Extreme Synchronizing Techniques with Jared Platt
We're going to synchronize as much as possible so if because we want to speed through our work flow, we have created presets in order to touch less buttons that's pretty much a preset is a way of not touching buttons, right? Well, synchronization is a way of taking that to the extreme where not only you're not touching very many buttons but your when you are touching them you're not touching them very often, so I if I could if I could put it this way I would say the fastest workflow that you can have is one where you don't actually have to do anything right? I mean that would be the best way to go if you could have everything automated and have everything done for you that would be the best way to go um and and you can't do that there is a way to do that you can send all of your stuff to shoot, not at it and they'll do it for you on dso that's called outsourcing, which is a great way to go, but we also need to understand how to do it ourselves so that when we're doing our own work we w...
e don't spend time doing it so synchronizing is the method under which were able to then instead of working on one photo of time, we can work on twenty or thirty or fifty photos at a time and the one touch that we're doing on the pre set or the slider is happening across the board to all the others that's the purpose of synchronization in order to do synchronization, we have to be in the developed module to do to do synchronization the way we want to. I will tell. I'm going to show you two different synchronization methods one's in the developed module ones in the library module will mostly do the stuff that we do in the developed module, but but there's a couple of rules that you want to follow when you're doing the synchronization. The first rule that you want to follow is that you are going to use preset as much as possible during it. So you're going to synchronize, but you're synchronizing presets so that's first rule you're following the second rule that you're following is that you want tio you want to do it to camera by camera, so you're not going to do it to every camera at the same time. How many of you shoot with more than one camera on something this wedding her like? When would you? When would you shoot with more than one camera wedding soldier homecoming? Just any event where I don't have to tell you or whatever yeah, where I don't have time for linz change something long and sure, yes, so if you're doing portrait see generally you're using one lens and then you'll switch the lens or whatever, but in most cases for me on a wedding or a political event or something like that, I have multiple cameras and then I have multiple people shooting multiple cameras and so we have, you know, sometimes six cameras on a shoot, you know, three assistance with two cameras appease or four systems with one camera age or something like that, and so when you have that many cameras, you may have a nikon, a cannon and three different types of cannons you cannot synchronize images from one camera to another because they're different, so if you take a mark three and mark two very different chips and so you can't synchronise the stuff from the mark to to the mark three and expect any reliability in the synchronization aziz the same is true if you have a mark three and I have a mark three I may shoot dark, you may shoot light, and so if I synchronize my settings to you that's not gonna help either, and so the first thing that you have to do is go into the library module and sort by cameras we're going to find very specific cameras and that you do that by going up into the library filter and choosing the metadata area and just choose the cameras and you can see that I've got three different cameras on this shoot now if you and I have the same camera I can change that at the top of that column I can change that to camera serial number and that will give us with serial numbers of the cameras which means that if you had all mark three's you would still see three different cameras because they have three different serial numbers so that's the first rule of thumb is that you want you want to look at images from one specific camera first that's what that's what you're really looking for and I need to know which cameron looking at here so I'm going to go for the they're okay so I'm gonna work on images from this camera alone and then once you're done with this camera you can go to the next camera and then you can go to the next cameron's and so on so forth um the next thing that I want to dio on dh this is another rule that you want to follow and that is to do your favor images first now if you're doing a thirty image portrait shoot and so you went through and selected your images and you only have thirty left still moment once, but if you're doing a wedding or a political event or a home, a soldier, homecoming or something like that, that's a lot of images, and you're gonna have to just a lot of images. The key is that the the entire event occurs, and the favorites happened throughout, so you usually have a favor in a just a one star image or above. Throughout the entire event, even though there are other images, you're going to show the client there's something of your favorites, and if you have one favor image throughout the entire event that represents each lighting condition, all you have to do is adjust the one and then later on, you can synchronize that all the others. The reason that I do this on the wedding is that instead of looking at five hundred images, that at one time, I'm looking at about one hundred and the task is less daunting, and I m'm or excited about it. And so the attention that I give to the first image equals the attention I give the last image. If you, on the other hand, go all five hundred from start to finish by the time you get to the last five hundred, you just turn them all the black and white, because you're sick and tired of the process, right? And so that so the last one doesn't get the type of attention that the first one does, and really, all images deserve the same scrutiny and attention you're not. You're not doing your clients any favor by getting tired by the end, and so bye bye, sorting by one star, and you'll see I've already got some pre selected images here, so if I were to go to my attributes and sort by flagged images, you'll see that I have a folder full of, uh, I have thirteen images here that air that air selected from this one camera, but and I've only selected a very small number because that's all we're going time deal with, but if I start it now, you'll see that I have a selection of ten, so they're less images, and then I could be selecting more. And in this case, if I if I use the flag as my favorites, and then I'm gonna synchronized to the rest, you'll see that there are thirteen, and then there are two thousand other images, right? So rather than go from start to finish the whole wedding, I'm going to start with my favorites and do all my favorites, and then I could take those and synchronize them out to the rest of the images eso so your timeline should go like this, and you say you should shoot a wedding for like uh you have two thousand images and wedding you're going to provide safe or five hundred to the client you should the the first five hundred images there, the first hundred images of those five hundred would take you about forty minutes to adjust and then the second four hundred images will take you twenty minutes to finish because you're not doing anything you're just taking the recipes that you created here on the first hundred and synchronizing amount okay all right, so that's the goal and that's where we're going to go right now so now that I've selected a small set that kind of spans the wedding, then I'm going to go into the develop module and that's when I'll start working so you can see I've got some in my favor details I've got details here I've got, you know, wedding stuff, you know, just different shots, right? So now I'm going to go through all these different shots and I'm going to adjust them based on um uh, whatever I want to do to him. So when I select an image, I want to select multiple images at a time and you can see that I've gotta siri's of images here, right? So I've got this whole series of images here that looks similar and I could go through and select just that set and a just just that one set of images so I'm gonna lower these down I all I need to see is what these images generally look like all right? So I'm going to select this set of images but most people that's what they do they adjust those images together and I'm going to show you all the different