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Adobe Lightroom 2020: The Ultimate Guide Bootcamp

Lesson 34 of 116

Preparing Image in Lightroom


Adobe Lightroom 2020: The Ultimate Guide Bootcamp

Lesson 34 of 116

Preparing Image in Lightroom


Lesson Info

Preparing Image in Lightroom

So there are times when light room is not going to get you as far as you need to go because there's more power in editing and Photoshopped because there's just more tools, more selection capabilities, layering those kind of things. And so, um, I wanted to go over the workflow of going to photo shop first, and that's really important. So the first rule is this. Go a Sfar, as you possibly can go inside of light room first because it's a nondestructive editor. So you're editing in the raw special. Obviously, you need to be working in raw imagery in order to have that non destructive capability. But if you're shooting raw imagery and you're working inside of light room, you are non destructive, and so you're gonna have a better quality file if you can take it as far as you can go. So don't I don't think I'm gonna go to photo shop anyway. And so I'll just leave this image kind of finished and then start burning and dodging inside a photo shop because once you're in photo shop you're actuall...

y destroying the pixels. You're moving them around, and you just don't have the raw capability that you had back in light room. So do your burning and dodging. Do your brightening. Do your recovering highlights all that kind of stuff as far as you can go inside of light room. Once you are done in light room and you can't go any further, then you can go to photo shop and there's going to be what we call a round trip, and we're going to show you how to round trip to photo shop while we're showing you a couple really cool tools that you can use quickly inside a photo shop. And this is definitely not a photo shop class. This is a light room class, how to use it with photo shop for the things that you really need to do in photo shop. So I'm really interested in the things that I can't do in light room or that a really clunky and light room, and I want to go to photo shop to get something done quicker and maybe better. So the first thing that comes to mind is sometimes I'm in an image like this, which I really love this image. But I don't necessarily like all of these extra people here. I want this guy because I think he's interesting is a shadow. But I don't want any of these people here, and so I can go in with with light room and and use in the develop module. I can actually go into the spot tool and with the spot tool, I can zoom in and I can remove people from this image. But it's a little bit dicey is toe whether it's actually gonna work, because I can't get that guy. And so then I start to get these odd little lines and shadows and stuff like that. So the computation inside of light room for getting rid of major things, especially when there's a lot of detail around them, is a little bit dicey. So I'm I'm going to go to photo shop in order to get better power in my editing. But before I go there, I'm going to quickly do a little bit more adjustment on this file. So have exactly the way I want it to be, So I'm just gonna brighten it up just a tad, and then I'm gonna take the shadows up because those trees need a little bit more information in him. Actually, you know what I see When I do this, I'm getting too much brightness in the cloud. So I want to keep it that way, and I will actually do a little burning and dodging here inside the trees just with my brush tool. So I'm gonna take the shadows up, and then I'm just gonna come in here and paint in. My flow needs to be a little bit higher. I'm gonna just paint in on these trees so I get a little bit more information in the trees and because I have the capability to range masking here in light room, which I don't have that capability inside of Photoshopped, not as easily. And so I'm going to go in and do a range mask for a color. And Onley have it do green. So that way, if you look at the mask, you can see that them once. I once I give it a color, see how it masks out the sky so I don't spill into the sky. It's really easy to get really specific and very, very accurate inside of light room on your burning and dodging. So I would always do my burning and dodging here inside of light room first. And now that I have that all the way I want it, Um, and I'm gonna add just a little bit more texture, a little bit more clarity, and now I can actually bring that exposure back down because my trees air nice and bright, and I like that kind of dark moodiness of the photograph. So now that I'm ready to go, I'm going to. There's two different ways to do this. You can hit shift Command E, and that's export. So this is if you need to. Let's say you're doing a album for a client, and you need to send out 30 images Toe Photoshopped, because you're going to go on do some major retouching on all of these images. What you would do is you would export the images, and you would export them as photo shop. So in the export dialog box, you would go and create Photoshopped documents. 16 bit pro photo RGB. Now there's a lot of people who tell you Oh, just exported J Peg because it's smaller and it's faster and it's easier to edit and all that kind of stuff, but a J peg is not a quality file. J pegs should be considered print on Lee files. I would never edit a J pick. There's just not enough bit depth in it, so I want to keep it as close to raws possible. So I would do a a photoshopped document. Some people like tiffs. You could do it if Pro Photo RGB has the most color depth of any of those color spaces. So I'm going to choose that and then 16 bit that way, I have the most data I can possibly have. So when I'm doing that destructive editing and I'm moving those pixels around, they're not going to deteriorate as fast. So once I have that at the very top, I'm gonna add it back to this catalogue, and I'm gonna tell it to put it in the same folder is the original, and I'm gonna ask it to stack it with the original image putting the original below are above. I want that to be above the original. So now I'm gonna have a stack, and I can just simply export this file. And when I do that, it's going toe export the file and I'm doing it now. So it's exporting the file. And once it's done exporting this PSD, it's going to then add it back into the catalogue and it's gonna put it in a stack above the original so that I will always be looking at the original. So, um, if I look, if I right, click this and show it in the library now I have a PSD right here that's over the top of the original image. So I've got. And this is another tiff that I've edited already. So here's the PSD, and here's the raw and they look exactly the same because we haven't done anything to the PSD yet. So, um, that's one way to accomplish a round trip, so you can You can leave the room and you can export as many files is you need to edit and then they're going to come back in the light room. Now the reason that we put them back in light room is because light room is our digital hub. It's the place where all of our images should cyst sit and rest and wait for us so that we can find him again, Um, so I want to open it from light room and And to do that, I would just simply right click it and say, Edit in photo shop, or you can just hit Command E. And when you hit command E, it's gonna ask you whether you want to edit the original, whether you want to edit a copy or if you've done some adjustments over the top of of a Photoshopped document cause you can do that, you can go into the develop module after you've made a PSD. And that image also has the ability to be edited as well, although at that point you're now being destructive because it's not a raw image. So I have the ability to right click this edit in photo shop, and I can choose whether I want to include the adjustments I've made on top of the photograph, whether one edit a copy of it. So I make a duplicate or edit the original, so that's one way to do it. And the only the only reason you would ever do it that way is if you needed to do a whole bunch of them. Um, but if you are going to be editing just the one, um So I'm gonna go back here to my my collection. If you're just gonna be editing one image, this is the one image you want to edit. All you need to do is go to the raw image and click command E. And it's going to open it in Photoshop. So it's going it right now. It's preparing it to be edited. It made a copy, set it right next to the original, and now it opened it in photo shop so that we can edit that image.

