The Ultimate Lightroom CC Workflow

Lesson 26 of 41

Working with Photoshop and Lightroom CC

 

The Ultimate Lightroom CC Workflow

Lesson 26 of 41

Working with Photoshop and Lightroom CC

 

Lesson Info

Working with Photoshop and Lightroom CC

So now we are going to um close down the terminal and we're gonna go back in the light room now keep in mind my woo hoo folder is not going to show up in light room anywhere because it's not a legitimate folder but it will synchronize it just won't show up in light room but any this this system is already employed between my computer home and here so when I get home any of the presets that I've been adding to this folder called live presets is going to be on my computer at home already because it's currently being synchronized every time and make it it synchronizes and then when I open light room there it shows up so just follow the process or use a synchronization program that's less complicated but you still have to follow the same thing you start saying this goes here this goes here and then they're connected okay so let's talk about photo shop shelley who wants to go to photo shop once in a while that's right so if we need to go to photo shop and I want to let's say I really did wa...

nt to do photo shop um and and this would be just as good and images any to goto photo shop in but I wanted to work in a photo shop on this particular image the first thing I have to think about is do I really need to be in photo shop now one of the things that you'll notice about this image is this pole you see that pole that pole is a light that's not the sun creeping around the building that's a flash just up on a pole I love using a flash as a light because it looks like it's the sun creeping around that right and I think it's beautiful it's that's the way that's the way it should be sing and it's also giving her that nice room light so it's causing a lot of cool it's it's worth its weight in gold but it's got a pole so I got to get rid of the poles somehow now do I need to go to photo shop to get rid of that pole probably not so I can go over here and grab the the spot tool and I can come in and just drag a line down here oh I already did that at one point so I turned it on and off so I've done that already see all those points so those their little pole remove a lt's right there so rather than recreating it basically I'll do it over here I could remove this this branch so if I click on hold on let me delete that zoom in a little bit so here I am I've got my brush I'm going toe heel this and I'm just going to click here and I'm going to move down like that and when I do that it selects over there and removes the branch so that's what I did with the pole and I did it in segments the reason I did it in segments um is because this area the correct place to pull from is over here but once you get next to this window you need to go on the other side of the window to pull that over and so you kind of out the choose when you're dealing with like very specific areas you gotta you gotta work on a little better but if it was like a telephone pole in the sky you could just do the whole thing at once. Okay? So so I didn't need to go to photoshopped to do that because it's done but if I wanted to do some work on her maybe I might have to go to photo shop now I could go in here and I could you know, remove some blemishes see how those here again if I turn this off you can see the blemishes that were there and then see see others blemishes right there and then if I turn this on I went in and edited a few little blemishes so you khun you can take care of a lot of that inside of light room you can also go in and do some, you know, skin smoothing you, khun brighten up under the, you know, the eyes, you can do a lot of that kind of stuff as well. So for inst is if I wanted to go in and do some healing, I could do like under her eyes right here and soften that up, but what I would do is I would turn the opacity down quite a bit and I would go in and feather it quite up a bit like that, then I'm going to just go in and I want to get rid of that little area on her nose so I would click here and then I would just kind of go like that and then I don't want to put hair there, so I'm going to go there, so I'm just using your cheek as the a cz where I wanted and now I can just say, ok, how much opacity due I want if I go way up, see not copies it really smooth it out, but then if I go down a bit, I keep some of the existing structure of her face, but I kind of soften up that area right there, um, so that you could do that you can go in and ads at a brush in there, which would brighten it up, so I'm going to just kind of reset all of this and I'm just going to brighten it up a little bit and then I could come in here to her nose and just kind of do a little bit of brightening up of that shadow so I'm just kind of painting that in just a little bit and then afterwards I can kind of brighten it up or find out you know, let's say there and then I'm gonna take the contrast way down because contrast is what creates wrinkles and stuff like that so a lot of people use the clarity so they'll take the clarity way down which softens it up quite a bit, but it also removes pores and things like that. So really if you want to create a skin smoothing brush, your better bet is to do a little bit of clarity, removal and a lot of