A Detailed Introduction to the Develop Module


Lightroom 101


Lesson Info

A Detailed Introduction to the Develop Module

So today we're going to talk about the developed module yesterday we talked all about the library module we talked about all the bells and whistles there a cz well it's just the really basic stuff on how to get around that was good. It was good with that. Yeah, what was your what was your biggest takeaway? You were the first person who has explained in a way that I can completely understand the difference between catalogs and folders and for me that was a total light bulb moment and it's now I don't know exactly what a catalog is it was it was a revelation. Good, good. How are you? I think, uh the power of key wording was was the biggest takeaway for me? Yeah, they were very, very important and that they actually work outside of well, you know, your computer, they you know they're useful on the internet as well. I didn't realize that, you know, somebody actually looked in there good. Yeah. For me, one of the things was the work I can do in the library module and then go to the develop ...

module. So I found out, you know, that I was wasting a lot of time where I could do bulk corrections for lack of a better term in in the library module and then go to the developed module. Yeah, those relative adjustments are huge good. Well, today we're going to be in the developed module on as we get towards the end of the day will also get into the print module, which has some pretty fantastic things you could do there as well. Things you know, and there's. So many things in light room that are obvious print module you can print um, but there's, other things inside there that you could do that are not so obvious that they're very useful, so we'll deal with those, and then we'll also talk about exporting a lot today. So let's, get started. The first thing that we want to cover today, it is our snack pack, so pull up that slide aboutthe snack pack and just in case you haven't downloaded your snack pack, you can go to jared platt, dot com ford slashed snack pack on dh that's, where you can download its it's basically ten of my favorite presets on dh. Those are things that we're gonna work on today. We're going to use those presense today so that you could play with them and learn some lessons that we have for you. So if you haven't gone there, jared plant, dot com, ford slash snack pack and that's where you download it, is that a fast download or a slow one? It's a very fast remember presets or super super tiny there they're smaller than like a word document their tiny and so on ly ten of them in a zip folder which actually compresses them further what basically you'll sign up you get an email and when you click on the link to the email it is already downloaded it's it's downloaded it by the time your internet browsers open it's already downloaded so you go to your download folder and pull it out on dh that's where it will go to so anyway get it and then it will look like this there's your little zip snack pack right there and so that snack pack has ten presets in it that I've just collected I open it up and it will unzip it and this is my unzipped program that's running here and so you could see that it's got all of these presets and that sort of preset looks like it says whatever the presets name is dot lr template that sort of preset looks like now um those of you have heard me talk about pre cents before no that I dislike naming presets things that don't make sense. For instance, if you name it uh funky snowman, I don't know what that does, so I have actually purposely named all of presets in the snack pack to be ridiculous like, for instance, cheese and crackers vertical and horizontal cheese and crackers so we'll talk about those names but for right now I just want to remind everybody out there in the internet download your snack pack because you're going to want to play with these as part of our lessons today so it's ten free some of my favorite presets that I used so go down those um all right let's I'm going to take this and put it out on my desktop here so that I have access to it so there's my snack pack and I'm gonna open it up and there's all of my presets and now we're going to talk about installing presets we talked about it a little bit yesterday but I promised I'm going more detail on it today so we will start with the concept of presets because when you were in light room you will find that a lot of what you do in the developed module is based on these kind of presets here in the pre set module or the precept panel so let's let's talk about that then presets are not there not rocket science in any way, shape or form they are they're simple things that you click on to change slider adjustments here but installing presets can be a little more complicated than how simple they actually are you have the option of doing several things first off you can make a preset we'll talk more about making presets after lunch, but you can make a preset by simply clicking on the plus button and making your preset um but you can also write click inside the precept folder and you can import presets and importing presets allows you to like let's say we wanted to import our snack packs we could import the snack pack this way, go to the desktop, find the snack pack and highlight the the pre sense that we want to import kind so you would want to first go to the plus button here and the presets and make yourself a folder and call it, um snack pack by jared, I just wish my name howto act at the end snack pack by jared plaque that'll be good, right? I'm going, I'm going to say snack pack by jared plaque so that it rhymes that's more fun! So I just create a folder called snack pack by jared plaque. So now if I go down here and look for the snack, I've already imported snack pack ones but let's, look for my snack pack by jared plaque there. There it is so that's the folder I created by clicking on the plus button up here above the presets now, if I right, click that and I import these snack packs notice that I didn't try and import the folder I imported because it won't let me see if I find highlight the folder the import button doesn't actually show up so you highlight the entire set and hit import and now it's imported those into that folder so you can import a group of of presets so as long as you down your load your presets and you know where they are you can import them in and it's going to put them where they belong the problem with importing presets is that you can on ly import one folder time you've got to make the folder and then import thie the presets into the folder so it's a little labor intensive to go that direction and by the way if you're in light room three you can't do it a group of them you can only do one at a time and that gets really annoying when you for instance if someone purchased my comprehensive presets there's four hundred presets in there and so can you imagine doing each one one at a time? But the other problem is that if you use this method to try and import all the folders I think in my comprehensive set there's like ten or eleven or twelve folders full of presets and so you have to do this eleven or twelve times whereas you can do it all at the same time and I'll show you how to do that in a minute but this is the the simplest way to do it if you just have a couple presets you want to pull in that's the easiest way to get them in it's just click on the plus are the import our click on whatever full do you want to import it on and hit in poor and then go find him and pull him in all right but it's not the most efficient way the most efficient way to install presense is to find the preset folder that you so we first have to find where are this is our preset folder right here is that the presets that we want to bring in so you first find that folder then you go toe light room you go up to the preferences menu under the lighter menu or if you're in a pc it's under the edit menu you click on preferences inside preferences you go to the panel on presets and you click on the show light room presets folder click on that light room price that's folder and now it is showing you where all the presets reside inside of light room we're gonna hide light room now so now we've got our snack pack over here and we've got our preset folder over here this is where light room keeps its presets when you click on light room you're going to this light room folder you'll see all the different presets you've got export actions you've got export presets you've got even print templates on by the way there's some print templates if people buy the course that little set of presets that I'm giving away has print template senate has export presets in it so that's where those would go and it also has developed presets that has this everyday favorites folder right here so all of those presets that you see right there are there on the course page so so that's a that's pretty big set of presets so if you have those presets doesn't