In Studio Proofing with Pro Select

 

Advanced Adobe® Lightroom® 5 Workflow

 

Lesson Info

In Studio Proofing with Pro Select

Now I know that there are a lot of people out there that also use pro select you guys heard of pro select so pro select is the go to program for selection in a studio and it's an amazing product. It is an amazing product, it's a it's a sizable investment for the product, but if you're running a portrait studio and you want to then show people what their images they're going to look like in their home or you're projecting on the screen, there's just nothing like it, you can't match it. And so what I'm going to do right now is I'm going to show you how to use pro select in a light room workflow because again pro select, fortunately has enough concern about you as a person and your workflow that they have tied it in the light room. You see, even you can tell the quality of a company's concern for you based on how tide they are in the light room. I really think you can and so they have looked at it and they've found a way to have the to talk, and so we're going to show you that process rig...

ht now. So the first thing that I want to do, though, is inside of light room I have collected on one second, I'm gonna make sure you know where I put it so I took two photographs of rooms this is my living room and see that little black piece of tape that is a piece of gaffer tape and I pulled that tape off and I put it on my pants so that it got not very sticky so that it wouldn't pull on it it was just it's very it's almost like a like a sticky note kind of thing and I put it on the wall it is exactly twelve inches long okay twelve inches long now I also went to my this is my hotel room and I'm going to decorate my hotel room here and so see if you can say that gaffer tape travels with me anywhere I go I have a piece of twelve inch gaffer tape and it's wrapped around one of my hard drive cases so that I can digitally decorate anywhere I am so if I'm a client's house and they tell me hey I want to put some prints on my wall I go to the client's house and I put a piece of gaffer tape on their wall that's twelve inches long and then I stepped back and I take the very best picture I can with my iphone or of my with my camera of their wall the whole environment I want to see the entire I want to see the piano I want to see the wall I want to see the lamps I want to see the whole thing couch so that I can really see that and notice that I've got I pulled my camera down so that I wasn't getting any kind of perspective issues you can see that this is straight up and down and that's straight up and down so I wanted to feel very natural don't allow boeing or anything like that just try and get a very natural shot of it okay so now that you've seen that I'm going to export this photo as a j peg I'm just gonna throw it onto my desktop let's just put it here on the desktop and we're going to call well doesn't matter what final name is on going to do a three hundred dp I j peg export so I'm just exporting my hotel room so that we can decorate it okay so now I have there's my hotel room ready to be decorated um let me throw this out on the desktop so I can find it all right now let's open pro select way go all right so pro select here we are and we are going to make this full size now in pro select I want to go and I want to set up a room so I'm gonna go to the resource is here so this resource have up here and set up a room and now I'm going to add a photo and that photo is going to be of my hotel room, so I'm adding that to it, and I'm going to hit select and now here's the room and you see that gaffer tape there, I'm going to take this and put it on your gaffer tape, and it is the actually twelve inches and this is twelve inches, and I tell it that that ruler length is twelve inches, so I am telling pro select now what the dimensions of my room are, and then I'm going to take this and put it right here because that's, where I want my print ago, okay, now I am going teo change the name of this room too seattle hotel save and clothes, and now I have a room in seattle that I can decorate, or I could decorate the room of my home, and so now I want to show the client what those images are going to look like, and so I've got this open pro select is open gonna go backto light room. I'm going to go into our let's say our thirty by forty prints these are the ones that we want to send out, and we want to look at him and decide what they're going to look like now, if you're a pro select user, someone who uses pro select all the time, then chances are what you're actually going to do. Is you're going to go to your entire set that you want to review with the client you're gonna highlight the entire set and then you're going to export that whole set too two pros elect so I'm in an export and I'm going to go down too the plug in for pro select which it'll be right up here export to pro select and there's very little options so you can create a new album or you can just add it to the open album so this is the open album so I opened pro select is ready for me to go I'm going to add it to the open out album and I can change choose the quality of the outgoing images and hit export and so now it's going to export these images over to pro select and we're gonna work on them inside of pro select and then once we're done with him inside of pro select and we have our selections and really pro select is is here the same way we just