contrast removal because contrast is really where you're going to soften the skin not the clarity so a lot of people make that mistake. So anyway I can do a lot of that kind of stuff right inside of light room but let's say that I wanted to go into photo shop to do some serious skin smoothing maybe I wanted teo you know, do some manipulation of pulling the dress in a little bit maybe I wanted teo you know, do some more ping and stuff like that to really make the model of perfect right so if I wanted to do that kind of a thing what's the appropriate time and method for getting it to photo shop so the appropriate time is before you add black and white and before you add grain unless you're absolutely certain it's always going to be black and white image which I don't think you can always be certain of that um so I'm going to turn it back to color and then I'm also going to go down to the effects and I could just turn off the great now we don't have grain on here right now but I can turn off the grain so if let's say I have grain on it so let's uh let's zoom in here and say as an effect we had you know, some grain on there so that's what it looked like instead of dialing down the grain I just simply go to this little area right here that little check box right there that little box right there turns on and off the entire panel so I'm gonna turn it off and now the effect is gone but it's still registered it's still there so that I can go turn it on later but right now I want it off because I want to do some retouching so then once I've got the color back into the photograph and I've got the effects um off then I can zoom back out and I can say okay, I'm ready to retouch this image at this point I could go to photoshopped make sure that your image is named the final name a lot of people start going to photo shop before they have done any renaming of their photos before they've done any selections stuff like that and it means that they've got this weird name for the photo shop document and then when they go to rename they end up renaming the raw is number five and the photo shop is number six but they're not different photos that the same photos so you should have number five number five five cr to five psd or five tiff okay, so before we open this up in photo shop, I want to talk about the preferences and in the preferences there is a file handling an external, uh, editing. So file handling tells you how it's gonna handle the photos inside a light room and then external tells you how it's gonna handle them outside of light room. So I want the following. So these this isn't why I think this is critical. I want a tiff file. I want a pro photo rgb color space and I want a sixteen bit file at three hundred d p I that's what I want for my file and I don't want any compression on it the reason we want tiff is because it is universal it will go between your computer and a pc it will go between, uh photo shop and light room and plug ins and pretty much anything will look a tiff psd zehr not always accepted by your plug ins and so some plug ins won't read a psd and so he might as well kind of just keep everything in tiff there's no there's, no disadvantage to a tiff so you might as well stay at tiff. I like psd files there's nothing wrong with him, but if I was only going to ps have photoshopped, then I might bsd files, but sometimes you might go to a plug in that on lee uses tiff files, so keep it all tiff and then your universal so pro photo rgb is really incredibly important because when you start editing photos, you need the absolute most color information you could get so that when you start working on the color you don't, you don't lose. The quality of the photo is quickly because remember, once you go in tow photo shop, you are destructive editing and so now when you start retouching something, you're actually shifting pixels around your increasing and decreasing things and so by doing that you are creating problems if if you run a s r g b, which is the worst color space as soon as you start editing, you're going to start seeing that the image break apart you're going to see the sky start banding it's it's horrible so for me and s rbg image is a print on ly document saying with a j peg jpeg srg b is a print on ly document you send it out it gets printed no manipulations, no adjustments it just is it's great for the web because that's what the web sees so whenever you export on image it has to go out as s r g b to get printed on a standard printer you know, like a photo photographic printer at costco or walgreens or white house custom color you know pro or consumer s rgb is what those printers are printing out all right, but when you're working on the photo inside a photo shop that's when you want to be at sixteen bit pro photo rgb because that's the most information you can have outside of the raw space and it's the most like the raw space that you can possibly get all right, so with that out of the way we will, you also can set up a secondary editor and in that second area editor are you comptel it as the secondary editor? I want to open it up in and then you can choose what you want to open it up in and anything you set up a preset for. So if you change this and say I want to edit all of these pro photo rgb psd sixteen bit three hundred and I want that toe open up in and then you could come down here and you could choose you