matter if you got my snack pack or if you ended up getting my everyday favorites or if you purchased the entire comprehensive collection online regardless of what you do you can install it simply by grabbing that folder full of files and dragging it so I grab it and I drag it into the developed precept folder and now it's there so now that it's there inside the precept folder it's going to be available inside of light room. However, if you're doing it this way so this kind of the back end install which means you can grab a bunch of folders of presets and drag him in there so you can install fifteen folders full of presets all at the same time but the warning is the light room can only see one folder deep and so you have to be aware that all your presets must be visible in the first main folder so you have developed presets is the folder where the developed presets go you can divide them out by folders but then that no folders could be seen inside of the folders so it can only go one folder deep songs you understand that you'll be fine on organizing your presets anywhere you like once you've put your folders into this area, then you can go back to light room, quit light room and then restart it and once it's restarted, then you have access to those so here's the jared plot snack pack right there all right, so that's how we install presets into light room and the same goes for every pre set that you have anywhere in light room whether it's, for instance, um you can install presets into your brushes and grady and tools, so and we'll talk about those in a minute, but they're right here and all of those air installed in the same place those air installed in something called here I'll show you the folder to it open up the folder and it's called local adjustment presets so local adjustment preset is this pre set over here underneath the the brushes and the grady inst tools? So if you want these presets you want, install presets here that's where they go and of course you can make presets by setting up your sliders and then clicking on here and as every preset drop down menu at the bottom is a save current settings with the new as a new pre set all right, okay, so we will talk more about those presets after lunch but I want everybody to know how to install them so that by the time lunch comes around everybody has gotten their snack pack and they've installed their snack pack alright, so get that done before lunch is over I guess I could say in just your snack pack at lunch, right? All right, so that's the snack pack let's talk about the develop module and take a tour of our developed module. The first thing to know about the develop module is remember when we were in the library we talked a lot about filtering so the main filter which is up here in the library filter that's like your intense filter that does not exist inside the develop module, so if you need to do a major hunt for images or filter, you would have to come back to the library module to then sort your images and then go back to the develop. Fortunately in the developed, they still allow us to have the quick filter down here and remember if you don't see that quick filter if you don't see a filter for flagging or starring or colors it's probably because you haven't filtered for them yet so if you go back to the library module in you and you accomplish some kind of an attribute filter before, then, it will appear down here and they will stay there then when you go the develop module, you don't necessarily have to go back to the library module to start filtering for things. So in our case, I want to look for images that I have already selected, so I'm not working on images that I I don't care about, so I click on the filter with the flag, and now I've got a small subset of images toe work on, and I'm not working on the entire thing, so that's the that's the first thing to understand is that you because at this point, you probably haven't gotten rid of all of the images, but you want to make sure you're not working on unsolicited images because that's just a waste of your time. Okay, so when you're working on your images, there are certain things certain rules you should follow, and so let's talk about those rules really quickly. The first rule of thumb is that you don't want to work on multiple cameras at the same time, eh, so if you have a canon and nikon camera, and you work on both of them at the same time you won't actually be able to effectively work on the nikon with the cannon settings and you won't be able to work on the cannon with the nikon settings because they're different. The same is true for a cannon d sixty versus ah ah sixty d it's interesting how nine coming canan reverse those but anyway, so if you're on a sixty d with a cannon and you're on a seventy d with the candid those two won't work together okay, so we really want to work on one camera time so you can't filter that in the quick filter so in that case you would go the library filter and you would sort in the metadata menu for the camera. Now yesterday we talked about sorting by file types and things like that, but today we're going to sort by camera no notice I only have a mark three so that that's the only thing that's here now if I but I have three mark three's on the shoot and so if I click on camera serial number, then I'll see their three but of course I'm not seeing all three oh that's right? I think I only shot with one on this at the wedding shoot I had three on it but on this island had won because portrait shed zero slower so I don't have one camera so I don't have to filter by cameras however if you were at a wedding or if you're in an event or something where you actually have lots of of of cameras on there you want to go here and then click on this and that will then on ly show you those specific images from that camera so that's the first rule you need to follow is that you always work on one in one set at a time so you goto camera one and work on those images and camera to and work on those images that camera three on those images oh, the second rule of thumb is for me especially in weddings is toe work on the photographers favorites first and obviously we're not working on the rejects the things that we're not choosing so rejects for me have no flags on them they just I didn't choose them but for um for the selects the flags, the ones that I'm going to show the client those are the the those air the bare minimum until it has one star above I'm not really all that concerned about it and so I want to look at the one start about because those the ones I'm excited about and if I'm in the developed module right now I have and I've searched the flags have got fifty three but if I go from for stars and I searched one star and above now only have eighteen so which is easy to work on eighteen or fifty three? Yes, at what stage do you delete the ones that you haven't flagged at the very end? I will get rid of all those people not before because I'm and and it's not because I'm worried that I'm gonna have to go back and grab those but there's oftentimes ones that will get rejected out of here as a result of I couldn't fix it remember yesterday we talked about the red, the red is the warning, and if I can't polish the turd, it has to go away so that if if the turn doesn't get polished, then it will then be thrown into the rest of the rejects by virtue of taking off the flag. And so I don't want to actually throw the other ones away until I am able to throw more into the pop I'll throw away. So if I have, you know, five hundred images that I've selected in the wedding and as I go through the developed chances are ten or fifteen of them are going to get thrown away as they go through, so I just saw off the runway at the very end as a result of that, so I've got my star and now I can work on a very small subset of images and that's easier for me to stomach it's easier for me to see him, I can get it done quicker on dh. That way I can get stuff out on social media quicker. Aiken, aiken, I can provide images to the client quicker. Aiken do prints for the client and I'm working on these images and then it's just a matter of taking the whatever recipe I've created in this photograph and then sending it out to the others. So that's kind of the second rule is that we do our favorites first, and that allows us to be excited about what we're doing, and it allows us to get it done quicker then and of course I go. I go over these methodologies on selecting and on adjusting and things like that maurine detail in my work flow class here I'm on creative life, but suffice it to say we we do camera by camera and we do our favorites first. Once we've done that, then we need to know how to synchronize. So that's we're going to talk about right now is all the synchronization options inside the develop module. And then after that, I'll give you a tour of the entire module, ok, but if you understand what you can and how you can synchronize than all of the things that you use whether it's presets or whether it's