selected images with the client it's geared the same way inside a pro select basically there's a happy face a neutral face and a sad face is kind of funny and so the one two and three keys decide whether it's happy regular or sad face and so when you're looking at the images that the client says yeah, I really like that one you give it a happy face on then if you if they don't like it you give it a sad face and a very neutral to it you give it a neutral face and it kind of it's basically weeding them out and then after a while you khun you know take all of your neutral faces and turn them to sad faces and then take the happy faces and make a neutral and then you can take the neutral faces and then try and upgrade some toe happy until you have a selection set right and that's kind of how that works I think that they probably would better to stick with star system but I you know, happy faces sad faces, you know it's easy enough for the client understand, eh? So we're working on exporting these teo pro select, but I am also noticed that I've got two operations happening at the same time and so I've got my updating images that are going up online and I've got my images that are going over to pro select and light room what it does when when you send something via light room over somewhere what it does is it exports the entire folder and then it puts that folder into thing you're doing so that's why we're not seeing anything come into pro select yet we're waiting for the folder to be finished and then that point it's going to command pro select to open it up and so it's almost done so as soon as it's done light room will then send the command and say have some images for you look at and it will open him up so we're just kind of waiting on that last image to be sent out let me ask you so if you have a client who's distant, do you have them? Just take a photo of of a room and stick a piece of tape on it or we go traveling you well, I mean, if I'm traveling and I can be a tte their home, I will, but yeah, you can just have the client say you could even send them, you know, in the mail a sticker with your logo on it or something that you know is one inch army and twelve inches wide or even it doesn't matter what sizes you just measure it. So you know what it is and then you plug it in, and once you've done that, you just tell your client hey, if you want, you know, before you come in to see us at the studio, put the sticker on your wall and take a picture of the wall anywhere you want prince today and then when they come in you can work through and they'll be able to see here we are but they don't have to come into your studio to see this when you're done right if it's a remote client and you want to view it, say with them online you could still use press select sherry remotely right you would just you would probably take us uh once you've designed their living room and show how then just send them that living room just say here's, what your living room guy look like so here we are here's our see these air neutral faced images and so if we we really like this one and so we give it a one and that made it a happy face image see that so I got I got a zoom in on these say there's that is a happy have a happy and then there's a neutral and then there's a unhappy face on dso like let's say you decided I really didn't like this one, so we're going to send out unhappy and so you can look at these one at a time you know and you can cycle through him like this with the client or you khun look at them in a grid it's really up to you how you want to look at it but let's just say that we went through and we chose this one and that one is our happy faced images, so now we highlight those images and we're going to we're gonna we're gonna bring them back in the light because I don't want to have to look at these and figure out what the name is and then go backto light room and search for him. So now I go backto light room and inside of light room in the file plug in extras there's a pro select says get selected pro select raws if I click on that it's going to go ask pro select what images air currently selected watch this, but I love this. This is one of the coolest things ever I click on it. There they are, it just created a collection in light room of the raw images that are associated with the two j pegs there inside of pro select. So now I can go in and retouch and work on these images, because now I have the selection and if for some reason I was to do some work on these so let's say that I took these two images and decided that both of them needed retouching or they needed to be enlarged or whatever I'm going to hit shift command e, which is the export? So I'm gonna export those images and I'm going to, and this is this is critical for retouching, and we haven't really talked about a retouching workflow. Yet and so I want to talk about that and we've got twenty five minutes that's perfect? Um we're going to do a retouching workflow now, so you find the images that you want to work on you put them into a collection so that you have them available, tio and then you're going to hit shift command e to export him and you're going to andi, I have a preset made for a tiff, rgb sixteen bit image or a psd sixteen bit pro photo rgb image so you can make these and so let's choose the psd and you'll see that now this is ready for me and this here's the important thing about the retouching workflow inside of light room the first thing you want to