synchronization techniques right now so that you know what's available teo and then I'm going to show you how to use them all together but most people adjust this set because it's inside and then they go to the outside set now they would then go to the dress and they would just address the dresses then they go to this portrait over here and they would just just the portrait that's kind of how they would work but what most people don't know is you can actually synchronize all of them together all at the same time now you think oh I can't do that because ones inside ones outside this one's you know got a different color balance but quite frankly almost everything you do too every image in your collection is pretty much the same there's only a couple things that are different and those air usually done in presets and they're usually done just you know this one's a little bit off and that was it but often so we just changing but generally if you were here a track what you're doing on day I'll do this, I'll do statistical tracking on people's light room catalogs and tell them what they're doing and where they're going wrong, so when I do consulting, I'll actually look people statistical analysis of what they've done, so I'll read the data, and I'll tell him you're doing this too much or you're doing that too much, and what you find is that most people are doing the same thing to every image, but they're doing it. What image of the time, whether doing that five images at a time when in actuality, if you watch this process, if I just take this image and I brighten it up a little bit and bring the blacks down and out a little bit of contrast to it so that it's fairly normalized if I go, so all of that has been auto sink now, if I go here that one's pretty normalized two and it's pretty close to ready now, occasionally you'll find in on outlier where something's a little it's going to be too bright, and at that point, you kind of have to, you know, dial it back a little bit and you have to add a little bit of, you know, brightness in the shadow or something like that to fix that one image, but then that's all you have to do so you do all your major sliders, fifteen sliders or something on all of them and then you come back and fix the outliers ok? So let's but let's talk about all of our different options so let's just look at two images together and let's discuss what can be done so the first way that you can synchronize is too and I'm just going to turn things the black and white because that's the easiest thing to see so if I click on black and white now that image is in black and white but when I go to this image it's in color right I can just click previous and now that one's in black and white so that's your first synchronization method is the previous button. The second synchronization method that you khun use is if I know oh I want to change this image teo samos I want this image so I know that this is black and white and I know that this image I want it's changed a black and white aiken shift click or command click depending if I shift click it it does from that image through whatever image I've selected, so if I shift, click all the way to hear it selects all of them. However, if I click and command click, it skips all the ones in between and just does the ones that click on so now if I want this one in black and white and I want and I know that this one would be good in black and white as well, I can hit the sync dot dot dot, which is going to bring up the dialog box and at that point I can check all or I can check none and just check one thing so I can choose what it is I want to synchronize if I check none or I mean check all usually I'll take off the crop and I'll take off the the brush because those air very specific and the spot removal to those very specific too images and so they don't usually synchronize all that well, so those loans all removed and I'll hit synchronise and now this one is black and white and it's got all the settings that came from here so sync dot dot dot allows you to choose what you're going to synchronize and it's kind of an after the fact type of thing I know I changed this highlight some other ones and synchronize it across them but it's the much more detailed way to do it when you click that st dot of dot you got a lot of control over what you're going to synchronize but that's a really slow method once you've created the preferences in this dialog box that you want to synchronize from then on out if I grab an image here and I shift click to say this image instead of the sync dot dot if you hold the option or the all came down, the dots disappear, and now it becomes a one touch synchronization method, so I hit sink, and they all synchronise based on these settings that I had already set up so it's synchronizing on lee the things that air check box from this image over to that image, and you can see that I've got the black and white on that image came the the fourth and the fastest way to synchronize his auto synchronization. When you're an auto synchronization, then if you have two images here, let's do these two dress images if I have to dress images in front of me and I start adjusting this one and expose it bright, that one goes to see that happening. If I take this one down, bring it back, and I bring the blacks down a little bit and I change the color balance and then let's say, change it to black and white with little sea peotone. Now I'm done with that, but look what happens to this image that one's done as well, so when I'm working on images auto synchronization, I can, and I'm going to highlight all of these images. And I'm gonna reset them so that we take him back to square one and I'm going toe, auto, synchronize all of them because that's where I want to live is an auto synchronization. Ok, so we generally stay in auto sink, and then occasionally we need those other synchronization modes, and so then we'll use them based on what we need at the time, whether it's previous or whether it's, you know, addle sink so and it. I have those buttons programmed into this shuttle pro, too. So this shuttle pro, too, is if you download the little packet for the course, have a link to where you can get it, but it's the shuttle pro tools made by contour design, and you can just simply program the keystrokes into it so you don't have to be finding keystrokes here are clicking buttons. You can just push these, but for our purposes here, I'll actually push the buttons here so you can see what I'm doing. But when you do, when you're using buttons like this, you can just click, click, click and there's no hunting around for buttons. So in this case, we do the auto synchronization, so we brighten up a little bit, we a little black. Add some contrast and so now we've normalized are images and we've got kind of the general look and if if there's something that you like to do to all the images, I like to add color portrait film to most of my images because I like a little muted on the color I like to feel a little bit more like say that n p s one, one sixty film that I used to use, so I just have this nostalgic feel for that, so I always do that, which brings the saturation down a little bit does a couple things to it, so I've got those all normalized at this point and now I can simply go through and now I'm going to do bigger chunks, so now I'm going to do all the chunks here, so now I've got one, two, three, four images, and all of those images are are indoors, right? And so there are a little bit, maybe different white balance than the other, so I have to do now is go up and just change the white balance to match that indoor setting, and you'll see that because I'm auto synchronizing the white it was the setting is is find out now what I've noticed is there's two out liars in this collection, so I click on one command, click the other, and then I just bring exposure up a little bit and now both of these have the proper exposure on him as well so what you're doing is you're taking a mackerel view of your entire set highlighting the entire every image from the card and doing the basics minus the most minus the temperature and then you go in and grab this set because it's in the same light source and do the temperature and now all those air right and then you look for the outliers and look for things that are too bright right this one's too bright and I can take this one down exposure so I can see the clouds and then I can take the shadows up and then I may want to do something to it maybe I wantto try that the black and white make it a c p a tone and then I want to add a little extra a curve to it and so now I've got this image where I wanted