sliders everything that you do then can be synchronized so that you're working on multiple images at the same time so synchronization is simply the process of whole you want to keep your your your film strip down here forgot the name of the film strip so the film strip down here allows you to choose images that are similar to each other and once you've chosen a set of images that are similar to each other then you can work on them in different synchronization methods so synchronization method one is click on an image do something to it so I just changed a black and white click on the next image and there's a button down at the bottom of the adjustment panels that says previous and you click on it and whatever you did to the first one gets transferred over here everything that you did so all the settings from this one get transferred to that one that's the most basic synchronization method second synchronization method is I worked on this image and I realized I could apply it to all of these images so I click on the one I've worked on and then I shift click to the other ones that I want to apply it to and I had the sync dot dot dot button which pulls up a dialog box, and that dialog box allows me to choose what I would like to sink most cases you would check all and synchronize, but it's also the reason the sync dot dot dot is there is so that you could say, I want to synchronize everything except for the spot removal or except for the crop, and you can pull things you don't want to synchronize out, so then we have synchronized, and now all of these have the same settings as this one, so that's the second method of synchronization a little slow still because he's got a bunch of clicks involved. The third method of synchronization is to take this image and realize, oh, I could synchronize it to these three images over here are these two images as well, but I don't want to go through the extra step of the extra buttons, so if you hold the option or the all key down the little dot dot dot here goes away, so now when I click on it, it just synchronizes whatever those options were, so whatever whatever is in that choice dialog box is now your preference for synchronization, and so when you click on the option sink, then it just does whatever that dialog box says, so you can just quickly synchronize everything and so that's much faster. So now you can literally click on something and say I want to synchronize those and hit sink and now you're done synchronizing those it's just one click operate and if you're using the a keystroke replicator either the shuttle pro to here or if you're using the rpg he's either one of these will allow you to simply push the sync button so instead of having to go here and hit option and then go down here and hit sink or you can also find the key strokes up here inside of settings copy settings pay settings pay settings from previous sink if you hold the option key down see how the ellipses disappear there and so it's there's shift command as or option command s so you can learn all of these synchronisation methods and but then you have to, like, figure out the key stroke but if you're using one of these keys tools here then you can literally just synchronize by clicking on the sync button so instead of coming over here to do it you would just simply click on the sync button here, right? And then the fourth and the best way to synchronize is to turn on the auto sink. So if I look at a set of images here and I turn on the auto sink which is down here at the sync button and by the way, if you if you only got one image highlighted there is no auto sync button or sync button because you're only looking at one image that's why the previous button is there if you highlight a set of images now sync, dot, dot appears or if you toggle now, auto sink appears okay, so you really want to live in auto sink? Because auto sink means that everything you adjust is going to be adjusted at the same time. So if I take the exposure, I bring it up exposure goes up on all of the images at the same time, so I don't have to do any synchronization because it's doing it as I'm working so everything I touch gets synchronized all the time, but notice the other things aren't getting synchronized, so I don't have to synchronize contrast so I could have different contrast on this image here I could have, like, really low contrast on this one, but the rest of them have normal contrast. And then a five shift clicked and I'm working on these two images even though they have different contrast, I can play with the temperature and it doesn't change the contrast. So see, the contrast on this one is still low, so doesn't synchronize anything you're not touching so that's very useful. Ok, so those are the synchronization methods that you will employ as you work on your images inside of light room so now let's talk about all of the options we have for working on images and light room so first things first the navigator we looked at the navigator over in the library module it's just a zooming tool that's all pretty much it is but the navigator here inside of inside of the developed module actually allows you to see a lot of things first off you can zoom in zoom out recognize that you have the phil fit so you can either fit your images into the square you can fill the square with your image or you can go one for one or even up to eleven toe one so I mean you could really get into an image right and see it way above what it's really so usually we're zooming in at one to one because that's where we see whether or something sharp but sometimes you want to see you know in because you're trying to retouch something in there or something and so you need a zoot you need to zoom in further and that's where that tool is there's hat you can zoom from eleven to one all the way up to wonder one so you've got a lot of options there ok, so that's the navigator but the navigator also allows you s o, for instance, if I'm if I've got my rpg many keys here and I click on this, I can see what by rolling over them I can see what it's going to look like but in this case rather than having to touch these, I could also just use my rpg see that I didn't touch and I didn't have to go anywhere to do it so I can say I want you know I want skin tones to be brighter so see how that brightens it up so this is just all based on clicking keys here on the rpg keys that are actually accessing these presets over here so that's the difference by the way a lot of people ask me the difference between the shuttle pro which is it's nice to feel and it's our economically and I like the wheel it's pretty cool but it doesn't have the power to reach in and touch presets, whereas the rpg key allows me to actually reach in and touch the presets. So there's there's a big difference there anyway so but if you're rolling over him with your mouse, you can obviously see what it's going to do ahead of time before you click on it so now that's finished so that's what the navigator does now if you name your presets well, instead of naming them you know, cheese and crackers and apple's you don't need the navigator because now you know what they do whereas if you're looking at my snack pack as it exists here there's no way you know what those air doing so you'd better have the navigator open so that you can see what those are actually doing so most presets that you buy out there you have to have the navigator open because you have no idea what it's actually going to do because they got such ridiculous names like pb and j okay, so let's go back tio there we go all right, so presets presets are not as I said, they're not rocket science they're just simple action are simple buttons that teach light room what to do over here so instead of sliding four sliders you click on a button and it slides those force lighters for you and that's all that they're doing if you want to create a preset it's always at the top of the precept button or the panel same thing with snapshots, histories, everything everything that you're working on if you want to create a snapshot you click on a plus button if you want to create a collection you click on the plus button it's all the same so inside of the presets if you want to make a preset you click on the plus button and you have two options when you're in here you can either create a preset or if you click on the folder area here, you can actually click and make a new folder and that's how you would organize your presets and we'll talk more about organizing and creating presets after lunch but this is where it is ok, so that's the preset area snapshots or just moments in time if I like what I've done here and I want to kind of save that as a no option on the image I can click on the snapshot and create I could name it based on a time or I could just name it something like this is my favorite you know option this is my color option yeah what's the difference between a virtual copy and the snapshot good question a snapshot is a virtual copy that you can't see without pushing