What we're doing here is we're actually talking about every little piece of light room, what is it the light room does? And how does it think? And where does it put files and why does it treat him that way, as well as what do these sliders due in and which ones are better to use than others and what's what's the correct method or the best method for getting something done inside of light room? So it's, much more specific toe light room and very specific things that we talk about. So just so you understand that difference between a workflow conversation and a light room conversation, so today we're having the light room conversation on dh will kind of go in stages and light room is specifically made in in modules because we do one thing, and then we do the next thing, and then we do the next thing. So if I were to open up my catalog inside of light room, um, I'm going to see a siri's of modules, so you've got a library module and develop module map books, slide shows, prince web and the...
y're they're put that way because you first do library, because that's, where you select things, and then you're going to develop and that's where you work on images and adjust them. And then, once you're done with that, you may want to search for them and maps or something like that to find out where you shot something or see where you shot things, but then you're going to share them through books and slide shows and printing and web so that's all on that side, you'll also notice that everything starts up at the top and goes downhill. So you're going to use the navigator and the catalog and all the folders, mohr and more before you're going to use things like public services and collections. And so everything kind of flows downhill. The same thing is true up here. When you're working on things, you're going to go, you get from more general two more specific as you go down, so things like adjustments or much more general than keyword because key words a very specific to images and keywords arm or general than meta data like real specific, like what have stopped that I shoot it at, so everything gets more and more complicated and detail does it goes downhill and that's the same thing in the developed module, you'll see the same thing and we'll talk about the develop module a lot tomorrow, so today we're going to talk more about the the library module but you'll see the same thing happens here that you have your basic settings up top and they get more and more complicated and more specific as they go down to all the way down to camera calibrations so if you think of light room in general is laid out from general too specific left to right top to bottom then you're gonna you're going toe that's the way light room is laid out and you're going to make the proper movements in light room because you want to start general and go specific if you start specific and then go back to the general you kind end up wasting a lot of your time because you start doing specific things and then you have to come back and do all the general stuff which kind of messes up the specific stuff so you always start general and then you find that most of the time you don't have to go to specific because the general takes care of most of it all right? So the first discussion though that we have to have his outside of light room and that is what is the light room catalog and how does it operate and how does what's light room doing with all of these photos? So we're going to look at a catalog and as you see right now this is the catalog that I'm working on and the catalog actually has two pieces to it has a catalog it's called an l r cat l r c a t filed that's the extension on the file, the the library or the catalogue the lr cat is a fairly small file in this case it's only twenty megabytes. It'll get a little bit bigger than that as I put more images into it. But it's not all that big a file and if you were to send this file if you compressed it zipped it up an email that it becomes less than a megabyte to mail it around. Um, so if all you wanted to do was male this thing to yourself or put it in a drop box it's not going to take up a lot of space so it's a very small thing and what that file has in it is all of the information about what you've done to a photo and where it exists. So it's very small data there's no actual pictures in that file none it's all data it's data about what? What slider position the ex the exposure slider is in and what key word is associated with that file and where it exists on a specific hard drive that's the stuff that's in there and it's just so it's just like a big spreadsheet basically of data that's all that is just a database and then there's another file right above it you don't go by the same name but then it'll say previews dot lr data at the end which is a little bit misleading because it's not really data it's it's previews so if I were to accidentally delete this file but I kept the lr cat file I'd be fine because this is just the previews and when I open up the working catalog it would rebuild the previews it would go on look at the photos again and rebuild the previews so it's not necessary toe have that working catalog previews they I mean it's it's gonna be annoying to build it every time but if somehow it got corrupted or lost or something like that it wouldn't be a huge problem ok so those are the two files now what are these weird little files down here that's because light room is open because I've opened this catalog it's created these temporary files and the reason it creates those temporary files is to make sure that if something happens let's say my computer dies in the middle of working on file that's it's working on these files and so it keeps so it avoids us losing our data so then if I reopened light room after crash it goes and it uses these two files here to help rebuild what we were doing okay, so it has a really a minute by minute update of what you're doing so if you have your computer crashes and you're just in the middle of sliding the exposure slider on dh you right before that had adjusted the contrast slider chances are when you open light room again the contrast slider will