Expert Operations in the Library Module
We're now going to go into one of my favorite functions in light room and that is the ability to shoot into light room so would call it tethered capture and just because you tell it doesn't you don't actually have to be tethered you can also use you know, wifi capabilities and cameras toe transfer to the to the system as well not well talk about that as well, but so I have my camera here and we're going to work on a tethered capture circumstance here most of the time I'm using this inside of the studio doing, you know, shots of jewelry or watches or whatever but sometimes it's very useful portrait ce if you're going to be reviewing the portrait's immediately with the client, you can shoot him having walk over the computer, take a look at him, choose the images that they want walk out and you're done with everything but the final post production of adjusting image and sending it out. So that's that's a pretty quick work flow for a corporate head shot type thing but it's also very useful...
in commercial shoots where you have an issue of composition or, you know there's going to be text on a page of there's going to be some kind of compositional issue, so what we're going to do is we're first going to learn how to tether and then once we've learned how to tether capture then we're going to learn how to put overlays onto images so that you can see what the composition really needs to be so it's pre designed compositions so the first thing we need is to connect the camera in our case we're just going to use a usb cable and we will attach it to the computer and to the camera so that's that's our first issue if you're going to use a wifi enabled camera then what you want to do is you want to create a folder where it's going to throw the images and usually that means used the cannon software the captured software um first and it draws the images in and puts them in a specific folder and then once they're in that folder than light room look at it we'll show you how to do that okay? So we're connected and when I like the camera and I'm gonna go over to so we're right now we're going to be in the grid grid module here or the grid mode and library module and we're going to go up to the file menu and we're going to go to tethered capture tethered capture we have to start tethered capture so starting kit tether capture we're going to have to define some things as to where we want to put the images now remember, I don't like using light room to import images from camera cards because I want them to be where they're supposed to be but in this case because we need light room to be showing us the images immediately we're going to use light room to stay pull the image in off the car at the camera and then put it in it in its place effectively what's happening is the camera is recording the image to the card light room is watching the card and as it sees new images get put on the card it sucks them in so it's really actually just auto importing him from the car but it's just using this is a disk that's pretty much what it's doing so we're going to name the session so in the session's going to be named creative live or let's just say c l um tethering and we can weaken segment it by shots which is really good way to operate because then if you're shooting a series of portrait ce shot number one name the person's name and that person's name will go on to all of the shots and then as soon as you're done you start the next shot and you enter in the next day minute segments and for you so segmenting by shot was a good idea on day we do a naming sequence we can either just do a sequence of numbers or in this case you can go in and edit it and you could say session name dash sequence and in order to and send since we're in the file name editor right now, I'm going to teach you a little bit about it because it's a good place to deal with it if you wanted put any kind of information into a name, you can choose it from the following options you can choose dates so you can you can choose any kind of style of a date you can choose any sequence style you can choose image number, style, all that kind of stuff. Plus you can choose file name and metadata information, and when you're in the full file name editor after the images in light room, you can actually use other things as well, like key words or, you know, even throw lots of stuff in there, but what you can do is you can see up here is the example c l tethering dash zero zero one or I can delete this and now it's just dash zero zero one if I delete that, see so now I could type in platte photo, so if I die a type in platte photo dash sequence now you can see that I've got platt photo dash zero zero one so you can you can manufacture any file name you want here in our case, we're just going to delete this and we're going to put in the session name or you could put you know the other thing you can put in his custom taxed if you put in custom text then it's going to allow you at any point to write in that custom text and it was just added to the name so in our case let's just do the session name with session name in front of the sequence and then the sequence itself I like it to be a four digit number and I'm gonna delete that that portion in that together that whole thing makes up the name of the photograph so I'm in it and I can save this as a preset so I'm going to save the current settings of the new preset and we'll call this pope's aerial session number area are actually sequences of better waiter sequence create so now I have a session dash sequence name and I can use that any time I want now sees now it's available to me anywhere and I can hit done so now if I want session dass sequence there is what it's going to look like the name of it I started image number one and I choose a location so we're going to choose a location inside of our hard drive are working hard drive in the jobs folder inside of our a creative life test folder and we're going to call this um overlays kind so we're testing the overlay so that's what we're gonna put it and you can add your coffee right to it so this is copyright with model releases and I'm going to type in keywords so I can say uh, class uh women because I'm gonna be photographing women oh, they get nervous waken toe creative live so all of these things actually I should put creative lives one word there ok so now all of those things are common to the photos that I will be shooting and I hit ok once I do that asks me for the initial shoot name okay, so the initial shoot name is couch thanks ball couch it doesn't look right uh couch women okay oh, look what happened it created it created a folder overlays seal tethering and then the first shot is called couch women, right? And it says no cameras detected because my camera is asleep still get my camera let back up see not see how it just showed me the mark five d mark three and it shows me the settings that I'm using so as I change the settings you can see that the settings of changing there so now we've got eight hundred eccentric center okay, so you can see what settings I'm using and I'm going to take some pictures so we're going to go here and remember I'm shooting them in black and white on here but when they go there what's going to happen to him they have turned back to color so you'll look you'll have that beautiful black and white shot and then all of a sudden it will go to color and then we'll want it back in black and white because I want things to be black and white so I'm going to do a little adjusting here ok? So we're gonna take a picture very nice and do you see that picture coming in what's happening is it recognized that there was a photograph see how it changed the color now we don't want that do we because we want these to be black and white I want to see the same way I'm seeing him here I want to see him there so what I'm going to do now so you always you don't do this in the presence of your client by the way you take your test shot then you come here and you go to the developed module and you adjust it so let's turn this thing to black and white and and notice my exposure is just hot enough so that her nose there's the exposure right there so her nose is