to be and of course I could at this point because he his face is really dark in there so I could go in and use another preset toe brighton him up so I just go in and now that was way too much but aiken I couldn't watch this so oh there's my brush if I hover over that see that little it's like an arrow era to two sided arrow by click it I can remove the effect in increments so I could make it worse or I can make it better right but but watch the sliders watch the sliders they are all working together and see how they're like they're spreading apart together so it's it's increasing and decreasing the entire effect not just one slider because what you'd end up doing is like nudge this one up nudge that one down now is this what it's doing is increasing the entire effect? Okay, so it's a really easy way to go in and just kind of fix something really quickly and I can always tell this tow auto show that pin so see that so now he looks a lot better all right so so I can go in and individually grabbed the out liars and work on those as well oh, but the key is as you work on many images possible once and do as much as you can and then you do little segments and then you do the small outliers and if you work that way in auto sink most of the time you won't ever have to do anything else but occasionally you'll run into a situation where you're like you're working on something here so you've got a bright in this one up just a little bit and then you go to this one and these you shift click these we're going toe auto sink these and so you bring those down a little bit but now you're in a difficult difficult situation because you've got two images there the same here and one that's the same but remember I adjusted it differently so if you look look at the exposure this one's point eight five plus and this one is point two plus so there's a difference between this image and this image and then this image of the same is that image and so now you're like, well, I can't auto sink these because now if I highlight all three of these and I want all of them if I were to take this exposure knob and bring it up a little bit to the safe point seven five watch what happens all of these go up two point seven five so I just negated the work that I did separately on him so in those circumstances where you have images where you know that they're a little bit different but they all need a certain amount of something in this case I want them all to be just one little bit brighter and a little extra contrast, but I don't know what the sliders are that's when I go to the grid and in the grid I have what's called relative adjustments it's different than exact adjustments so in the developed module your all of your adjustments you're synchronization is exact if you slide a slider it's all going to that one slider but in the in the library if you have three images selected in the grid and you go to to the tone controls and you increase the exposure by one click all of them go up by that amount so then when you go back to the developed module you'll see that this exposure on this image right here is one point one eight but this one is point five three they all went out the same amount relative to where they were so the develop module is actually very useful in that regard if I'm in a political event and everything's inside and I take all these pictures and they all look fine but they're all a little bit too warm but remember I've been an auto white balance all the time so the white pounds is all over the place fire to go into the develop module and just tweak it all of them would go to one specific white balance and it would ruin it but if I go into the grid and highlight every image from the entire event and then just go up and you click on the where is the white balance there we go so go the white balance and just increase and decrease temperature intent it will do it relative to where they are so if if your cameras dead on but just a little too warm or just a little too cold highlight everything and just tweak it all together and it will adjust them all relative to where they are so white balance because our cameras are so good, they're generally great, but just a little off, but they're off the same about all the time, so highlight everything in the grid mode and then just tweak that there and you won't have to deal with it image by image in the developed module so it's important to understand the difference between working on quick develop in the in the library and working and develop in the in the developed module, or I mean, in the regular developed module. So when you're dealing with develop its exact when you're dealing with library module it's relative and those are both very important tools, so you kind of go back and forth if you have a quite a quandary like this thea other thing that you want to pay attention to is once you've got a set of images like this, and you have something specific that you want to teo tweak over to the other ones like let's say on this one I had I worked on all of them, and when I was working on these two, I actually added some kind of, you know, heavy post crop than yet on it. Right? So it's like a little edge burn and then I thought, uh this this one would be great so see how auto sink over to this one so this one has it but then you like I should add it there if I hit previous what's going to happen it's going to still every setting from this one over here and put it here which means that this one all the brightness and changes and if I do it watch what happens so you've got darker because it's stealing every setting so previous is kind of an all or nothing deal so I can't use previous so what I need to do is select one of these shift click to here and hit the sync button now if you want to know what the hot keys for the sync button are if you go to let's cancel out of this if you go to the light room and you go to I think it's in the settings menu copy settings pace settings from previous and then sink settings so it's shift command s is this is this is a hockey which is programmed in here so this button right here would just synchronize it if I hold the option he watched those dots disappeared see that so now it's option command s equals sink without the dialog box and so what I could do is I can either click here which would just sink it over, but that's going to sink everything that's been checked, or I could hit previous, which is here. So I programmed these setting options in there, but just get to know these preset are these hot keys or get something that knows it for you so that you don't have to remember him that me? Because I literally could not tell you what this command is until I came here because I use this, it literally is in my bag with me all the time. If I'm editing photos, this is out because I'm not gonna try and remember what sync settings is shift command s I'm just going to let this remember it for me. So in this case, what we want to do is we actually want the dialog box we hit check none, and then we're just going to go for the where is the post crop and yet synchronize it, and now we get the post crafton yet, but everything else is negated that didn't transfer, so there are times where you want to sing cries everything, but there are also times were like, oh, I can on ly synchronize this one little piece and that's when you use this, yeah, I'm getting a bit confused here if you've got two different images with two different settings in one one to the left and one to the right on the film strip at the bottom which one's it sink to the left most won this when you're selecting. So if you saw tonto life so if I selected three images, there is a one that's fully selected and so that's the one I'm showing. And then these two are getting the whatever it's blowing over to them it's getting put on to them if I click on this middle one it's blowing to both of them. So whatever showing is your master and then the other ones are getting the settings from that right that's a bit of this during the auto sink process or during the synchronized. Any synchronization that happens it's always happening to this one and then spilling over onto the others. That's, right? Yeah. These things up that's. Important distinction. Any questions out there about synchronization so far? Um, I go ahead. We had one question from boutique. You going back to the very beginning of this class when you talked about starring if you could just describe your philosophy around starting oh, yeah. It's. Good. So for me, a flag, a white flag means the client will see it. If it's one star added to that that means it's one of my favorites its two stars it's even more favorite and its