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Advanced Adobe Lightroom 5 Workflow

Lesson 11 of 33

Archive and Delivery

Jared Platt

Advanced Adobe Lightroom 5 Workflow

Jared Platt

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Lesson Info

11. Archive and Delivery

Lesson Info

Archive and Delivery

Throughout the day, we've talked about process of going from importing the images what what kind of file naming where do you put him? We've talked about selecting images we've talked about justice, the images as quickly as possible and then we're at this point we have to assume the job is done we've adjusted the images we're ready to deliver the client we're ready to get them onto an archive and get them out of our systems so that it's not clogging up the pipeline of our workflow s so that's, what this segment is about today is the less sexy of all the days basically it za less fun it's more book work it's you got power through it on dh you've got to learn it because it's absolutely essential that you learn this part in order to make the rest of photography fund on dh so we were going to finish up today talking about archiving it and getting it from you're working, driving from your working catalog into an archives so that then you can focus on the next job coming in. So that's what we...

're going to focus on right now and and then tomorrow we get to go into really interesting versions of work flows so everybody feels like they've got, you know, a different time, you know, area of everybody's rules apply to everybody else except for me you know, that kind of thing. So tomorrow we got to talk about the differences between people's work flows, and there are legitimate differences between every is workflow. In fact, you and I were talking about the difference between a wedding workflow and a portrait work flow is very different, and so we have to talk about those and recognize that there are differences, and then tomorrow we'll really talk about how we can alter work flows to make them work really well in traveling situations in large studios situations, in portrait situations, um in stock photography situations, so that those small and the really small tweaks that you make to the overall workflow and it will make the workflow perfect for your circumstance. But as a result of that, what we're going to cover tomorrow, I want to put in the seed not only in your mind, but also in the audience is mined out there on the internet if you are out there and you have particular questions about the work flow as you've seen it today, how does it relate to you in your particular circumstance? We would like to hear about it? And so throughout the evening tonight, your homework is to think about your work phone, see if there are any questions about how you would fit work flow into a pit. Particular circumstance that you find different about your circumstance, whether it's, you're traveling all the time, or whether it's you have, you know, you only have a laptop, and then you have a studio somewhere and you're going back and forth between home and a studio or whatever, or maybe after, you know, I used to different laptops because you work so fast. Whatever you're I don't know, whatever your circumstances, I would share it with us so that we can answer those questions because tomorrow is going to be very back and forth. I want to hear from you guys and I wantto literally will come up with answers on the fly about your particular circumstances so chime in, but tonight you got to think about it and come up with good questions and then start lighting up the chat rooms tomorrow about yours, particular issues. Okay, so with that homework assigned, we will now finish a job. So rather than go through and trying to just the entire wedding that we were just working on, I am going to this new york new year's day party because that's all finished, and I just want to deliver it to the client now, in our case, the client is my wife, and she is very demanding client she is a very amazing like that talent that she has for designing events and cute things is amazing she's just fantastically talented I don't think I've ever seen minute I worked with a lot of designers for events and she's as talented as any of them but she just doesn't for fun for my girls her from her for my girl and her friends so anyway so I want to deliver this job to her and so I'm going to finish up the job wrap it up deliver it to her I'm gonna deliver it to myself and I deliver it to myself to report folio so whatever images I like the most those of the ones that are gonna go to my portfolio and then everything's going to go to the archives and that's how we're going to deliver this job cael I'm gonna go in and look at the job file itself remember that when we finished with the organization of the job we came in and we we got all of our images that were selects and we moved them into the selects folder then we took all of the rejected images the ones that we didn't want and we drug them into a folder called two thousand fourteen o one o one platt new year's day rejects we named it that and that way we can take those rejects and move them to another dr and that could be like a temporary way station now because it's my job and I don't have a client that's going to sue me over it I can delete these right off the bat I don't need to to hold on to them I'm not I'm not worried about my selections it's I'm just worried that the client might be worried about my selections and so I'm going to in a personal work situation I would literally right click this I would remove it from light room and of course is going to ask me to confirm that I want to remove it and by removing I'm not deleting I'm just removing its just forgetting about that folder so I'm on ly removing the rejects folder when I do that it's going to get