Class Description

All lessons are also available here for individual purchase.


  • Efficiently cull and retouch photographs
  • Manage your files to enable seamless and immediate recall
  • Get your computer and software to run faster
  • Create impressive photo books and slideshows
  • Take advantage of global adjustments
  • Improve your mobile workflow with both your iPhone and iPad
  • Deliver and share your images directly from Lightroom


Adobe® Lightroom® is the industry standard for post-production workflow and in Adobe Lightroom: The Ultimate Guide, you’ll learn Jared Platt’s gold standard for retouching and managing files quickly and efficiently.

Jared will show the ins and outs of Lightroom Classic, Lightroom Mobile, and Lightroom Desktop. He’ll demystify the difference between each and demonstrate when to use each one for maximum output.

Jared will share tips on improving every phase of your workflow – from shooting to archiving. You’ll learn how to take advantage of the latest Lightroom tools and features and become faster and more skilled at adjusting your images.


  • Beginner, intermediate, and advanced users of Adobe Lightroom
  • Those who want to gain confidence in Adobe Lightroom and learn new features to help edit photos
  • Students who’d like to take ordinary images and make them look extraordinary with some image editing or Lightroom fixes


Adobe Lightroom Classic 9.2
Adobe Lightroom Desktop 3.2
Adobe Lightroom Mobile 5.2


Jared Platt is a professional wedding and lifestyle photographer from Phoenix, Arizona. Jared holds a Masters of Fine Arts in the Photographic Studies and a Bachelors of Fine Arts in Photography from Arizona State University and has been a professional photographer and college educator for the past 12 years and has been a speaking, debating and lecturing for the past 17 years. His attention to detail and craft make him a demanding photography instructor. Jared has lectured at major trade shows and photo conferences as well as at universities around the world on the subject of photography as well as workflow. Currently, Jared is traveling the United States and Canada teaching and lecturing on photography and post production workflow. Join him online for monthly "Office Hours" at