three stars it's even more favorite and its four stars is even more favorite is five then I need to send it to god because he obviously wants to see it right like I am very rarely get to five because it's just I mean fine is just outlandish so when you start levitating right I do start angels scene it's quite an experience when I hit five also light shows up and pretty impressive incredible good exits nirvana's e reached during on it that I start I start doing yoga so I'm not very good at yoga yet so that tells you how many times I get to a fine start so five stars just three star means it's going in my portfolio to star means it's a slide show type of thing one star means the client should make the album out of it so but that means I can then filter by one star and that gives me about one hundred images per wedding or maybe one hundred fifty it depending on how good the wedding is, right how good I was on the wedding on dh then all the flag ones that aren't starred they go in the proof book they go toe the client but the client isn't encouraged to use thumb that's like family photos, snapshots, grip in grins, all that kind of stuff. That stuff is never starred. The stars is like the artsy stuff for the really cool documentary stuff. That's that's what gets starred so that's just my feeling on the image yet just in relation to that do you ever delete stuff so he's gone back and your flags and stuff do you then delete the stuff? You haven't it's not flying, little end up getting deleted um, okay, so synchronization so you know your four techniques you can hit previous you cannot sink dot dot dot, which gives you the dialog box you can hit sink holding the option key down, and that will give you no dialog box. I'll just take whatever the last settings you were using and sink them, and then you have auto sink, which is where you should live. Auto sink is where you should live and so, but notice if you're an auto sink, the other buttons aren't available to you. And so when you're an auto sing, of course, previous is so if I click on, say, um, these two images here and I hold down the show, if button previous is available to me so I could take all the settings from here, so I was on this previously and then if I click on this and shift to that one now it's an auto sink but when I hit shift and I hit previous it's going to auto sink all of the settings from the last one toe both of these so I hit previous and boom now he applied everything from this image to both of these images see that so both of them got it and now the only thing that needs to be done is I need to bring exposure down right to get these back but notice his face is now dark why? Because it stole the previous settings and overrode him and one of the previous settings was my brightness on his face it's no longer there ok so you have to be aware of what your settings doing and this is something you on ly get by experience so you just keep using the synchronization methods and think what do I want to do? Oh I have a file here that has a setting that I want but I don't want to overwrite the settings of my brush so I better instead of doing a previous what I should have done is highlight this image I should have highlighted this image hit previous then I should have highlighted this image and then I should have gone to the sync dot dot dot and chosen everything except for my grade ian and brush right I should have negated those out of the setting, so I should have said, check all minus the brush and then synchronized it. Okay, so occasionally you want to go into that dialog box, but not too often. Most of the time, you could just simply highlight the images and either hit previous or hit sink or do it not, I think. And if you use all of those together, especially if you have them on something like this, where you khun my shuttle pro to where you can just click, click, click, click, click and you know this one is sink. This one is previous. This is sink with the dialog box and so it's very easy to navigate through him. So you're an auto sink and you're doing it and then you realize, oh, I needed sync method. Go to that state method by pushing a button and just sing cries on lee that piece that you need, and then go back into your auto sink mode because you live in auto sink most of the time now an auto sink it's important to realize that on lee, the thing you're touching is sinking. So for instance, if this one is in black and white, and then this one's in color, I can shift, click both of them. And I can work on this one and add contrast and I can go to clarity and add clarity to it I can do a lot of stuff I can increase the temperature and watch what happens to that won all of those clarity settings happened the temperature even move because I was working on it for the black and white state so it's on ly dealing with the things that I'm dealing with, however, if I had gone in and said on this one if I were working on this one and I turned and I clicked the color button, I actually think I had to go black white in color but see how this one becomes color, so if I mess with the slider that has some other setting on this one, it will synchronize that slider across or that button across and so then you'll lose your whatever setting on this but if you if you're only working on so I could change the exposures on everything and have everything in different exposures so like for instance, we've had complete different exposures all throughout these, right? But so if I am an auto sink, I can go in and mess the clarity I can go down and and I can work on tone curves I can work on noise reduction, I can do all that kind of stuff it won't mess with anything else it's on ly messing with the things I'm touching that's the brilliance of auto sink is it's on ly dealing with what I'm touching nothing else ok any questions about the that techniques of sinking the different methods of sinking yeah if I've got images that I'm going through in re editing particular selection on dh I've got some of those are from lr three would you recommend staying away from the process version option when thinking ok so what he's talking about is and that's a good question at the bottom and the camera calibration is something called a process version if you're in two thousand twelve that means you're in light room for ok and if you go up to the top you can see all the sliders are highlight shadows whites blacks eso it za different set of sliders than we had in light from three light room three is what we call process version two thousand ten if I go to two thousand ten I'm going let me click on just one image here if I go to two thousand ten on this image notice it changed the image of it and that's because the sliders have changed now we're back to exposure recovery phil like black so if you like light room three but you want the added functionality of light room for you can go backto light room three you can just highlight all your images and turn into two thousand ten you'll always have this exclamation point and that excellent come exclamation point, says warning you're in the past you're living in the past that's what it means it's it's it's telling you stop living in the past but if I love what I've done so let's say I was in light room three when I worked on this image and I loved it I love what that looks like so if that's what I wanted to dio then just don't ever touch the process version and it'll stay fine and light room will export it that way and you could be fined that way there's no reason to ever touch it if on the other hand you you think I could get more out of this image, then if you click on the little exclamation point and tell it I would like to live in the present you click on it and it gives you this you updated I always tell it too don't show this to me again but I update it and now we're in two thousand four and see how the highlight shadows whites and blacks have changed so now we have different sliders so at this point I can go and do a lot more things I've got a lot more better recovery there's more latitude the new math is much better but you have both options and you can run both simultaneously together so the question then is if you have stuff that's in the process version of two thousand ten light room three just don't touch it unless you want to re adjust it for some reason so then you just stay away from that process version and if you're if you're making a preset so when you're when we talked about presets last last class just this morning and when you're making a preset remember I talked about how to select all of these and one of them is the process version so when you're making a preset if you don't want it