just a little out of it you know it's just a little too bright so what I'm going to do now as I can bring it down and get that highlight under control but the hotter you can get your photographs the brighter you can get your photograph the better off your exposure is going to be because there's more detail and information in a digital file in the brighter tones than there is in the darker tones, so if you have to brighten something up, you get noise, but if you darken something down, you don't, so bringing stuff up is less good than pushing stuff down, so I wanted us to be his bride as I can before I clip unless that's just crazy because I'm shooting all, you know, dark everything, then I keep it where it's supposed to be, but his bite as I can, so I've got this to be his bride as I can, and I'm going to bring down the exposure now, this is obviously in a studio situation where we know we can control everything that's going on, and we're going to, uh what what should we add to this? How about, um I was about to add cookies or no cupcakes looks good, doesn't it? But we don't want to be color black, so let's do uh apple's let's go into had two hundred grain and will add a c p a to it and we'll add a nice contrast. There we go, that's, that's actually quite nice okay, so we'll do that and that's all we need to do now what we do is see this a little thing here you move it anywhere you want to keep it out of the way, but we're going to take this and click on develop settings and say same as previous so now I will go and take another photograph now it's your close up turn you can keep this very face nice say so watch this next one comes in, but do you but do you see how that came in? But the client never saw it except for the way it's supposed to be seen, right? So I use this all the time for party like a photo booth, so I but I don't know photos the same way like it's not like walking a booth and take a picture, so we do like a little shoe, you know where people come in and take pictures and as I'm shooting the pictures, they're going to a screen over here, but people never see them except the way I finished them and because I'm on a tripod, so I know exactly what what the frame's going to look like then I can put the bones and the dodge is in there and aiken, you know, kind of burnish the edges, I can do all sorts of cool stuff to the image, and people will never know that it didn't just come right out of the camera that way because they're seeing it appear that way so it's a pretty impressive way to work so image capture directly to the camera's not all that difficult you simply go to if I click on exit gets rid of the tethering goto file tethered capture start tethered, capturing you have to go through this area here and set up where you wanted to go and hit ok and then we're going to start the new shoot which would be overlays so we're going to show you some overlays now so now if we go to the grid you can see what it did it see how it made a second chute called overlays there two women called gathers to couch women and then there's overlays so now we're going to go into the overlays and this time we have to set up an overlay to be seen ok, so let's quickly take another picture it's your turn their couch couch woman number three now I shot that one with an interesting frame because I'm going to show you something that we have to work on cain out notice that got a little brighter just a little too bright now and if I find that it's too bright like either light shifted or maybe I started changing my exposures or something like that I can always come in and do that and remember it's on samos previous so the next shot I take is going to be fixed okay so now I want to have an overlay so I know what my frame needs to be for whatever given shot I'm doing so in that case I'm going to go to my view settings hold on we've got to go to the library module for this go to the view and go to lay over a layout overlay and we're going to show layout overlay and it's asking me to choose a picture so I brought in a picture here creative live rocks right and I'm gonna choose that but now we have a problem see what the problem is it's over her so we have an issue there that we have to deal with so if that's the way our frame is going to be on whatever it is we're doing we have to then work with it so notice when I brought that in I was using a png a png is a has a transparent background you have to have a d a p and g a p as in paul in his in nancy gina's and gary so a png allows you to have transparency but it's kind of like a j peg with transparency so that's how we're able toe have that creative live rocks so at this point now I know exactly what my frame needs to be so now I can re shoot we're all set yet we're all set so now I can reshoot knowing that there's she's got to be in that upper right hand corner and I can't have her under with her face down at the bottom even though I kind of like that so I'm going to get in here and shoot like this and now I can see if I get it right I should have run the right place and notice also that it's cropping off see there we go see that's close it's close she is to be a little bit higher but you can see that I've got a letter boxing occurring here because we want to sixteen by nine ratio because everything that we do a creative lives sixteen by nine because it's film and so so this is what I have to fit into so now I can just take one more shot and provided that my model is working with me well that's all we need is one more shot and I will have the shot nailed nailed yes do it do it say so now you're up in that area probably need even that was my fault wasn't yours you're beautiful I just did a poor job of framing so at that point I should have the right shot where she's you know up in this area here there we go say so now we've got the creative live rocks on the c l over here so we've placed it right so that's the overlay option it's invaluable when you're dealing with a specific client has a specific layout that they have to deal with, you just have them send you the layout with a transparent background to say send it to me trans transparent many and if they'll do it as a p n j just do it is a pg so that you have all of the overlay stuff and then you just simply again I'll show you how to do it. You go to the the light, you have to be in the library module, go to the view menu enable I'm sorry lay out overlay you choose the image and then show the overlay and I can I can remove the overlay to so I don't have to show it all the time I can remove it and just look at the picture, but then I can always add it back in there just by clicking on show overlay and it'll just it'll maintain that same overlay as you're shooting until you load in a different overlay. Okay, so that's shooting with an overlay and tethered capture the two go hand in hand and they're quite useful. Okay, now what happens then if you are not tethered but you want to have the same effect now in our case we're going to shoot some images, but rather than have a fancy dancy wife wifi situation we're going to create the same kind of feel by shooting and then having an assistant run the card okay, so what I'm going to do now is I'm going to create what's called a watched folder so really we we just we just witnessed light room watching a folder it was watching a folder inside this camera is what it was doing and so we it was just there's a card in here in that card is a disk and it has a folder on it and it was watching the folder and every time a new image came into the folder it grabbed it and pulled it out I didn't pull it out and copied it down so we're going to do the same thing except now instead of watching a folder on the camera we're actually going to watch a folder inside of the system so I'm going to hide this I'm going to go to our job here and I'm going to create another folder in here where is this oh there ok I'm going to create another folder in here and we're going to call this watched folder not bottler folder there we go okay so we're watching a folder we're going to go backto light room and this time we're going to go up to the file menu and we're going to do auto import when we go to auto import we're going we have to enable