective on
where the subject is coming into the frame
| | 05:03 | and the overall crop, and then apply
that, and again it is not necessarily great
| | 05:08 | or wonderful or going to end up in
our portfolio, but it is different.
| | 05:12 | It is experimentation.
| | 05:14 | Now here, out of all of these crops, we
have the original file. We have this one
| | 05:18 | which was just a bit more free-form,
and then this next crop.
| | 05:22 | Perhaps, like the middle two are the
best, the last one, well, it was a bit too
| | 05:27 | exaggerated, a bit too far.
| | 05:29 | I want to get rid of this. Well, to do
that, just press the Delete key. That will
| | 05:33 | open up a dialog which says your
want to remove the selected Virtual Copy?
| | 05:37 | Well, sure. Click Remove. And it is gone.
| | 05:40 | That experiment, well, we kind of pushed
it out of the way or crumpled it up and
| | 05:43 | threw it in the trash can.
| | 05:45 | No big deal. No skin off our back.
| | 05:47 | Yet these two are keepers, and here is why:
this particular crop, it reminds me of
| | 05:52 | the importance of getting close. This
crop, it reminds me of the importance I'm
| | 05:57 | trying to capture non-traditional
composition when I'm photographing people, to
| | 06:02 | just experiment a little bit.
| | 06:03 | To just loosen up a little bit. And you
know, sometimes the whole point of a Lightroom
| | 06:08 | workflow is just to
learn lessons like this.
| | Collapse this transcript |
| Exploring creative black-and-white processes | 00:00 | In this movie we are going to throw
caution to the wind, and rather than being
| | 00:04 | conservative, we're going to create a
black and white version, which is really
| | 00:08 | high key. When we create this strong
black and white version and add a defined
| | 00:12 | edge or border to our picture and also
take a look at how we might bring in a
| | 00:16 | little bit of color to the photograph.
| | 00:18 | All right. Well, I want to work on two
images. To do that, we'll go ahead and click
| | 00:23 | on those in the filmstrip. Click on the
first image, hold down Command or Ctrl
| | 00:27 | and click on the second image.
| | 00:29 | Next, let's click on the Synchronize
button. You want to make sure that you click
| | 00:33 | on the button for Check All. Once you
have done that you can click Cancel and
| | 00:37 | then flip the switch in
order to turn on Auto Sync.
| | 00:41 | Now here, when we typically convert to
black and white--say in the Basic panel--
| | 00:45 | we desaturate. This looks a little bit lackluster.
| | 00:49 | It needs something.
So here I am going to go really extreme.
| | 00:53 | One of the things that I am
going to do is brighten up my blacks.
| | 00:56 | I am also going to brighten up my
exposure. I'm going to overexpose this
| | 01:00 | image so it looks really high key.
Here at this point, it looks like we have
| | 01:04 | lost too much detail.
| | 01:05 | You will be surprised what clarity can
do for a picture. Bring up that clarity.
| | 01:09 | You can see how it really draws in those edges.
| | 01:12 | These are exaggerated, incredibly high amounts.
| | 01:16 | We can also use whites to dial back,
perhaps, a little bit of the brightness until
| | 01:20 | we find the right amount of detail on the face.
| | 01:22 | All right. Well, that looks good. Next,
let's zoom in on the picture to see if
| | 01:27 | this is holding up. Well, the
detail on the eyes, it looks amazing.
| | 01:30 | We have this really intense, really
bright black and white conversion.
| | 01:35 | Next, I want to get rid of the darkness.
| | 01:38 | I see around the edges.
| | 01:39 | So we need to leave the Basic panel.
We'll close the Basic panel, we'll go down
| | 01:44 | to our Lens Corrections panel, in
lens corrections, rather than adding the
| | 01:48 | vignette, we're going to remove one.
| | 01:50 | We want this image to be much brighter
and whiter, so I'm going to go ahead and
| | 01:53 | use these controls, swinging them really
hard in order to add some brightness to
| | 01:58 | the outer edge of the picture.
| | 02:00 | What I want to do to finish this off is
I want to add a defined border or edge
| | 02:05 | and maybe a little bit of color. So
let's close the Lens Corrections panel.
| | 02:10 | Here, we'll open up the Effects panel.
| | 02:11 | In the Effects panel we have the
ability to add a post-crop vignette, and this
| | 02:16 | can have a defined edge or shape. Here,
we'll simply reduce all of these sliders.
| | 02:22 | So go ahead and drag them all to
negative 100, or all the way to the left there.
| | 02:28 | You can see we have this border or edge.