rid of that rejects so now all we have is the selects folder all the rejects are gone but if I go to the actual job folder here and I go to the new year's day, I can see in the raw folder there's the region it's still there? If I was working for another client, I would simply grab this and notice I've got my rejects drive right over here there's my rejects drive so I'm going to just drag it into the rejects drive and now it is copying over to the rejects drive so you can see it's going to take about two minutes to do that but we can keep working while that's happening so now that we've got our rejects moving over to that drive, and we're kind of getting rid of those, we can start working on these, so I'm gonna go in here to the grid, and I'm going to look at all of the images that I have to work with and now it's my turn to decide what goes to me, okay? What I'm I going to choose on dh, the other thing that we need to do before we do this, we're gonna highlight all of our original images, and I want to deliver deon genes to myself. I don't want to deliver raw images to myself because we talked about this earlier remember we talked about dmg finding images outside of light room, I can search inside of light room all day long, but if I try and go outside a light room, I need the key words to be shoved into the little files, so I'm going to go to highlight all of my images, and I'm going to go to the photo menu. I'm sorry that the library menu and I'm going to go to convert to d e n g when I click on that it's going to ask me what I want to do, how I want to convert them, I'm gonna zoom in and I'm going to go. And tell them that I wanted to be the latest camera raw a medium j peg is fine. I want to embed the fast load data because that actually speeds up the process of working with the files I on ly want to convert raw photos, and this is important, because if you happen to have created, say, a tiff, you don't want that converted to a d a n g, because then you would lose maybe the layers in the tiff or whatever, so there's no point in converting it to a dingy. So we're on ly converting the raw files to the dmg, and then, once we're done, we're going to delete him so light room's going to confirm and make sure that they're good copy, and then it's gonna get rid of those cr twos and keep the d n gs. You could keep both, and then it's going to be a d e n g and then a c r to right next to it, but now you have twice the file size, so I trust the dnc well enough don't use lossy compression, because that lawson compression is going to deteriorate file, although for fast downloads I'm going to be when I export the dmg is to the people who want to download online, I'm going to use the lossy compression so that it's a quick download they'll still have raw files, they'll still be able to look at all the pens, but it'll just be compressed of it so that it doesn't take forever to download on dh then you can also embed the original raw file, which would double the size is well, not really worth it. So I'm going to hit okay and it's going to start converting now it'll take a little while to convert these. It doesn't take too long, but it takes time enough to go through those. But while it's converting those, we can then start talking about other things. So what are some of the things that we deliver to our clients? J pegs so you you show them online as previews. But you do you upload an entire file like a full file toe? Sinfully, you're just a regular web. Okay, downsize file. How about the rest of you? How do you deliver? File your client's thumbnail j peg j j okay, so obviously we have to export jpeg. The beauty of light room is that not only can I be converting g d a n g s, but I can also be exporting j pegs and I could be exporting ps d's and tiffs and I can get export anything I want while all this is turning and so I could go in and say I want to then and this is where our filter filter becomes very important at this point because our filter has the ability to look at all of the different ratings but also you know, we consort by keywords we consort by you know, who's in the photograph if you've been keyword in the people in it things like that so I'm going to go into the attributes and I'm going to sort by one star and see what I've got, so if I start by one star I have one hundred and seven images so that's a really good set of images it's maur than I necessarily need but it's a really you know a lot of images so now let's go toe to once I go to stars now I've got ninety four images are in a lot of one stars what if I go to three stars now three stars have seventy two images so that's a much better number to be delivering than the one stars or the two stars. If I got a four stars I've got one and I don't why she got the four stars and no one else did s o three star seems to be about where we want to go highlight all those images and notice that I've also got this right here see how that's a that's the same it's a it's a duplicate that little page fold right there means that it's, a virtual copy, doesn't really exist. Um, and and the reason I have I don't use virtual copies all that often, but I use them for crop changes. So in this instance, this is the cover to the slide show because a slideshow is ah, a sixteen by nine so I had to create a sixteen by nine cover image. So I exported this as the cover image so that then when you look at the job itself, when you go to the job here's the slide show, and if you look at the slide show here, it's sixteen by nine and so then when you upload it tio video, then you upload a a cover for it, and it needs to be sixteen by nine so that's why we did that, okay, so the things that we need to export then would be r j pegs, and we would be exporting to different purposes. So for instance, I might be doing a, uh all seventy eight of these