have already been put where you wanted it to be and maybe the exposure slider will be where you just last left it might be one tick behind so it's really up to the minute up to the second change is as as you're making him it's putting it into the catalogs themselves and when there's a crash it doesn't delete these files so that then it can use them to rebuild where you were when it crashed or when it when you you know, lost power whatever happened and so there's been plenty of times where something has happened and I've, you know, pulled the driver right something's gone wrong with the computer died or whatever my battery went dead or something and I'm like oh crap of lost things and I reopen light room and it's pretty much where I was maybe one slider behind and that's it so the's air important little files but once I close light room so if I go here and I quit light room see how they just disappeared so that disappearing act is soon as soon as you close it says ok, we can we can finalize whatever has been being worked on and we'll put that information into our official working catalog ok, so that is what those little files are and these two files constitute the entire catalog that light room is using. Now you'll notice that there's no photos there that's because light room never actually ingests your photos they don't exist inside of light room light room is simply a brain or a catalog system that looks at your photos like, for instance, if you were going to in the library uh oh maybe that's not good. When I was in college I would go to a card catalog he would pull out that thing and you would flip through the little cards to look for the book that you want to define and then is it? When I was a master student, I was a little further along and so they were starting to use computers and cataloging all the so then you could go in search in the computer. But the book wasn't in the computer and the book wasn't in the card catalog on lee, the information about where to find it and what was in it so light room is like a card catalog or a computer database of the books in the library, but in order for us to have anything useful in that card catalog or in that search system, we actually have to know where the books are correct so I would look in the card catalog and I'd pull out and I'd say I wanted you know ethel the yard mark you know I want to go find that book or whatever and so so then I grabbed that and I go find where it is but if the librarian has not put it in the place that it exists where it's supposed to exist I can't find it so I have to know where the book is and it has to be put in the right place in order for me to find it with the catalog system that makes sense okay? So in light room were simply making references to all of the photos that we have, what we've done to them what's inside of them and where they are in this case these images that we're going to be referencing are inside of a working hard drive and way discuss this in great detail in my creative life class from june of two thousand twelve so if you want more information about hard drives and where to store it, how toe you know, run it through that's a the ultimate light room workflow workshop that's a great reference it's for that, but in this case we're going into a jobs folder and you'll see that I've got a lot of jobs here and one of the jobs is this ortolani wedding there's all the raw images right there and they're being referenced by this catalog so they're on a completely different drive because this catalogs actually in my pictures folder on my computer and why would you keep your catalog on the computer while the photos maybe somewhere else? Well, the answer is I don't have a lot of room on this laptop it's a solid state hard drives so it's not huge, so I don't have a lot of spare room I can plug in the hard drive and work on images, but then if I'm on a plane I can unplug the hard drive and I could just be using this and still see the photos they just aren't attached to the computer because you remember I've got a catalog system that knows what the images look like it knows where they are and those all the metadata about them it doesn't need to actually have to be connected to that hard drive to do things with those photos. Okay, all right, so we've got him in two different places because catalog is small, it can go on my main hard drive inside of the pictures folder on dh then the photos because they're large go on a secondary hard drive that attach is to the computer okay, all right, if you're in a desktop situation, you can have both of those drives internal, but you could still separate out the photos from the other stuff ok so but they happen to be referencing these photos here and so that is how a car a card catalog a light room catalog operates it is its own entity and it knows where things are and it knows what you've done with them and that's it all right so let's then pretend that we're going to import into a catalog situation all right so the first thing that we have to do is create a catalog so inside of light room if I want to create a catalog I simply go to my catalogue and I click on light room but if I were a click on light room it would just open the latest catalog but I want to pretend that we've never opened like room so we're starting from scratch so we're going to go in and we're gonna goto are light room and I'm going to actually hold down the option or the cult key and I'm gonna keep holding it down so I'm holding the option key down and I'm going to keep holding it down as I click the program and I'm not going to let go of the option t or the all key until I see a dialog box appears I click on light room and I get this dialogue box that dialog box is what I would get if it couldn't find a catalog that in last used but I'm forcing it opened by holding that all key down and I get this dialogue box which allows me to either choose a different catalog that I've been using or to create a new one so let's just create a brand new catalog and we're going toe put that catalog inside of our pictures folder inside of the light room folder which is where it kind of light room defaults to put things