it and we have to turn on the settings so we can enable it in the setting so let's go to the settings there's a little check box to enable it for the time being. What we have to do is we have to watch the folder so we're going to choose the folder that's going to be watched. We're going to go down to our dr, go into that job and watch that folder and hit shoes. So now light room has been instructed to be watching that folder once we've watched the folder, we have two interesting we have to take the images and put them somewhere else because light room when it cesium is just like when it's on image coming here, what did it do? It grabbed it and copied it somewhere else? Well, because as complete control over its the hard drive here, it can actually move it somewhere else rather than copying. So what it's going to do is it's going to? We're going to choose a place in light in inside of the same folders, so we again go to the job everything operates within the job, any images you create any spin offs and e j pegs all things go to the job folder you have to be organized about your photographs, so everything has to go to the job folder anything you do, even if it's a, uh pdf contract or something like that put it in the job folder right um and that by the way that goes for your model releases model releases go in the job folders so that if someone ever questions that you have a model release you know oh this was shot on such and such a date go to it model releases in the folder all right so everything goes in the folder watch folder is here and where do we want to put the final ones we're going to create a new folder and that folder is going to be called um raw images from watched folder and the only reason I'm naming these such long crazy names is so that you know exactly where these images were supposed to come from ok so here's the watched folder and then this is the image that sending this is where they're finally going to rest ok so we're going to choose this folder so now you've got lighter is watching this folder watch folder and it's moving images to the raw images from the watch folder and it always puts in a sub folder name it just does you can't if you delete this it won't work so you can name it whatever you want you can name it raw if you want and that's fine it just has to have a name in there you khun again do the file naming sequence so in this case we did um, what do we name it? Oh, say I don't even remember what we named it, but let's just do a regular sequence and then weaken again, add the developed settings that we have, so if we wanted everything to be a black and white, so let's do uh let's go to our snack pack and I like the chips, so we're just going to do chips and we're going to go tio two thousand thirteen with a model release and then we can type in all of the presets that we want to so couch women and hit ok, so now we have set up nothing's changed you don't see those folders coming in here, but we've set up the auto import, then all we have to do is turn it on, so auto import enable it. Now, if I take these images here and I now I can get closer to you because I'm not teddy, so come in and turn on my camera. Good. Ok, so I've got my shot. I handed to the assistant assistant goes running off to the so the computer he puts it in and remember, we don't have light room set to auto imports stuff or I mean took to import stuff, so it doesn't pull up that dialog box when we open it up. All we need to do is get that information and if you were shooting on a tethered sitar ah wireless situation the same thing would occur it's just wirelessly it be dragging the stuff in but right now with the assistant is the wireless ok he's not wired he's not tethered in any way he just runs back and forth and so is this the way we used to always do it we would we did these huge shoots for petsmart and we would have someone at the computer and then we have three different photographer shooting different pets and all sorts of is crazy we'd have cats on this side of the house and dogs over on this side of the house and parents over here and like everything's going you have kim all separated because you don't want the cats to get the birds and the you know so it's got to be careful anyway so we go to the jobs and generally what I will do then is I will take this watched folder and I'm going to right click the watch folder and create an alias every known aliases so we create the alias and just dragged the a list onto your desktop so now I don't have to open this anymore I just simply go into this folder here and grab the images and I only need the last two images that I shot because the other ones are already in there so I'm going to highlight those and I just dragged them into this alias and it's putting them into that location and when I do that if I go here see how that just brought look they're already inside it just brought them in and if I go here and right click it and say show it in the finder it is now inside of the the watchful there has nothing in it and the regular folders see how it's been put into this dragged it from the watch folder soon as it sought come into the watch folder it grabbed it and I dragged it into the other folder where I told it to go and so that's the folder that showing up inside of light room and so here there she is and we still have our overlay on it and look I got the framing right too so all right all right so that is the process by which you would do kind of a non tethered shoe or something through wifi that the key is to have light room watching a specific folder and as stuff comes in it's grabbing it and moving it to the other folder and showing it to you but it's a very quick work flow so that's the way you would accomplish that for instance you could most people shoot portrait's your you do portrait now you do food what do you do both and you portrait's okay so the two of you tethered shooting is huge huge absolutely huge because you conditionally shooting and see what's going on for portrait's this is a great workflow for portrait's whether it's tethered or whether it's just grabbed the cardin's shove it in and and let it auto import either way fantastic or quote for a portrait especially in in studio type portrait's so I I use it a lot on weddings so I do an auto import folder on the wedding and then mike assistant all yesterday was just grabbed him is a drag him into a folder and they start propagating he doesn't have to drag him in and then move him over he just throws him into a folder that's on the desktop just like this he just throws him into this folder and light room just starts sucking them in as his foot dragging him so light rooms working constantly while he's dragging images in rather than dragging all the images in and then going and importing all the images that's like twenty minutes of wasted time when you could have light room constantly pulling images in as you're importing them so it's just it's just a faster way to work when you don't have a lot of time to mess around with copying and then importing images any questions about that I know that's I know that's kind of ah ah large thing but and we covered it quickly but you bet eso betty would like to know she says I'm now using the cannon utility to tether to bridge so that I can use the live feed function is it possible to use live feed when tethering in light room you know let's find out I'm ready let's find out let's gladly looked right into the camera on that betty let's find it I seem to recall that you can't um but it's possible I don't know we'll see we'll answer that question for the whole world right now if I can plug this in there we go and maybe while you're doing that same one hurley would like to know whether shooting tethered limits the speed at which you take the pictures no it doesn't because it it doesn't limit the speed at all because you're shooting onto the card and then the card is getting pulled off of and so it doesn't matter how fast you shoot as long as you have a card that can accept images that fast it may take a while for them to get over to here because you're on a usb cable or you're on a wifi situation but you can shoot us faster you can go and it will just slowly pull him off as it can