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Advanced Adobe Lightroom 5 Workflow

Lesson 9 of 33

Advanced Sync Techniques

Jared Platt

Advanced Adobe Lightroom 5 Workflow

Jared Platt

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Lesson Info

9. Advanced Sync Techniques

Lesson Info

Advanced Sync Techniques

If you're using pre sets you also need to understand the synchronization methods available to you synchronization allows you to combine the power of making presets into the power of not having to do it more than once because you can do it across all of your images at the same time and so this one I'm gonna have to see that blue okay, so um I'm going to take all images except for this one this one and okay, so I'm what I'm going to do right now and I'm just telling you why I'm doing this so that you aren't confused as to what I'm trying to accomplish because I don't want to change these because I want to provide them online survey khun download him I don't want to affect these I don't want to mistakenly affect these images so I'm going to create a collection which is a virtual folder doesn't really exist, so I go to the collections area and I'ma hit created collection I'm going to call this uh developing and I'm going to put this inside of our creative live discussions and include all t...

he photos and hit create so that now I have now I'm looking at all of those photos without the ones we just worked on that way I can globally work on these without fearing that I've lost the changes that I made to the ones I want to provide to everybody okay, so once I have all of these images and see got all these images here um they're different so here's some shots inside of like the cake and you know this the groom looking at the kids um the, uh the ring shot eso we've got all of these shots here and we've got also we got, you know, shots outdoors that air kind of after sunset in the clouds and then we've got some that air, you know, right out on the cliff with son, we've got images all across the board, although this image is actually a tiff image because it's one that we've actually retouched, so I'm going to remove that one so that because a tip is going to react differently than a raw image to our adjustments, so as we look at these images, would you would say that those are all very different if I highlight all those images, you would think that most people think when and when they think synchronizing images and synchronizing is basically the process of working on one image, taking the work that you did on it and pasting it on the other ones. But most people go into the develop module and they think, okay, well, if I'm working on this image here, I'm I'm working on this image I can only pay for that settings or those those ideas I could only do that on two other images that are equally the same that are the same. They're lit the same, that air adjusted the same that looked the same, that have the same coloring. That's not true, because as long as you is a photographer decently, I'm not saying exact, but decently consistent, so that most of your exposures are correct, then all of those images are the same in the same way that a normalized image can have a preset applied to it across the board and look good on any of them. The same is true. If a decently exposed image is presented to light room, then the adjustments that you make are all going to be equal to the underlying exposure, which is normal, which is is fine on dh, so I'm going to prove that point to you right now by highlighting all of these images. But the one thing that we don't want to be looking at when we're doing this, we don't want to be looking at multiple cameras at the same time because I can't synchronize on image that I shot on a mark three to a shot that you shot on your d eight hundred because the chips are very different, so I can't make assumptions for my camera that I would make for your camera. So I'm highlighting all the images, but I'm going to go into the metadata remember, we can change these columns, and this time we're going to choose the camera model and I can see I've got a mark three mark two and another mark three, so I'm going to choose the five d mark three and now I'm gonna work on every image that was shot with the five d mark three first, and you can do each so you could do this and then this, and then that so three different cameras, so three different global adjustments for the entire camera, and so what we're going to do is simply go into the develop module with this one, you can still see that there's a lot of different images there's stuff indoors, there's stuff outdoors and in their stuff at night indoors and outdoors. So there's a lot of different stuff, but we're gonna take what I would call the median image the thing that's most like all of the other images, I'm goingto highlight all of the images, but then work on the one, and what I'm gonna do is I'm going to go in and I'm gonna brighten up the image a little bit because I tend to shoot a little bit dark because I like to make sure that all my highlights are have data in them. And so I shoot a little bit dark and then I bring up and I worked on the image and so I'm I'm gonna brighten it up just a little bit I'm gonna add a little bit of contrast I'm going to bring down the blacks just a little bit and then add a little bit of clarity to it I'm going to bring the highlights and the whites down a little bit and that further helps me to control all the whites that might be blowing out and and then I'm gonna take the shadows up a little bit so that's kind of generally what I would do the most just images and if you've been watching you'll also notice that all of the other images have been changing us well because I have auto sync on so this little toggle is auto sync if you turn auto sync on than any control you touch here is going to happen across the board to everything that selected and so in auto sync all of these have done so if I go over to this image it's done if I go to the indoor images here let's just go right to the beginning and click on this one it's done if I go to this one it's done they were indoors but because they were equally exposed remember I tend to shoot a little bit dark which means that everything needs just a little bit of light now the beauty of what we're saying and sometimes you know I mean it's not true that like this one is clearly a bad exposure it's not right, so I have to click on this one image and I have to increase the exposure so that I get you know, the right amount of exposure on it and quite frankly, it's also often is and its color balance so and at the plate with the color balance because I shoot in otto white balance most of the time and so it's getting pretty close to the right color balance and then this one I'm probably going to turn to black and white anyway and so I would go into my preset here and I would choose one now once I get into presets and I'm not making presets, I'm using them then I put them into a folder and this folder here is an important folder notice that it's open and it says rpg developed keys by jared plan the rpg key system here has the ability to control my presets, so now I don't have to waste my time going overto him. I just simply go to the rpgs and say, I want this a thing to be black and white and it chooses black and white so I'm not selecting I'm just pushing it here and then I wanted tohave, you know, like a medium tone curve which it just put on it and then I wanted to have you know like a two let's just say I want a four hundred esso and I want it to be c p a and so I've just done all the work to it plus if I don't want to do anything on this I can also say well I wantto select the exposure knob so I push this button and then I can increase that you know the exposure on it with these buttons a cz well and so like it's very easy to then control everything