do is put the photo in the same folder as the original raw. You do not put it in its own folder because I've put it in its own folder number one it can't stack it on number two pro select won't find it, so we put it in the same it's just going here's, the cr two and here's, the tiff or the psd, they sit right next to each other, so we put in the same original folder we don't put it in a sub folder, we add it back to the catalog, which means that when we send it out soon as it's finished it's going to come right back in and upload into light room so that then it's available teo, there will be a raw image and a tiff image or psd right next to each other sitting there, and then you stack it above the original so that that way it's the top of the stack so that presumably that's the only one you want the client to see. Once you've retouched it that's it that's the only one we're going to see, so we put it above the original and then we can rename it, but my preferences don't rename it, and if you want pro select to deal with it, you don't rename it you wanted to be exactly the same name, so it's, no renaming whatever the file name is just gonna have a different extension on it, and then we're going to choose psd tiff if you use it. If it's a more universal file type, psd sometimes doesn't work with certain plug ins, so you're mohr safe if you will use a tiff version because now every plug in will be able to deal with it. So tiff non compressed sixteen bit pro photo rgb is the best possible information you can have, and so that's what we're going to use we don't necessarily need to save the transparency, although you could we're not re sizing it, we want exactly the same size as it is, we don't want to sharpen it because we're going to be re touching this image we we can or don't need to it's usually when you're making a tiff or psd, because if you have gps data location in it, you don't want to remove it at this level because you're going to make its the j peg level that you want to remove the location information so that people can't find where the shot was taken, so I'm going, I'm not going to remove the location for the the tip of the psd that I'm working on I'm not gonna water market because obviously we don't want a watermark, something that we're making a big print out of, and I'm going to now, I've done work on this, and so now I'm gonna come back over to here and I'm gonna add it is a preset, and I'm going to call it tiff pro photo um, rgb sixteen and I'm gonna put it not in the test for beauty of lake is beautiful like watching, um so not for her test. We're going to go and monitor their around today in the print and hit create there we go, so now I have a pro photo tiff and I have an rgb nineteen, ninety eight so I'm using the pro photo tiff and I'm going to hit export and what it's doing right now is it's making a tiff and bringing it back in so that we can see so we can work on it, we can retouch it. What happens then is you you decide, okay? I'm going to retouch, you know, fifteen images or whatever, I'm going to retouch all these images and when you retouch the images instead of because you can do this, you khun, you can click on an image and you can right click and then you can go at it in a photo shop and it will create the tip, but you have to wait for it to be made. The better workflow is to highlight all the images presumably have ten or fifteen or thirty or whatever that you need to retouch. So you're going to highlight all the images that you need to retouch export all those images so that you could be getting a glass of water, you could be working on something else, and then they come back in and then you're going to be able teo and let's take a look at those, okay, so these have been exported we need to get those images because they we only have the raws here inside of this selection. And what we need to do is add them back into this collection so all we have to do is go back to the original source of these raws which is here the altman shoot and so you can see there is the highlight and there's my tiff right next to it so now I just need to add this tiff back into that um collection which is right where did it go this one right here so I'm just adding those tips into that selection go back into that selection there grab this one and go back I wish there was an easier way to do it what should happen in light room is when you export a tiff it should and it returns back it should put it in with with your collection it should if you're on the collection it should but it doesn't so this is the this is the other way to do it then so you highlight something in this election and then you go to the actual shoot or you can right click it and say show it to me in the library it will show you that and then right next to it is the tip so you take the teeth and you bring it over to your selections okay so now we have our tiffs and we're going to work on our tiffs were so and if I right click it and edit and photo shop now it just opens it so it's going to ask me if I want to add the original and it it'll take a little while to open up a photo shop, obviously, but it is gonna open fast as opposed to slowly so now, if I close that one, go over here and at this one, it see, it just opens, so I'm not wasting time waiting for something to build and all that kind of stuff, so never, never wait for your computer. Now, once you're done, once you're done with all of this, and you want to then sprint these things out, if