to govern any changes from light room three to four in the process version, just make sure that you always unclipped that process version but if but there are things where you want to force it right? And so if you want to force people the light room for or force them to light room three that's when you check the process version so on my presets which all of you got you'll see that some say l r four and some say lr three if you click on it it's forcing you to light room three or two light room for based on clicking that little process version so since I'm working with the gratuitous amount of photos um and some are lr foreign summer lr three it's just something to be really aware of yeah, maybe maybe even separate them out or something yeah, just be where you can sort by process version, so you could if you want to look at your catalog and just look a go to the library filter and just sort by process version, and then you'll know this is my process version, whatever that work on those and then sort by process version two thousand twelve and work on those saying the same almost the same as you would a camera by camera, you work on this camera than this camera than this camera. You can also work process version by process version if you like and you can always go back to light two thousand free process version if you want to go back to like white room one, you know it's perfectly ok white room wants you to be able to work wherever you're comfortable, so if you like, if you want to work in the eighties, you can go back to film. Jared photoshopped genetic would like to know does auto sinking all images need more horsepower from the computer compared to using sync? Because auto sing complies each adjustment immediately? Um, I've never noticed a huge slowdown because I'm synchronizing fifty images at once or a hundred images, it probably does because it literally is changing all of these at one time. But you'll notice that it's like it changes him like this like down the road and so I think it just does it in the background. I've never noticed a change some but that's a good question I'm not sure it does require more horsepower, but I always have the fastest computer I can get, so I usually don't notice the slowdown as much so time for a new computer photoshopped genetic yes apparently like the one that I use on the road is the new retina display a laptop and it's got a solid state driving by the way, if you want to speed increase and you can't buy a new computer, just increase your ram and put a solid state hard drive in it will cost you about six hundred bucks to do that and everything will go you'll have a new computer just by putting a solid state drive in and sandisk has one for you about four hundred eighty bucks or something like that that's that's actually a pretty big one it's almost five hundred gigs for an internal drive and it's fast and man I took that and put it in my last laptop and I had a brand new computer after that it was amazingly fast just that solid state hard drive and there's some great tutorials online on how to install those solid state drives on your own computer, right? Yeah ok so let's talk about other synchronization is then so now we understand how to synchronize our actual developed settings what I want to talk to you about is some other cool tips on synchronizing for instance I went around and took some pictures here on my own here at creative live yesterday while I was walking around and I have a bunch of pictures that I would have and let's pretend this is a wedding it's in it's not an attractive wedding but it certainly is an event so let's pretend that I was shooting this but I was shooting it at the wedding so I'm going to quit this uh this catalog and I'm going to go I'm going to go on the road so now we're now on the road we're shooting a wedding and I have a I have two cards in my camera have a cf card and then have an sd card the sd card is shooting j pegs and the cf card is shooting raw ok and so the j pegs are going to the reason they're on the sd card is there's an sd slaw on the laptop and so I shoot raw plus j peg but they're separated out to do two different cards I take it at the end of the evening when it's time for dinner and I'm sitting down to eat I give my assistant the sd card which has been shooting raw find small j pegs big enough for a slide show but not all that great right hand it to him and it fits all on one card one sixteen gigabyte card everything's on their hand it to him and he runs off and starts working on a slide show so what he does is he actually piers here's what he gets so here's his pictures he just gets a bunch of j pegs right he's imported him into the laptop and he opens them up and brings them in delight room and so this is what he sees so when he opens up he opens up his own catalog makes a catalog for j peg so there two thousand j pegs or whatever inside of this folder and she's got all these j pegs and then he goes through and chooses and flags and stars and stuff and looks for about thirty images and then suddenly he's got these images and so he has worked on these so if you go to develop module you'll see that my assistant which was me last night worked on these and I did my assistant did a great job because it was me and so I brought brought up the exposure a little bit add some blacks I worked on this j peg now I am going to show this to the client and they're going to love these but there's a hazard and showing him to the client on a j peg why because the client see this in black and white and then a week later when I start working on the files I forget that I made this in black and white and I put it in some other color and they think I saw that in black and white or even worse is if I show it to him on the slide show in color and then I turn it to black and white and they see it in black and white and they're like well I like the color on the slide show better and now you've got an issue where the client wants you to be changing things on them and you don't want that happening you want the client to see a black and white as a black and white right no opportunity for changing don't call me later and asked me to turn on my black and whites back into color I don't like that ok, so what we need to do then is we need to notice ourselves send notice to ourselves a memo for every image that we've worked on back to our raw images that are raw images are anywhere to be found here at the wedding there going to be at home they're going to be at the office later on a week or two down the road when I'm working on these images and so what we're going to do is we're going to teach you how to synchronize them into the catalog so what we do is we allow the assistant to do whatever he does don't rename the images just just go in and choose them and then once we get back here sort by attributes he's going to be working and just the flag one so here's the flagged ones this is my favorite was peeking in on classes the other day looks like he's like a maori lawyer a lawyer or something or lawyer I don't know if they're any mallory lawyers but that's what I suspect they would look like okay, so anyway here's here's these images that I've worked on on the road and I've showed this slide show so I did the slide show the happy music you know on dh so we we impress the client at the wedding itself so now I simply close this catalog down then I'm going to go back to my original working catalog that I was working on so now we've got we're home welcome home we're back at the studio and we have the same set of images but what we've done is we've brought them in as raws and j pegs so when I went home and I imported all my cards I imported the j pegs and the wrongs when I did that I allow myself to now come in and say file import from another catalog and I'm going to go to that catalog which is on this drive down here, that catalog, it is point at it because that catalog, that little file has all the information about what I did to those j pegs and I hit choose and now it's importing all the infancy there's fifty to some things that need to be imported, and I could tell it, all I need to do is bring in the metadata and the developed settings on lee I don't need to preserve the original settings is a virtual copy, but you can if you don't trust what's going to come in the door, and I hit import, and once I do that, see that there is the j peg and it's been changed to exactly what I did out on the road, so that now when I start working on this file, I can just simply shift, click and synchronized the settings so let's, just check all and I don't have to work on the slide show images. They're done so literally within ten