Skip to main content

Combining Lightroom CC and Photoshop CC for a Seamless Workflow

Lesson 3 of 6

Add Text And Re-Edit In Photoshop And Lightroom


Combining Lightroom CC and Photoshop CC for a Seamless Workflow

Lesson 3 of 6

Add Text And Re-Edit In Photoshop And Lightroom


Lesson Info

Add Text And Re-Edit In Photoshop And Lightroom

What if I want to do something like send this out as a kind of a postcard? I want to put text up here in the nice Big Sky. Can you put text on a photo in light room? Well, there's kind of ways to do all kinds of things, and there is a way to put some text in light room. It's in the print module, but it is not. It's kind of clunky for this sort of thing. It's not made for this sort of text. You have much more control over type if you go to photo shop, so let's go there to add type to the image. And here is the important part for the purpose of going between Light Room and Photoshopped. You'll go up to the photo menu and you choose edit in and in the menu. To the right, you will see the latest version of photo shop that's installed on your machine. It may not be as newer version is I have. Whatever you have will be there. And if you don't have any version of photo shop, but you haven't happened tohave Photoshopped elements that will appear there, so I'm just going to choose to edit in Ad...

obe Photo Shop and here before I click there. I want you to see the shortcut for that because it's one we're going to use over and over during the class. It's worth remembering Command E on a Mac control E on the PC. So instead of coming to this menu every time, we could just use our shortcut and what will happen then? Sometimes you have to wait a minute for your computer. Um, launches photo shop if photo shop is not already open and switches over automatically. Did you notice I didn't touch anything? It switched me over to photo shop with that image open that I had I had selected in light room and was working on in the develop module before I chose the Command E command. So now I can do whatever I normally do in photo shop. If you're a photo shop user, you probably have lots of tricks over here that you've been developing over the years. If you're not familiar with Photoshopped, let me show you something very basic that you can do in photo shop. You can add text by going to the panel on the left, called the Tools panel and clicking the Big T, which is the horizontal type tool. And then Missy, I'm actually here's a little tip for you. If you go to the options bar at the top of a Photoshopped, there's always the icon of the tool that you're using over there on the left, and if you click the arrow to the left of that tool, it opens up a box. And if you click on the right sorry theories on the right side of the tool, it opens the box. And if you then click again on the gear on the right side of the box, you can see a menu where you can choose to reset that tool to its defaults. That comes in handy because a lot of these tools are sticky and they keep whatever setting you had there before. And I see that I have some old settings up there in the options bar for my type tool. So I'm gonna reset not only this tool, but let's just reset all our tools. I do that all the time when I'm starting a new photo editing session, and I don't wanna be stuck with old settings. So here we have the default settings for the type tool, and it's really funding the default sizes. 12 points If you try to type with 12 points on a photo, sometimes you don't even see the tap, the type. It's so tiny. So as a player, I always do. I'll just come to the point size menu and I'll pick the biggest preset from this menu. It at least means I'm probably going to see my type on a large photo. And there I mean it clip in there and I'm type Paris, which is where this is. And then press enter, return or press the big check mark up here to accept the type. Okay, so that doesn't look very good. It's kind of ugly, fought. It's too small, but that's okay, because next I'm going to select what I typed by clicking just to the right of it and dragging over the type of the text and that selects it. And now I can change the font or the font size or the color or anything I want. So right away. I see. I want this to be bigger. I'm just gonna take a wild guess we see happens if I type 200 points in there but don't look too bad. Maybe we'll go with something like that. And while that Texas is still selected, I'll come over here to the font menu and I'll pick a prettier front. They've made some improvements to the type of the fought menu. By the way, one of the cool things you can do here now is you can go to the There's a filter at the top of the font menu that allows you to choose different kinds of fonts. So, like it's picked, it's Paris, right? So maybe I'll choose a script fund. So I come here and I'll choose script like that, and it narrows down the available phones. Get out of here so I can move with the move told this text overs. You can see it while I'm in that font menu, and now I'll go back to the type tool, and I go back to the front menu because the other really nice thing about the font menu is as you hover over the funds. The text changes on the image Nicole, so you can pick with that, you know, you really can tell what looks good. Oh, wow. That looks good. I'm gonna get that one. There's nothing special about that. Fine. I just think it looks nice. Um And then I'll get my move tool, which is the first tool in the tools panel, and put the text where I want it. You could futz around with this. You can change it. This is what I always end up wasting all my time is like What color should be. Let me see. We're going to just not do that this time and we're gonna go with what we've got. So let's say we are done here is an important point for the mechanics of working between light room and Photoshopped. Do not save as instead I want you to just save at this point because if you think about it you don't want If you go to save as you're likely to change the location of the file that you're saving out of photo shop, you're likely to change the name. Something else about it in that big save as dialogue. And we don't want to do that because light room has to know which file this is and light room on. Lee knows it by its current designation. So we're just going to go to file and save, Or you probably know the shortcut for savers. Command s on the Mac. Control s on a PC in so many different computer programs, not just Photoshopped. Okay, now my file saved, and here is something very interesting. Look at the name