know, hold on you could come up here and choose you know what program you want to use so you'd come in here and say, I want you know, uh, illustrator to open up this file so I click on illustrator on dh then I'm going to hit choose and then I've got illustrator in there and I'm going to save that save that currents and new preset and I can say, illustrate tour and then I create and now I have an illustrator preset as well. So then when I write click a file I can se edit in illustrator and it'll open an illustrator as a psd document. Okay, all right, so those are the options for you. Um this is an important option. Stack with the original you want that to happen so that you can find it? Um and then also the file name is important. I want the file name on lee, so if it's number six zero zero six dot cr to I wanted to be zero zero six thought tiff that way, if I'm making a proof book or something and we'll talk about proof making proof books tomorrow making a proof book it'll stack it on top and when I make a print of the proof book and it's showing like you know the images in the image number under it it won't say image for image five image six edit him in seven image eight it'll just say image six client will never know that it was edited I don't want the client to have any like q in tow I edited this image I didn't edit that one because that's going the client's going to say oh I notice you only edited to images could you add it all the other ones all six hundred no I can't nor will I well why did you read it the one because I felt like it. All right. Okay. So file name is important all right? Once we have those at options set then I could go and just hit command e or aiken, right? Click it and say at it in and then photoshopped and noticed illustrator is the second option because it's the one that's I selected last so I'm going to edit in photo shop it's gonna take me to photo shop it's gonna open up a photo shop I'm gonna work on it photoshopped do this that the other thing um so let's open and photo shop I want uh to just do a little bit of skin smoothing on her, so I'm going to go in real close to her and see, ok, I just want to smooth out that little part of the skin right there that's all I want to do to it, so I'm going to click on a action if you were in photo shop and you were doing things manually, you're wasting time always have an action to do whatever it is you're doing now. I'm using a plug in inside a photo shop and it's uh plug in is called uh what's it called let's say filter image, gnomic portraiture, that's what it's called and it and it if you use it in its full strength it's awful, but if you use it softly it's quite beautiful so I haven't action that's going to open it up, apply a general softening and then it's going to make a layer and then it's going to make the layer black so that it won't show. So I simply click that it reminds me that I need to have portraiture is a plug in and tells me that I'm almost done and there we go see it nothing's changed, but what it did is it created this over here created a softened layer with a black mask, which tells me that nothing's going to show because it's black in order for me to show anything of that, I have to paint in white, so I'm it's already set up a brush for me, so the brushes all set up and the brush is going to paint right now. It's painting thirty percent. We wanted to paint one hundred percent the way to do that's hit the zero key groups, pulling me off of it with the zero key, and it turns to one hundred percent if you had the ten key it's ten percent twenty, twenty percent thirty, thirty percent zero is one hundred percent. I'm gonna change the size of the brush, so I'm painting an one hundred percent of this and you'll see that it's softening up or skin quite nicely, but way over the top two it's gonna look way too soft, especially as you back out the further you back out from an image, the more soft things get and they start to look fake. So you see, I'm losing a lot of detail in her face, so I want to get that detail back. The way to do that is to just simply go down, I like having one hundred percent brush, because that allows me to just paint it all in. And I can see where I'm painting, and then I take the opacity down here and I grabbed the opacity and I bring it to zero, but I started zero and then I just pull it in, and I just kind of move it until I see okay that's too far that's about right? Because I want to see the texture and her skin, but now aiken toggle back and forth and you can see out it's softening up the areas that are inconsistent, but I still see skin and that's where I want to save it that point, I'm in a flat in the image so that I have it all set it's I don't need to have layers of this on dh, then I'm going to close the document that's really, what I did in voter shot um occasionally also, the other thing that I could do in photo shopped here is I could like I think that this is probably a little too far out, and I could kind of push it in so that she looks a little slimmer, even though that's, the non slim this is due to her holding the dress out so I could go in and say, I want, you know, to work on that area right there, so I would I would just highlight all of that area that's what I want to work on and then I would go up to filter and I would go to liquefy and then inside of the liquefy that I only want to