on dh I'm going to call this uh c l and hit create so I just created a brand new cataloging system toe look at photos and there's nothing in it it's completely empty now once I have a catalog or or ah light room database established at that point now I need to start putting some kind of images into it there's two ways to do that the first way to do is to plug in a card and if you plug in a card and hit import you khun suck it right off the card and you can tell light room where to put things I don't prefer that method because it's slow hiram is intolerably slow it moving files and so I prefer to put my images where they're supposed to be on then import them into light room so that's what we're going to do we're going to plug in our card here and we're going to open up our hard drive and we're going to create a new job so by hitting shift command and I've created a new job and I'm going tio where did it go there's the internal folder and I'm in a name it the date so what is today the fifteenth oh that's because taxes are due in the united states so if you're in the us and you haven't done your taxes it's too late so just relax and watch this right I mean right now if you're or if you're standing in line if you got to go the post office make sure you bring your smartphone so because it's going to be a long wait in line so um I fortunately have a tax accountant doing that for me so I'm not thinking about it all kind of thinking about it okay so uh I'm going to call this c l underscore now the c l is the client so creative live just became my client and what it is it's a test so all of my jobs have a date a client and a name or whatever it is what kind of you know could be a wedding and could be a portrait whatever and then inside that I'm going to create a raw folder and that's where all of my images we're going to go so I'm going to grab these images and drag them into the wrong folder if there were multiple cards I would be putting multiple folders in there so each card has its own folder so that I don't get any overriding issues are you like that, but in this case there's only one card so we're just going to take the whole card and moving into here now an interesting little trick rather than opening this up and dialing down into here to grab stuff, I'm going to simply hold the option key or the all qaidam and drag it in and I get that little plus that means it's copying the whole card so I don't have to drill down and grab files and move them over I just the whole cards in there so now I can eject this card we're done with that and now we have our images where they're supposed to be so that's pretty fast, especially if you have multiple card readers. So in this circumstance on this computer, I actually have three card readers at a time pulling stuff in so I can get a lot of stuff in really quickly, especially with the u s b three because as it's super fast and so I have a card reader on the computer and then I have a lexar card reader that has has a slot it's pretty cool card reader it's got a slot for the cf card and a slot for an sd card see if you have if you're shooting all of those cards, you can actually stick to cards in the card reader in one card in here so you're ingesting three cards at once not by light room but into the actual folder where they're supposed to finally reside. Okay, so now that we have pictures where they're going to be now we just have to tell light room to go look at them okay, so now this is the point at which we're creating the card catalog information about photos that are not inside of light room there over here so we go to import and inside of import we have to find where those exist and they're not in this macintosh hard drive there on the working drive inside of the jobs folder and their way down here right there, okay? And this is a little this is actually a little uh shot that we took for elsa is pretty funny and it's a special prize, a surprise for everybody. So this is our snack pack I have created and this so when you're when you're when you buy the course, you get those forty presets so it's pretty awesome, right? But for those who didn't buy the course, I made a little snack pack for you. So this little snack pack is ten of my very favorite little presets from all over my preset collection dhs on dh there named goofy little names so that you don't even know what they're going to do like that inside of the snack pack has apples, it has juice boxes, it has what else would have should have had pretzels and input pretzels in it anyway. So this little snack pack and I'll show you how to get to it later, but just be aware that this little snack pack is for everybody, so all they have to do is just go and fill out a little form and middle email it directly to him so it'll download it. So anyway, there's your little snack pack, but we were shooting this and so that's. What we've got here is our little snack pack and the snack pack uh, is a very short shoot. Obviously we didn't do weigh only had to take how many photos here? Eight photos and we've nailed it so ok, so we've imported are images now on import you notice there were certain things and let's go back to this import dialog box here on go back tio our test okay notice now that when I click on that same thing, it graze him out and the reason to graze amounts because it's telling you they're already inside of your catalog, which is very helpful if you're going through an importing things and you're not sure what you important, what you haven't, this will show you what haven't haven't now if there happens to be, I mean, just cancel out of here and let's just delete a siri's of these images and if I hit the delete key inside of light room I'm going to get a dialogue box that gives me two options I can delete them for riel delete from disc or I can remove them deleting from disc actually goes into your hard drive and throws him into the trash so actually physically takes them and puts them in the trash removing does not put them in the trash it just removes them from light rooms database or from the card catalogue ege takes him out ok so we're going to remove him so now light room on lee sees us as having