What can be interesting about this is
| | 02:33 | that this border edge, they
can connect these two pictures.
| | 02:36 | Let's click on the other picture.
Well, when I do that--I click on the second
| | 02:41 | picture--this one's too bright. It is
too bright because the exposure was a
| | 02:45 | little different. No big deal. Simply
turn off Auto Sync, go back to the Basic
| | 02:50 | panel, and in the Basic panel we might
bring down our whites, or perhaps lower the
| | 02:55 | highlights there, or take down the
exposure a little bit 'til we have nice detail
| | 02:59 | in the face. And I think that looks pretty good.
| | 03:02 | Okay. Well, what about color and why
would we want to add color? Well, color is a
| | 03:07 | great tool when it comes to expression.
Here, we'll close the Basic panel and
| | 03:12 | open up the Split Toning panel.
| | 03:14 | In the Split Toning panel we have seen
how we can add color to the highlights
| | 03:17 | or to the shadows. With black and white
images, a lot of times you want to have
| | 03:21 | your whites a little bit more
pure--not tainted with a color.
| | 03:25 | So here it's just about the shadows.
| | 03:27 | Perhaps we will find a blue
somewhere in here. And we can bring up our
| | 03:30 | saturation slider. Let me exaggerate.
| | 03:33 | As I do that, you can see that we have
this blue tone and those shadows there.
| | 03:37 | I want a blue which is not too purple. That
looks good. And then I'll lower the saturation.
| | 03:43 | Now here it is pretty subtle, but again
it's just creating a little bit of a mood
| | 03:47 | or a tone, or perhaps you could go the
other way and add some reds or yellows or
| | 03:52 | oranges in here, maybe a
little bit of sepia toning.
| | 03:55 | Well, this image, because it is so stark,
I think blue is going to be the color.
| | 03:59 | I think just cooling it off just a
little bit, creating that black and white
| | 04:02 | creative, expressive image. Well, after
having made these adjustments, these are
| | 04:07 | really extreme black and white conversions.
| | 04:09 | What I want to do is turn off the lights.
| | 04:11 | I also want to minimize
the Lightroom interface.
| | 04:14 | So I can just check out the image
and see if this is even worthwhile.
| | 04:18 | So let's press our shortcut which
allows us to minimize the interface, that's
| | 04:23 | Shift+Tab. Now that we have minimized that,
press the L key twice in order to dim the lights.
| | 04:29 | Well, here on a black background,
those rounded corners, well, they take on a
| | 04:33 | different feel. Or that border edge, it
makes it feel more like rounded corners.
| | 04:38 | We can press our arrow keys to toggle
between the two images. Here we can see
| | 04:42 | one with a little bit of toning, and
then the other one with this cooler tone.
| | 04:47 | In order to compare these two, I'm just
clicking back and forth to see these.
| | 04:50 | One of the things that I am noticing is
that I want to bring this tone to both images.
| | 04:55 | So press the L key to bring back the
lights, press Shift+Tab, that will bring
| | 05:00 | back all of the interface, and then
you want to select the image with a tone
| | 05:05 | that you like here.
| | 05:06 | In this case, I like the one which is
a little bit cooler, here, which has this
| | 05:10 | cool tone. So I'll navigate to my
synchronize dialog by clicking on Synchronize.
| | 05:15 | And here, I'll check none and then just
check on the option for split toning.
| | 05:20 | I don't want to touch the exposure,
because remember we had to customize that for
| | 05:23 | each image--just want to
synchronize split toning.
| | 05:27 | Click Synchronize, it will then apply
that to both of these images so that they
| | 05:31 | now both have this look and feel.
| | Collapse this transcript |
| Removing and adding color| 00:00 | Here, we're going to take a look at
a creative effect that we typically
| | 00:03 | perform in Photoshop, yet here we're going
to accomplish this right inside of Lightroom.
| | 00:08 | And it has to do with removing color
and then painting in the original color
| | 00:12 | into specific areas of the photograph.
| | 00:14 | Well, with this picture, when I first
saw it, I zoomed in on it, and I was really
| | 00:19 | struck by the clarity and the beauty of
the eyes, and so I want to do something
| | 00:23 | fun with the eyes and with the eye
color and the overall color of the image.
| | 00:28 | To do that, let's go ahead and click
again to zoom out, and then let's select
| | 00:32 | the adjustment brush. You can select
this tool by pressing the K key or by
| | 00:37 | clicking on the tool in the tool strip.