work on that the reason I select that s so that only brings that part up if I bring the whole image into liquefy it's really a slow, slow process it's like because it's the whole image so just bring the part of the image that you need I'm just going to kind of pull this up and I'm just going to bring that part down hope I don't want the drive to move simon adah change that size could bring the dress down a little bit yeah, I'm in war but I'm just pushing the dress back a little so that it doesn't look quite so bulky and then I'ma hit okay, there we go so you can see the difference that that that that that looks much better good alright alright there we go that's the image looks good so then we're going to close it and hit save um and remember now we have two images we have the original image inside of light room, which is this one and it's originally had an effect on it remember we had we had grain on it, so if I zoom in and I put grain on it, we had grain on it, but we don't have grain on this one, but we want the grain, so all I need to do is simply highlight here shift, click toe over there, and then I'm going to click on the synchronization and just tell it, I want you to synchronize the grain over and now this image has the grain on it, but I can turn the grain on and off. So if I if I wanted to print it without the grain, I would turn that off if I want to print it with the grain, I turn it on so it's, but you see how I'm not putting the grain on later and photo shop? I'm putting it on back in light room where aiken control whether or not I'm using the grain, but I don't send it out with grain, retouch it and bring it back because if you start retouching grain, then there's like circles of soft grain all over the place looks horrible. So whenever you do this senior portrait where you want it to look nice and you put the grain on it so you don't have to edit remember before you go retouch you highlight all the images and turned the grain off, then you retouch, then you come back in and turn the grain on if you do the retouching in light room, it doesn't matter because the grain is put over the top of everything so you could go retouched to your heart's content underneath the grain but once you go into photo shop you need to turn that grain off added it and then when you come back in, turn it back on right good so that is the extent of what I do in photo shop everything else I do inside of light room I burn dodge do all of that manipulation inside of light room before I go to photo shop absolutely everything you can do needs to be done at the raw level and then you go to photo shop the only thing I do after photo shop is add grain back in if needed or in this case I might also turn it to black and white now in this case once I turn it, the black and white noticed that now that color is no longer there you see that so if I go to this one the raw image and I turned the black and white on sea I've got the color to it. If I go to this one, I don't and that's because this one's a raw image where the black and white is actually working underneath hopes this one is a raw image where the black and white is actually working kind of in conjunction and underneath the tone curve but if I go to this one it's purely black and white which I think is quite beautiful anyway, but just be aware that it's not gonna operate exactly the same, so that maybe the tone you're looking for and so at that point you might want to add it in the split toning or you could go back and do another tone curve on it. But question just two confirmed. So the image that you manipulated in photoshopped came back as a tiff correct, it did. It is a tip. Okay, so I'm just working the sixteen bit tip right? So I still have a lot of depth in this image, but just not as much depth as I have if I were in raw because I just have more control so you can go through your film strip or your previews and see just by the file that's the tiff that's when I worked in photos correct, in fact you can go into the grid and you can just say, I want to look at in the metadata I want to look at on ly the tiffs, so if you click on tiff, then on ly the tiff show up so absolutely any questions from out there in the internet land, what do you got? We have a question about something that we already covered that sure um is there a way to see the real pixels when developing at a one to one ratio? I've always seen that the oneto one preview is not rendered exactly as when exported in the developed module when you zoom in on that one toe one once it builds is the one the one okay it is exact okay, now someone may see it differently and this is a good point. I'm glad they ask that question because it reminds me of something else that's totally unrelated but this is a good spring for it so um a lot of people will see their color change when they go to photoshopped we're seeing that it looks great in light room and then it goes to photoshopped looks different and you like why don't they match? They should write chances are the reason is because you're in photo shop and if you go to your color settings so if you go into your light room preferences uh let's see where is it? Oh, I know where it is it's an edit here color settings if you go to the edit color settings it's right there and you click on that these air your color settings if you're working spaces s rgb then you're working in an inferior