you're a pro select user, what you would have been doing then as you would have been, instead of remember in light room, we were making our prints selections based on collections in pro select your actually clicking on it, and you go over to this little shopping cart and you click order. And so once you order something, so if you if you go like this and you go okay, one order this print, and then you say, what do you want to order? And you can put in all of your sizes and your prices, and and so it'll show on the price and it's a really good sales tool, so if you want to, then order that you just said yeah, I want that to be ordered s o great close that one. What about this one? Oh, I want this one to be, you know, a super big canvas. Um, whatever that and we hit uh, quick, add that to our order. I didn't wanna add the or other one. So let's, go back here and go order that one. I want this one to be that and quick. Order that one so you can do all of your ordering stuff here, but but the thing is, is that this is looking at j pegs remember it's looking at j pegs. So now what we're going to do is we're going to go to the production area that's right up here, and when we're in the production area, we want to produce the high res images when I produced the higher as images, you can see that it's associative, the j peg. I don't want to print the j peg. I want to go. I want to make j pegs from my final retouched images that I did over inside of light room. So I'm going to highlight both of these images, and I'm going to re link them so it knows where the j pegs are, because it put them in the folder right next to the raw and it's going to assume that you have some higher as tiffs next to the raw somewhere too. And so if I re link that it just reeling the images. And so now if I highlight an image, if you look right here it says it's now linked to that tip so it found the tiffs so looks like there's confusion. So I'm gonna I'm gonna recap what we've done then. So we're inside of light room. We have some images that we want to show the client. We highlight those images and we use the light room plug in here we highlight all of this. We highlight the images we want to show the client which was this entire set here highlight at all. We go to the export dialog box and in export, we send them to pro select. So then they end up showing up inside of pro select here where we work on them and we select um and we do happy faces and sad faces, andi and then we order them in pro select. We asked them. Okay, what size do you want and choose the size and that kind of stuff, and once we've chosen the size, then we say, okay, great, we'll see you and they leave and when they leave, then you go into a light room again an inside of light room you tell it fought in the file menu plug in extras you tell it to get the pro select raws when you do that, whatever selected whatever you physically have highlighted inside a pro select at the moment will be drawn in tow light room as not it'll actually find him on your light room and it will show you a collection of those images then those are the ones that you adjust, they need retouching, then you make a tiff out on if they don't need retouching, then they don't need retouching and you just leave them as they are or maybe a justin in light or something like that. Once you do that because you've made tiffs out of them, which are better quality than a jpeg, you go back here into the production area highlight your two j pegs that air just for sales purposes, and you tell it to reeling gall of your images and it will go back and find any tiff or any psd that's next to the j pegs that it created for viewing purposes and that means it's real inked. So now if I tell it so go ahead and produce all my images it's actually really intelligent and so it goes in and it takes those sizes and it says I need to produce a twenty four by thirty inch print from that tip not from the j peg, but from the tip, and it will open up photo shop and it will do all the re sizing and will change everything for you so it will do the step up, re sizing the same kind of stuff that's going on and like on one software, it will do it for you, and then it will put it in a folder with the name of the print that you want to make out of it so that you can then upload it to a white house or wherever you're going to go. So okay, two questions. Can you show us what it looks like when they see it in context in their living room? I will, and this seems really cumbersome to me. I don't understand why you're going through this whole thing when you could do all of this in light room, except that you're showing them something in context. It seems like you've got like a diary just ordering prince directly from white house or from smugmug. Why is this whole loop existing, except vision of something in context? This loop exists because there's an entire contingent of portrait photographers that need this something that you as your your particular style of photography doesn't put you in a realm of portrait studio artists, that the key is that there are a lot of pro select users and pro select users are generally people who are bringing people into their studio and looking a lot of portrait and selling prints and the only way they can sell princes by showing them on the wall. And once you're showing them on the wall, you might as well then get them, get the data from what you've shown and pull it into a sales system. And for the beauty of pro