isn't seventy eight, seventy two. All seventy two of these images would be going up online for the client to choose, and so I would highlight all of my images except for this one, because I don't need that want to go out and I would hit export and I would go to and this is where we use presets again and it's really important to use presets in the export process because you could sit there and choose all sorts in like I wanted to be three hundred d p I and I want it to be this and I wanted to go to this place and then the next time you act where you have to choose something else and then the next time you export you have to choose the same thing over and over again and that's where not only be waste time but more importantly make errors when you keep pushing and changing all of the selection options that you have that's when you make errors and so what we want to do is we want to make these absolutely the same every single time, so if I'm exporting high resolution j j peg somewhere, I'm going to export them via the preset that says h q j pegs as rgb. So if I'm delivering these to the client, I all I have to do now is choose where they're going to go, so I need to go and find that job folder so I'm going to go to the working drive and find that particular job which is here and I'm going to choose that and then the sub folder says developed j peg h q or I could say, you know if it's going to the client, I want the folder to make sense to them. I can say high resolution j pegs and then the rest of it's set up the file name is what it is, so that hasn't changed at all, and the j peg is one hundred percent quality srg b and it hasn't changed in size and I'm not sharpening it because I don't know, you know where they're going, they might be taking it somewhere that sharpening it more on dh so I don't want to do that on dh, then I am removing all the location information any time I send out any kind of photographs I remove location information that's not to say that I don't want the location for me because I like to see where I waas so I tagged them in the map module and stuff like that, but I want it removed when it goes out, so that if for some reason that stray image got on the web, there's no reference to where it was taken because I just don't want, you know, creepers khun, look at it or what? Who knows? You just don't want information out there where people are so it's I read nineteen eighty four in nineteen eighty four on I was like tenor. Twelve years old I don't remember I was very young at the time but I read nineteen eighty four I was really worried about big brother and so I guess that's held over and I just worried about big brother watching where everybody's kids are whatever actually I'm not as worried about big brother is I'm about people that big brother should be arrested and put in jail you have two questions so you know how unfair shop you can compress an image for the web yes a iot and only use light room mostly and compression isn't really it's not the same though in the photo shop it's twelve eleven, ten, nine and ten is considered a great j peg and twelve is like overprotective j p hundred quality is overprotective jpeg ninety is like ten in photo shop I don't know I don't know why they ever came up with the ten to twelve scale in photo shop, but one hundred percent makes more sense and ninety percent is kind of like your ten j peg in photo shop so just kind of figured that do you think they're going toe include previews at some point in light rooms future include previous you know in photo shop you can see a preview if you do, you can try pressing it and you think the problem is and so for those of you don't know what she's talking about the when you're in a photo shop you can look at an image as you're saving it and as you change the quality it shows the compression level in the preview the problem is you can't do that with a mass amount of images because it's image per image changes and if you look at images images j pegs change in size based on what's in it so for instance if you have a little person and a big vast blue sky with nothing in it you would think oh that shouldn't be very big but that's actually the biggest file you can have because it has to describe every subtle nuance between the blues and so it's literally doing pixels it's can't compress it because if it compresses it then you get all the banding in the sky because it's going it's compressing so the smallest file size is air trees because it can compress a tree to crazy amounts and you'll never see the compression because it's got so much texture in it that the compression the jpeg artifact caused by the compression to the texture of the tree and so a tree can be compressed really solidly soft you know blue skies or smooth walls can't compress him and so if you have a big blue open sky consequently most of my work which is very vacant not in thought but in like the way it looks most of my work because of the vacancy in it is very high like, you know my j pegs are really large because there's so much smooth skies and stuff in him and so you just can't do it because you're you're looking at, you know, exporting fifty images rather than one and so so how do you account for that in terms of images that are going going to go on the web in terms of trying to keep them to manageable size or do you let life books handle that? What do you have a percent I just I just don't compress them all that much and I just you know, if someone wants to see my images they had to pay the price and wait for some time you know that you know, if they if they're on a dial up this is taking a little time quick hunches you know I'm not interested in the lowest common denominator looking at the images I'm look I expect the person who wants to look at my images toe have at least a you know, a cable modem