shot five photos even though there are three other photos that exist so now if we go to the import dialog box and we click on our creative life test you'll see that three of them are available to import and the others are great out and that's very helpful in a photo shoot situation where you keep importing stuff because now you know oh I've already got those so you just grab your stuff and drag him in and they and and then go to the import dialog box and click on the job again and it's going to see oh you already have this set of images but this set is new and we'll import those it was very intelligent to know what you haven't haven't imported so I'm going to keep importing the same thing twice now you'll notice inside the important dialogue box, and this is important that you understand what all these things do on the left hand side is all your folders that's, where you find information up with the talks tells you what you're going to do with the information they're gonna add it, move it, copy it, copy it is a d and g. So if you do any of these mover copies, it's going to physically take the images from where they are and put them somewhere else, either by copy or by moving them night, none of those are appealing to me, so I'm not going to do them some people will copy. Is that d n g so that they have the original raws and then they copy amenaza dmg and then work on the d n g s saved the roz is like a ultimate backup that's fine, but it's just a longer process to convert them all to d and g, but if you're sleeping that's a fine option, if you say copy is d n g or do a copy, remove then suddenly mohr information comes up here is tow another folder, so you got this folder tree on the left now you've got a folder tree on the right, asking you where you want to put it. If I were doing this method of copying something over so I want to copy is a d n g I would still be going to my working hard drive and I would be going to that specific job to the test I'd be opening it up and I would I would highlight it and then I would be going up to the top here and saying I want to put it in a sub folder called d n g that way it would be moving in and it would be making another copy of this into another folder called tng so that you'd have your raw photos and then you'd have your dmg photos does that make sense? So if you're going to make a copy, make sure you put it in another folder inside the same job folders so that everything is together okay? But we're not going to do that we're going toe ad adding doesn't copy it doesn't move all it does is light room opens up the images, sees what they look like knows where they exist and then puts them into the database references of them into the database, doesn't touch them and doesn't change them it doesn't move them it doesn't do anything to them even if you're even if you're shooting j pegs light room treats them as ross so doesn't touch him, it doesn't change them it doesn't mess with, um it just looks at him and then it makes determinations based on what it saw as to what the image would look like in his black and white or whatever okay, so in its basic form in the import dialog box you have the ad and when you're adding you have options on rendering previews and this is really a great important point so be very aware of this minimal previews get things in quickly but they're minimal which means that you save time now but you waste time later okay, so you're saving time on the import but then when you go to zoom in and see something you get that little spinning thing trying to build the actual preview so you're building the preview one at a time rather than in bulk and that's fine if you're at say a wedding so if I'm doing of slide showed a wedding I ingest them is minimal and then I just scanned through and look for one that might be interesting and then I zoom in and bill and then I had to wait for it to build that one preview but I'm not waiting for an hour two hours or whatever for it to build all the one for one because I don't need to see all the one for once I just need a little thumbnails that I can browse through ok so that's the fastest way to choose images on the fly is through minimal because it's we'll bring him in really quickly one for one allows you to build a full sized j peg previews of a full sized photo so if you have a six thousand pixel file it's a six thousand pixel file and so when you zoom in it's immediately available for you to look at there's no spinning waiting there's none of that so you you spend time here on the import and you walk away and get something to drink or go to sleep or whatever you're going to do when you come back all of these zoomed in one for one previous are there available to you ok, so if I have time which is most cases I do have time, then I render the one for one previews the only time I do minimal previews is when I'm on the road on a wedding and I got to get it done now because I've got a slide show got a show in, you know, an hour now there are other options in here there's a better than sidecar and standard standard just builds a smaller big preview which to me is a waste because if I zoom in it still has to build the one for one so it like got halfway there but it didn't do the full job so to me that's it built him pretty fast but it's kind of like halfway there so I'm just gonna build the one for once if I haven't if I have enough time to build the standards general have enough time to build the one for once now embedded inside cars an interesting option because what it does is it specifically looks to the sidecar filed, you know, in a sidecar file is I'll show you a side car file is if I were to highlight all of these images and go up to the metadata menu and hit state and we'll go over this, I think later on this afternoon as well, so don't get too hung up on it yet, but if I save the meditated to the files and then I go on, look at one of those, so I just show that and fine see that little ex mp file right there so there's the the original file, which is set seven six to zero and then there's seven to six to zero xn p that is a sidecar file it's the same name dot x m p it's metadata it's the same metadata