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Adobe Lightroom Classic CC Workflow for Photographers

Lesson 14 of 26

Workflow Tools in Develop Module Conceptual Framework

 

Adobe Lightroom Classic CC Workflow for Photographers

Lesson 14 of 26

Workflow Tools in Develop Module Conceptual Framework

 

Lesson Info

Workflow Tools in Develop Module Conceptual Framework

eso we're gonna jump into editing photographs, editing, workflow, continue are repeatable, reliable mantra. And there's ah, I think, a method editing photographs that will make it easier conceptually. And also it is an order to go in that will also make it so that you're not having untangle your own missteps as you edit, because it's really easy to get into a photographic, get excited about something, and but we want to get that that workflow built So, um, all edits and light room or non destructive. So if you're working in light room, you're not pixel bending like you are in photo shop. So no matter how crazy it gets and weird it looks in light room, we can always get out of it. We can always hit the reset key, go back to ground zero. So I always like to just reiterate that even the most photographers understand that light rooms nondestructive. It's important, I think, particularly, is these changes coming in, and we talk about building portfolios and custom profiles and all these dif...

ferent things. It's still at the core. It's a nondestructive workflow. In that notion of the order to kind of work in is I think critical to our approach to the photography in the editing peace. And we want to work on Global at its first regional. Let it second local that its third and they were called output at its last. Basically, it's a kind of a reverse fund were making a pyramid, and we're getting narrower towards the top of your building a funnel, and you get narrow down the bottom, whichever one you're comfortable with. But we want to start with the broadest biggest at its first, then regional regional. I kind of define his ingredient tool. It could be a big brush. I mean, we got make a paintbrush across half the photograph, and that's a region, so it's a kind of a wide swath of the image. Local edits air. Usually what we do with the adjustment brush for painting into small areas. We're working small little details. You know, if we're doing a portrait, it might be a well local that it would be like we're enhancing the I were punching up the iris a little bit or something like that. So that's the kind of differences, and we want to do those in that order. We wanted to global in its first regional at its second local, that its output as an output at its or for export it for printing. That's what actually output means is get leaving light room. We're out putting out a light room for something the I think the easiest way to remember this is if you make a regional editor a local at it first and then you change the global edit, you will most likely have to go back and redo the local at it again. And while we're always making little tweaks in our editing process, we're always making adjustments in there were like, Okay, I've adjusted this. I gotta go back in. And just that if we can make certain adjustments in certain orders and not have to undo the work, we become more efficient. The workflow becomes more predictable and more reliable. So thats the goal with doing those things in that order. A couple little things Just remember that in the development module in particular, pretty much if you hold down the all key on a PC or the option key on a Mac and start moving a slider, you will get an alternate view of that that is designed to help. You better understand what's happening underneath that slider. So if you hold it down and we move the black points, the black slider is going to show you where the black point first appears, where it disappears and how much of the images moving into pure black without the distraction of all the color information that is in the file. So it's designed there to really help you work with that, um, you can use snapshots to set different points in your editing history to see what happened before and what happened after. So we're gonna go over snapshots in the editing process. But it's a thing that not a lot of photographers necessarily use when they first jump into light room. You know, what are they? Four. But they marked different points in our history and give us different options to output a file as an opportunity. Other thing about snapshots that makes him uniquely interesting in some ways is you create a snapshot. If you go into camera raw into photo shop, the history of light room doesn't come with it, but the snapshot will, so you could create four snapshots in light room of four different looks you like. And then no, you're gonna go into photo shop to do some more editing, and you're not sure which snaps not snap which version of the editing you want. You could use a different snapshot to revert back and change the settings. So it's one of the key element to let you kind of experience the history of the file. As you move into Photoshopped, you can use more than one regional and local adjustment in the same spot. So one of things somebody will ask is like I put a Grady and on and I wanted the sky darker, but it was really over exposed, and I drag the slider to minus four, and it's just not enough put gravy on it. Let's just keep going. We can stack those. So adjustment brush is we can make an adjustment brush and we can duplicate the adjustment brush right in the spot and give it a different set of parameters to it, and we'll walk through that workflow. But a brush can be used more than once, and we can stack them on top of one another. And if you've been in light room for a long time, you might think, Well, that's pretty obvious. I do that all the time. But when you're getting started, sometimes that is. Something you don't realize is that we can literally just go right on top of one another. And we try to make all the edits in one brush on one Grady int, and sometimes it's better to separate those apart. This is the one I see the most often when I'm working in the classroom and I get to watch people work on monitors and I stand behind them and judge them in Mass. Is there making edit and then they'll start working until notice that there's a problem like a halo is shown up for. The saturation is weird, and then they'll make an adjustment on top of that to fix that, and then they'll make an adjustment on top of their fix to fix their fix. What