Once you've selected the tool, let's go
| | 00:41 | ahead and modify the settings.
| | 00:43 | We want to take the saturation all the
way out. We're going to paint over the
| | 00:47 | image complete desaturation.
| | 00:49 | Next, we'll go to our brush size and we are
going to crank this up, and I mean way up.
| | 00:55 | We want a huge brush, flow all the way up,
again, this isn't typically something
| | 01:01 | that you would do, but here we'll go
ahead and just paint across the image, and
| | 01:05 | this way it makes it really
easy to remove all the color.
| | 01:08 | Well, now that the color's gone
what I want to do is bring it back
| | 01:12 | into specific areas.
| | 01:14 | So in order to do that, we'll click on
erase. For erase, we'll want a brush with
| | 01:19 | a high flow amount, a nice small brush.
And we want to have a lot of feather on
| | 01:23 | that brush as well.
| | 01:24 | Well, let's zoom in on the picture. When
we zoom in, we can get up close to the
| | 01:29 | eyes. And if I paint with the erase
brush right now, what it's going to do is
| | 01:33 | erase the desaturation. In other words,
it will bring back the original color.
| | 01:39 | So here we'll go ahead
and paint over those areas.
| | 01:42 | These areas are enhanced. Rather, it
is as if I am kind of creating a mask
| | 01:46 | and saying do not affect these areas of the
image. I'll paint across the lips as well.
| | 01:51 | The lips are a little bit easier to
see because the color, well, I think
| | 01:55 | it stands out a bit.
| | 01:56 | And here what we're doing is, again,
this kind of traditional effect that we've
| | 02:00 | seen in Photoshop, the challenge of
course is to try to do this in a way that
| | 02:04 | might be interesting.
| | 02:06 | So I'll go ahead and just try to
finish this off, make sure my edges are good,
| | 02:09 | and make sure I have good detail there.
| | 02:11 | All right. Well, if ever I make a mistake--
say, I paint a line and I want to get rid
| | 02:15 | of it, well, just go back to your brush,
decrease your size--because you'll need to
| | 02:20 | be more precise here--
| | 02:21 | make sure the flow is way up, and then
you can go ahead and paint that away in
| | 02:25 | order to fix up any problems
that you might have created.
| | 02:28 | Well, now that we have done this, let's
zoom out. When we zoom out, we'll see that
| | 02:32 | everything is desaturated except for
the eyes and the lips. And that is just a
| | 02:37 | little bit too well overdone. We can
always soften this without leaving this
| | 02:41 | dialog. Crank up the saturation.
| | 02:44 | So rather than desaturate it all the
way, we can bring that up a little bit.
| | 02:48 | And here, you can see it is almost as if
it's just kind of muting those other colors
| | 02:53 | so that the eyes and the lips, well,
they are the most prominent color.
| | 02:58 | Perhaps we want it to be all
about the eyes, as I mentioned before.
| | 03:01 | Well, let's go ahead and let's just
desaturate the lips. Let's remove that color.
| | 03:05 | So here, now it is really the eyes. The
eyes get all of our attention. We're drawn
| | 03:11 | into those eyes. After we have done
this or made this effect, we may close this
| | 03:16 | tool and go to the Basic panel.
| | 03:19 | Here, we can make other adjustments.
| | 03:20 | Perhaps we want to warm the image up, so
add some warmth to it, add a little bit
| | 03:25 | of clarity, maybe a touch of contrast here,
just looking to try to find the right
| | 03:29 | way to process this photograph. And I
work with my whites and my exposure. I want
| | 03:34 | this really bright kind of glowing look.
| | 03:37 | Now with this effect, what is interesting
about this is we can customize it, right?
| | 03:41 | You can fine tune this.
| | 03:43 | You could have it completely exaggerated
or maybe just really subtle, and you
| | 03:48 | know, sometimes it is the subtlety--
or it is the nuance--that matters.
| | 03:52 | Well, let's look at our before and after.
Here, we have the before and then the
| | 03:56 | after, a different or alternate
version of this picture. Now because this
| | 04:01 | version of the picture is pretty extreme,
| | 04:03 | it is different--it is a little bit off
the wall--what I want to do is I want to
| | 04:07 | create a Virtual Copy of
this state of the photograph.
| | 04:11 | To do that press Command
or Ctrl+Apostrophe.
| | 04:14 | Well, now that I have the Virtual Copy
and baked into this, so to speak, or all of
| | 04:19 | these settings, I'll go
back to the original image.