minutes of being home, I could have facebook images deposed but coming from the raw images. Now, why do I not just post the ones that I worked on from the j pegs? I'm going to show you with this image here, look at this j peg right here, do you see that crap right there? See that? It's all blown out right if I look at oh let's look at this ok so if I look at this image blown out right let's go to the equal raw image which would be this one do you see the detail? Okay so now watch what happens if I synchronize these so let me go to the developed module so weaken look at this really scrutinize it we go the develop module and we highlight the original j peg and then the raw is going to be right next to it so there's oh it's on the other side of it so it's this one right here see that there's the raw and there's the j peg shift click and we're just going tio synchronize everything and now look at the difference between the two files do you see this window beautiful window and not so beautiful window now there is a difference do you see how much darker it gets in the raw? Okay, so the problem is that raw images have more data and so they're always going to be a little bit different than the jake just a tiny bit so all you have to do is just I would just adjust all the images, synchronize all the images so that you and and of course you can also inside of the grid module you khun synchronize the metadata as well so you can take this meta data here you can synch it and it'll sink that stars and flags and all that kind of stuff so you just you synchronize that as well, but that way you have the flag, so I want this to be flagged as well so that I know that this one was flagged, but if you once you're done, if you just take all of your raw images that you've just process and go back into the develop module, you'll notice a trend that all of them are a little darker all of them are a little this or that all you have to do is just come in and just give it one pop of brightness and all of them will get one pop of brightness or one pop of contrast or one pop of whatever and since you spent almost no time getting the settings from one to the other it's very easy to then say, oh, well, I can I can afford to spend just a little time to tweak this and make it perfect because that's going to actually save me in the end. So now I like the image exactly as it is, and so now I can export this image and I'll export it to actually I'm not gonna export I'm actually going toe posted on facebook, so I'll come down to, uh, in the grid come down to the bottom of the grid and I will just drag it into my facebook posting publishing sections down there which we'll talk about at the end of the day talk about published services and how easy it is to get stuff out so I could get this out to facebook like that from light room on dso think how easy that is to get something out to the client immediately after the wedding I mean immediately in fact you could almost do it at the wedding it's that quick so but that's a synchronization technique we call it synchronizing cattle lungs that same technique works for all sorts of things. For instance, if I have a job and I want to take it on the road with me so let's say I want to take this wedding on the road with me I can right click the job folder file and I can export it as a catalog put it on another disk so you know just a spare disc take that disk with me on the road work on it when I come home I don't need to drag the files back. All I need to do is go back up here to the file import from another catalog and point to that plug that drive in point to the catalogue that I took with me on vacation and it sucked back in and all the changes that I made when I was on vacation we'll come back in and synchronize here in that way you don't have to have fifty five I just have one disk that's called a travel drive on I put whatever I want on it when I get home I just synchronize it all back and then I erased the disc because it's clean and then I'll travel with it and so it's always clean and I only take it to travel work on it and then we come home synchronize it back and then the main working catalog has all of the the final information in it ok, any questions questions? Good I'm clear ok let's see what else you want to talk about um oh uh when I work on images if I lets it we're going to talk more about collections later but if I take this image say and I create a collection and I'm just going to create a collection called um a so that is right up at the top and I'm going tio include the selected photo in a collection so now I got this collection and I might actually create this when you make a collection you can tell it to set it is the target collection, so then it becomes the main collection signing time you put something in a target vaginal show up in this one and then we'll talk more about that during the fourth fourth session today but here's here is the you're in a collection now we were up here inside of a folder a legitimate folder so folders have actual information and they're an actual spot on your hard drive but a collection is not that way a collection is a fake place it's it doesn't actually exist so where where did my a burial that doesn't exist that folder location is virtual but they're both synchronized because it's the same file so if I take this and turn it to black and white or whatever I happened to do with it let's just bring up the temperature and over exposed a lot so that we see that we've done something to it if I go back to the original file here it's it's synchronized those two are always synchronized so if you work inside of a collection it's doing it to the original file if you work in the original file it's doing it to wherever it is in the collection so this images in five different collections it's happening to all of them the only way you avoid that is by right clicking it and creating a virtual copy when you create a virtual copy then this virtual copy is really actually still looking at the same original file but it's got its own settings to it so now this one I can bring down the exposure and it's not changing this original one they're not synchronized you can of course synchronize them you can always sink the settings back to a virtual copy, but if you want to avoid all of your versions of this fire all of your references of this file changing and say aye in a collection down here when you make one when you make a collection so let's create a collection and we move stuff into it tell it to make a new virtual copy of it and then whatever's in that collection is a virtual copies so that when you change the original copy it's not changing the virtual copy if you want like its own copy and it's not going to change the great thing about a virtual copies it's not actually taking space so doesn't make your catalog any bigger and it doesn't make your files any bigger but it's a whole another version of that file I remember back in the days you'll remember this back in the days when we had photoshopped to and there's no undue so you had to you had to do the file and then every ten minutes you'd save it is like number two version three version for so you'd have like fifty versions of this photo and then at the end if you are satisfied you delete all the old ones because there was no undue well, this is like the ultimate undo because it's a whole another version of the photo and it's not even doesn't exist so we've come a long way since photoshopped one and two oh, my word that amazing changes can you sink within a collection? Do the auto thinking bring ten? Yeah, you khun anywhere you are, so if you're in a collection, let me just find a collection that I can actually show on live broadcast, okay, so if I'm in this collection here so I can I can look at any of these images and aiken well, actually, some of these images are actually notice this is this is an important thing about light room is that you can look at images that don't actually exist on your computer, so that question mark, that means that this photo doesn't actually exist on my computer right now it's on a disk somewhere else, and so it doesn't know where it is right now, I'm looking for some that happened to be on the disc. Well, here I think all those air in my portfolio so it's not attached, so we're not getting them, but if I go to, uh, this wedding and I highlight, you know, these images and I create a collection are actually let's just adam to the quick collection, adding adding something to a quick election is just a b you hit the bee key for boy for boy that's good, I guess I don't know, um and once you do that all of them have been added to the quick collection