CC RAW shooting
There's another thing in light room. CC to me was like a a game changer like this I was really excited about. As a photographer. I want control of my camera. And as much as I love my IPhone and the beautiful photographs that created, I was like, I feel like I need more control. And so and I wanted to be able to shoot raw files So the phone normally generates a J pic file, and when I want, it was the raw file. And if you're coming into this and you're like, Well, what's really the difference? So the J Peg is a file that one has less bit depth. There's actually less information and J. Peg than in a raw file, and the Jay Pek has all of the secret sauce applied to it. So it's got Scharping applied and saturation applied and color profile for what they decide. The skin tone should look like whatever it is, they make all those decisions, they bake it in, and a lot of times we look at it and we're like, Oh, that's amazing. I love that. Well, sometimes I want to build edit that, and I would li...
ke to start from a spot where somebody hasn't already cooked the food. So this is, I mean, a J peg is the equivalent of going to a restaurant, taking the foot food home and then trying to re cook it again. And while some leftovers reheat, well, some leftovers don't. So I want that raw file. So you have to use another tool to create a raw file. If you're working on on a mobile device light room Sisi on the mobile device with a couple of criteria, you can shoot a raw file. You'll get a DMG file out of the phone. If you're on the android world, you need to be on Android five or the Valley. Pop, Uh, and your phone manufacturer needs to have enabled the raw file option. So so many phone vendors they may or may not have turned it on. If you're on an IPhone working, you just need a camera with a 10 megapixel camera on it, which is IPhone six timeframe. So anything after that you'll be able to shoot a DMG. If not, you could still shoot through light room and you'll just get ah J Peg Bridge. Just want the rough. So in we jump back to the phone in the lower right hand corner. I've got the option to look at my photos here, or I've got the option to be into the phones when I click on the phone. Change the orientation here. I've got to turn the flash on over here. So I've got flash on off auto. No. And here's where I can change from D and G to J. Pecker, D and G. Hope isn't routine. I'll hold it this way. I can make this work D and G. So the D and G is the raw format, so that's the open standard for raw format. So I'm gonna shoot DMG, change the orientation like camera with that button right there. So front or back who? Don't do that. Okay. Here. I could change the aspect ratio for by three. I can put in crop grids. I want to change the aspect ratio. I want to put a self timer on. Um, so I've got some options there. Then down here, I've got it. The this middle row right in here. I can change the exposure Compensation. I want to actually change the isso when I want to make sure I control the I S O. I want to control the shutter speed. I want to adjust the white balance. So I've got now the controls I would have in my SLR to make the controls. And if I want to be an automatic lazy mood, I can just go to automatic. And now I'm back in the default. I'm still shooting a raw file, but now the cameras making all the decisions. So I don't have to worry about all the settings. So I've got the what I'll call the I normally shoot mood, but tell everybody I'm in pro. But I'm really an auto. Yeah, So I go back to the pro and then I could make my photograph. Now what's cool about this is I is a fine art photographer. I decided to give the demo with the classic fine art photography. Still life the egg. Okay, so has I'm in here, and I've got I'm gonna go ahead and shoot my egg portraiture. Still life. I go on ahead and click on my photograph and then I'll say, Oh, actually, let's change the white balance of that. Let's do a cloudy to warm it up a little bit, Alex. Nice. Let's do a little exposure compensation and kind of give it more moodiness. Let's do that. Okay, so I work and make my shots. Now, as that's happening, those photographs are being, um, captured and they're gonna be sink and uploaded into my CC account at Adobe's Cloud. So the photographs were being taken. They're going to put into my CC account, and then they'll get sink across all my devices so I don't have to do anything to put them in the light room. If I'm shooting through the light room phone app, they just automatically show up in the interface. And so what's cool about that is I've got now the manual control that I had before, and my photographs are automatically in light room. I must have a weird sort on the phone here. Uh um, I will find it here shortly, so come back in if I, uh if I want to add photos on the phone, I got the camera. Next to it is the little icon with the plus sign right there. That's add photos. So this is going to go out, and I can load in photographs from my camera. So these in my photos on my phone So in this case I have edits is some photos with snap seed is a program. Some just go ahead and I'm gonna select that photograph. I just a little swipe to do this selection. And then I would kind of like that one. I hope there's Batman the Cat, He's classic. And then I've got an option to add three photos down there. So I add those three photos and now it's gonna import those three photos from my camera roll that were taken with the normal camera app and put them in the light room for me. So I can either shoot through light room, raw file, add or I can add photos and I gotta fix the sword on that. But we will fix that on the break. If I come over here to light room classic CC, back to my grid. There you can see the eggs of sync up. So they're in adobes cloud. Now Adobe is transferred That information down to my desktop so shot on my phone and now on my desktop got a question, by the way, So that was shot on your phone through light room. Yep. Yeah. So in light room, you've got the option to actually take the picture, which is just a little camera icon and Lauren corner. Click on that and you'll get into that that interface. So to me, that's a really cool way to get control of that camera and have the raw file. So have that that creditability. Who says So? The pictures air shot that air shot B A C C are captured and stored at full resolution. Great. Yeah. So that is so that raw file off the phone was taken and thrown up into the cloud for that? Um, yeah, that smart preview version is if they're on the classic one and move up. You already have the originals. They just roll the smart preview up. That's kind of along my question. So now you have this in the CC version, But is it a smart preview in the other in the classic, So in in classic. Okay, so I'll answer that question later. I'm gonna show you there is a way you can set up classic cc toe automatically download all your photos out of their C I actually, the way I'm set up, I am getting my my DMG file that I just took. The egg will pull down into my classic catalog. It's not organized in a structure, and I'm losing all the information here, but it's actually pulling back into my classic piece that's not holding a sink. It's really just a download as a backup copy, and it's just my workflow is locally driven, and so I just want to make sure I have the backup. That's when I said that. But I'll walk through that that actual set up. You could see here a little bit to answer John's question here, See, is the original file. If I get on the info tab, it's the original file, and the original is backed up to the cloud. So locally, I have downloaded a copy of the original file to my computer, and the original file resolution file is up at Adobe as well. If I come down and grab another image like this, one you can see locally has a smart preview. The cloud has a smart preview because this file is a raw file. It's in my classic catalogues inked up. So the info tab will tell you that it's sink from Light room Classic, and it's on Lee showing you the smart preview so that we can kind of keep a sense of what's actually what's actually happening with those.