so yeah so that it doesn't affect that all all right let's see all right so we're all set and let's just see what we get I don't think it is yeah so there's the answer, but I can see the live feed here, you know, and then and then I can but now I don't think you can really good, but awesome. Well, we're until during or before we leave small business but ass on my night con with tether it doesn't stay on or never goes to the card because only directly to the computer is cannon different? Or is this just like room? Actually, I'm not I'm not a nikon shooter, and so I can't answer this with one hundred percent certainty, but I'm sure that you could change that generally speaking, when tethering you can tell it to shoot to the card and to the tethering situation or just to the card or just to the like you can tell your camera what options to do, and so I'm pretty sure that in it shouldn't do that you should be able toe have both happening at the same time so and paul would like to know, do you shoot tethered wirelessly? And if so, could you give us any advice on how you do it? Well, the wireless is completely dependent on whatever the wireless transfer system, so there there there are a lot of different versions of wireless transfers, for instance, there are wireless transfer cards and I don't know their names, but if you if you get a card that has wifi in it, you can shoot to that card and it will automatically transfer somewhere and you can kind of set that up as to where it's transferring. So in that case, it's dependent on this transfer card system that you set up online and you say I want this car to transfer to this place and it will do it so like you could transfer to a drop box location, and then that drop box would be feeding back down to your laptop, and then your laptop would be light remotely looking into the drop box on the laptop and pulling in images so you could be shooting in taiwan and your assistant in the u s is like pulling stuff in so that from a system like this could be done so that's one option, the other option would be you're using like the cannon wifi system, and at that point you then set the cannon system up and tell it via the cannon system where you want to put the file and then it's transferring the file to the system. And we did this earlier, I think in december a toe workshop here on it was called the I don't remember what that was called the shooting workflow or something like that anyway, so my workshop here in in december, we actually shot wirelessly and it transfers wirelessly via the cannon wireless and then the same thing occurs light room then looks at that folder so in most cases if you're outside of a tethered capture situation what's happening is light room is looking at a specific folder and pulling stuff in and in all cases that will solve the problem that's always the work around I think power have the question I've got a couple actually first of all I notice you only you control it by the camera you don't control it remotely from light room or do you write that for some reason I'll give you a circumstance under which I was not able to do it with just even though I was attached v accord us b I wasn't able to use light room alone I had to use the can and software as well because if I wanted to I was I was shooting a I was shooting a a theater and so have the camera up here and I'm just sitting in a seat the cameras locked down and I'm just sitting in a seat waiting for action to occur in order for me to adjust the photograph I had to use the cannon capture software but I was telling the cannon capture software to put it in a folder and then light room was pulling in the information from that folder so I just back and forth between light room the cannon software was allowing me to just the image you know increased theis so decrease the ice so that kind of stuff and then as I shot it was going to the computer and then the computer was being looked at by light room and light room was then sucking it into light room you can use both in tandem it's no coming from light room it's coming from the cannon cannon software will allow you to adjust the settings on the camera right? Whereas light room is just looking at stuff coming in and then you're adjusting ideal safer triggering it you would have to do it by the software as well you can't do that from night you can trigger it from light you can hit enter and it will trigger it that round but you saw that round button inside of light room is the triggering mechanism so you have the ability to trigger but you don't have the so you don't have the ability though to adjust these settings fire okay and it shows you the settings but it doesn't adjust them whereas here but you can push this button here right? And it will trigger it but in the but the cannon software and probably the nikon software would allow you to tv to actually change the settings on the camera and then my other question is is is there any sort of light room app or something that I could use to tether to a to an ipad well than having to lug around him laptop anywhere. Are you asking if there's a light room cap this's that there's a way rather than having to bring a whole laptop around with me to just have an ipad said, you know, they're, uh yes, so there are there are and I think the canon has I'm trying to remember who makes that on a day that I don't do that all that often, so but there's definitely iphone and ipad aps that can then control and see what you're seeing on your on the camera, and you can control it and work on it from there via wifi, but it's not bringing the image in, but are they light room related or they just know? All right, ok, that's my question. In the end, you would still be taking your images and bringing back in the light room for post production, but it's for photographing purposes it's certainly a viable option through an ipad or an iphone. Anything out there? I think we can keep going. Okay, so we talked a lot about the, uh, the selection process, and we talked about that second monitor, so I wanted to just kind of go over some nifty options of that second monitor. So that you have a better idea because we talked about the idea of you know you're looking at say you know these images here and you're looking inside of the survey mode but then you want to see them in full detail over here so we talked about that second monday or being an option for you as a full display right? So I click on here and I see her and the whole composition but if you're in a situation where you only have a small monitor or let's say you have an ipad off to the side and you can actually have your ipad become a secondary monitor eso if you have an ipad over here or if you whatever it is you have as a secondary monitor if it's small you can't see focus so if you want tio you khun turn this loop mode into live luke mode and then you can zoom in on that so now I can see sharpness and I can scan over here see that so now it's following my mouse following the pointer and then if I go to this image I never even have to click on something so if I'm dragging around from image to image I can just go all I wonder if she's in focus there okay she's and focus what about here you know and I could just move around and presuming if these air in one at one for one previews then you won't even be waiting for it to pop into focus so you just if you're looking at a set of images like this and you say, oh I like this one the best it is in focus I can click it, I can pick it, give it a star and then it done so having the options in the second monitor are very important, so live mode allows it to follow your cursor wherever the cursor is um and then it will follow you if you're zoomed or if you're out like this, it will just follow you from image to image so you don't actually have to click or zoom to do that and that's I think that's a really big time saver. However, there is one caution and that is that it requires a lot of juice power on your on your graphics card because it's literally serving up a lot of information to two different monitors and it requires a lot of zippy power on the cpu too. So if you if you try it and it's slow it's probably because your seat here your computers kind of older