so then when we go down to the quick collection here they're not even there oh I just root that's because ok thank you so what happened is I was on this photo and so I because it was in the quick election be removes it from the quick collection so yes so if I had be now when nothing's in the quick collection or when these are in it adds them to the target collection so then when I go back to the target collection yeah I can work on these all day long and synchronize and it's it's no different than if I was looking in the folder but when I go back to the folder if I go to the developed and I turn all of these in a turning on auto sink and highlight all the images and turn them all the black and white then when I go back to the library and I go back to the regular see how they're all these air all in black and white so it is doing it to the original always want to be working with virtual copies in collection no not always I never worked with virtual copies because if I change something I mean for it to change everything so for me I I love the fact that anywhere I work on a photo it changes everywhere every reference of that photo gets changed, so if I decide I want this to be a black and white at this point in my life it will literally go and change it in collections, in smart collections and even in published services, which is fantastic because later on, as you'll find out the fourth session today, you'll find that I can change something in my portfolio to black and white in one collection and it will republish it to facebook automatically in a completely different area because I changed it and then I can just hit publish and all the new stuff goes out and all the old stuff comes off, so if I decide something needs to be a black and white, I mean for it to be black and like, all right, I'm not the kind of person I'm not the kind of person that makes six generations and says I'm not sure I'm not sure I'm the kind of person that says if I think it needs to be a black and white that's, it that's the end of story because I'm the one making the decisions and I make very harsh, brash decisions that's just what I as the way I am so many questions out there wait, you have a question from jake helm kind how big of a travel drive do you travel with that's a great question I actually just bought a new well, I have to have a lot of discs, but one of the travel drive is just a one. What is it? It's a five hundred gigabyte travel drive? I don't really need all that much on it because it's stuff I'm working on, but I also have I just bought amazing, sturdy it's, a western digital called a studio, my passport studio and it's rugged it's like I feel like I could, like break through a window with it are like I could get like if someone was trying to rob me, I could hit him but it's it's pretty small and it's two terabytes so my entire portfolio fits on it in fact it's right here it's this guy right here, this portfolio thirteen that's mine look at that that's my entire portfolio since I started doing digital back in two thousand two, I think is when they allowed the first digital, you know, and so that's a lot of stuff and it all fits on there and I still got what, three hundred eighty six gigabytes available and a lot of this stuff is stuff that I think I'll delete over time because if you're not embarrassed by what you did last year, you're not improving and so maybe think about two thousand two there's a lot of stuff I'm embarrassed by so you know I need I need to start deleting stuff and I have been I actually had my assistant go through my images and I I turned it on a computer plugged in the portfolio driving said ok open the portfolio and I want you to reject so use the ex key and reject anything that you think is embarrassing or bad and he got rid of half my portfolio but that was great because he was going based on his instinct and then when I when I came back and looked at the images that were left I was like and there's some stuff it's really embarrassing he's like oh, I thought that was good, eh? So you know, I mean he's in a different level and so he was a perfect person to review my portfolio because he just he's he's in a lower level of photography doesn't quite have the same skill sets that I do and he's not a cz used to it and so he made decisions based on what he thought would be embarrassing if he shot it and so I definitely wasn't worried that he was going delete amazing stuff and then I was able to just kind of scan through his rejects I just sorted by rejects and then I could find ok wait that one's an important one that needs to stay and he didn't quite see what I was doing with it or whatever and so I was able to kind of unread checked some of his stuff and then I just literally highlighted it all and went delete so you know, probably hundred gigabytes worth of stuff we just deleted over the course of the last three weeks or something because that was his job any time wasn't doing something specific he was going back to the portfolio in rejecting so that was his job. Ana it's it's a great thing to have an assistant do so so just to jump in with another question on this topic a couple of people from the chat room I scott if I shoot both raw and j peg, is there a way to rate one of them an automatic we sink that rating to the other well ok, so in that trying to go to the grid hold on okay, so if I'm working on an image here in grid and I'm shifting to hear and I hit one, both of them get started one so any time you're in the grid when you start something it stars both of them if you pick something it picks both of them that's in the grid if you're in if you're in the survey mode so that's n the n cay then if I stop three star this image, it doesn't three star this image and the reason is that in the grid they're expecting bulk action okay, so it synchronizes anything and everything you do is always sink than the grid. But in the survey mode, it's not expecting that survey is expecting you to be viewing and choosing images and pitting them against each other like this is the area where expects like this is like the survey is like ultimate fighting challenge for images, right? So everybody doesn't win. One person wins is this is the case. This is little league football. Everybody wins, everybody gets a trophy, right? But but the survey mode is ultimate fighting challenge, and someone dies at the end or get severely beaten. Okay, so like this one's going to die and get beaten and this one's going to stay right now, you can also adjust images inside of survey mo, just like you can inside of it the grid. You can adjust things here, which is actually quite cool because now if you're inside of survey, right, you can adjust images so I can take the exposure up. But look, I can just expose this one, and this one stays the same, right? Or I can turn on the auto sync button, and now if I start adjusting images, both of them are adjusting see that, so they're both adjusting and remember this if I turn on auto sink inside of the the survey mode it becomes little league football again because if I hit four star both of them get four stars okay, so you can actually take survey backto little league football if you turn on the auto sink, I always leave it off because I like the ultimate fighting challenge who doesn't? Right and so that's a great question. I'm glad they brought that up, so remember that now the other thing you can do synchronization lies is if you're in the developed module and you're working on an image. But you want to see because these the's air small right, kind of hard to see, so if I'm selecting a whole bunch of images like this and I'm working on them, I want to see what they're doing, but I don't want to do this because then that small all right? So if you have two monitors, simply turn on the second monitor and this were pretending we have a second monitor here and turn it into survey mode. Now you have bigger images, right? Watch what happens to these images as I play with him. So if I go in here and turn a malt color turning black and white, brighten them up, add some highlights contrast watch what's happening toe see this? They're all changing, so the second monitor is showing you what they will look like when you're adjusting them and so you'll see him big, and usually you're not looking at him with that many images, usually what you're looking at is something more akin to, um, you know, you're looking at, let me let me find you know, you're usually looking at four images like this, and so this screen is showing you four images, and then you go like this, and you brighten that one up, and then all of a sudden, all those of brighton, so all you have