color space and photo shop's going to be telling you different things about your color the closest approximation to a rock color space is pro photo rgb you wantto edit in pro photo rg because you're sending pro photo rgb images over to the photo shop so you want to edit in that color space so you're working color space should be pro photo rgb your semi are your cm like a should be if you're in the u s should be us web coded swap v to some other countries might have, you know, a different uh color space that they're working in on dh then the grays this is twenty percent it's fine um down below that color management policies you want to him preserve whatever embedded profiles come in if you work in that your files will look x the same or very, very, very, very similar remember that if you're in light room you're in a raw color space, which is very wide open once you get to photo shop it's cramping it down a little bit so your colors are going to change, but if you're in pro photo rgb, it'll be as close to that raw as possible. If you go down to s rgb it's going to be quite different than what you're seeing in light room so I know that totally didn't answer that person's question, but I'm really glad that it's important yeah um can you batch process images while using photo shop actions? Absolutely so let's let's do that so here is a photo shop action right over here that is called skin softened medium and that skin softened medium is a something I use on a lot of seniors and, you know, women and stuff like that don't use our men, but I use it on women, and so I want to make a batch of that, and what it's going to do is it's going to make a tiff and it's going to go in and it's going to make that softened layer it's going to stick it on top, turn it black and then it's going to close it and file it away so that then when I go, I just open up my tip, paint out, face closed, open up tiff paint face closed, open it that's how it works, right? So if I want to do that, then what I'm gonna do is I'm going to go to the file menu and I'm gonna go to the automate automate menu and in the autumn, mate, I am going to create a droplet a droplet is a action in a program form, so I am going to choose to save the droplet, and I could just save the droplets on my desktop for the time being, so I'm going to save the drop it on the desktop and I'm going to call it skin soften normal and I'm going to hit save so that's where it's going to save it later on, I can move it wherever I want, and I want to put it in the light damn folder, which by the way, once I put it in the light and folder, where's it's going to be it's going to be in my studio on the computer at home because we made the synchronization box through drop box. Okay, so I am going to go in here and I'm going to choose what action I want so I can choose anything from the workflow actions and I can come down here and look for skin softened medium, and now I have to make some decisions what's this thing going to do so I want to if I override any open commands, so if I click on this, it gives me this message says when this option is on, sources have to have an open command in order to run. I don't want that because I'm not making this action doesn't have an open command, so if for some reason you have an open command that tells the document I want to open as this, then you need to click that so the idea is that you can tell it I want to open a file with these, like if you're opening a pdf you know how it has a window that comes up and this is what dp I d want that's an open command we had to skip that because we don't have any open commands um I want to include any sub folders if I happen to be using sub folders I want to suppress any open dialog boxes because I don't want to have to sit here and hit ok on him so it's just gonna blow past those and I'm going to suppress any color profile warnings as well because I don't I want to blow past those two want to keep going um I can log errors to the desktop so if there's an heir it will tell me later not during then the save part here I just want to save and close the other thing you can do is override save as commands now what's gonna happen is if I save this without the save as commands like this what's gonna happen is it saving is a tiff and tiffs require a command at the end that says do you want to save this as a mac or a pc? Do you want to save this? Is this or that or the other thing which is totally annoying right? I don't know why they can't just allow it to save but that's annoying so I would have to program inside of the action I would have to program a save as command and in the save as command I would tell it how to save it save it as a mac save it is pc save it you know un compressed etcetera etcetera hit safe as long as that command was in there then I could say override that and it will use that part of the command and I won't pull up the drop the box so then what I'm going to do is I'm going to I'm saying saving close was just wherever it is going to close it and I'm gonna hit okay so now I have created so let me get rid of this hide photo shop see that right there that is my droplet if I were to drag anything onto this droplet it would run that action it had opened photoshopped run the action saved the thing if I go to my light room and I go up to the preferences and I say show me the light room preset folder there