up where my cursor is. The name of the file. It was a bunch of numbers before, and then it said O R f which was the raw designation for my camera. Now it says hyphen edit after the file name. And then it says T I f for tiff, which is a different file format than the raw file format we were using a moment ago. A tiff you may have heard of is a non raw format. Well, think about it. Photo Shop is a pixel based editor. It works by changing pixels in a file. It can't change a raw file. It can Onley create non raw formats. And that means that when you go through this workflow every time, even if you started with a raw file, you're gonna end up with a tiff or you can change their preference and make it a PSD file. A Photoshopped document file those your only choice is I'll show you the preference of the end of the class. I just like to leave the preferences at their defaults. There's no big reason to change them. But if you like PSD files instead of tips, you certainly can do that. They're pretty much the same. They both retain layers. Sometimes tips are a little bigger tips or a more universal format. So if you gave this file, say to a print shop that for some reason didn't have Photoshopped, they would be able to open it and work with it as a tip. So I can actually close this in photo shop now. All right, And now let's go back to light room. You could leave it open and photo shop. It doesn't matter. What I want you to see in light room is this. We now have. I'm making my filmstrip bigger so you can see two versions of this file in light room when we save from Photoshopped the way I just showed you file, Save it. The edited version of the file, the tiff automatically shows up back here in light room. You can see it right down here. The one that says Paris on it. I've selected it and showing up in the editing area. It's got the changes we made in light room where we went through the basic panel. And then we took it. The photo shop. It's got the changes we made in Photoshopped. The word Paris. It's got them both. So that's your tip. You can continue to edit this in light room. You could take it back to photo shop. I'll show you how to do that later. But notice that we have another file here, the raw file that we had worked on in light room. Now this one, of course, does not have those changes we made in Photoshop. But it does have the changes we made in leg room. So let's say I changed my mind about the way I edited in light room. Which of the two files would I have to be working in this one? The original one, the the raw file. This is where I can come over and mess with the exposure or the contrast er so forth again But if I go to that tiff, the changes that I had made in light room here in the basic panel, you see how everything's back it. Zero they're baked in. They got baked in and buried under the photo shop. Changes in the tip so I can't work with the light room changes again in that tiff. But if I changed my mind, I just go back to the original file. I make whatever changes I want. There I go back again to photo shop with this one, and I'll get yet 1/3. It will take me through the process again. So that's the basics. If you get your head around that, you can do all the rest because the rest is just different kinds of Photoshopped techniques, using very similar tracking back and forth between the programs. Now, I said that when you do this, starting with a non raw file, it's a little bit different. There's an extra step, So you ready to take a look at that extra step with it, starting with a J pay. Okay, let's do that. So I'm to come down and select a different photo that happens to be in the same folder. This, by the way, is not my photo. It's by John Laurens, photography great photographer that I know and this one I would go through into the same sort of thing. And I'm going to do it faster this time because you know, that's not really what we're here for. But I want to make sure that I get the photo looking really good. So I'm going to go to exposure. I think it's a little dark. Increase the exposure a bit. I'll increase the contrast a bit. I'm just using up errors on my keyboard, as I did before. I'm gonna take my highlights way down to bring back detail in the clouds. I'll take my shadows way up to bring up a little detail in this foreground. That's still pretty dark. I'm gonna take a I'll go back to the hissed a gram. I'll turn on the highlight clipping and the shadow clipping, and then I'll drag the highlight slider over to the right until I see red. Oh, my gosh! Look, I'm sorry. Did that incorrectly. Sorry. Sorry. Sorry. Before we do the clipping warnings, let me go back down here. I meant to leave my highlight slider over here. Okay, Now I'm going to take the whites slider and move it to the right until I start seeing red in the sky and back off a little bit and I'll take the black slider and I'll go to the left. Until I start seeing a little blue and I'll back off a little bit. I'll turn off the clipping warnings. I'll go down and see if I want to add clarity. I think that I do, because there's wonderful details in those rocks. Look at that. Let me zoom in so you can see with clarity and zero. See how it's kind of blurry. And when I take clarity over to the right, we just start getting a little bit more definition in the beautiful rock formations. They're also see there is a bunch of beautiful color in there that I'd like to bring in, so let me zoom back out so you can see the whole image. And this time I don't go for saturation. I'm not gonna be subtle with vibrant, so I'll just bring in some really beautiful oranges by dragging the saturation slider over. Now there's still something about this photo that's bugging me when you look at the distance. Like if I zoom in over here, see how foggy it is really can't see down into the canyon. Well, there is control in light room, another very user friendly one slider control that will fix that. And it's called De Hayes, and it's something that's relatively new in light room. There's nothing like it in photo shop. Another great reason to do this sort of editing and light room. So let me zoom out. Let's go find the D. Hayes Control, which is for some reason kind of buried. It's in the effects panel on the right, so I get effects. There's D. Hayes, and I'm gonna drag the haze over to the right. And as I do notice how we're getting, ah, lot more definition and color and contrast in the image. So it's not quite so hazy back there, and I think it really sets off where the sun was shining on that particular part of the canon very