computer or doesn't have enough ram or doesn't have enough cpu like it's not you know gigahertz or whatever or it's it's just you have poor graphics card it's not the best graphics card and things like that those will help to suit that up it works really well here because the graphics card is just running one monitor and we're actually looking at the one monitor just you know so it's it's not very difficult for it to do it on one monitor however if you want to if you have a thirty inch monitor well then you can take light room and resize your your light room so you could resize light room there and then put this guy over here so that you have two different viewing areas and now you khun you can have this portal for resuming and I would I would always keep it zoomed and then you can just look and see is that focused and you can look at all of your images and you can look at this if it's a thirty inch monitor because it's big enough for that kind of activity so that's just something else you can do with that um that secondary monitor that's really important okay, so any questions from anybody if you shoot vertical images how can you show the images as vertical images in light room because all of hers are coming in or his are coming in horizontal uh it's not a light room question but I'm happy to answer it thanks a lot see so it's on the back of the camera I wonder I don't know if she's shooting cannon or or nikon but I'm sure I hope they have both so here's, what I do in the menu settings and I'm going to go over here so we can zoom in on this in the menu settings, I can go into let's see where that setting is. Okay. So on my mark three it's in the little wrench yellow menu, but it's going to be different for everybody and there's, a segment called auto rotate, and usually you have three options. You have auto rotate off, you have auto rotate on or you have auto. Rotate on for the camera and the computer so you can see there's a difference between off, which would do no auto rotating. So doesn't tell the photo whether it's a vertical horizontal. If you do auto, rotate on on the computer on lee, it keeps it normal for you here, so that it's the biggest possible, but it doesn't. It doesn't auto, rotate it on the camera on lee on the computer, or you can auto rotated on the computer and on the camera. So the reason I choose to do the auto rotate on lee on the computer is so that I can take a picture, throw a card in here, it's so that I can take a picture with the camera this way, and, uh so I take a picture and see out stays big, so I wanted to stay as biggest possible if I had a auto rotating, it would end up being a little tiny small image because it was rotating a vertical into a horizontal place, and so I wanted to big like this, so I can see it because I can go like this to see an image, but when I bring it into light room because of that menu option, the auto rotate was on four computers, it will come in and and rotate it so that title so at this point, I'm going tio just just talk about the metadata menu and this is the metadata is the most boring of all men use it is the it's, just the thing that never gets talked about and I feel bad for it. But it's important, ok, metadata is all of the stuff that you're putting into the photo after that. It's it's, the non image stuff it's the key words, it's, the the titles, the descriptions all of that kind of stuff is really important, but it just doesn't really have talked about. So when you look at the metadata menu, this is where when we talked about little ex mp files, this is where that comes from. So you have the options so let's, take an image, just this image here and let's convert it to dmg. So remember, you go up to the library menu and you convert that to dmg, ok? So now we've converted one of them to dmg, so still raw image. But it's a d n g the d n g allows you to write the metadata into it so all that metadata goes into the file. So now the file contains the keywords and all that kind of stuff. Ok, the rest of the images are regular raw images. So if I select all these images, I mean goto the grid module and select all these images and I go up to the metadata menu. I can then save that metadata all the stuff that's been inside of light rooms brain can be sent out to the files so that it's available for other programs to use, like bridge or photo shop or wherever you're going. So if I hadn't saved the meditative files, saves it out and doesn't take very long to do it. But if I right, click this and show it in the finder. There it is. I converted him all dmg, uh, shoot, ok, hold on, let me go to the entire set of images. And let me save the meta data out. And by the way, you don't have to go to this menu. You can always hit command s just like you do in every program. Command s doesn't save the catalog. It saves the metadata out to the files. Ok, so if I now go to this image and I show in the finer see how that has x impede out of there. But if I go to this one no ex mp data because the accent p data is inside of the d n g, whereas here it's in an x and pete. So at the end of every job you have two options. You either highlight everything and convert it to a d and g, which then takes the data and puts it into the file so that it's available anywhere, any time or you highlight all your images, and you saved the meditated to the ex mps so that at least you have little tiny versions of the database. So, like each one of these ex mps is basically a miniature light room catalog for that one image. So this catalog is dealing with this image here. This catalog is in the image, so each image has its own catalog, which means that if I were to open this inside of so let's, take this and open it inside of photo shop and when I open it, camera rods going to see it and it's going because draw it's a raw image and opens up in camera wrong, which is really important that I can see the way it's supposed to look in camera even though it wasn't made in camp but that's because the dnc has the information inside of it if I were to open and a a rhyme is like a c r to if there was an ex mp right next to it of camera roz, initial impression is always when you open up, a raw image always looks right next to it to see if there's an x m p if there isn't, it just uses what's there. If there is, it sucks that in okay, so without an ex mp, you just see the normal file, but because we have the the accent p type information inside of the d n g, I got it okay. And by the way, just as a quick shout out it's important also to have presets inside of camera wrong, because if you happen to go there, you want presets. So if you go to here, you can see that I've got some familiar presence in there which these air really difficult to get into a camera because you would actually have to recreate them because they're not they don't share you can't just grab a preset from light room and drag it into a camera and have it work, which is should because they're the same engine running it that they don't they can't share him so there is a guy that just created a plug in called a c r a c r preset manager and it's only available for a pc, by the way he's writing one for mac but it's only available for pre seat at this moment but it's awesome and I the website is a cr preset manager dot com and we'll give one of those away tomorrow actually so anyway, but that's how we were able to get my presets from light room into a cr it's the only way to do it otherwise four hundred presets trying to rewrite them for a cr is ridiculous, so I'm just giving a shout out that guy it's great little manager and it'll even manage like because you can't folders inside here either so it manages your presets so that you can find them easier because when you have four hundred presets camp folders you're lost so a cr preset manager is really great little tool for those of you who are on pc so check it out and we'll give one of those way tomorrow but just just recognize you should have at least five or six presets and hear the things that you regularly do rather than adjusting, I'm here and if you're in a cr kind of guy and a girl or guy and that's, all you do is a c r number one you should change a number two if you're going to stay that way you