they needed to do is go back to the original and fixed with a problem first appeared, and so you don't want it if at all possible. You don't want to make additional edits upstream to try to fix the problem. Earlier in the editing process returned to that earlier step, fixed that and then move forward. It's just gonna make it cleaner and issues compound themselves. And so if you start adding things on top of things and then before you know it, you've got 13 brushes that you've applied to try to get rid of this halo that you can't get rid of. And then you're starting to get frustrated when, really, if you had just come back and adjusted the sharpening panel, the halo would have gone away. So getting back to kind of that basic if you're moving into photo shop and we'll walk this workflow I recommend you go in is a smart object if you're working with raw file so that you have access to all of your development settings in photo shop under the smart object. So the smart object remembers its parent program that it came from. So even if you were working with an illustrator file, say, and you brought that in, the photo shop is a smart object and you double click on the smart object icon. It would launch illustrator in light rooms. World Camera Raw is the underpinning parent program, so we go is a smart object in the photo shop. Que Murad will start and bring all of those settings there in the development module into photo shops. If I'm going into Photoshopped to remove something or to use the tools and photo shop, and I realized, Oh, my base exposure is wrong, I go back into Kameron. I can adjust the exposure slider right there and preserve those settings so you do that the first time. The second time you take that in the photo shop. I recommend you edit the original so that you can get access to all those core pieces, and we'll walk through that workflow because there's a dialog box that comes up can kind of get confusing in a pit on your workflow. It's a problem, but in general, for what I've seen with most people smart object the first time and then edit original the second time, and we'll talk about those specific pieces as a rule of thumb. You noise reduce first, any sharp in second. Now there are some people who are you used to do the opposite. My rationale. My rationale for this is to get rid of noise. We blur, and we're gonna walk through a little noise reduction panel on how it actually works. But noise reduction is blurring. Sharpening is finding edges. So if I sharpen first, I'm actually sharpening the noise. And I may in the over correcting one or the other of the two. But if I blur first, then I can introduce the little of sharpness back in tow. What I think is the appropriate level. So my recommendation in most cases is noise reduced for a sharp in second, there might be a case with a specific file where I would reverse that. But as a general rule of thumb, I would do that. Then the big one, we had global regional local output adjustments within each one of those big buckets we want to edit. In the following order, we want to adjust luminosity or brightness first color, second in saturation. Third, and the reason for that is you can't judge the actual color of something. If the brightness is off, take the brightness slider all the way to the right. Image blows out toe white. What colors in there. So if you're adjusting color first and then you adjust exposure, you're going to see what potentially is are extremely dramatic color shift that could be require you to completely go back in and redo all your color work. So we had just for the luminosity first. Once we get the luminosity right, we can get the color. Correct color is the hue of the color. It's the actual thing that when we say that thing is red, that's what we mean by Hughes. We just that color and then saturation is the purity of the car. How come how much poppy or dull is that that color? So we want to adjust that after we get the color. Correct. If you just the saturation first and you don't know what colors there, you'll be drawn into the saturation. We are seduced by a couple of things and photography and the visual literacy of looking at and experiencing the photograph. We're drawn to sharpness, so we look at sharp things before dull things. We attempt to read words and complete words. If I put Bank of America there, everybody fills in the B before they actually look at the rest of the photograph. Their brain solves that little puzzle. We look at faces, So we'll debris drawn to a face element and people, and we looked a high saturation first. So most people, when they look at an image, their love saturation. That's the initial draw for us. And so when we deal with saturation, if we saturate an image first, we will be drawn into the seduction of the saturation and not get the luminosity and color right. So that's part of the reason for that. That structure in that order for working on those So Hugh is what we think of color. So when I say we're going tojust color, that is, the pure color makes with some level of gray or white. So that's that's colored saturation is color purity the intensity of the color we can have highly saturated, less saturated, a monochromatic image that has clear we would call a chromatic but is no saturation. There's no saturation that provide that. That's what makes it monochromatic. Luminosity is the degree of lightness or darkness. 0%. It's completely dark. 100% right is paperwhite, or the brightest weight that the monitor monitor produces. The base Hugh of a color is a 50% luminosity, just in our measurements base

Class Description

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Build an efficient Lightroom workflow for organizing and editing
  • Organize your Library with Folders, Smart Folders, and Collections
  • Master Lightroom's image editing tools in the Develop Module
  • Learn to print and manage colors from Lightroom
  • See the latest updates, through the February 2019 version of Lightroom

ABOUT DANIEL'S CLASS:

Turn your Adobe Lightroom Classic CC catalog into an organized collection of images even Marie Kondo would be proud of. In this workflow-focused class, you'll build a streamlined, efficient workflow from organization to image editing. Using Adobe Lightroom Classic CC, you'll learn best practices for editing and organizing inside Adobe's Creative Cloud software, then build a workflow suited to your style of photography. Take advantage of the latest Lightroom tools and master a start-to-finish Lightroom workflow.