or something so then it should be fine so and then and you know, like, uh both live books which is my portfolio site and smugmug, which is what I usedto feed clients images so that they can select and print and stuff like that both of them do a really good job at scaling down to, you know, smaller apparatus like you know iphone or whatever so they do a pretty good job of taking the file I give them and then dumbing it down for whatever purpose so tell a really the speed of your internet is based on whether or not you have a good provider that makes a good website that can then control the size of those so I don't worry too much about it especially when it comes the printing because when I send it to smugmug for printing I send them one hundred quality all the way up because I want that one hundred quality going to white house custom color who does the printing for the photographs and I you know if you're going to print photograph this big it better be one hundred percent quality un compressed jpeg otherwise they have problems in the print so um okay so I'm I can export these as j pegs high resolution j pegs one hundred percent quality and export but now while that's being expert noticed that dmg has done it sze done converting all into dmg but now all that's going I need to then choose images for my blawg and in most cases I would just you know select a four star three start I'd probably get down to it but I apparently went slap happy with choosing these images probably because all of them have my daughter in on them size really I'm pretty smitten with her so but I can go through and just grab the images of you know, cute stuff that I want to deliver and put on the blogged and uh you know, I would say that it's mostly about the design of the day but then it's also about the way the girls were interacting with each other and with and with their tea cups the great thing about light room is that is that if you select something, you can always undo the selection with command z and so I didn't are you laughing at this image that's pretty cute cute cute cute um so I'm just going to select a couple more here uh this one's great on that one okay, so now we've got our images that while the export is going on for sending him to our client, we're also going to export him to the blogger and so I'm going to go for screen noticed that here inside of my presets I've got stuff for print and then I've got stuff for screen, so I click that for screen you can see that I've got one that says blawg so I goto blogged and I'm going to choose again where that's going to go and it's going to take me back to the new year's day and I'm going to create well, I just need to choose new year's day and then I need to create a sub folder called log and I'm going to say blogged images on dh then with blogging images because it's going on the web what should I d'oh do I want names that say zero zero zero one dot jpeg no, because google sees the name so that's why we rename those and we say custom instead of a custom name we want the file name with a custom name and now we're just gonna type in a custom name and we'll say, uh, child uh, children's dash photography dash uh, winter dash party. Now google knows what that is it's a winter party with children children's photography and because it has key words that have all those that stuff in it it's going to kind of suggests all of that stuff the other thing we might wantto also look into and noticed that all the stuff here is set up for my blog's six hundred eighty pixels wide on dh also noticed that there's a watermark being placed on it the watermark khun b is just another preset. Simply click on the watermark dropped down goto edit watermarks and choose how you want your watermark toe look so you can choose, you know, text logo's you can choose actual, uh, png logo's esso in our case will just do jared platt and we'll do black uh so we're going to go to the right and instead of white because this is all white snow it would be a better idea to have black and so we can create that just by coming into our area here and instead of doing white text we just do black text and so that changes that to black and at that point we no longer need a drop shadow on it so you see how we're creating a new preset for that once you've created a logo preset of some sort on you can tell which side to anchor it on and how far in from the edge you want it to be or you can use a graphic global and just stick a graphic logo on it but whatever you choose to do then you want to come up to this drop down menu and save it as a new preset and you would say jared platt logo uh jared platt text black and then we tell it that it's on the right because you're gonna always have one for right and one for left and then you hit create and then write while you're making that one click on the left side everything else is the same and create a new one called jared platt text black uh left now you have to pre sets that you could go back and forth between left to right you have a question back to your custom naming for the google search engine is it better to use hyphens or underscore between the words that's unimportant okay hyphen underscore if you put a space then the whatever system you're throwing it onto is gonna put like uh put percentage signs between it which looks ugly but it's the same thing is a space so it doesn't really no matter it just looks prettier tohave a dasher and underscore but I just do understand underscores army I do dash is so it doesn't matter it's just separating the words on dh then we're going to get done so I'm putting them on I guess on the left and then I'm going to hit export but before we do this let me go back if I'm going to be sending these images out that's when anything that's going on the web it's a good idea to put a title on description on so