really ought to make sure you have pre sets in there too, so that's just a little shout out for that so back to the metadata menu so also remember we talked about the concept of keywords and we talked about how it's important to have a key word list for your assistance s o that they're putting in the right key words so that everybody's uniformly putting in key words you have that ability to import or export keywords so if you know someone that's already got their key words dialed in just beg and ask him, can I have your key words? And then you just export your keywords and import your key words and then all of a sudden you'll have all the key words they're using and so or you khun share him from computer to computer but remember also those keywords where are they? They're in the light room folder right that you find by going to the preferences menu into the presets area and clicking on show light room presets folder ok, so very important that you know that button because that will share all your presets all righty um I think that's it that's good on the metadata menu any questions coming from out there before we move on to our final discussion really quick I know you're covering this tomorrow but we have had a handful of people asking about how to import the presets because we're suggesting they done the stack back sign of talking about it but let's let's ease some curiosity eso tomorrow I will talk about this again and we will talk about it in more detail but let's talk about those presets if I had just downloaded the snack pack on let me go let me go find my snack pack here um go where is this that isthe okay, so if I had downloaded snack pack it would look like this snack pack dot zip so you always zip stuff up so that it doesn't get ruined when it's transferring around zips helped to protect it against movement and corruption. So if I double click the zips the snack pack I get the snack pack all right so here's the snack pack and inside the snack pack I've got all my snacks including pb and j dragged that to my desktop so now I have jared platt snack pack and a zip zip you should go and save it somewhere you know put it on a disk put it in your drop box somewhere where you can access it then this one here jared platt snack pack needs to go into your light room folder how do you find it you go to light room you go up to the light room preferences menu and you will find it in the priests that area of the light room preferences click on show light room precept folder and then you can hide light room because now you have the folder you know where it exists it's right here and I'll show you this pathway it's in library applications support adobe light room and then developed presets right here once you click on developed presets and you grab the snack pack you drag it into the develop resets folder and let go and now you'll see that we've got a jared platt snack pack here above all of these other folders now remember if you're messing around with importing and moving around presets light room cannot see more than one folder deep so it can see into the developed re sorts folder and it can see a folder inside of there but if you put a folder inside of here it can't see it so this is the farthest that can see into the developed preset ful there's one folder deep so that's why we have develop presets than a folder jared platt snack pack and then all the presets ok then I'll go backto light room and light room won't show the snack pack if I go the develop module it's not there the reason it's not there is because it it has to be restarted so if I quit light room and then I come back up here light it up again there it is. So now where is jerry plants that back there it is right there so there's the jared plot snack pack right there and there's all of the snacks and tomorrow we'll deal with the snacks because you know that I don't like those names those names are completely meaningless to us because they don't tell us what it does okay, so I'm very against these names, but we will fix them tomorrow and we will discuss making presets and dealing with presets and reorganizing presets and even readjusting presets so that they don't cause you grief. So and I'm sure a lot of you have presets that cause you grief at times and so we're going to teach you how to fix those presense and get them under control kind of manager and deal with him. So when you have an unruly preset you this this will help you fix it, so but now those air your presets and play around with them and get familiar with him tonight and then tomorrow we'll talk about him and we'll we'll make him make him the correct names and teach you how to deal with him ok, cool, so that's how you import any presets and that's the same for anything it doesn't matter what the priest said is if I'm trying to import export actions which by the way, I have on the if you buy the course that set of presets that I gave I'm giving away with the course is my everyday favorites, which is about thirty some odd presets scott export presets it's got templates for the print module so it's got all sorts of stuff in it, but those like, for instance, the export presets would go right here inside of the export preset folder. The print templates would go inside of the print template folder, so all of that happens in one place right here in this light unfolding all of its slide show templates, smart collection templates, plug ins and marks everything is in there, so doesn't any anywhere you have some kind of a template or a preset this is where it resides and this is where you'll find it even by the way color profiles so if you have color profiles based on a camera or a printer, this is where they'll go so everything's here, which means that you can copy this one folder and save it and then you're always able to replicate your home desktop anywhere you are that's why this is so critical that button is probably one of the most important and underutilized buttons in all of light room is that find the precept folder inside of the preference menu here that that button is gold. Finding those precepts and knowing how to use them is absolutely important. So find those presets tonight and and put yours in there and get usedto the presets because they'll be useful. Okay, so just one last quick discussion. And that is just about the concept of library module and the developed module. The library module was put at the beginning in order to force you into selecting images at the right time in the correct way. That's. Why it's there, that's. Why it's at the beginning of the of the process to many people get into the library module and they start working. And then they go to the developed module and they play around. Then they come back to the library module, and they do something that come back to the developed module and they go back and forth. That's not the way it's designed. If you want to be efficient with it, you need to stay in the library module and get that job done, get it selected, get it over with, then go to the developed module and start working in there so the library module was meant to be able to function and that's why they have this quick developed keys. So that you'll stay in the life little ivory module and you won't get tempted to go somewhere else, and I would say that you, if you get tempted by adjusting images over here you're you've gone too far in the library module, you really ought to be just dealing with selecting images and getting images ready for the development process. The quick develop is really meant for if there's an image that you really can't tell what it looks like until you turn it to black and white just do it real quick and see, but but otherwise stay away from that. Even the only time to go into quick develop is when you need to do those kind of global edits to things that you that you need those those adjustments to be relative is supposed to exact and that's what the purpose of the quick develop is is just for that relative ability of adjusting images but just get used to the concept of the library module being the one place that you go to select your images, start your images and all that kind of stuff. That's what it's there for it's, an organizational module tomorrow will