| | 04:22 | Here, on the original image I'll
click reset. That will remove all of those
| | 04:27 | settings, and this way I am kind of
working backwards to protect myself so that I
| | 04:32 | have another version of this image,
because here I think this version, well, it
| | 04:36 | looks pretty interesting, and I think
this image by itself with a little bit of
| | 04:40 | color work--perhaps modifying the
vibrance and contrast and touch of clarity
| | 04:45 | there--well, I think it looks pretty interesting.
| | 04:47 | So here in this movie, my
intent really is twofold.
| | 04:50 | First, it is to get you thinking about
how you can use that adjustment brush and
| | 04:54 | how you can use that in
creative or unorthodox ways.
| | 04:58 | Second, I wanted to show you that if
you get creative on the original file, you
| | 05:03 | can always create a Virtual Copy of
that and then go back to that original file
| | 05:07 | and reset that so that you can have
two distinct versions of your photograph.
| | Collapse this transcript |
| Using the Print module for virtual layouts| 00:00 | In this movie, we're going to do
something a little bit out of the ordinary, but
| | 00:03 | this technique can really help you
out when you are interested in trying to
| | 00:07 | create layouts and when you want to
create those layouts to be displayed in
| | 00:11 | other places other than
physical or tangible prints.
| | 00:14 | Well, what we're going to be doing is
looking at how we can use the print module
| | 00:17 | in a non-traditional way.
| | 00:19 | Rather than using this module in order
to create a layout which is going to be
| | 00:23 | printed, we're going to use this module
in order to create a layout which we can
| | 00:27 | then convert to a JPEG so that that JPEG
could be posted, say, on our blog or our
| | 00:32 | web site--or perhaps on Facebook
or another social media site.
| | 00:36 | Well, how can we do that? We'll be
working with these last few images here, and
| | 00:40 | before we get to the print module,
what we have to do is go to Photoshop.
| | 00:44 | So here, I am going to go ahead and
navigate to Photoshop. And in Photoshop I'm
| | 00:47 | going to create a new document by
going to File and then clicking on New.
| | 00:52 | One of the things that you have to know
about this technique is that you have to
| | 00:56 | know the dimensions that you want. The
inventions that I want are 800 by 533,
| | 01:02 | these are the dimensions that I
use when I am posting to my blog.
| | 01:06 | So because I know those, I can
type those in, and I want to add a
| | 01:10 | specific resolution as well.
| | 01:12 | The resolution isn't really important
except that you need to know one and you
| | 01:16 | need to remember it. You
will see why in a second.
| | 01:18 | Well, here let's click OK in
order to create this document.
| | 01:22 | Next, if we go to our image size dialog--
by going to image and then image size--we
| | 01:28 | can see something which will help us out.
| | 01:30 | Here, what we can see here are the pixel
dimensions. Well, unfortunately the Lightroom
| | 01:35 | print module, it does not have pixel
dimensions. We can't create a page size
| | 01:40 | that are pixels, but we can create a
page size which are inches. Well, down below
| | 01:46 | this just gave us the key.
| | 01:48 | This is the key to being able to do
this technique: our width is 3.3 inches, our
| | 01:54 | height, well, it is 2.2,
resolution 240 pixels per inch.
| | 01:59 | So we want to write these numbers down,
or we want to remember them, all right?
| | 02:02 | Let's remember those and
then go back to Lightroom.
| | 02:06 | Well, once we're back in Lightroom,
we're going to go to the page setup dialog,
| | 02:10 | and in the page setup for a paper
size, we're going to choose manage custom
| | 02:14 | sizes. Well, what we are going to is
create a custom size that's based on those
| | 02:19 | pixel dimensions, remember our pixel
dimensions of 800x533, well, the paper size
| | 02:24 | is going to be that width and the
height that we've seen before, 3.3 and 2.2.
| | 02:30 | What actual values you will be
using will be dependent upon what pixel
| | 02:34 | dimensions you want, and that
is why we went to Photoshop.
| | 02:38 | Photoshop helped us find these
numbers, otherwise it would have been
| | 02:41 | impossible to guess.
| | 02:43 | Next, we want this to extend all the way
to the edge, so I'll go ahead and remove
| | 02:48 | those values and then click OK.
| | 02:51 | We can change the orientation if
we want this to be horizontal or
| | 02:54 | vertical really easily.
| | 02:56 | Let's do a vertical layout, so I'll
click this one, and you'll see what I
| | 03:00 | mean as we click OK.
| | 03:02 | So now here, I have this new layout. What
I need to do with this layout is I need
| | 03:06 | to start making a few changes.
| | 03:08 | One of things I want to is I
want to go to my layout settings.
| | 03:12 | Here, in the layouts I'm going to go ahead and
I want to have two rows and also two columns.