that's the point which remember I have all these highlighted and I could highlight the whole set um and just type in title and I could say um winter party with snow and then I should probably say children uh children's winter tea party with snow and then in the caption you could say little girls uh playing in the snow at a winter e party you see how I use the same key words and phrases in multiple places file name title description keywords all have the same threads running through them but not identical but they have the same threat that makes it very organic, and it makes it believable if you just put the same thing and everything it's, spam and google will see it a spam. But when you do something like that, which is very organic, then they can look at and say, yeah, that looks legitimate. So that's, how that's one of the ways that they determine the legitimacy of your stuff the other way that determined legitimacy is how people are linking to it, because that clearly helps how many clicks you get? All that kind of stuff helps determine the legitimacy of your of your image is well, okay, so now if I go back to export, all of this stuff that I just did is still there export dialog box stays the way it was the last time you left it. So now I can hit export and all of those go out and the and I can do multiple now I could say, oh, and by the way, I also want to take these all of these images, and I want to export them to a slide show, and so I could click on, you know, the the well for me, it's a high quality slide show, and I'm going to send it off to an emoto, and so I'm going send them high quality j pegs to make a full scale animal slideshow on dh so if that's the case I'm just going to send them out but it wan't might want to send a different set out and so I would literally export three different things one to the client one to the blogged and one toe an emoto all the same time and then I can walk away while it's exporting all sorts of different j pegs and I could be also and this is the most important thing for me is to go through and select the very most important images which probably the blogger images so let me go back here and they're so if the block images of the best images for me I'm gonna export and I'm going to go to the uh my portfolio so in the portfolio folder I have one called portfolio original images if I click on that portfolio original images look at what's happened here um the location changes on ly because I I travel around and I'm not always at home and so if your actual portfolio drive is not attached it will then use the last location that you're using on dh so right now it's not I'm gonna have to go find the portfolio drive which is right here I'm gonna click on portfolio and once I once I hit the portfolio drive I have a folder and it's called portfolio dropbox click on the portfolio, dropbox and you can see there's a bunch of images that are in there that are waiting be added to the portfolio I've been hit choose that's the location I want to send all my files too. Um the renaming scheme has changed when we send stuff out toe a portfolio we send it out with a very specific name the name of the file, a reverse date and time it was shocked if you make that your file name which the filing itself is just this zero zero thirteen dot dmg but how many thirteen's will I have in my portfolio after a couple of years a ton but all of the key wording and the information like who it is and what it is that's all in the keywords I don't need to try and replicate that in the file name. So instead in the pre set itself inside of this preset here this portfolio original images preset I have told it to change the file name to file name, date time when I do that, it looks like this oh thirteen dash and then a date and then dash and then the the hour, the minute when the second it was shot there will never be across them it will always be a unique name that will never be duplicated ever and so as a result of that it's a very safe file name and I can find the date it was shot anywhere it's very easy for me to find the file name file date or even the time that it was shot you can also tell this file final naming if you edit the file name you could even go in and say okay also tell me inside of the metadata tell me like what keywords aaron and it'll make the name based on all the key words but it becomes this let name that insanely long you could name it based on the caption or the copyright information or you know there's a lot of different what you or your phone number you can name it however you want but I choose to name it just based on the file date the name the date on the file name date and the time everything else can be found inside the metadata and then all I've got in this the on ly thing that I have selected is what kind of file original if I choose original that means instead of being because I could choose j peg psd, tiff, dmg or original I choose j peg it's going to dumb it down to a j peg which I don't want it I choose psd it's going to convert all my rama just two d angie's on the way out and I don't want that because I want to be able to revisit the images and change them if I need to what? Same with tiff, if I change them all to dmg, then they'll take ps d's and tiffs and j pegs that I'm sending out and turn into d angie's, which I don't want. And so the on ly safeway is original if you do the original, what it does is it says whatever file type this is, I'm going to put it over here, so I'm gonna just copy this, put it over there. So if it's psd, it will take the psd and make a copy and put it over there. If it's a d n j will take the energy and put it over, there is copy and so it's the perfect way to do it. But that means that right before you do this, you have to convert it to d and g. Otherwise it was a c r to it would take the cr