nicely. So now we have, ah, very dramatic image and you know, one of the things I love to do when I'm pretty much done with these basic edits is is to compare before and after. One way to do that is just to press the backslash key on your keyboard, which is under the delete key. So there's There's Before Ghana blah. There's after really pops on lookout. But it took me, like, what, 40 seconds? And it will take you that long to now because you know how fast you can do it. Now. The other way elect to compare is see both before and the after on screen at the same time. So to do that, I come down to these why icons in the toolbar under the photo or just press Why on my keyboard and I get my before on the left my after on the right, and I'd like to see it without all the panels and columns. So here's a shortcut, one that's good to remember. Shift Tab makes everything go away, and you can really compare what a difference in that photo. And it looks even more dramatic on my screen and to you at home that it might here in the studio. It's really one of my favorite photos by John Laurens Photography. Now I'm gonna go back to shift tab to bring all the columns and stuff back and to bring us back to Luke. View the single view notice when you hover over the loop you icon, It tells you that the shortcut is D. I think that's kind of hard to fathom why that is looped. I don't know where the deacons, but ah Presti. And that takes you back to the single view. Or you could just press that loop icon next to the wise. Okay, so now we come to the difference. We're gonna take this photo over to photo shop will add text to this one, too. We know how to do it. Now again, we could go to the photo menu we could go to edit in. We could go to edit and Photoshopped, but we know the shortcut. Command E control E on on a PC. Command E on my Mac. Sorry. Nice if I press the right shortcut, Command E on my Mac. This is the difference. This dialog box And I think this dialog box is a little dense. If I didn't have me up here to tell me what it meant, I wouldn't know what it meant And how do I know what it meant? I researched the heck out of this because I didn't totally understand what it meant from looking at it. And so let me explain it to you, cedar, and have to go through the same thing. The short answer to all this is in almost every case, I will choose the first option here. Edit a copy with White room adjustments in Photoshopped. That's what it means. That And what that will do is it will take all the wonderful things that we just did to make this photo look so good in light room. And it will bake those in to the copy that gets sent over to photo shop. Exactly like what happened with the raw file. That's what happened with the wrong file. Same thing, right? And when we have it in photo shop will see all our changes that we made in the room. So that's what we're going to do now. There are two other options here. Good news is you can pretty much forget about Editor Copy. I think I've never used it in my life. Don't worry about it. Edit Original. This comes into play in a really specific situation. One will look out later. Not one we're doing now, which is you've already gone from light room to photo shop added your texture, major edits and Photoshopped come back toe light room and you change your mind about something you had done in photo shop, and you want to go back. You want to change the color of that text, type something different, do something different in photos up, then edit. Original is the way to go, because when you do edit original, you have access to any layers that were in the Photoshopped file When you get to photo shop, if you do edit a copy with light room adjustments all layers air flattened in photo shop again. Most always ended a copy with light room adjustments, except for that one situation where you're going back for a second round trip at it. So let's leave this radio, but they call this thing a radio button and highlighted and click edit and then wait for the photo Open and Photoshopped. And from this point and Photoshopped, when it does open, there's nothing really different than we did a couple minutes ago. It's just a matter of finding yourself a nice font and typing something in there. So I'll get my type tool, as I did before. Here in photo shop, you can see where you are by looking at the top of the screen. Sobering Photoshopped now and let's see, maybe, uh, I think I'm gonna need a bigger font. Maybe I'll do like 300. And let's see, maybe I want a different one script for this cause it's such a strong image. Maybe I'll go down here and I'll go to Oh, here's a nice big font euro style and I'm gonna type in Grand Canyon. It's probably not going to fit. If I make capital Cincy, we'll just type grand. Why not for this? And we get the move tool and will move that text into place. Now, do you remember how we when we're done in Photoshop, how we get back to light room with this change? Don't save as just save command s or up to the file menu and go to save Control s on PC. And as before, you can see that this file which started as a J peg, by the way, Now we have a copy. That is just like for the raw file. A tiff? Because photo shop is always gonna make a tip for a PSD. No matter what you feed it a raw file or a PSD or a J Peg or whatever you start off with, you'll end up with a tip for a PSD through this process. Anyway, Now we have our edit tiff, and when we go back to light room, we should see that right here, as we do down in the filmstrip. Here's our original J peg. It contains the basic edits that we went through pretty fast for this photo. And you could, if you wanted, mess around with those, you know, maybe reduce the contrast or whatever. Let me close the history rams. You can see those better. And next to it we have the version the tiff version you can see here. It's a tiff with both the light room changes baked in. You can't move those around anymore. This light room ciders air all at zero for this one. But you could, But you do have your Excuse me. You do have your photo shop changes in there as well. And so now you could continue toe edit that one in light room or you could go back to the original and if you wanted, decided that type was no good. You want to type something different or you could even take this one and bring it back to Photoshopped as we'll show you how to do so. The only real difference is that dialogue box in the middle. And I think I've explained it to you in a way that will make it easy for you to get through it so you won't have to research it like I did.