on it that's pretty much it like a virtual coffee shows up in the grid next to the other one a snapshot is just a virtual copy that's just kind of in the in the area here you can't see it so that's it that's the only difference so you just you could export a virtual copy in a regular copy side by side two to j pegs in order to the snapshot you actually have to click on it that changes the image, then you can export it so I don't use snapshots because the virtual copy is much more useful so but snapshots of their history anything you do to an image is going to show up in your history and as we learned yesterday actually will show up in your history if you work on the library module as well so if you're doing something inside of the quick develop it will actually show up here in history is well, something I had no idea about so I was glad to see them okay on dh then uh your collections collections are great on dh it didn't used to be this way but they now appear inside of the develop module which means it's another way for youto work on images without having to go back to the library module you can click on a certain set of images and now you know let's see I'm now I'm working on the wedding images that I was working on yesterday but I didn't have to go to the library module to find those I could just click on him here because they're in collections so if you use the collections during your selection process you can then click on him and say oh, I want three star images there they are I don't have to go sort for him I can just look at him inside of this okay all right so that's the left hand panel of course you can copy which would be copying settings so these with settings this is the worst way to synchronize if you come in here and copy these and hit copy and then go over here and hit paste, you might as well be using aperture all I'm saying is that's what they have to do I don't understand the concept I mean they've seen light room in action I don't know why they don't get that through their head that lifting and stamping makes no sense you know, copy paste, copy paste it's kind of like have you ever seen the people who and if you're one of these people I apologize but you're doing it wrong the people who literally go and they highlight a word in word or whatever and in some in there in there a typing program the highlight us a word or something and then they go up the menu to edit and hit copy and then they go over to where they want to taste it and they go back up to the menu and click on the menu and hit paste yet just hit command sea command vt done just copy paste done you know that its menu driven people who always goto the menus it takes him forever to do things because they just don't copy paste you know? So it's just it's just a slow way to work and it aggravates me to watch just because it's slow so anyway, if you're doing this if you're reading copy, copy paste that's a really, really lame way to work so I don't even know why they have these buttons maybe that these buttons are to make aperture users feel better when they come to it they feel less intimidated by this speed you know something like that. Okay, so now below, so we talked about the left hand panel and now we go below to the film strip and the film strip obviously has all the options to see what flags you're using in your stars see how the stars were showing up there and you can change kind of what shows up in your on your film strip these little the little icons down here based on your preferences in your view options so if you go up to view, uh, view options, you can change what kind of stuff shows up there? Um, above the film strip, we have the quick filter here. The quick fell to remember on lee comes live if you've been filtering stuff, so if you're missing the red, you know the colors or you're missing the stars or you're missing the filters. Here are the flags it's because you haven't filtered by those just go on making films just start filtering in the library module by those things and it will it will show up here on the left hand side, you have whatever image you're pointing at its it's showing you that it's not whatever image you're clicking it's whatever when you're pointing at so you can see that I'm right now I'm highlighting image number five nine seven one but if I point this one now I'm looking at the the pointers on number five eight nine two and it tells you it's a c r to ok so oh and by the way there's a little drop down right there see that so if you click on it you can actually go to recent sources it's pretty cool so a lot of times you know you you end up going back to the library and going backto a folder or whatever if you just click here it will take you to your reason you know recent sources so you don't actually have to you know I can go back to, uh the ordeal on a wedding and now I'm in the wedding or I can go oh I want to get back to the family photos so that's really really timesaver actually so be aware of that little job them in you and I by the way look add two favorites if you click on add two favorites then you get these favorite sources appear that will just be sticking sources so as you're working in a a environment with like a lot of different jobs in it this becomes very useful or in your portfolio catalog that's very useful so be aware of that and sources is anything it's not just folders it's also smart collections collections so all of those are part of those recent sources okay um and then of course you have the second monitor that you can pull up and we'll talk a little bit more later about the options on the second monitor but it's very useful middle mown module as well so just remember that you can use that and oh and here's the key stroke for your second monitor so if you hit shift g you're your second monitor goes to grid and g is grid so shifty is great on the other monitor and shift n is survey and a survey shift in his survey on the other monitor shift ae is loop so shift is loop is loop so basically any mode of viewing an image shift that key stroke is for the second monitor so if you if it is for a for loop than shifty is for live on the second monitor so you can kind of toggle through those really quickly and then if I'm in the loop mode which is shift e and I want to close down that second monitors so that I've it's not operating shifty again will turn off that second monitor so if I want it to be survey I just sit shift in and it pulls it up on the second monitor shift and again closes it ok, so that's a way to quickly look something on second monitor and then turn it off so because it does take computing power to run that second monitor through light room and so if needed, turn it on and work on it and then when you don't need it, turn it off because you're your speed will increase. Okay, so that's the film strip, you can always increase or decrease the size of the film strip based on your real state, how much screen space you need? Um and then we're going to go into the right panel. The right panel is where all the magic happens. So first off I'm going to highlight all of these images um and I'm going to reset them so the reset button is right here at the bottom of all of the adjustments is a reset button if you click reset right now on an auto sink. So all of my whatever I do is going to change everything and I hit reset it resets everything so auto synchronizes the reset command so all images they're going back to as shot, okay? And we will go over everything here in the adjustment panel, but I want to stop for a second and ask if there are any questions good timing, absolutely um let's start with lee ji if you sink a set of pictures, can you go into one of the photos at a later stage and undo the edit steps applied in a way that you don't have to reset the picture? Well, um I may or may not understand that question, so I'm going to just go for it so if I go to the history, you'll notice that when I let's say I'm going to do a bunch of things to this image, I'm just you know, whatever it doesn't matter what I do okay? So I've done a bunch of stuff to this picture and you can see that happen and see all this stuff happened there, but if I take that and I copy and paced the image settings notice that there's just a paste, right? So all of the settings here are encapsulated in that paste or in that synchronization, and so if I click here it goes back to the latest version of this one so it goes back to there I can't incrementally go back here so I would have to find the original one that I was working on and go back a couple steps like this and then once I'd gone back a couple steps too worried, you know wanted to think I would have to synchronize the back over, but maybe the better way to do that would be it is just if you were if you were in that kind of a motive thinking the better way to deal with it would just be to be an auto sink so that when you're working on images say we did that and they're all see now all of the images have the same settings because all of them god so now the history