inside of light room from the rpg keys here which is why I have to because I like to select with this one because it's fast and easy to the select but then I love the fact that I have all of my presets that I use on a regular basis tied to this and everything's controllable from there so in the developed module I'm constantly referring to this and then if I happen to be you know, on a different image and I think that that image you know, the adjustments that I've made say on this one so on this one I need teo you know choose the exposure bring it up a little bit and I want to add a medium contrast curved teo actually wantto increase that to a high contrast curve and so once I've got that done then I just want teo you know, let's, let's adult high clarity to it so that it kind of pops out a little bit and then let's d'oh now I think that's good. So once I've done that, if I go over here and I think, oh, that that will work really well here, then I can just say, oh, I just need the previous settings and it just steals from the previous setting saul that's being done on my keyboard as opposed to having toe you know, go on, move my mouse around so it's nice to have your keys have access to your presets like that, so presets become easier to push when you have tied to a key rather than going in hunting, packing, but that means that you've congregate them all into one folder, which means you're going to one of the rules that I follow in working with presets is that everything is in a folder that you use constantly so your everyday favorites folders what you mostly is and then anything else that you need to do, you can kind of, you know, go hunting fine things, but general, you want one folder that contains the stuff you use most of the time, so the important thing to understand then is that you're trying as much as possible to do most of your adjustments based on one setting for one photo that's auto sync to all the other folders, photos and then once you come in and you find a set of images that are kind of, you know, their their their own image and they're just a little bit too dark, then you come in and those are the ones that you just, you know, bring up the exposure just a little bit and then you're good, but notice I'm in auto sync, so now all of these images are getting that same exposure change to them, so they're all getting done and you just can't scan through and look for, you know, outliers things that are a little bit darker than they should have been, and you just simply highlight, you know, that set of images and just do a little exposure change on, you know those and then you're good to go, so but you know, what you're doing is you're it's the same way you did keywords, you bulky, worded, and then you did smaller groups of key words and then you individually keyword it a couple things, same thing's true here you auto sync all of your images and then you group images and then occasionally you run in tow one that's just a total foul up, and so you have to you have, you know, I'm sure like I'll find him in here it's not like I'm a perfect photographer I often times grew up and so you know in that case like here that's just way too dark I under exposed it but this was a very special watch and so I wanted to get it and I grabbed it but I just didn't get the right exposure because I had the exposure for this you know I was exposing for something different and at the time we were kind of in hold pattern and so I was like grab that and I just didn't think and so I just need to go in and you know brighten this up a little bit and play with it and then I've done but it's it's an outlier it's one photo so if then you later have images you know that you had worked on and you thought oh this will you know whatever I do here we'll apply equally to all of these over here you can adjust it and then shift click over to here and then just simply if you turn off your auto sync and click on sync dot that that you can choose notice that that's the same dialogue box that you have when you're creating a preset so you can just change your preferences and say oh everything that I just did will work and synchronize all of that across and it's synchronized every change that you made this one over to these as well, but that allows you also to be able to say, well, this one, you know, I did a custom, you know, burn right here at the bottom because obviously, the flashes lighting up the the edge of the canyon, so we don't want that, so we wanted to look like there's no flash, so I'm gonna just kind of dark in the edge of the canyon a little bit with thes grady ints. And so now if I were to synchronize all of these, I don't want the grady in't to be synchronised because the other ones it might not work as well on. And so then if I synchronize the grady in't didn't get synchronised because I chose what not to sink rise also, if you click on an image and then you click on a different image and you deciding really like what you did there if you hit previous, it will take everything, so watch the grady in their going to come in. The other great ian's popped in because it synchronizes everything over, so you have the ability to synchronize several different ways. Previous steals everything auto sync on lee works on the one dial you're working on currently, but you have to have multiple things selected, so you have auto sync you have previous, you have sync which has a dot dot dot that means it'll pull the dialog box and then if you have multiple images selected and you hold the option key down so that sync dot dot dot button if you will the option all key down the dot dot dot disappears and then you can just synchronize whatever your last settings were so those are the ways thatyou synchronised but in general auto sink is where I live most of the time auto sync is on and I'm just simply selecting sets of images that work well together and then come over and do you know whatever kind of groups, whatever kind of exposure manipulation I want to do or shadows or whatever it is I want to do to him andi if for some reason I want to apply something like for instance, I could come over to our pre sets that we just made and I could say I want to apply that blue saturation film curve and I also want to apply the radio filter full, you know? And now it's accomplished you know that of course I didn't adjust the image before so it's a little different but had I adjusted the image so that it was normal like that one and done it looks a little different so but I'm applying those curves to anything I want but the idea is that you do the underlying image adjust underlying image synchronizing it so that you're doing very little work to get a lot done and then apply presets and when you apply a preset if you apply preset, you know, across the board to a whole set of images, so let's say, you know, on this one, we apply, I'm gonna shift, click over to here and I'm going, teo synchronize everything. So now everything gets synchronized across the board here. Is this all that's a tip? So obviously there's, nothing happening on the image, but if I if I if I'm synchronizing like c, I'm not auto synchronizing, and I find that I really like, you know, whatever I've done to this image, and I need to take a radio era burn and come across here so that this isn't quite so bright and maybe come down here like that, and then once I've done that, then if I hit sink, if I turn on the local adjustments and synchronized than the entire set of images is under control because everything was synchronized across, so the more I can synchronize. And then when I'm touching these kind of you know, if I want to do the blue saturation film curve, click on it, all of them khun, get up! I wasn't an auto sync turn on auto sync, and I click on any of these if I click on it, all of them get that effect. And so now I have the effect on everything. So auto sink is where I live.