Class Description

Combining Adobe® Lightroom® CC and Adobe® Photoshop® CC for a Seamless Workflow.

Join Jan Kabili to learn how to use Adobe Lightroom and Adobe Photoshop as a team to enhance your photography. 

You’ll learn: 

  • How to pass photos from Adobe Lightroom to Adobe Photoshop and back to take advantage of both programs 
  • Practical scenarios from retouching to compositing 
  • How, why and when to use the two programs together 
This course is for you whether you're a novice photographer or a seasoned pro.  

Don't have Adobe Photoshop or Adobe Lightroom yet? CreativeLive and Adobe invite you to become a Creative Cloud Photography plan member today and save up to 20% on your first year! Click here for details!      

Software Used: Adobe Photoshop CC 2015, Adobe Lightroom CC 2015


a Creativelive Student

She is a wonderful instructor--very clear and concise--and offers so much information in a short time. Great!

Makinde Ilesanmi

This course was very useful. I enjoyed every bit of it, and Jan did a good job explaining [in simple terms], the interaction between LR and PS. Definitely a 5star


Jan is a knowledgable Adobe insider with all the basics and tips about working with Lightroom and Photoshop. Good thoughts on using the two programs together.

Explore More Free Classes


Enjoy the free classes? Get 2000+ more Classes and watch it anytime, anywhere.

Get The Pass