select is that it literally is a sales system. It's not it's, not a selection process thing it's a sale system, and so what you want to do is it has all of the prices for everything that you're making has all of the sizes it knows what your what your product line is, and so then you sell your product line, and when you're done making the selections, it already has a list of the prints to make. And then all you do is highlight all of your images, and then you tell it to make the high rez images, and when you do that, it literally will say, okay, oh, I got it, I got a quick so I want to make the high res images for the prince I've order, I make the higher as images, and it literally opens and it's it's producing them right now and if I had thirty different sizes. Because I had a five by seven and eight by ten a sixteen by three twelve by eight four it knows all those sizes and it's making all of them right now and it's putting him in a folder with the name of the sizes on it so that you can sew in the end when you're in a portrait studio and you're ordering fifteen or twenty different prints and they're different sizes this is very, very efficient if you're just ordering one print not efficient at all. Okay, now this is the other place that it knocks your socks off is the idea of showing the image is to people, so if I want to show these images to somebody so that they can, you know, what does it look like in a room? Now I'm going, I want this image here, so I'm going to take that image and I go up here to this room area here and I click on room and I'm going to choose my room so let's decorate my let's let's decorate my, uh my hotel room, so I'm gonna take this image and I'm gonna drag it on there and so they're going to decorate it and I'm totally I'm gonna I'm gonna order a totally huge print, I'm gonna order a, uh let's say a sixteen by twenty so okay so I'm just told me that I had already ordered that print is a smaller one so um okay that in that huge a huge sixteen and there's the beauty of selling this way is that someone comes and say yeah we want a big print we want like a sixteen twenty okay that's a sixteen by twenty are you satisfied and oh let's put a frame around it so that you know let's just put a large black frame it's huge it's absolutely amazing eso so then you khun you can tell the client that's really the size that belongs you know they're that's your size well, what size is that it's a thirty by forty but now that we've done that and if we're going to order that it's a thirty see how it's already set the size in there and now I just have to say you want that yes when I do that it's on ly zero dollars I have something I don't sell from this computer so it's zero dollars so it's totally inexpensive but your your price would come out there too so that it's just right in front of them there's the price so it's a very, very excellent cells till there is no better sales tool for photography than pro select and it connects directly the light room so that you could do your retouching on your editing inside of light room but you're still connected to a really excellent sales tool for portrait workflow so that's, why that's? Why I wanted to bring this in today? It was because the the work full that I have established is really based in just getting the job from start to finish done and archived and I wanted to show you the other connection points that you can have a portrait studio or as a kid photography studio or something like that where you're actually having clients come in. Most wedding photographers don't have their clients come in because they don't have a studio. And so for wedding photographer it's, much like you and I are doing much like you and I are doing where it's it's online and people are reviewing images online, but for a portrait photography studio where they actually have a studio, this is the work flow you still accomplish the work flowing light room the same way you do uh, that we did on monday, but you plug this aspect and as soon as the client comes in and it's very easy to plug in, it takes about a minute and a half for youto connect from light room over to here and then bring the client in just ten minutes before they come in, send them over to pro select when they come in, do the sales, and then when they leave you just simply go backto light room and pull in those selections they've made do the retouching and then go back to pro select and build your final images from it. So any questions out there get jared? I'd like to know right off the top. What percentage of your sales are you doing directly through smugmug and what percentage e doing through pope pro select? I that's hard to say because I most of my senior portrait work I have to do in the studio to sell because they come in, but most of my wedding work is done on smugmug because they don't come in most most of my clients or somewhere else. And so one hundred percent of my sales for weddings come from smugmug externals viewing source and then internally at studio my cells mostly are in portrait type work. And did you find that when you started using pro select your sales amped up quite a bit there? In fact, anybody who uses pro select will tell you that when you use a system like this to sell your stuff it's gonna amp your sales because then they can see it in context. I mean, there there is no better way to sell of larger print I just ordered another one there's no better way to explain to a customer that a sixteen twenty