  1. Differences Between Lightroom Desktop and Lightroom Classic
  2. Hard Drives
  3. File Organization
  4. 30,000 Foot View of Workflow
  5. Importing into Lightroom
  6. Building Previews
  7. Collections and Publish Services
  8. Keywords
  9. Hardware for Lightroom
  10. Searching for Images
  11. Selecting Images
  12. Organizing Images
  13. Collecting Images for Use
  14. Develop Module Overview
  15. Profiles
  16. Basic Adjustments
  17. Basics Panel: Texture, Clarity, and Dehaze
  18. Basics Panel: Saturation and Vibrance
  19. Tone Curve
  20. HSL
  21. Split Tone
  22. Lens Corrections
  23. Details
  24. Transform Tool
  25. Effects Panel
  26. Synchronizing for Faster Editing
  27. Spot Tool
  28. Skin Softening and Brush Work
  29. Range Masking
  30. Dodge and Burn
  31. Working with Specific Colors
  32. Edit Quickly with Gradient Filters
  33. Making Presets
  34. Preparing Image in Lightroom
  35. Content Aware Fill
  36. Skin Repair
  37. Skin Smoothing
  38. Expanding a Canvas
  39. Liquify
  40. Layers and Composite Images
  41. Sharing via Web
  42. Exporting Files
  43. Sharing with Slideshows
  44. Archiving Photos and Catalogs
  45. Designing
  46. Making Prints
  47. Color Management and Profiles
  48. Archiving Photos and Catalogs
  49. Using Cloud Storage
  50. Adding Images to your Portfolio
  51. Collecting for Your Portfolio
  52. Publishing Unique Websites Per Project
  53. Sharing to Instagram
  54. HDR
  55. Panorama
  56. HDR Panorama
  57. Making Presets
  58. Creating Profiles
  59. Maps
  60. Setup for Tethered Shooting
  61. Sharing with the Client
  62. Watched Folder Process
  63. Second Monitor and iPad
  64. Backup at the Camera
  65. Gnar Box Disk Backup
  66. iPhone and iPad Review
  67. Importing to Lightroom on iPad
  68. Cloud Backup
  69. Adjust, Edit, and Organize
  70. Using Lightroom Between Devices
  71. Lightroom Desktop
  72. Removing Images from the Cloud
  73. Profiles
  74. Light
  75. Color
  76. Effects
  77. Details
  78. Optics
  79. Geometry
  80. Crop
  81. Adding and Using Presets and Profiles
  82. Local Adjustments
  83. Healing Tool
  84. Synchronizing Edits
  85. Editing in Photoshop
  86. Finding Images
  87. Sharing and Exporting Albums on the Web
  88. Posting Images to Social Media
  89. Overview of Lightroom Desktop
  90. The Workflow Overview
  91. Organizing Images
  92. Albums and Shared Albums
  93. Lightroom Desktop Workspace Overview
  94. Importing and Selecting Images
  95. HDR and Panoramics
  96. Light
  97. Profiles
  98. Tone Curves
  99. Color
  100. Effects
  101. Details
  102. Optics
  103. Geometry and Crop Tool
  104. Sync Settings
  105. Making and Adding Presets
  106. Healing Brush
  107. Brush Tool
  108. Gradient Tool
  109. Edit in Photoshop
  110. Finding Images with Sensei
  111. Sharing Albums on the Web
  112. Print through Photoshop
  113. Exporting Images to Files or Web Services
  114. Connecting with Lightroom Classic and Mobile Devices
  115. Archiving Images for Storage
  116. Review of the Workflow



Thorough but very easy to follow. I've noticed a significant improvement in my work since starting this course a couple weeks ago, and I'm also spending noticeably less time editing my photos. I appreciate that it's up-to-date as of October, 2020, so the info is current (I wish CL would take down some of the older courses, since software changes make some of them obsolete).

Kyosa Canuck

I hate to say this is a repetitive class due to covering much of the same things in each LR app. I appreciate Ben's classes better but this does give different perspectives. Also, Ben knows better than to use the word "super" let alone use it 10+ times per lesson.

Kayode Olorunfemi

I have been using lightroom for upwards of 6years and I still found this course incredibly useful. It can be useful learning through desperate tutorials online, but having a course that ties everything together, coupled with foundation principles, is invaluable.