Beginning with organization, master Lightroom's catalog tools from essentials like Collections to premium features like template catalogs and import presets. Learn how to go from a mess of images to a catalog that's easily searchable.

Then, amp up your images with an editing workflow designed for both maximum efficiency and image quality. Learn how to use Lightroom's adjustment tools, from the large-scale global edits to the minute details. Daniel shows photographers how to radically cut workflow time while improving the quality of your images and the organization of your digital world.

Looking to master Adobe Photoshop Lightroom CC to edit photos anywhere instead of the desktop-based Lightroom Classic CC? Try Daniel's Intro to Lightroom CC for Beginners class, which tackles the mobile-friendly photography plan with 1tb of storage.

WHO THIS CLASS IS FOR:

  • Beginners new to Adobe Lightroom Classic CC
  • Enthusiasts and hobbyists ready to build a more efficient workflow
  • Advanced photographers that simply haven't found an efficient way to organize images

SOFTWARE USED:

Adobe Lightroom Classic CC 2019

ABOUT YOUR INSTRUCTOR:

Beginning his career working for Adobe's help center, Daniel Gregory is known as an expert in everything Adobe photo. The fine art photographer is certified by Adobe in both Lightroom and Photoshop, along with working as an instructor during Photoshop World. His classes cover all levels of Adobe photo editing, teaching newbies to professional photographers.

After working in the tech industry, Daniel switched gears for a more creative life working as a fine art photographer and educator, based in Washington state where he also teaches in-person classes at the Photographic Center Northwest. Hosting the podcast The Perceptive Photographer, he helps other photographers face the many challenges presented to the creative community. He now works with both film and digital photography and often mixes the two mediums, allowing the techniques and technologies to overlap. 

Lessons

  1. Class Introduction and Basic Workflow Management

    Meet the instructor, then jump into the course with basic workflow management. Lightroom isn't designed just for photo editing, but for a workflow. Get started by recognizing your own individual style and integrating the essential workflow elements.

  2. Customize Develop Panel

    Even if you're familiar with Lightroom Classic CC, the latest new additions are hidden features that can boost your workflow. Learn what's new inside the photo editing software before jumping into the start-to-finish workflow, starting with the new tool to customize the Develop Panel.

  3. Enhance Detail

    In the February 2019 release, Adobe launched a tool called Enhance Detail that's not yet available in the new Lightroom CC (a re-design of Lightroom Mobile). Learn what this tool does, and how to eek a bit more detail out of your photographs in Lightroom.

  4. Profiles and Presets

    Adobe's boring standard profiles have now been reworked -- look through the new camera profile options to give your RAW files a better foundation. Learn the difference between profiles and presets.

  5. Color Range and Luminosity Masking

    Continuing through the newest Lightroom Classic features, watch the color range and luminosity selections in action and learn how to use the new tool. Working with the gradient tool, the color range and luminosity sliders make it easy to apply the effect to only a portion of the image. The tool is helpful for darkening just the sky or applying local adjustments only to specific colors.

  6. Import and Folder Organization

    Explore the new additions to the folder tools and a new option to automatically import any images added to a watched folder on your hard drive. Start cleaning up your library with tools for searchable keywords for folders and collections.

  7. Tethered Shooting, HDR, and Pano

    Finish up the list of new features with the updates to tethered shooting stability as well as HDR and panorama merges. Clean up a collection by using a "create stack" shortcut for HDR and panoramas, or combine multiple steps with the new HDR Panorama tool.

  8. Catalogue Overview

    Feeling like your Lightroom catalog is a disaster is normal, Daniel says. In this lesson, he talks catalog strategy, like when to use multiple catalogs and how to manage multiple catalogs.

  9. Folders, Collections and Smart Collections

    What's the difference between folders and collections? Dig into Lightroom organization starting with Folders, Collections and Smart Collections. Learn best practices to working with these essential Lightroom features.