exists on all of them so if your auto synchronizing stuff the history does exist because they're all getting the settings at the same time but if you're just grabbing one and synchronizing over so I grab this one and shift over to here and then I hit this the sync button this one on lee has synchronize settings on gotcha okay, so that and that's further reason to live in auto sink mode his auto sink is always going to give you, uh, history on the whole thing happen because all of them are getting in history at same time, right? And that first photograph that you click that's the one that it's that's the one that's driving all the rest correct but in any synchronization methods so he right here doing a regular synchronization method the one that you're clicking on the and you can see there's a difference between the highlight this one's more of a white highlight and this will kind of a light gray got it won it and you can click on the middle one so that now this one's the main one and this in its and is pushing it out this way so it's not always the first or the last one, it could be any of the ones, and this is, and I'm glad we're talking about this because this is important when you're working on synchronizing images. If you want to let's say we want to work on this image and push everything that way we click on the picture if you click on the picture, it moves the primary selection but keeps the selection if I want to. On the other hand, I decide oh, I want to on ly work on this image and I want to stop auto synchronization. I just click on the frame to this image and it d select all other images and on ly select someone so there's a difference between clicking on the frame of an image and clicking on the image itself and that's the same in library remember yesterday when we were doing our spray can? There was a difference between clicking on the frame and the image, so the frame always is a different clique than the image always everywhere you go, there's always a difference between clicking on the frame and clicking on the image. Any other questions? We had a few questions about your models and the styling for the shoot did you do all of the work? Uh or the suit or how did that all come about? So the mom did it so mom is the one who put together everything and they and they borrowed these little scooters from, like, friends, and what I did is I just gave them catalogs to look at and said, go look at these catalogs and this is what you want to accomplish, and so then they found clothing that looked like those catalogs that we were talking on. I actually gave him anthropology because it's such a cool cattle, but they don't sell children's clothes, but they got the concept of what we're doing, and so then they just kind of went from there, they did a great job. I mean, the styling on it was great, so they have all but these little scooters air home later, you know, they're like these little thiss ones electric and it just kind of goes really slow we actually a tomorrow when we're talking about slide shows, I'll show you a slide show from this, and at the very end, we've got this little video of the of the one that doesn't work and then the other ones like a very funny so we'll show that on tomorrow but anyway so uh where we're all we're making a snap shot so I'm gonna make a snapshot here like this so we've got all the settings and then if I you know did something else to it and whatever something else which obviously that we don't want to do but so I did a bunch of other stuff to it and then I decide I want to apply this snapshot to say this image over here so what I do is I just click on that snapshot and then I command click over to this one so command click allows you teo didn't to select discontinuous images once you've done that then you can go ahead and do the synchronization method so you're going to hit the option and sink and there now you've applied it and then you can always go back once you've done that then you can take this back to you know what whatever position you wanted it to be in so but again snapshots or not the most efficient way to work uh snapshots of just kind of strange but it's like it's almost like an old school way toe work and I think they put it there because people like snapshots and photo shop and so they just left it in they put it in there because people were used to it you know but quite frankly a virtual copies of much more efficiently to work because of the virtual copy if you get the same effect so if I right, click this and create a virtual copy it's just a ce fast to make virtual copy and now you know if I do my adjustment I can see you know the difference between this image and this image visually and then if I decide I want toe apply the change, I click on this image command click to that one and then hit the sync button and now it's done so it's much faster to do it that way than it is to do so virtual copies air just a much faster we need to do things so I really snapshots or not the greatest tool but they're there so with a question about third party priest plug ins for asking a preset be made from a third party plugin if I'm using, say, one on one perfect effects and wanted to create a preset for light room could that be achieved? It can be achieved but in a very different way than their thinking on dh. So we're going to talk about that at the end of today we'll talk about taking light room and commanding other other places with that option so so it can be achieved but it takes a little doing stick around so stick around all right? So you see, I think at this point we can go safely into our right hand panel and we can talk about all of our adjustment options here so and by the way just just so you know if you if you've been working on an image and you want to compare a before after type of situation so hope where are we so there there's are okay, so here's our tool bar and again remember the tiki brings the tools in and out just like it does under the grid and in the tool bar in the in the developed module you have a before after before after is really useful in comparing what you've been doing so if you click on this why why option here it gives you a before after so you can see what it looked like originally and then you can see what you're working on and so if I am, you know, working on the image and giving it a little bit of warmth and writing it up a little bit, adding a little bit more contrast so if I'm doing all that I can see where I've come from and then the other option is to click on this you couldn't you could change that but you can also choose a split method so you have both for right and left and you also have a split you see that split so the split allows you to see you know what his skin tone looked like before and what it looks like after so that's really important to be able to see, especially if you're doing some critical judging on face tones or whatever it's, it's easier to see that way so if you're having issues, andi, you're not getting that you don't feel like you're getting your exposure right? Or you're getting it's oftentimes better to see it in kind of a split view so that you can see where you've come from and that way, you can really see what the change has been. So the before after is useful, as is the soft proofing do you guys know about soft? Perfect? Okay, soft proofing is really let's turn off before after when you're looking at your image and you see this black screen behind you on dh, it looks really great. Sometimes you want to look at it based on the concept of it's going to be shown on the web or it's going to be shown on a, you know, a fiber, print or whatever, and you can't really visualize that. So what we do is we turn on soft proofing, andi gives you a white piece of paper back there because look at that watch what happens. Do you see how it what watch the corners, what you're going to notice is that this image is gonna look straight on black and then as soon as you soft proof it it's going to look like it goes like this okay it's gonna look like all of a sudden it curves watch see that and the reason it looks like curves is because there's a little bit of lens vignette ng that's going on right here but when you see it against black you don't notice it but when you see it against white suddenly you notice it and you see that curve so that's the first thing that soft proofing allows you to do is to quickly see it on a white piece of paper so that you can tell what's this going to look like when it's on white rather than on black now of course you could always view your stuff by right clicking the background here you could always give it on white but then that's really bright and I can't I really can't judge that so if you right click the back do it on black but when you want to really judge a print, click on soft proofing and that'll give you an idea of what it's going to look like. But the other thing that happens is notice when you click on the soft proofing right below the history graham you end up with more information see