that's inside of light rooms cataloging system yeah, the ex mp file contains slider information about how bright you wanted a dark you want a black and white keywords titles also reference to where it exits all that kind of stuff actually doesn't have reference to where it exists because it's, the accent p file has to be right next to the raw file for it to do you any good, so but photo shop if you were working inside of photo shop, it does this naturally, so if you're in bridge and you're working on something bridge can't store the in from, well, it doesn't naturally store the information in itself or in a database, it naturally stores it next to the file. I think there is an option and bridge where you can create a database to do that, but naturally always writes it to the file, and when it writes it to the file, it can't write it to the raw file because of raw file is protected against that, so we don't write stuff into the wrong file. We put it right next to the wrong file, but because we're in light room and we're working on a database system instead of having all of these little mini databases right next to the photos, we have one big master database that references all the photos, but light room has the ability to send that information out so that it can be used by a place like bridge or photos. She had the ability to get the information out, so if we go back again to the import dialog box, then if we had chosen embedded inside car, what would happen his light room would look to that side car to make sure that it got the information from the sidecar as to what was done to it. So if you were ingesting photos that had been looked at or worked on in bridge for some reason and had all that ex mp and you wanted the the the previews in light room toe rip reflect what had been done by someone else and bridge somewhere else then you would choose embedded inside car and it would look to that embedded sire that inside car and say what was done to this photo previously and I would pull it in ok so it's just forcing light room toe look att information outside of itself to get an idea of what was what was done right? So we're going to choose one for one on importing these and we're not going to import any suspected duplicates oh, and I haven't selected a source so there's our source. So if I un check this don't import selected duplicates than it would allow me to bring in duplicates that if it thought were duplicates and be like I think you have a duplicate somewhere it would allow me to bring those in but we don't want it to do that and we're not going to make a second copy somewhere during import now we want to do several things the first thing we can do is we can import with settings. Now, notice that these air in black and white and these ones we brought in here in color. And the reason that is that when I was shooting this camera in black and white but because it's raw, I can see it in black and white on the back. But the ross still in color. Okay, so, aiken, I have this thing set up actually as a black and white. So if I take a picture of you guys here it's it's in black and white. So the the photos in black and white on the back of the screen so looks looks great, but the images still color because wrong. Well, what happens is light room sees this file come in, but it's using the embedded j peg that was created to show you on the back of the screen. That's what it's using when it initially shows you the photos. And then once it gets a chance to go to the raw and, like, dig it out than it updates the photo. So watch what happens then when I import these photos, when I import them, they come in, is black and white, but very soon after seeing how they switched to color this one's going to switch to color in a second there so what it did is you you are seeing it uses the embedded j peg that the camera makes to initially show it to you as quickly as possible and then it flips it once it has the chance to go in and look at the actual raw file and see what's actually there, then it becomes color, so again, I'm going to delete these, remove them and go back to import and when I import these now if I want them to stay in black and white for instance, I once shot an entire wedding in black and white it was awesome color like literally flowers were in black, everything was in black and white. Obviously the wedding itself had color in it, you know? But I shot in black and white, but my fear was is that I would come back and I would see on image in color and think I got to keep that color right? So what you do is you come to the developed drop down here that developed settings and all of the presets that you have put into light room are available to you here, and so I'm going to go to black and white and I'm going to go to let's say, see pia now let's just do like a let's do like r t max rich like a t max thirty two hundred look kind so whatever look we want to put on it so I actually at this black and white wedding than I did, I put it in black and white here so that when it got in I would never see it in color so that when it so I would never see go boom and go oh crap, I want to see that in color so I kept it in black and white, so I never have not once have I ever looked back to see what those look like in color and I won't refused to because I gotta stand black and white so that's the first thing that you can do is you can add a setting there? Yes, so when you're doing that are you changing the rule files or do they still have the color information? And they always have the color information? Yes, oh raphael will never lose its color information, it will just allow you to see it differently. All I'm doing is adding the effect before it shows it to me so on dh then I'm going to add some metadata meta data and we'll talk about metadata in the next segment or two is all of the stuff about the photo f stops, shutter speeds, keywords all that kind of stuff is in the metadata the photo, but we're going to add specific meta data to every photo and that metadata will be my my copy right? So if I want to create a copyright I click on at the bottom of every and this is system wide on light room at the bottom