to do is glance to the left and say, yeah, they all look about, right? But then you go, oh, but those two over there a little brighter than those to which you can see better because they're bigger. So then you simply click on this one and that one which were the two, and just take them down a smidge isn't a smidge one pixel, one pixel on then and then that's it. So now they're all correct, but you get more information because of that second monitor giving you those adjustments and that's really great for like, when you have, how many have you done, like a portrait of a family? And then you do portrait of each kid, right, and so and that the lights changing and this, then maybe you're in the shade in this one in the sun and this one because you're following the kids around and so then you want to see him altogether and you're like ok, I've got three images of three different kids but they're all going to be printed together and hung on the wall together so this is where I start comparing him I put this on the survey over here I put three of them up and then I'm working on this one to see what how it affects all three of them so that's a really important tip is to how to utilize a second monitor when you're in the developed module so you can also utilize the second monitor when you're selecting as well have the second monitor show you everything full screen and then you can see your survey over here while you're selecting so use your second monitor it's a very valuable tool cool do we have any quick read quit today but if we if you guys have any questions we can do now or we can keep you rolling any questions I've got one more thing that I can teach you in a minute that's really awesome good okay, here we go right so this is what we want to do the beauty of the the book module now in light room for which is only going to get better in light room five and six and seven you know it's just going to get better and better the beauty of designing a book inside of light room is that you can design the book in wrong so none of your changes their absolute so the idea behind it is this if I'm designing an album and I'm just going to go on hold on let me go back to a another job here okay? So I'm going this is an engagement session that I just did and I'm going to go and sort by attributes I'm going to go to say three star images so these air the three star images from the engagement session which was down in the dry tortugas off of florida which is a really interesting place so I'm going to highlight all of these and I'm going to go to the book module and in the book module remember these air all raw photos I've done the adjustments on him but I can design a book now based on these photos and and so it's I think it's actually auto designing the book right now it seems no it didn't okay I can have an auto design the book so let me let me clear the layout okay? I can I can tell it I can highlight all these images see these images that I've selected I can tell it I want to auto design a book so I'm going to go here and doing auto layout and now my book is designed so we'll wait for it there we go so see how they're coming in okay I just did a one per page book but you can tell it presets by the way you can tell it presets we talked all about presets last hour but here in presets you've got all sorts of presets so I could do you know left eye khun edit the layout and I can change the pages one you know left page can be one thing right page could be another I can tell it to do random from my favorites and I can say I want on ly two photos per page on the left page and then I can hit save and then I can call it a preset I'll just create it azzan untitled and then if I want to you know untitled preset and auto layout and it'll just redo the book no here let's clean it there we go well I don't have any of the favorites in this so you have to have actual layouts in your presets your favorites so if you want to make a favorite layouts you go down and you choose like say, two photos per page and that's if that's one of your favorites than you tell it right click it add two favorites so now I have a favorites in there so then if I clear that layout and auto layout so now I've got one here and to hear to that and then I can readjust these. I can change the size of them and do that and there's so much stuff with I can choose the different style of page that I want. You know, I wanted to look like that, but the key is that now synchronization works for you because I can show this to the client or I can work on these. And then I could go. You know what? This would were better if these are all these three images were all black and white. Oh, ok, that's. Fine. So all I need to do is I need to go back to this image right here, and I need to do it in the in the developed module. So if I hit develop now, I'm highlighting on that image and I can turn it to black and white. And then when I go back to the book module, I've got a black and white image sitting on my book. So the fact that you can work in raw and it synchronizes back and forth is such a absolute amazing thing to be able to do. This is where I'm gonna get on my soap box and I hope adobes listening, the one the one shortfall. To the book module is that you can on ly design book sizes that are available through blurb now blurb is a great company and I love their books and I love sending stuff to him but I need to be able to also design square albums for leather craftsman or for kiss books or for you know I mean so I love sending my it was a great kiss wedding books awesome company kiss kiss wedding books I think it's kiss dot us is the is the actual website so anyway kiss has a great set of books but I can't send them these books because they don't actually produce a square file they produce like this weird blurb size they're square him they're square pages or not twelve by twelve there eleven and seven fifths by you know whatever and so I can't send those to other people and so lighter needs toe have different page size options or the ability to create your own page size in the book module so that's my soapbox so if adobe is listening out there I'm serious we gotta have different page options for that because that that would make this book module perfect but for now I can design blurbed books all day long like this and they're fantastic or if you have a designer that will cut your pages to your specifications that's good too that's the last tip from the synchronization extreme smack down so the most important thing aiken teach you then is to synchronise all the time auto sink is the best but there's so many other options just just get used to him use them together and utilize synchronization throughout everything and including synchronizing your various uh catalogs together and things like that so with that being said the next session is going to be the portfolio management and I can't stress enough how important portfolio management is so I can't wait to show that with you I'm going to show you how to set up your portfolio in light room how to utilize it so that you can get stuff instantly out to people that requested so when the magazine's submits and says, hey, we're looking for flowers you khun you can get those and send him out the day that you get the request um I was in the other room yesterday and we were being told told about the importance of snapshots all the time and you don't seem to use him little snapshots because I'm a little egotistical and I believe in what I'm doing so I just don't I'm done with a photo within seconds so I don't have time that I'm not going to add a snapshot t to make sure I could go back two seconds to the beginning of the photo go on dh snapshots are great if you don't really know where you're going with the photo so if you adjust it at a snapshot and then adjust something else and at a snapshot and then you can toggle back and forth between those that's great, if you don't know what where you're going with photo, if you're just kind of meandering through it, but when I see a photo, I know exactly what I want done with it now, like it's in my head before, so I'm pre visualizing at the shot when I'm shooting, I want this to toe look like this, so I'm just I'm just going there, so I don't I don't really use snapshots all that much because that purpose so so I'm in I'm in a negate whatever someone else said, and I'm going to say snapshots air only important if you just if you just tooling around and meandering and don't know what you're doing with that photo, you just don't know then then they'd be useful to compare, but for me, I'm very rarely in a situation where I don't know what to do with the photo.