that and that gets you get to choose what kind of profile you're gonna work on so for me I have a absent printer and so now I have these different like if I were a print on velvet fine our paper and I click on this see the difference. So now if I'm looking at an s r g b that's what it looks like on the web because the web runs srg b that's the color you see on the web, but if I'm gonna what look at this as what's it going to look like on fine art velvet paper if I click there now I can see see how the the contrast goes way and see how the white becomes more yellowish and so does the print. So now I can start working on the image based on that concept, so if I want it to be more contrast ing, I'm going to hit contrast and I start bringing up the contrast and watch what happens dialog box and the dialog box asks if I want to create a proof copy which is going to be a virtual copy but it's for printing so I had created the proof copy and now see, I've got a virtual copy here that is based on this type of paper and so if I work on this based on that type of paper, I can make the changes that need to be made based on that paper and so now this is what it looks like when I'm on the web or you know, so there is what it looks like when I'm on the web and this is what it looks like on fine art velvet paper, a fine art paper so yeah, so but but that's a really important thing to be able to do to see what it's going to look like on a piece of paper. So do you have to add those profiles or those? Yes, you add those profiles based on your printer and so when you install your printer driver you're installing those profiles and by the way, where do you think those profiles exist in the light room? Preset folder guys so any profiles you want to have available to you, you simply put into a folder called color profiles and you put that into the light room precept folder and now they will be available to you, but usually when you install a driver it usually ends up in here anyway so usually it's pretty easy to do it because you go it'll be in the print module, which we'll talk about later on today in the print module. When you go to, like, set up a printer, you'll see all of the drivers because it's been installed so so as long as your printers installed you khun generally find those drivers but if you can or if you download a, uh you know a profile from one of your printing houses or something like that because you can get profiles from your printing houses on based on you know, whatever printer they're using on dh then you can look at it that way because because if you're printing with a printing house you don't know what it's going to look like right? And so you can create your own but the other thing you can do is even if you are printing on your own instead of using a standard profile from epson you can also create your own profiles, right? So x ray who's one of our sponsors here has a fantastic unit that not only, you know corrects your your your screen but can also then read the print and then make a profile for your screen and your printer. And so then that profile would be right here so you would be able to see exactly what your print's going to look like on your printer from this you know, and then it's like the scientific pipeline between your computer, your printer because now everybody of the printer and the camera in the area thing working together right? And so will we even talk about that is profiling your camera so he used the uh if you start with your camera with the passport with colored tracker passport so you calibrate your camera and then you calibrate your screen with the either color monkey or with the eye one display pro and then you take that and you calibrate and then you take their printer calibrate er and you calibrate your printer then the whole pipeline is completely calibrated so when you see color you know exactly what that color is going to be on the color that was captured on camera comes out on your print so so it x ray is fantastic because they got the whole thing covered start to finish from camera all the way through screen through printer so and we have some color checker passports to give away today I think they're today maybe tomorrow but uh yeah so tweet away for that right? Ok so that is soft proofing soft proofing is very, very useful now let's talk about the basics so here we are in the basic panel and you'll notice that everything well let's first talk about the history and the history ram is the same history ram that you see in the library module same information except you can actually use the hist a gram to touch it I love it so if you these these sliders down here are represented so when I hover over him you can see and we talked about this yesterday the shadows are here so it's the darks but the black is the farthest darkest things on the print and the highlights are not the speculum highlights that highlights are the things that are bright so the bright skin tones the white shirts the things like that the whites are the brightest thing, so if you always think is the whites or on the very right hand side of the history and the blacks on the very other side and that's why they're at the bottom because they're the most extreme things and then you've got the highlights and shadows which are the darks in the lights and then you've got the exposure which is the midterms right? Well, you can actually just grab the mid tones on your history ram and just shove them back and forth this way so you can do most of your editing right here without going up and down here so you just grabbed this back and forth grab the shadows, bring them down, brian bring the highlights up a little bit so you can do all of your editing right there, which is pretty cool actually eminence it's very easy to move it's it's actually, I think easier to do that than it is to work on these. All right? And of course the rpg keys allow you to actually control thie exposures and things like that inside of your keys so you can actually exposure up exposure down. You can do all that within keystrokes rather than within with your with your mouths and so but this is a fun way to do it as well I like I like doing this like this way so like I can I can just pull that hissed a gram around until I'm happy with what I'm getting okay, so the history ram is interactive these little triangles are the highlight and shadow warnings so if I click on that that it'll give me any shadow warnings and you can see that there is some shadow warnings, right? Hopes shadow warnings, right? Uh they're on his shirt and those air perfectly acceptable that's where I want my shadow warnings to be in little little shadows like that okay, so the shadow warnings air on if I turn on this one, I get the highlight warnings which I don't see any highlight well, there's one right there see that that's perfectly acceptable okay, I don't want you know, huge chunks of shadow are huge chunks of highlight warning somewhere ok, you can turn those on and off with jakey so the jake he will turn him on and turn him off. All right? We're going to skip the local adjustments for a minute we'll talk about those in a bit and we'll go down to the basic modules let me turn out the history around here and look at the basic module for those of you who are on light room three it looks different so I'm gonna scan down to camera calibration and I'm going to go to two thousand twelve the process and turn it to two thousand ten for those of you who on light room three you you you we used to in the past in light of thirty having exposure knob and then a brightness and contrast so brightness was the mid tones and exposure was this really horrible tool like it would it would blow things out really rapidly so if you turn on your shadow and highlight warnings, it would just see that I didn't even get I'm barely at one and a half stops and I am totally blown out so my mantra was always don't use the shadow arm in the exposure not inside of of like three but now the exposure knob is actually a combination of the exposure and the brightness knob so that kind of took the brightness not because they realized nobody was using the exposure nav everybody's using the brightness knob because the exposure that was damaging and so they pretty much changed the exposure not to be the brightness now so now if you take this up, you can see that I'm up I don't start clipping until about two stops and even at that I'm not clipping all that much so it's a much more effective tool it's ah it protects the highlights much, much better so now you do have permission to use the exposure? Not at this point, okay, so exposure is your mid tones contrast simply takes if you watch the history graham, it takes brights and darks and separates them so as I increase the contrast, it's pushing black things this way and white things that way, and it's taking the mid tones and separating them out, but in general it's working on the entire history, graham okay, so it's shoving everything it can out this way, whereas if you go down to the