it is I'm gonna hide light room I see the folder I need to find the export actions folder it's right here if I click on this there's my export actions if I drag skin softened normal right here and drop it it's now available for life room and interestingly enough this is the one thing you don't have to restart to find because it only looks for it when you go to export so now if I were this is the raw image right here and if I were going to do this say in black and white I knew it was always going to be black and white I would first go to the effects and turn off the grain and then I could highlight ten of these images and I could hit export and I'm going to tell it to export them as so I want to go to for prints where are arming for very okay tiff pro photo rgb right there and I click it it's set all of my settings are set saving the original folder so you can see I'm saving in the original fuller adding it back to the catalog stacking it above the original so telling it what to do with that file and then as I come down here I'm not renaming the file I want to be the same file name I'm gonna come down a little bit further it's going to be a tiff no compression sixteen bit pro photo rgb and then here's the size I don't want to resize it no sharpening keep the metadata I'm not going to remove the person information on these tiffs because I'll only remove that I'm sending j pegs out and then I don't want to put any water marking on it here's the post processing action if I click on that my skin softening normal is right there click on that now any image that goes out during this export, soon as it's done is going to open up in photo shop and that's going to run, so I'm going to hit export now and it's going to oh file are exists let's use a unique name and it's making the tiff right now. Soon as it's done, making the tiff it's going to save it in a folder it's going to take that folder it's going to drag it on the photo shop photo shops going open up. I did not make this action specific four hands off it's running the action but it's asking me to do things so when you make an action that you're going to use as a droplet, just make sure you get rid of any kind of like warnings like this because it's running the action right now, it's couldn't do that, not saving it. Now when I go backto light room it's available, I just need to find it unfortunately, light room does something weird, and that is that if you if you hit shift command e toe, add it something in photos off if you go straight to her, if you hit command e and you go straight to photoshopping back, it stacks it and it puts it back inside of your current collection, it gives it all to you right there, but if you export it and it comes back it doesn't actually put it back in the collection and even though it's stacking it it's not in the collection and it doesn't start flag it the same way so that's an interesting difference in photo shots are in light room so if you want to find it used need to right click here and you can say show this in the folder library and it'll show where it is the other thing you can do is say it's imported it so show me the previous import which is right here so if I click on show previous import it doesn't show that that's interesting right click it let's show it in the folder library should have showed us the previous important it didn't but here we are and now we have our uh photos and let's look to see by file name and there's our tiff right there just a tiff dot dash three because it had to make a unique name for it but that's our image right there and but look it's not retouched so what I do is if I'm going to do if I'm going to retouch say fifteen photos instead of waiting for that action to go all the time I will simply right click the image or click on command e and I don't have to wait for it just opens and then I could just paint it and then I can close it that makes sense some that's the idea, but you do have to program your action exactly the way you want it to go. No interruptions. You need to make sure that it's not flattening it you need to save because you notice that when we open that last one and this is important, I think when we open that last one, notice that there are no layers, it should have left the layers. But what happened? Was it flat? It took the image and made the layers, but when it saved the tiff, the tiff has an option in the closed dialog box that says flat or layered and it obviously chose the path of least resistance and flatten it. So I need you in there I need to when of saving it so let's just say I have an extra layer in there. I would want to go into my action and start recording and when I recorded, I would want to go to file save as while I'm recorded, not save as but save I want to go file save and as I'm saving these air, the options that I would want teo use and I would want to make sure that I did know compression, that I did inter leaved, that I did, you know, and so that way, it wouldn't flatten it on the way out. So I need to overwrite those commands so that it's doing the right thing on the way out. So you do have to program your your actions to be the right thing and it's, just trial and error as to what you're going to do with it. But I don't do a lot of that most. So what I do is inside of light room, and then I add it, maybe three or four photos for an entire event. So it's, not a lot.