is way too small for them, right? And this all I have to do is show him this and then click it up twice and boom! I've sold a print that's one hundred fifty dollars or two hundred dollars more when they would have walked away with a sixteen by twenty and then they would have done it doesn't fit there and put it on a desk you know that's what would have happened to that print so it's a really excellent sales tool every every portrait photographer who's used it will tell you that their sales go up cool and are you we ready to just jump into some q and a few in a row before the next statement? Great, eh? So we have a handful of questions that sort of came from all over richard k would like to know how far do you post process or we touch the images before showing the client the images of this is a big discussion there that's a big discussion here creative lives super important question so I can take my images to almost perfection inside of life. And so anything I can do in light room I will do before I show the client, so I'm going to perfect the images and light room before I show the client I don't do any retouching until after the client has selected the images because the stuff and I do in light room is easy to do it's quick, it's not easy, but it's quick, it's sze long as your efficient you know what you're doing, it's simple to do, and so I can do it quickly. But the stuff you do in photoshopped takes time, and so I'm not gonna spend time on that unless the client is actually paying me for the time that I'm spending by buying a print and so that's the answer anything you do in light room you do before the client sees that anything you have to do a photo shop you do after the client orders of print, the only exception to that rule while there's too, I think that if you're doing boudoir, you really are going to have to do some retouching before unless you just have a perfect body in front of you and you're taking a picture of perfect body. But if you're doing but watch that, you know, there's gonna have to be some nips and tucks and stuff like that before, because otherwise they're not gonna buy that. I'm gonna buy a picture that makes them look bad, so you just don't get it, but and then the other exception is if you have a senior has a lot of acting, you're gonna have to do something toe mitigate that acne now sometimes you can mitigate it just by turning the clarity down so that it kind of softens it up and that gives them a better feel of what it's going to look like. And if you can get away with that, go for it. If there's just one big, you know, blemish, go ahead and take that away in light room with the spot to tool and get rid of the one blemish, and sometimes you can even repeat that even synchronize the blemish removal and get rid of it on several images, same time, that kind of stuff you kind of have to do in front ahead of time so that they'll actually by the images because no one's going to buy an image where they think I look horrible in that image, right? Because they're really scrutinizing themselves, but in general you can get away with just perfecting the image and light room and then doing all the other stuff in photos. However, on all of my weddings, I always retouch one or two, and then I send them a free print or free gift or something like that so they can see what a retouched beautifully worked on image looks like and then all the other ones they can extrapolate and say, oh, well, this is what they look like, jared prince thumb, and so if I have a blemish that that could be removed cool on dh. We have, ah, question on the same subject matter that came from one of our regulars. Cayenne down in new orleans on dh he says, jared, would you show the client images that haven't already been retouched yet? And as an identity that can you give us a short synopsis of your ignite, which I saw w p p I and talk just briefly about how far you go with retouching. So retouching is an animal that can take a lot of time that it can it can become a time suck because and we all, like, photoshopped, and we all like photos, and so we like to play with him. Andi, I remember I did a lot of audio editing and wrote music and stuff like that about ten years ago, I kind of stopped doing because I was so busy with this, but I found that I could go into the studio and work on a song, and I would go in in the morning. It like maybe nine in the morning or something like that, and I would say the whole thing was blacked out. So there's, no reference to whether it was day or night and I would work, and then I'd come out for lunch and it was ten pm was like, what, ten? It's night I look out it's dark because it's a time suck it's some of those activities that you love can just suck you in and you will disappear and you will be completely content to the point that you don't eat all day long and you're just you're happy is a clam because you're working and you're creating something amazing and it be ten o'clock at night, and I had a whole day had gone gone, so, um, photoshopped could be that way, you can get into a photo shop and work, and what you think was ten minutes was an hour, and so you have to be careful when you're running a business, because your time is your money, and the more time you spend, the more money you're burning and you're not making your hourly rate if you spend all that time in photo shop. And so what you'll find is that if you take two prints and you re touch one really heavily and you just retouch