| | 03:17 | Well, currently my margins are all out of
whack. I'm going to remove all of those.
| | 03:21 | So just decrease these values here.
| | 03:24 | I also want to increase the overall image size.
| | 03:27 | So I'll go ahead and increase the cell
size here so that we can start to see
| | 03:31 | how this image will fit into this layout.
| | 03:33 | Okay. Well, now that we have that, let's
add a few more pictures. Hold down Command
| | 03:38 | or Ctrl and then click on those
pictures in the filmstrip. These are the
| | 03:41 | photographs that I want to post on my
blog. And I want to create this grid.
| | 03:46 | Keep in mind you can create any sort of a
type of grid or layout. Really, the sky's the
| | 03:51 | limit if we do not want to use single
image, or you could always go to custom
| | 03:55 | package and customize this,
dragging images into that space.
| | 03:59 | Let me show you that briefly. You just
would need to click on custom package,
| | 04:03 | and then here we could do something
which was a bit more freeform. You can see
| | 04:07 | how I tried to position these
photographs, and I can create a blog post which
| | 04:11 | had a layout, perhaps like this. And you
can see how this is a different type of
| | 04:15 | a layout, but perhaps it could be
interesting for the type of post you're going to do.
| | 04:19 | So really the sky's the limit. Well,
here I'll press Command or Ctrl+Z in
| | 04:24 | order to undo those steps and to go back to
that single image layout that we had previously.
| | 04:29 | I just want to do something which is
a little bit more based on a grid, so
| | 04:33 | we'll step back to that.
| | 04:35 | We can also go back to that by
clicking on the single image or contact
| | 04:38 | sheet layout style.
| | 04:39 | Here, let's go ahead and re-add those
photographs so that we can have these in this grid.
| | 04:44 | What's great about this is that now
that I have this I can then use this.
| | 04:48 | I can export this is as a JPEG file and I can
save this and then post that JPEG to my blog.
| | 04:55 | In order to do that what we need to do
is we need to go down to our Print Job
| | 04:59 | settings. In Print Job, we're going to
print to a JPEG file. You can make that
| | 05:04 | selection here. The resolution, well,
we need to match whatever resolution we
| | 05:08 | choose in Photoshop.
| | 05:10 | So here, we'll choose this, 240 pixels per
inch. We can determine a certain amount
| | 05:15 | of print sharpening, also our JPEG quality.
| | 05:18 | Well, here, because this JPEG is going
to be displayed online, I'm going to
| | 05:22 | decrease this to around 70.
| | 05:25 | The next step is choosing color management.
sRGB is a great color space for blog posts.
| | 05:30 | And then print adjustment, well,
I'll turn that off because this isn't going
| | 05:33 | to be printed with a traditional printer.
| | 05:35 | The last step here is to simply click
print to file. This gives us the ability
| | 05:40 | to choose a location, perhaps our
desktop, and we can then save this file out, and
| | 05:45 | I'll go ahead and call this
blog post and then press Save.
| | 05:48 | This will create this layout and
export this JPEG to those dimensions.
| | 05:53 | Now won't be exactly right, but it will be
really close. And what I can do is I can
| | 05:58 | then post this JPEG on my site.
| | 06:00 | So here, really, the intent of this movie
is to get you think about how you might
| | 06:04 | use the print module in those situations
when you want to create layouts which
| | 06:09 | are specific to pixel dimensions, not
really to paper sizes. Well, you can do this
| | 06:14 | workaround and you can do this in
order to create these layouts and take
| | 06:18 | advantage of all of these really easy
layout controls so that you can do all of
| | 06:22 | this right inside of Lightroom, rather
than having to navigate to Photoshop to
| | 06:26 | make these type of adjustments or layouts.
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ConclusionGoodbye| 00:00 | In a teaching context, when people talk
about Lightroom, they typically mention
| | 00:05 | at some point that Lightroom is a workflow application.
| | 00:08 | It is a tool which helps us put
together these different pieces of our own
| | 00:12 | photographic workflow. Well, with this
course, my hope has been that by seeing
| | 00:17 | these different workflows, that it has
given you insight into how you can develop
| | 00:22 | or build your own workflow. And if ever
we've touched upon a topic that may be of
| | 00:27 | interest to you or that you want to
learn more about, there are some other
| | 00:31 | courses in the library that
you may find to be helpful.
| | 00:34 | Well, in closing, thanks for joining
me in this course. I look forward to
| | 00:37 | seeing you in another one.
| | 00:38 | Bye for now.
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