Class Description


Adobe Photoshop Lightroom is the industry standard for post-production workflow and in The Ultimate Lightroom CC Classic Workflow, you’ll learn Jared Platt’s gold standard for retouching and managing files quickly and efficiently.

In The Ultimate Lightroom CC Classic Workflow, Jared will show you how to radically cut your workflow time while improving the quality of your product and the organization of your digital world. 

Jared will teach you how to:

  • Protect your images with simple backup strategies
  • Manage your files to enable seamless and immediate recall
  • Get your computer and software to run faster
  • Efficiently cull and retouch photographs
  • Create impressive photobooks and slideshows
  • Take advantage of video editing tools
  • Improve your SEO using Lightroom features
  • Deliver and share your images directly from Lightroom

Jared will share tips on improving every phase of your workflow – from shooting to archiving. You’ll learn how to take advantage of the latest Lightroom tools and features and become faster and more skilled at adjusting your images.

Whether you are new to Lightroom or simply ready to improve your process, The Ultimate Lightroom CC Classic Workflow will help you organize your images in Lightroom so you have more time to focus on the other important aspects of your business.


Software Used: Adobe Lightroom CC Classic

Lessons

  1. Intro and File Management
  2. File Organization and Lightroom Workflow Overview
  3. Workstation Diagram and File Flow
  4. Converting From a Previous Lightroom Workflow
  5. Lightroom CC Tour: Folders and Collections
  6. Lightroom CC Tour: Publish, Histogram and Quick Develop
  7. Importing Images into Lightroom CC
  8. Rules for Selecting Images in Lightroom CC
  9. Organizing Photos in Lightroom CC
  10. Keywording in Lightroom CC
  11. Using Facial Recognition in Lightroom CC
  12. Working With Catalogs in Lightroom CC
  13. Synchronizing Catalogs in Lightroom CC
  14. Using Lightroom Mobile
  15. Publish Services in Lightroom CC
  16. Lightroom Workflow Q&A
  17. Tour of The Develop Module in Lightroom CC
  18. New Features in the Lightroom CC Develop Module
  19. Camera Calibration
  20. Calibrations and Custom Profiles in Lightroom CC
  21. Calibrations in Lightroom CC: Comparing RAW and JPEG
  22. Rules for Developing in Lightroom CC
  23. Understanding Presets in Lightroom CC
  24. Making Presets in Lightroom CC
  25. Syncing Presets in Lightroom CC
  26. Working with Photoshop and Lightroom CC
  27. Using the Lightroom CC Print Module
  28. Setting printer profile in Lightroom CC
  29. Comparing Prints from Lightroom CC
  30. Finalizing the Job in Lightroom CC
  31. Archiving the Job in Lightroom CC
  32. Importing Back from the Archive
  33. Building a Proof Book in Lightroom CC
  34. Building Albums with Smart Albums
  35. How to Create a Portfolio in Lightroom CC
  36. Advanced Search in a Portfolio in Lightroom CC
  37. Scott Wyden Kivowitz Interview on SEO
  38. Optimizing Image Metadata in Lightroom CC
  39. Publishing a Blog Post From Lightroom CC
  40. Making Slideshows in Lightroom CC
  41. Lightroom CC Workflow Recap

Reviews

April S.
 

I've been using Lightroom for about a year now. I'm pretty comfortable with the basics and a little more. Sometimes knowing what I want to learn next depends on knowing what's out there to be learned. I listened in to this course from work to get an idea of whether there was enough new content to warrant buying the course. Though Jared covers lots that I know, he filled many small things I didn't know and covered some bigger topics that were new to me. I decided that I wanted to own this course because I respond best to structured learning, and Jared starts at point A and carries through to point Z, so to speak. I have watched his live and rebroadcast courses before and I really like and learn from his teaching style too, so I'm sure this course will be the boost I need as I prepare to subscribe to Lightroom CC instead of just using my local copy. Though another reviewer's tone wasn't very nice, I have to agree that it would helpful to have a written synopsis or outline of courses to help when deciding whether to purchase. Looking at the titles of the included videos is helpful, but not enough. This would be especially useful when a person hasn't seen the live broadcast first, and is simply evaluating a course in the course library.

Jim Pater
 

I learned a lot from this class when I took it a long time ago. I'm not as fond of his ego but that's fine as I don't have to be around him all day long. What I found extremely useful was the video on synching Lightroom Presets. I set this Dropbox synching system on my laptop and desktop Mac computers and it works perfectly. I also use it for other programs as well like Photoshop and another program called Keyboard Maestro. Thanks for your help Jared. Much appreciated trick.

user-69ea7a
 

I am new to Lightroom and from the start of the course it became very clear to me that Jared is one quality person with a real passion to explain everything with great skill and a motivation for success. I did not hesitate to download his course as this is the basis for my personal development and the journey to experience great photography.