of every drop down menu or at the top is going to be the option to create presets so you don't have to keep doing it over and over and over again so the bottom you'll see that I can create a new pre set and in that pre set I can come down and I don't need all of this stuff let's uncheck all okay so I'm gonna go the copyright area here and in the copyright I'm in right two thousand thirteen comma jared platt and then I'm in in the copyright status I'm goingto I'm going to click on copyrighted usage terms I'm just going to say contact photographer and then in the earl I'm just going to say www dot platt photography not come so now I've got all of the copyright information I want you can make these much more detailed so if you shoot it a place all the time or if you shoot models that have releases or don't have releases you can make a specific preset for each of those circumstances for instance if I wanted to have model information in there I could say ok model information I'm not gonna synchronize all of this stuff but I am going to synchronize do I have a model age disclosure or do I have a really status? Yes, I have unlimited model releases on this model. Okay, so that's I have that, and then you make a two thousand thirteen with the model release in a two thousand thirteen. Without that we later on, you can search and say who have a model release from and that will allow you to find all the things you could use. All right, so if I do this now, I'm going to name it two thousand thirteen with model release ok, now I'm going to hit create now all I have to do from here on out if I have a photo shoot with a model release, which this this snack pack totally gave me all rights like sign, sign everything away, right? So with the model release, then I click on model release and now it's going to put that information into all photos as well as any key words, so I'm gonna put snack pack and notice that it's snack space pack that's not two key words that's, a key were key phrase the space indicates a key phrase, comma indicates the end of the key word so snack pack um it was shot in a park there's grass and there is a, uh a paper bag and by the way, if you goto if you go to some of the grocery stores the uppity grocery stores, they don't sell bags like that they're just against paper bags totally you know, like you you want to lunch sack sorry, we don't sell that your evil for wanting one so you have to goto the lesser cool food chains to be able to buy a little paper bags snack we just needed one way like I can't believe you're even mentioning them here in seattle hello, I know I'm just saying that I just needed a prop couldn't get it at the grocery star had to goto like some lower chain anyway, so snack pack park grass paper bag okay, so now that I've got all that information in and hit import now all of these come in and when I click on this image and come down here, you can see that my key words are already in there. You can see that if I go down to here, if I if I go, look for the model release information which is in a different set of metadata, it would be in there as well so I can search by whether or not I have a model release, and since this paper bag was dumb enough to give me its model release, I can do whatever I want with it ok so that is the importing process any questions out there about importing or what we've come so far a lot of questions okay could ask you a couple yeah more or you don't stop it do you guys have any in the incident I have from one with the important process so when the initial ones that you imported without using light room and just moving it from the death top how do you get the key words into those or it's a good question so if I am now because remember I imported twice I still import in the same way each time it's just that this time I was more involved in the import process but if I go the whole collection of images and notice that these guys have like a see the grain structure there so the rial photo looks like this see how clean and crisp like it's a crisp clean photos so like this is what it looks like and if you go to this one it's see that's got that nice green structure to it love it so so that is the added preset that was added to it so in the end if I want tio I can then go to the grid and I could just take all of this and shift click over to here so the main photo that selected is here and then I'm shift clicking to here and then I can hit sink metadata and I can choose what to sink so I can synchronize that I can synchronize like I could check all and hit synchronized and now all of them have the same metadata ok, the other thing that you can do is just highlight all of them and start typing things into your key words here questions up there? Absolutely so a couple of photographers are asking about shooting raw as well as j peg and they're always in the same folder do you? How do you organize those? You pull the jib eggs out. You okay? All right, so, yeah, if you serve your shooting raw plus small j peg or whatever and using the small j pegs for a day of slide shows and things like that at the end it becomes a mess because you end up importing all the files into one big folder and then all of a sudden you've got rod j p rod j background, jake well, there's preferences inside of light room and we'll go over those very, very shortly. But one of those major preferences is in the general dialog boxes says tree jpeg files next to raw files as separate photos. You want that so that every time you important entire wedding it will show you raj apec raj a peg then you simply sort and we'll go over sorting and think next in one of the next sections today we'll talk about finding and sorting images, but when we sort by j peg weaken, just highlight all the j pegs and literally delete them like delete them, throw them in the trash because we no longer need them now they were only needed back at the at the wedding so we can get rid of them once their usefulness is gone so or if you wanted to keep your j pegs for some reason, then you could highlight all those j pegs and move them while you're inside of light room move them to another folder and kind of segregate them