go into the develop module and that's where I was talking about image editing, an image work and adjusting images and and fixing images and all that kind of stuff that tomorrow the really intense day of development work so but we intentionally put them on different days and show you that because we need you to understand that they're two different things and they're two different activities, and if you start messing the two together, you start bridging that and and blurring the line, then you'll end up wasting time, which we don't want to do. We want to speed through our work. Um, so that's, why the library module is separate from the developed module if you go to on I mean, I'm just going toe at this point, we're just going to go through a couple menus, and I'm going to point out a couple tips that you need to understand about different things because there's there's a lot of stuff here, but then there's a lot of stuff up here in the menus is that you don't necessarily get one being the fact that you can email photos from light room so that's a really important option. Just click on any image and then go and email the photo and it opens up a little editor where you can type in a subject you can tell it what what mail program it's going to go to and you can even add addresses into this so that you can quickly send out stuff to people that you're constantly sending stuff too, and you can choose the size of the email and you can create presets for it for the size so original size small, medium large but if you create it just takes you to the export preset dialog box so anything you can export you can export to an email and it would just set up the email for you and then you can hit send so that's that's something that's kind of buried in the menus that it's not I don't think it's utilized enough thie other thing that you want to know about is the so there's a difference between presets and plug ins so presets are one touch push this button and it will change some sliders inside of light room a plug in is a completely separate program the interfaces with light room the plug in manager is important to get to get used to sew these air all the plug ins that I have in my system right now and when you click on him you've got like hdr fx pro by nick so these are the plug in details and the way to disable reloaded imported so any time you want to add a plug in or find a plug in or whatever this is the place you come and if you click on plug in exchange it will take you to adobes plug in exchange that where people have free plug ins and plug ins for sale so if there's something you trying to learn how to do all right there's something that you think you should be able to do in light room he probably can with a plug in even if light room itself doesn't do it so they're plug ins for posting teo teo facebook and they already have one published service but there are other plug in services for facebook there's plug ins for posting toe wordpress there's plug ins for I mean just just a massive amount of plug ins out there so just just get used to this area and go to the plug in exchange and just look around and see what what you're missing um let's see oh here here's here's one tip that you ought to know and that is it's a really simple one but it's not used and that is the invert selection right there it's in the edit menu invert selection so if you're selecting and this is mostly used for people blogging so they're blogging and they have they want to put an action on something that puts their logo on something so they export you know, all their horizontal cz and then they've got to do all their verticals or something like that and so they treat him differently so what will happen is they'll click on the one and they'll go on export and then they come back and then they have to click on this one and this on this on this one and that one but if you do that all I do because I know that there's in certain circumstances I know that my logo should go on the right on this one. It should go on the right on this one and on this one, but these three should go on the left, but my export when I export and I go say to my blawg, if I go to export and I go down to the water marking area, which will also talk about at that time, I have a a blood left in a block, right? So the first one's going to be by blogged, right? And so when I export those once I've got the export on the block right where the the logo will be correct in the right hand side, then I just come up to the library menu sorry, the edit menu and invert the selection. It switches it to all the ones that weren't selected, and then I just go back to the export dialog box, go to the bottom all the same settings and just change it from right to left and hit export and now everything's, the other ones are on the left. So generally speaking, that's, you only have two things you need to do either for a vertical, horizontal or for right or left or whatever, so you just select the ones that I need the left then you invert go to the right so that inverts election is a really great tool that most people are amazed to have found right and you've been in light and for how long? Two years and invert just never even knew about it yeah, so inverse election is a very powerful thing don't know and you use it all the time now um let's see oh um so your ah well we talked about stacking and how important it is to collapse all the stacks and expand all the stacks so when you're trying to work on all your images, make sure you expand all the stacks right here so if you need tio dress all the images before you do it, open it up and expand all the stacks because if you have stacks closed so you have one image and then a bunch images below it and you do a keyword it doesn't keep where the images behind the stack it just does it to the top. So if you're gonna work on like key wording or stuff like that, expand your stacks, work on him and then when you're about to export, if you don't wantto export all of the generations of an image collapse all your stacks so knowing expanding and collapsing your stacks is very important we already talked in depth about the metadata menu the view menu is fairly simple it's just the way look, but the one thing I do want to mention in the view menu that's really important is your grid options so if you go to view and down to view options you get a pretty big list of things that you can see and you have two options you have account compact cell see that and there's nothing there's no information on it and then you have an expanded cell and you get to choose the information on both of them. So your compact cell and you expanded cell have options? I always keep it in the expanded cell because I want the information if I want to if I want a clean looking thing I'm going to go to the survey mode survey motives clean I don't need the grid toe look clean I needed to have information on it and so this is where you choose the information on I like to have the that what kind of file it is so you notice right here the file extension is listed here. Um I also like to know the name of the photo which is here. I like to know how big it is so there's the crop dimensions which are listed here and then I like tio I don't really care about the index number it just tells you how many images there are so this this may have different numbering systems or whatever, but this just tells you this is this isn't the image number this is just the first number in six so if I highlight it and I see six six images down here six total photos in this little information panel here on by c six here I know I've got six photos and if I see one through six then I know there are no gaps in the name so it's easy to check your naming structure if you know how many photos do I have how many photos? Uh what's the naming of the photo if the last photo equals the same number is the total number of photos than I know there's no gaps in the name so that I can export him if there's a gap in the name then what's the major problem the client wants the thing in the gap, right? The client will go where's number seven that's the one I want. All right, so just make sure there's no, no, no gaps in your names. Um oh. Does everybody know that the