Class Description

Ready for a whole new approach to your post-production workflow? Join CreativeLive instructor Jared Platt for the ultimate three-day introduction to everything you need to know about working with Adobe®Lightroom® 5 (and beyond) to make your workflow efficient.

You’ll learn a basic, seamless Adobe Lightroom 5 workflow, and also how to customize that workflow to fit your specific needs — whether you’re outsourcing, taking pictures on the go, or working in a studio setting. Jared will cover ways to select and retouch images more productively. You’ll also learn about automating settings, plugins, and hacks that will help you work more efficiently. Jared will also guide you through the core image adjustment techniques every Adobe® Lightroom® user should know.

Jared will give you a step by step look at his entire workflow, start to finish. By the end of this course, you’ll have the tools you need to deliver higher-quality images and products while cutting your post-production time in half.

Software Used: Adobe Lightroom 5

Class Materials

bonus material with purchase

Essentials Preset Collection

Outsource Pack

SnackPack Preset Collection

Making a Sync Box


Presets Made on CreativeLive

Working Files - Images

Course Schedule

Great Deals

ShootDotEdit Catalog Template

Ratings and Reviews

Student Work

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a Creativelive Student

Jared is the best. Really, his class was absolutely awesome. He can teach you everything with an ease and you will not want to leave your computer untill you see the whole class. I am so happy I purchased this class, it was the best investment! Than you Jared for such a brilliant classes you bring to us.


I believe that this man has saved my life, or at the very least returned my life me. So many wonderful tips and time savers. I had never realized how much time I wasted at the computer for no good reason. He is funny, easy to listen too, and he explains in a way that can be understood. If you could only purchase one course, this is it! I attended WPPI and Jared's Platform Class and at the end I wanted more so thank you Creative Live for have him.

a Creativelive Student

It takes a lot of devotion to spend so many hours in front of the computer but I found myself not able to leave the monitor. Thank you Jared Platt and Creative Live for providing this quality education and information. We also get the bonus of seeing beautiful images during the sessions. Jared is a wonderfully clear teacher. His extensive experience both behind the camera and in processing digital photography is so very evident in all that he covers in his seminars. I'm looking forward to the next time.