out so that you have raw here j peg here, so bring them all in important mall and then distribute them or delete them as needed once you get them in delight perfect so much easier way than going and sorting for j pegs and finding him tryingto parson out before you bring him in the light room that's that's a waste of time ok, another question on we had a few questions about having multiple users using the same catalog so photographers with assistance I'll read I'll read these questions to make it make more sense many medina says instead of transferring my raw files, can I email that light room catalog file to my assistant editor and have her work on them by opening the light room catalog and then sort of similarly andrew old south studios asked one of our studio's biggest challenges is utilizing light room for from multiple workstations okay great that's a good one because that's one of my points here that I wanted to get over so we will cover that right now this is our photo shoot our bag photo shoot and I did so many images I don't want to deal with it so I'm gonna send it to you and you're going to edit it so what I'm going to do and there's kind of depends on what kind of a system you're running if you follow my work flow mantra you use a working catalog and so you have multiple jobs inside of one but in this case we only have one job inside this folder so we can treat it as its own job it's just it is the job right? But in my case I would actually right I would go to the actual job folder here because I would have multiple jobs inside of a catalog but I would right click this job and I would export it as a catalog and I would put that catalog somewhere on another disk so what whatever disc I'm going to put that on I'm gonna put it here on my desktop for a moment so I'm going to say assistant catalog and I'm going to include the available previews and I can export the negative files or you could there's two ways to run that you can either export the negative files with it or you can just export the catalog and put it with where the actual files exist but I'm gonna actually export the negative files because we have such a small amount I'm gonna hit export so now it just copied all the files over. So now see this assistant catalog this on my desktop I open it up it's got the catalog it's got the previews and it's got all the raw files right here there got it so all of that's available and then aiken send this off to you and you're going to start editing it so let's go toe light room on let's quit now but what I am now you and I get my job and I'm excited about it, so I'm going to take it and open it up inside of light room so excited about this job just got it highlight all the images I'm going to go in and develop all these images really quickly um let's say I want them all to be a little brighter on I want them all to have a little bit more contrast but let's uh let's go down to the everyday favorites which if you buy the course, you actually get these so let's go and just do color portrait film which kind of takes kind of mutes it a little bit and then let's do like a post crop then yet like that ok so now we I love everything it's all great go back here and I really don't like the first shots in vertical so let's just uh um let's not pick those let's just pick this one and give it a three star and that's we're done so now I'm going to quit and now remember I amon I haven't done anything to the photos remember so the photos they're sitting here but I don't do anything to him the only thing that I've changed is this so now I can take this here and I'm going to email it back to jared so it is one point two megabytes and if I zip it up if I compress it now it is forty four kilobytes so I'm going to take this and I'm going to email it to jared jared gets it so now now we're back to jared is there any way they could put like one of those wavy things whenever I do that okay so if I double click this jared double clicks it it opens it up and there it is so that's the file so now here's my assistant catalog unzipped from here if I now want to bring this in as the uh is the owner of these images I would open up my original catalog so I'm gonna light room go to my creative live light room catalogue here and I click on it I opened it up see that mine are the same you haven't changed mine at all, so now I goto file import from another catalog, go to my desktop, click on the assistant catalog and hit choose and that's going to say, what do you want me to dio? I want you to update the metadata and develop settings, and I'm not going to preserve the old settings is a virtual copy because I trust you you're a great editor, and so I click on that and import and suddenly all of those air finished and notice that this one is now three start as well see that's got three star in flag and all the adjustments have been done that's the exact work full that I used when I worked with shootout at it, so I shoot out at it is my assistant, and so I send them files, so while I'm here, they're working on files for me and then they'll send me that little catalog and I just imported and everything comes online like this so it's a very simple workflow. Now there are more complicated issues when you're dealing with an internal situation where I'm working on this computer you're working on this computer and we want want to trade the files back and forth and I will say this and so those of you who don't get in that complicated like networking situation close your ears for a second but those of you her networking this is what you need to do the files themselves khun b on a server so that the images could be on a server but the light room catalog has to be on a local drive. Once you open up the light room catalog, you can point to the server and tell the light room catalog that the photos exist on the server and then all you have to do is transfer that one catalog that small little catalog that we've been moving around you can just chance for that one catalog folder over to the other computer that wants to work on it or you could put it in a drop box or whatever. Whoever wants to work on it can pull it down, open it up and just