  10. Workflow

    Build a workflow using Lightroom Collections to easily maintain an organized catalog. Learn Daniel's collection hierarchy used for each import and a template shortcut to easily repeat the organization scheme for multiple catalogs.

  11. Importing

    Import a template catalog to your catalog to re-create a workflow organization scheme for each project. Then, work with file handling on importing files. Learn shortcuts for importing images, like creating import presets.

  12. Metadata

    Lightroom catalog so disorganized, it's easier to start from scratch? Learn how to re-launch your Lightroom without losing your edits using XMP metadata. With tools like renaming photos, learn metadata and tricks for cleaning up your catalog.

  13. Finding Photos in Lightroom

    Tools like stars, flags, and colors help make photos easier to find. With Daniel's tips, adapt Lightroom's tools to suit your specific style of photography, not the default. Work with tools to quickly find photographs, including Smart Collections.

  14. Workflow Tools in Develop Module Conceptual Framework

    Organization isn't limited to just the Lightroom Library. Build a streamlined editing workflow into your editing process. In this lesson, Daniel shares an ideal editing workflow to finish edits faster. Learn different keyboard shortcuts and Lightroom tips to help polish images.

  15. Editing Concepts

    Build a consistent, reliable, repeatable editing process by first understanding editing concepts. In this lesson, Daniel shares concepts that will help critically think about your edits while helping improve your edit speed in the long run.

  16. Editing a Photograph: Basic Panel

    With an editing plan in place, start working with overall adjustments inside the basic panel. Learn how to set the black and white points for the best exposure and shortcuts for quickly getting the most dynamic range from the image.

  17. Editing A Photograph: Detail Panel

    Inside the detail panel, add some finesse with the sharpness and noise reduction tools inside the detail panel. Daniel answers basic questions like how much sharpness is too much and what the radius slider does.

  18. Editing A Photograph: HSL/Color and Tone Curve Panels

    The HSL or color panel allows photo editors to control each individual color rather than applying adjustments to the entire image. Gain insight into what color adjustments to make first and what to look for when adjusting colors in Lightroom CC.

  19. Editing A Photograph: Regional Edits

    Dive into regional adjustments using the graduated filter tool. Master tricks like stacking gradients. Then, work with local adjustment tools such as the brush.

  20. Black White Options

    A repeatable workflow means the editing process is similar even when working in black and white. Learn tricks for working with monochrome. Add in tools like vignettes.

  21. Regional Editing using Luminance Masks and Local Adjustments

    Work with luminance and color masks when working on regional edits to fine-tune the image. Find insight into shortcuts for getting gradient and brushes exactly where they need to be with minimal effort.

  22. Virtual Copies, History, and Snapshots

    Lightroom CC is a non-destructive RAW file editor, which means you can easily undo different edits without affecting the original image. While non-destructive, tools like virtual copies can help you make multiple edits of the same image. Learn how to work in Lightroom's History, then discover the lesser-known snapshot tool.

  23. Basic Color Management

    Colors on one screen look different from the color on another screen. Managing color helps ensure the colors in the final print are the hues you were aiming for. In this lesson, Daniel helps photographers better understand color management to create images that look great both on screen and on paper.

  24. Soft Proofing

    Soft proofing in Lightroom helps photographers better visualize the print before actually printing. This tool works with information about the paper you are using to create a more accurate preview of the output. Lightroom will even show you what colors in the image are out of your monitor's gamut range.

  25. Making the Print

    Work inside Lightroom's print module to design contact sheets, print multiple images, print the biggest possible image for your printer, and more. Master print templates, paper profiles and more.

  26. Exporting Images

    With the editing complete, get those polished images out of Lightroom to share to social media and more. In the final lesson, Daniel walks through the different export options, including exporting presets, renaming files, resizing, metadata, watermarking and more.

Reviews

a Creativelive Student
 

I watched this course live. Really good!. Of course, I like all of Daniel Gregory's classes. It's a real treasure when one finds a really good teacher who thinks like oneself. I thought that I already knew Lr well so I was really surprised about how much I learned from this course. I learned so many ways to improve my workflow efficiency.

Anne Dougherty
 

I was impressed by the amount of information covered in depth, and by Mr Gregory’s teaching style. I’m somewhat new to Lightroom and found his explanations of its capabilities, and why you would use it rather than Photoshop for specific processes, enormously helpful. I especially appreciated his lessons covering printing. This is invaluable information. Great class.

Warren Gedye
 

This was a great course. Daniel certainly explains it well and in terms I can understand! Super worth it and learnt loads of new tricks! Great job!!