to copy put it over there. So what you want is first step, convert to d and g, then send out all your j pegs and whatever you're sending out to your clients and then delivered to yourself, highlight the image just one delivered yourself and export those as the original file type. Over to your portfolio so I hit export and that's what it's doing right now is it's exporting and if I highlight if I go to my portfolio and go to that portfolio drop box you can you'll see images are coming in right now see there they are so those are all d angie's coming in if there was a psd it would come into psd so now I have my block images ready I can upload those to the block I have my ah an emoto images here and here's the slideshow for it on dh we'll show you some slide shows and will be designing albums and working on video on on wednesday so we'll have little workflow sessions on how to design albums we'll have workflow sessions on making video inside of light room and even make signed chosen stuff so we'll talk about that on wednesday but there's an an emotive slideshow from it my high resolution j pegs are all there on dso everything's in here ready to go and my portfolio now has all of my d angie's that I really I love that I want to keep a hold of that I'm going to use for future purposes now what I choose to put in my portfolio depends on the job if it's personal work then it's on ly the stuff that I think is valuable to me as a father is a parent or as a artist you know, if I want to use this image that I personally shot for an art book or I want to use it for promoting my self marketing wise anything like that? That's what? I would put my portfolio if it's a wedding, then it depends on what kind of wet, if it's a wedding in a park with a bride, a groom and a couple of parents, and they're just getting married and their needs and portrait's and they're leaving, then that set of portfolio images will probably b ten. But if it's a wedding that's at a high dollar hotel with, uh, you know, a wedding coordinator that I'm working with florists and, you know, chocolate, you know, person that makes amazing chocolate confections and all that kind of stuff, and I've got all these people that want images. Now my portfolio grows to about one hundred fifty on that job because there's so many other delivery, bols and I want those to be in my portfolio so that later on down the road, I could deliver a book of everything I've done for that vendor rather than having to go hunt through all of the different jobs that I've done over the course of, however, long instead, think about this for a family, if you do family portrait constantly for, say, the joneses if you just take the very best images that you shoot for the joneses and say you do three portrait sessions a year for them, you do a family portrait in a senior and maybe a baby or pet photo or something. And then the next year you do some and it's ten years down the road and you've shot a lot of stuff for him. If all of the best stuff was in your portfolio, all you would have to do is go to your portfolio and type in jones family and everything would come up, highlight it all, make a quick blurb book and send it off to him as a gift. Thank you for being a client for ten years, and that took you fifteen minutes to produce and it's worth a pile of gold and good will. Now, if that took you twenty hours to produce, not worth the goodwill. All right, so you've got to make it easy to make yourself be magnanimous. I guess being magnanimous is the only worthwhile. At a certain point, it's got to be easy. To be magnanimous otherwise is not worth it if you want to run a business. So the idea then is put the stuff in your portfolio that will be useful, the building, your career to building your studio, to building your name and just for your own viewing pleasure like when I want to go see pictures of my kids, I go to my portfolio and type in whatever you know, if I want to see a picture of jackson, I type in jackson's name and all of the images of my sun come up so that's, how I see pictures of my kids. Um, so anyway, we've delivered that stuff to our portfolio notice that the rejects drive now has our rejects, innit? So now we can go to this job and we can go to the raw folder and highlight the rejects and delete them because now they're in here and notice that I didn't confirm the copy it copied him, but I didn't like run any special program to make sure that the rejects were confirmed because they're rejects if one of them happens to be messed up, not a big deal, because I've only had twice in fifteen years have anyone come back and asked seymour images than they were given? So generally speaking, that doesn't happen. Um, it's, just a kn insurance policy. So you're not confirming that copy, just making sure it copied over once. It's there, I've got that in the rejects drive, and I've just by doing that by moving that to the rejects drive. I've just taken a size of images this big, and I cut it down to that big. So you just taking your working drive that had this much stuff in it, and you've cut it down immediately. So now you're available for more stuff coming in the door. So get rid of those rejects as soon as possible, and you'll have more space for new stuff coming in the door. Because now, it's on that rejects driving it's, just sitting there waiting, and that rejects drive again. You don't have to keep buying new ones. Just cycle through six months down the road. When you fill up, take the earliest ones that you put in there and delete him, make room for the new ones, so the old ones just drop off.

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

Related Classes


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.

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.


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.