tiki pulls up and down the toolbar this little tool bar with the with the the spray can on and all these stars and that's the tool bar t t for toolbar and by the way it's really precariously placed next to something that's similar so you see in the tool bar you've got the red, yellow blue whatever and then you have red yellow blue down here okay it's confusing the tool bar if I click read it adds read to the photo so if I have a red click read it adds read to the photo if I go to this red and click it it sorts by red see that so it sorts four reds so you have to remember that the stuff in the tool bar is actually adding the color to it because what what invariably happens if someone goes down to sort and they accidentally pushed this and so they've got like all their images selected for some reason they go down to sort and they do that and all of sudden it's all they're like well all blue no I didn't mean to do that just hit could relax hit command z and it will undo what you just did and if you did like five things trying to fix what you did you like what you oh no no not that this oh wait just hit undue three or four times and it will take you back every hitter and command z is different than photoshopped photoshopped those commands e it goes back and forth back and forth back fourth light rummages keeps going back in time commands eagles back in time and shift command z goes forward so if I hit backward in time forward in time so just just a little ward of a caution there people call in a panic about that a lot and I don't mean to suggest that it's okay to call me in a panic every time you have something like this happen I'm just saying that friends of mine that I know we'll call me in a panic about something you know? So if I if I just feel that everybody's panicked calls, I would never get anything done um okay, and so then the last is in the window here, which is obviously you can choose your modules, but the most important thing to know here is this lights out options here, so lights out is the way that I am able to focus on something. So if I'm in a situation where I'm looking at an image and I'm really trying to like, for instance, look let's, go to this the ortolani wedding on let's go to my p stds and I look at this image and I think I really want to focus on that image that I'm going to go into the loop mode and I'm going to and I'm going to hit the lights out, which is l and so I can still work on stuff because there's they're conceal this stuff up and down here, but see how it allows me to focus on the image so that I can really pay attention to it and think because a lot of times the distractions around you keep you from thinking about the image and really paying attention to what needs to be done and so this is particularly important in the developed module but it's also important in library module to really focus on an image occasionally and just look at it and and let it talk to you so that you can make the right decisions for that image because if you just if you're constantly distracted on the outside then and particularly if you're in your studio and you have the lights down and the distractions away from you here then lights out really helped draw him and then if you really want to look at it again shift tab so remember tab pulls the side panels out and shift tab gets rid of all the panel's top bottom right and left and so then I can really focus in on look at the entire image and get a feel for it and then shift have back to get all my stuff back okay so lights out l and toggles from lights out two total lights out and then back to the lights on okay and then remember the preference for that is inside of your preferences you can choose how much lights out the first lights out is that fifty percent off is that seventy percent office at ninety percent off so for me, I wanted to be his darks possible but still be able to see the tools so okay, if we have any questions hurley has asked if I was a contractor key wording for several photographers could I have a separate list of key words for each client? Yeah, yeah, absolutely just just a couple things you want to be aware of if you're going to try and do that number one, we talked about the metadata area there's, the import and export keywords so importing an expert key words are important and then purging unused key words would be important to that aspect. So if you were if you were working and you had these extra key words, you could purge them before you brought in another set of key words that you are working on for a different client. The other thing that you can do is down here in the not in the q word list but in the key word suggestions there's keywords sets and you can have different keywords sets. You can even make those all day long. And so you could have a key words set for like let's say you had a client named gary you could have the gary keyword sets and that could have like so this key words that has it's child life portrait so it's got child playgirl, black and white color a boy friend toys and skin so like those of the things that would be most used in that circumstance but that could be gary one gary to get you know gary weddings gary portrait scary whatever and then you'd put the critical key words that he needs dhs inside of those areas and then you'd have nine possible key words for quick use but again the most important thing for you to use would be that important export keywords and you would just create a keyword set and then you'd export that keyword set and that would be his and his alone so yeah he has another great question is the master key word list stored in the catalog and if he uses multiple catalogs can he copied the key word list from one catalog to another you can you khun the keyword list if you look let's go again to the preferences and if you go to show light room presets folder and then you go down tio their key word sets these air where all your keywords sets are stored it's right here okay so that's key words sets those air those things that I was just showing you here so these air called keywords sets right here these little groups of key words the catalog itself runs off of these key words so exporting the key words is a big text list of all the key words that you use and so you would export this per client per catalog and you would import that set and purged the other set because you would you would keep adding because all it's doing is is looking at the text in this in this key word doc taxes just a text file with commons and is using that as it to draw its key words for the like when it's drawing suggestions is strong it from this list and so what you need to do is you would have to say ok, I'm opening up because it's in the light it's not in the catalog it's in light room and so you would want to then bring in that key word list and purge the other one so and you just need a set like I would just keep five twelve clients I would have a list of twelve text files that have the key word list and bring in his but quite frankly I don't I don't know that I see the advantage of keeping one keeping them separated you know? I mean like I I imagine that you would get to know the client and you would just type in their key word and I know it but I don't know but you could do it awesome and we had a few questions about overlays duke from park city and a p r y l asked how do you get the overlay to export with the image like your creative life over land, don't you don't okay, that's on the purpose of the overlay, and and keep in mind that the overlays, the png, which is not a very good file. P and g's, fine, but it's, not a photoshopped file, you know, so what you would want to do is you would just use that for compositional purposes only. And then you would export the file and then bringing in phone shop in. And then you could. I mean, you're going to create the png from photo shop, or from, uh, you know, in design or something like that. So quite frankly, you've probably already done the work. Now you're just bringing that fought that j peg, or that psd into the file that you already had created. So light arms, not the place to do the composite it's, just the place to check the composite, make sure you're organized correctly.