Finalizing the Job in Lightroom CC
We talked on the previous day's about selecting images we talked about adjusting the images we've talked about renaming images talked about organizational structures talk about where to put your files what kind of hard drives all that kind of stuff so we've talked about all that kind of stuff now what we need juice we need to talk about process of finalizing a job cleaning it up and getting into an archive so we're going to do that now we're kind of doing it a little bit out of order maybe because maybe we would make our slide show first we would probably post things first but because we've done a lot of work and we kind of know all of the things that we I need to do to an image now I want to show you the process of finalizing and closing out a job now get that out of the way so that we can get into the fun stuff throughout the day rather than closing with something is kind of boring is closing out a job um will end on hi now of posting images and sharing images of playing with images ...
and stuff like that portfolios and things like that so let us talk about closing out a job then I am going to go to my job that we first opened with we imported this job which was a portrait of a baseball player and this is my baseball player and if you look at our job here we had a, um a bunch of images we went through and selected him and then after we selected him we seperated amount we took all the favorites all the ones that we liked and we put him into a folder called selects took all the rest of him and put him into a folder called rejects so those are the two folders now you might have other folders as well so if there was video you might put some stuff in a folder called video if there was internal shots you might put stuff into an internal folder so the internal folder tells you this is not what you send out the client it's just what you need for your own purposes of maybe showing where the lights were or you know maybe scouting, location shots or whatever or maybe just funny shots that you took of someone looking goofy or your assistant or your assistant taking pictures of me interestingly enough, I did used to have hair and uh when I would shoot weddings I would be down on the floor I was the one that would take pictures of the bride and the bride walking up with father bride walking out with the groom you know I was that guy but then when there was a balcony I would send my brother who was shooting with me and he still shoots with me occasionally who he's an accountant but he's also a very good photographer, and so he would come shoot with me and he would go up into the rafters and he would shoot down like if he was in a choir loft or something like that, you get the high shot and he would be getting that shot. Well, um, we were at a wedding and he had the long lens because we we had restrictions that we couldn't go past a certain point, which meant we could never get a really good shot because we were kind of locked in the back of the were basically caged by the by the church, and so so we went out and got we rented a four hundred millimeter lens and put it on a crop chip camera so that it was a long lens and we put him up on a tripod in the rat in the choir loft so that we could get nice and tight on the bride and the groom, and that was his job the whole time. Well, I was editing those photos, and so I'm sitting down and I'm selecting images and I'm going through and I'm seeing shots of the pastor and a seeing shots of the bride and the groom and all this kind of stuff from his camera, and then I start seeing pictures of the back of my head and he's just zooming in taking picture of the back of my head and that's when I realized I needed I'd shave my hair because I was just fooling myself what he was going away and so I was like all right finally shave it so that was the impetus for shaving my head because I realized I was just fooling myself I didn't really have hair I thought I did but I didn't um so anyway uh I have no idea why I told you that story just a funny story anyway so those would be internal photos you wouldn't share those but they are kind of funny so we we did pull gags like that on each other all the time I'll take pictures of my brother racks shooting that's something funny of him and I'll put it in the internal folders and then I'll just email it to him you know are all posts on his facebook or something like that? So that's that's that's fun but that goes with being internal shots so we're gonna have these folders we've got things all organized and remember once we've got our select images we also win and we renamed him so we start at one and we go all the way to er twenty four we don't want any gaps in the naming so we always rename after we have gotten rid of all of the images that we know we don't want that way there's no chance that the client's gonna come back and say I wanted number three and you showed me two and four but not three and they always want that so no matter what you do if you leave a gap in the name the client's gonna wonder what's in the gap it's just human nature to want to see what's in that gap so I'm gonna rename everything afterwards then I can go to photo shop if I need to or want to once I've renamed the photos and we talked about that uh yesterday where we would go into photo shop and work on maybe some skins moving or something like that maybe push in the dress a little bit or you know do some manipulation and then it comes back it's stacks on top of the original image and then once you've stacked on top of the original image you can open it close it by expanding or contracting the stack and you could do that to different ways let me show you that because it's important there are no stacks inside of here att the moment but I can create a stack by right clicking and image and so I'm not gonna I'm not gonna make it psd or a tiff of this but if I write click this image and I tell it to stack or create a virtual copy now I've got a virtual copy and I've got a stack so any time you create another version of this image, whether it's, riel or imagined it's going to be in a stack, if you click on the one of two flag up here, it closes the stack so you can close an open stacks individually, you're going to open him back up like that or the other option is, and this is important to understand, because if you're the type of person that's running around, you know, I'm editing this photo on this photo in this photo in this photo and making virtual copies, and I'm doing all this kind of stuff it's important for you to know how to close all of them at once, otherwise you might inadvertently send secondary versions out to the client, so if I've added in an image, I don't want to send the non edited image to the client, so what we need to do is we need to go to the library module. All right, then the library module in the library menu and down in there, actually it's in the photo menu? I'm sorry. Um, you go to the stacking