clarity it's going to take the mid tones and separate them out, so clarity is contrast in the mid tones, so watch the history graham and as it separates the mid tones, but it doesn't move if you're looking for the best place to see it on this image is right here at this pile of white. It doesn't say that right edge doesn't move all that much because it's not it's not dealing with those it's only dealing with the midterms say that so that's clarity kind of protects both edges and deals with the midterms, whereas thie contrast knob just kind of shoves everything out um, highlights and why I used to be that we had a recovery knob and we would recover highlights, but now the highlights and the whites kind of work together so both of them actually actually are involved in recovering highlights so I had a great example of this I'm gonna turn off my filtering so that I can scan all the way the end of the shoot where there is a lot on where have set of photos where the kids there literally walking out into the sun and it's impressive what this thing can recover area come on, there we go. Ok, so if I take an image like this which I think is supercool first off it's impressive that this camera is shooting into the sun and it's getting the sky and it's getting these shadows I mean, look at this I have detail in shadows and I have detail on highlights our cameras are getting really good in their latitude really good, so I uh so if I want to go, then recover this the highlights are again kind of the general whites right there the bright things but they're not the pure white, so I take the highlights down you can see how much it's recovering to the point that it literally recovered the whole thing I literally got detail in the area of the sun was pretty good, right? So there's my mean, I've got and I don't have paper white I'm perfect so just a little bit of recovery, so this does a lot of recovery um this one see that it does some recovery as well but it's not as drastic a recovery as the highlights so if you're looking to recover, start with the highlights because that's going to get through the biggest bang for your buck is going to pull it in a lot faster you won't have to go this far with it and then after that if you and I wouldn't try and go all the way down and then take this one and go all the way down that gets a little crazy and it starts to look it starts to look a bit ugly so I would try and keep them you know, rail relatively close to the center and and that's a good mantra anywhere if you could just tweak things a little bit here and there and keep them fairly close to the center you'll always have a quality photograph if you start whacking him out one way or the other your photographs were going to get a little wacky too so try and keep things close to the center as you can so in this case then I would take the shadows because this that's where these are that mountains in shadow and so I would take the shadows up and you can see that that's also this this white here is in shadow so we're going to take the shadows up a little bit just to get a little bit more brightness and you can see now that as a result of brightening up the shadows we've actually started to clip on those highlights again so we can always bring those down just a little bit and then once we've got a basic structure to this then we can decide where do we want to add a little contrast do we want it just in the mid tones or do we want it all over the print so if you take the contrast up it goes all over the print but if we do it in the clarity it does it mohr in the mid tones which is why you're going to see more stuff going on right here when you do that so if I take the clarity up I'm starting to see it right there and I like that better then just general contrast and again I mean after recover some of those highlights based on spreading out that instagram so now I've got a good you know, a good look on this and then it's a question of doing a temperature and temperature is one of those things that's very subjective so I wanted to be cooler which looks cool or awesome I should say since we're dealing with cool and warm it looks awesome right toe have it very cold here and then the sun looks warm and then it also looks really cool to have it all warm like that so that I mean it's it's so subjective that I can get away with that all the way to that, they can't get away with that, but I can get away with a lot. And in fact, if I use some other options as well, I could probably get away with even colder looking, so I could probably get away with that. Um whereas temperature intent, you can't it's right or wrong, there is nothing that looks good about that or that, right? So I mean it's just you can tell if it's to magenta to green so that's kind of more of a scientific thing like that's, right? That's wrong. So and the best way to do it at a lot of people ask me about how do you get your color? How do you learn color? And the best way to learn color is to stop looking at a computer screen and go grab a print and go to the photo store and get some color correcting gels, and I don't even know if they sell them anymore, but they probably d'oh and they basically have different gels with yellow science and magenta and you can just you go like this and you look through the gel and you look at the print and as you look at through the gel like this, it shows you how much like also that gets corrected and you know, I call that looks much better and then you look and see oh it's got too much yellow in it or all it's got too much magenta or oh it's got too much green and whatever you know so you can tell based on those our science and it so you can tell based on those gels that's how I learned color because I was in a dark room and so I'd run my print through and then every time about the print out I have to decide on color correction and if I got it wrong it was another ten or fifteen minutes before I got to do it again and so you learn really quickly to make your color decisions right because it wasn't simple like this it was a matter of wasted time every time you made their own decision and so I learned color really quickly but it was based on those gels and so it was easy for me to see that difference because I was paying attention to it. I think nowadays people aren't paying attention to what's going on, they're just they're just adjusting a slider and then they go that looks good and they move on they're not paying attention to what's actually occurring and so when you when you're in here, pay attention to what you're doing and watch your screen and go up and say no, I can see the magenta happening, so come down and say, now where does ok now I can see the green happening and then just keep going back and forth until you really get a feel for where that's actually curry and you'll see right come in, right? And so the best way to see the right temperature intent is to do the same thing you do when you focus when you focus your camera, you you go past focus and that's how you learn, where focuses, so you go past vote, and this is for people who aren't just always auto focusing, by the way, so try this to try turning off the out of focus and focus, and when you go past focus, you goes in focus and then as soon as it starts going out of focus that's where you learn where the line is all right, so then you go back to focus and you'll cross focus again and you go a little parent past and you go, oh, I've gone too far this way, and what happens is you swing like this and you keep and then boom, right? So you swing wide and then it takes a couple passes and then you'll know where focuses same thing with temperature intent, you pass it and you'll know when you passed it you don't know you've gotten there when you get there you know when you passed it that you've got there earlier so that's and that's the way children learn to write they know they're they push your button push your button push your button and then they pass it and then they know oh that's the line but they have toe they have to actually go past the line and get in trouble to learn where the line is and it's actually critical to our growth as humans to cross lines and find out where they are and then and then the key is for a child is to learn those lines early on in life let them fail early so that they get a better sense of how to do their color correction of life early you know so anyway lessons for life from catania more philosophy professor platt ok so looking at this then we go past and past and then we find it so we go back and forth back and forth till we find the right color correction okay so exposure contrast highlight shadow whites and blacks all fairly self explanatory I think we've covered him well enough clarity we talked about it it's contrast in the mid tones vibrance and saturation are very different tools if you increase saturation you will get ugly colors because it equally saturates everything it's okay for landscape photographers to use it in small amounts, but any time you see an ugly