the other one slightly with maybe get rid of a blemish and you present them to the client at different times, so you print this, present this one of the client and then have them go grab a cup of coffee and bring them back in and present the other one to the client like present, the amazing retouched one first they come in there like all that's awesome, uh, and then having go get a cup of coffee, pull that one down and put the other one up that hasn't been retouched as much, and they'll come in, and they'll still think that's the same one, and they'll take that one home, and you have the amazing retouched one sitting here, and they have no idea that there's any diff press and when that happens and you kind of got a gauge it but there's, a point at which no client can tell the difference between amazing retouching and just light retouching, and if you can't tell the difference between the two, then that's the point at which you've hit what we call the point of diminishing returns and that's the point where there is no monetary value toe working harder to doing something better because no one can see the difference. If I can't tell the difference between the two that I've just wasted every time, every minute I spend after that is always the time it's all wasted energy always did money, and so you kind of have to figure out where that is and find out what you know, how much retouching actually has to go into something, and the place where retouching has to be heavy is like boudoir weddings doesn't have to be all that heavy. Portrait doesn't have kids doesn't have to be all that heavy seniors a little bit occasionally depending on how much acting there is but in general everybody's retouching too much awesome great answer thank you another one of our regulars motion fx wanted to know regarding using smugmug as an online print delivery service who is the merchant of record for the client's transaction merchant of record that is an interesting question and that's hey, do you happen to know this question? You know I don't know that, but I might be able to find out before the end of the day okay, we'll see a ce faras I ous faras I know when they order it they're ordering it from smugmug and smug mug is then taking the money and sending the money that's necessary for the print overto white house or whoever it is you're ordering from and then sending up I think it might be smoke I don't know yeah it's a great that's a great question interesting question it is a really great question so motion we'll see if we can figure out the answer for you. Yeah on dh andrea would like to know can you explain the difference between upsizing with on one or just using photoshopped your experience? Okay, so if you're using on one you were having the absolute best sizing happening it's been the best since two thousand I think two thousand one or I can't remember when I was using genuine fractals they just do a fantastic job it creates a much more natural look if you go through photoshopped photo shops a much more basic version of that and they as as you got a photo shop cc they've gotten much much better about it and they have like different options some for upsizing some downsizing if you want to smoother, sharper or whatever and they'd done some effort in that but if you really want to do it right in photoshopped it requires a set of action steps where you're re sizing it in increments which is what pro select was just doing pro select is actually using photoshopped to resize it but they go through an action step that it's kind of an action step that it increases it by a certain percent sharpens that that kind of decreases and increases that sharp decrease it's like a it keeps going like this until it gets to the right size and so it's a really labor intensive process and that's why pro select does it and photoshopped through an action step but I still find that the best output for really large size is going to be in online software in the in the perfect resigns great eso lots more to cover today can you fill us in on what we're going to do in our next segment please in our next segment we get to talk about video and so we're going to talk about slide shows and video and working on video inside of light room. I really have never liked doing video and photo together because it's difficult and it requires a lot of mohr postproduction and stuff like that, but I've gotten into it recently on dh I'm enjoying it more because light room makes it easy to work with the video and so what I'm doing is not you know, I'm not making huge movies out of it or anything like that I'm just making slide shows for the client that have little beside behind the scene things and stuff like that and I'll show one of those tio when we come back so we're going to video editing inside of light room. But before we leave the while we've been talking here, the smugmug site has obviously gone online so people go to platform tog ra fi dot biz and then they go into the client section the very last segment will be this wedding and they can go in and look at it and if I change something here to black and white, it will then turn it up there and maybe later on today we'll show that happen but simply it's connected now and so when I graze on the black and white here it'll do it just do it automatically well, I have to publish it. Publish it? Yeah, but fantastic changes.

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

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