option and you're going to say collapse all stacks when you do that, it will take every stack and closed every stack, so and once you do that, if you highlight all your images on ly the top of the stack goes out bottom of the stack those those don't matter just what's on top and you can tell what's on top by like if you come here let's, take this one and go change it back to color so this one's color this one's black and white if I want the color to be the top of the staff stack, I can click on the two of two and it switches it to the top the stack if I want this one to be the top of the stack, click on it, it's now the top of the stack. All right, so now that we have organized our images, they're in the right order. We like the way that they look, we got the names correct, we've done everything that we need to do at this point, we're going to close out the job. The first thing that we do when we close out of job is we highlight all of our images now you got out. When you highlight all your images and you do this step, you need to do it with all the stacks open because you want to do it to every image that you're going to close out in this job and what you're gonna do now remember we've keyword it already, so we already have our key words in there um, I'm going to go up to the top menu here and I'm going to go to the library menu and I'm going to go to convert photos to dmg when I click on that it's going to give me a dialog box and that dialogue box has several options. First off on ly convert the raw photos because if there is a tiff or psd, I wanted to stay a tip for a psd I don't want to change it. Secondly, delete the original after conversion so it checks and make sure that yes, I created a dmg therefore I'm okay. I've checked the dmg it's good, I can throw away the original wrong don't get worried about that because the dmg is a raw image. It just also contains all the data it contains keywords, flags, adjustments. All of that stuff is inside the dmg so that if it got, if it gets moved around it's fine, all of the information is there. Did you have a question? Well, we just had a question I will point do you change files to dmg? So this is it. Yeah, so for people that didn't catch the last few days of your process, just quickly go over, like from you, shoot the images to this point, so so over the course of the last two days we've basically talked about a very long workflow, but some people will convert d angie's on the way in, but that means that there if they're shooting five thousand images, they're converting five thousand g's s o I just convert the five hundred at the end, but basically the the in a nutshell, the process is to take your images from your card you put them into your computer hard drive, you take them from the hard drive, you import them into light room once they're in light room, you go through the process is selecting him, then you adjust him after you've adjusted him, you know that you've got your keepers, you kind of separate them out these air your keepers, these here rejects take the keepers, the keepers of the ones that you will rename so that they're all in one perfect order and then once you've gotta renamed, highlight a mall change into d angie's so that's the basic order, which if you go back the last two days, you'll you'll see that flushed out um, so we convert them and then we delete the originals down below there's some other options, like the fast low data if you in bed that it makes the d angie's run a little faster, so that's good um, if you don't, don't click on loss in compression there's no point like I don't know why you would do that hard drive space is cheap there's no reason to kind of throw away pixels thatyou could otherwise you so I wouldn't use the lawsuit compression um but it will make your files much, much smaller basically the lossy compression is what's being used on your small raw which is inside of the smart preview that's why it's so small? Okay and then embed the original raw file would allow it to take the original raw and stick it inside the dmg so now you'd have original raw a dmg and the information but it's twice is big, so I'm going to keep it this way so take a snapshot of that that's the way you want to convert your d angie's and we hit go it's going to convert the d n gs and you'll see it happening so you can see right here that we've got this one's the dmg that one's the dmg this one's a c r to now it's a d n g so they're just changing into d angie's right in front of us once we have d angie's those d angie's now have all of the data inside them okay here's here's an important point though if you were to convert them to dmg before you did any adjustments thie adjustments would be in the catalog not in the dmg when you write to when you do something in the catalogue it stays in the catalogue it doesn't necessarily go into the dmg on the other hand, if you work on the c r too and then you convert the dmg after you've adjusted it when it makes it it shoves that data into it shoves the changes into the dmg so it depends on when you made the dmg as to whether the dmg contains the information now that's not to say you can't put the information into the dmg it's very, very easy to do that all you have to do is and and this is something anybody who converts to dmg and then starts working on some images before you finalize everything highlight everything in hit command s that's saved just like in any program photo shop wherever if you command us or control s it's going to save whatever you're working on right? So that's what happens in light room too? I have a bunch of d angie's if I go in and do some work on him or I add some meditated to him add some key words at the very end of the process just highlight everything so just go and hit for me it's hit command eh that's going to highlight everything and then hit command s and that saves the metadata to the files and that's important to when you're working tiffs and things like that. If you take a tiff and you start keyword ing it, the key words aren't being automatically put into the tiff. They're in the catalogue, so they're in light room in order to command light room to put the information that it has about every file into the file you have to hit command s and that will save it into the file. All right, so once we have saved our d angie's got r d and he's all set, now we have on ultimate little tiny backup of every single thing that we've done, we're going to save a catalogue as well. But if the catalogue should fail, you have the information in the dmg. And so you could just point and say, you could open up a brand new catalogue and you could import the d n gs and all the changes that you made would come in with him or you could open photo shop and just go open this dmg. And it would all the changes that you made to the image would show up in photoshopped as well, because you have the dmg. So everything that you shoot in the end should become a dmg before it goes to archive.