over, like two garishly like ugly colors, it's always because the photographer doesn't realize they're using saturation too much so just I can't see an instance where I would go toe plus fifty on saturation it's just too much it does garish colors, so usually all you saturation in the negative all the time because it's very beautiful, but for positive saturation type activity, I'm gonna use the vibrance because the vibrance is actually an intelligent saturation tool and so it knows skin tones. It also looks for opportunities where there's something that's already saturated, so it kind of pushes that a little bit, so it just kind of knows a photo a little bit better, and so I'm going to go for that. But the most important thing for me because I shoot people is that it is protecting skin tones, so the difference between your saturation at one hundred percent ugly and then here's vibrance at one hundred percent and it's not quite so ugly, ok? And you don't want to use it that much, so because it protects those skin tones, so I'll use the vibrance better, then I will the saturation okay, so I bring up the vibrance a little bit on that and usually virus is going to hit blues and greens more so that is the basic settings now we the reason I'm covering the basic settings fairly in death and then we were going to cover all the other ones as well, but I cover this first because I want you to see what what normalizing an image is all about and that's the basic area is where we normalize our image beyond the basic image anything that we do to the image in these areas the tone curve that colors options, the split toning detail lens correction effects and camera calibration all of that can be accomplished by pushing buttons over here in the presets so you shouldn't be messing around in these on a daily basis you use these to create presets that you click so really you only need one panel open on a regular basis you work on that one panel and then you click on presets that access all of this other stuff, so we'll talk more about that in the next two segments we'll talk about the details of these areas here and we'll talk about making presets that will then utilize those and do I have any questions? Hello? Um do you ever use the weapons I dropped? What would you do all through television and tell you that all the time it's a very good tool of the white balance dropper just click on it and then drag it and click on whatever if I wanted this this salt to be white by click on it now it's white but because I wanted to look cold I leave it blue because cold is blue at least in our understanding way see blues cold so if I want that to be a warm picture than yes but that the key stroke for is w for white so if you're if you're over here working on something and you want to do that traversing the entire screen especially a twenty seven or thirty inch screen I've learned because I just got the twenty seven inch mac right? So I got this I mac that's twenty seven inches and it's like this it's like, you know it's a hike to get to the other side of the brain I don't like it I I mean, I just don't like moving that far, so the keys become really important at that point because I don't want to have to go all the way over here and talk instead of three sets it's like I'm literally doing this to get from side one side of the screen to the other, so presets become important keystrokes become important so w so no matter where I am, even if I'm over here if I click on w I can just click there and then I'm done that's much faster than I'm over here come over here click this move over here click that that's it's just a lot faster so w very cool hey you know you earlier talked about x ray yes and photos by mindy li asks how important his screen calibration when editing photos and light room and which products have you used I use x right and it's critical if you're if you're adjusting images on a screen that's not calibrated you might as well not do it you might as well just randomize them because you really don't know what you're getting you they may look good on your screen but you have no concept what they looked like on someone it's a screen and and in general that's the case all the time I mean for instance I'm we're showing you this and it looks good on my screen but I happen if your screen isn't calibrated and if you don't have a good screen if you've got a crappy screen my images could look really crapping your like this kinds of yeah like you know but it's your screen and I have the confidence to know that minus calibrated and everybody here that's running all the production staff and stuff they know calibration and so we're all set up so we're confident that what we're producing and what we're looking at is beautiful and so when a client sees my images and they look bad and call me and say hey the image is a really dark or whatever I can confidently say to them it's your screen if you take that image to a professional printer it will look right if you put it on a calibrated screen it will look right so on dna test for that I think is to take your image and put it on an ipad because those air pretty solid and they're calibrated I mean they it's not like you can mess with the calibration on them so they look the same everywhere and so put put it on ipad and see if it looks the same as what you're seeing on your screen and if it looks really off you know there's a major shift going on on your screen but obviously that's not a professional option I'm just saying you know for quick reference but yeah so I used the x right it's called the I won display pro think that's what's going it's here I'll show it to you yes it's the iowan display pro so that's that's what it is right there and it's and it's just it can actually you can take it and you can you can set it on your counter like this and you can if you have a projector it can actually calibrate the projector and so any time I speak it conferences I have like south cicada is coming here right like that he's he's coming I love cell sells great and he he actually tells people he wants to speak right after me so whenever one in conference he always wants speak right after me because I calibrate the monitor so that it looks right because you go to a conference you go like w p p I or whatever and and they don't know how to calibrate monitors and so they've got you've got sixty photographers out there speaking and all their images look like crap and you know they're good photographers but their images there too dark up there and they're out there apologizing like sorry about this this really does look good but and I won't do that so I get somewhere and ice come in an hour early and make sure that I calibrate the screen so sal always wants to speak right after me because he knows that he'll be able to walk in and his images will look great because the screen is calibrated now well so fitting that solids coming on the nineteenth that is yeah I mean I think you have to leave him a little gift basket so anyway eso but these calibrate er's air are important and the color monkey is not all that expensive it's like the little brother to this guy but the eye one display pros good and then of course they have printer calibrate ear's that'll do your prints and you can I mean you could calibrate not only your printer like you're absent printer but you can send a print off to your print lab bring the print back and calibrate print so that, you know, when I send it to x lab, I've got this calibrated. So you know what it looks like, and you're you're adjusting. Your image is based on whatever print of your sending it to so really important to calibrate. Very, very important to calibrate. So, yeah, always always used the x right calibrations.

Class Description

Join Jared as he takes you through every single module in Lightroom! Learn everything from importing to exporting and everything in-between. You'll learn to edit, organize and share your photos.

Started using Lightroom last year but you just can't get the hang of it, or you bought it but it's still on the shelf because you're afraid of new software? Maybe you've only heard about Lightroom and you're not sure how it works or why you need it. Or you've been using it for a few years, but you've only been using a few very basic modules and you haven't ventured out to discover its full capabilities. Whatever your situation is, you need Lightroom 101 with The Lightroom Professor, Jared Platt. With Jared's simple, direct and entertaining approach to teaching and his vast knowledge of Lightroom, you will be using Lightroom to the fullest capacity in no time. Don't spend months or years discovering Lightroom—spend three days with Jared and learn everything you need to know!

If you took Jared's Ultimate Lightroom Workflow class on creativeLIVE, you learned the workflow surrounding Lightroom. Now it's time to learn the nuts and bolts of every option and every slider and become a master at using the most powerful and simple photo tool ever built.

Software Used: Adobe Lightroom 4