simply tell it. And most of the time it will know all the server is because the conservers connected to the computer. So if you're connected to the server, it will see the photos which are on a server because I mean I have photos on my desktop at home and if I plug in here today, I could steal one of the catalogs from home, pull it here and work on the photos that are still in arizona because it's connected the survey would be really slow because it's over the internet not any not a local server situation but it's it's possible. So as long as the catalog is on your computer on a local attached locally to the computer the photos could be anywhere they could be in dubai if you want them to be so we have a quick question what we're hear from small thehe if you meet some edits on those images before exporting the fold the catalogue here assistant with the history be included on the catalogue includes the history it does so even if you're exporting it never which is not the same as like the dmg if I make a d and g and send it off to someone it doesn't necessarily contain the history but the catalog always contains the history so if you send a catalog to your assistant with some work they can see the history of what you've done and then when they work on it and send it back to you then you conceive a history of what they've done as long as you're looking at their catalog. So for instance if we go to this image here and we go the developed module scan down see that there's the history here was import exposure can see she did all of this I didn't do that wait a question earlier from felicity could give us a quick definition on d n g okay. Yeah. That's. Good idea. A d n g is simply a raw file, but it's no longer the camera. Maker's raw file. It is a dove is wrong. File it's actually an open source so anybody can work with the dmg file type, but it's it's a universal raw file which allows other people to use it and write to it. Which is why we can do a lot of we don't have to. So remember, we had all of these. Hold on. Let me find him here. So, remember, we have all of these little. They're all of our ex mp files here. The reason ex mp files exist is because the camera maker makes the raw file and we can't right into it. And so the dmg, because adobe actually makes it, they can right into it all day long. They can do whatever they want. So what you've got is you. The dnc is kind of like a raw file with a little sidecar stuck onto it. Right? But it's all one file, which means that I consented dmg, which is totally raw, and I can always take it back to its original form. But I can send it to you and it's, just one file, and you can open that in light room and see exactly what I did to it you could open and photo shop see what I did to it you could always open it up and bridge see what I did to it it's universal right? And if if there's another software maker out there that feels like making a program that will look a raw of raw files and dmg file types they can these is open source so they can do whatever they want with it. So the ideas and adobes idea was let's make a universal raw file types that everybody can use the same thing and and some brilliant camera makers have actually started writing to it so hostile blad and like a both created the energy from the start so that they're using a universal file type t give you the image in the first place whereas you know people like nikon in so many in cannon they make their own file type which I haven't figured out why they do that they're very protective of it when we really all should be going to a universal file types so that it's easier deport those files and using them we'd all get better images if everybody had the same file type so that's my little soapbox on angie's great it's the fantastic file type because all the information travels with it and by the way, if I decide that I want to then search for a uh wedding grand canyon and now if I want tio say file type is an image notice that p s these tiffs and all a d n g shows up say that a d n j so you probably seen this wedding for on some of my other previous workshops but because it's the dmg all the information about it is there so I can find it whereas if I if I if I was just using a raw file type then what you would find is a bunch of ex mp because that's where the key word is is in the action p not in the photo itself and so you find all these ex mps but you wouldn't find the images and then you have to go hunt for where the ex mp is rather than just double clicking so the dmg allows you to cross searcher entire catalog for all your images and if you happen to be using bridge when you're doing you're searching then because a lot of people ask me this question they say well why did why can't like most people keep so many images in their in their light from catalog and it just gets bloated and someone sent me an email the other day and he might be out in the in the audience out there but had three hundred thousand images in a catalog and I was thinking that's just going to be a slow catalog he's just got to be crawling right? And most people keep that many images in a catalogue because they think, well, I can't find him if I'm not able to search for him but that's not true all of mine once they're done go into their own little catalog and they're all organized on their own in their own little catalog so that they're easy to find and easy to work on and they're not bloated and slow and all that and stuff but it's hard to find him because now I have to go search through every single catalog, right? Not true if it the end of the job you convert everything to a d n g then it has all the key words in it, then I can open up bridge and just do a search system wide for d n gs with this type of key wording, structure and bridge is really good at looking at every folder on your entire hard drive system, including all the other hard drives that are attached and it confined everything that has those key words and because they're de ngs it will show you exactly what they look like they're as you saw the photo that I just pulled up the dmg it was that was the original j peg that was stuck on it because the d n g doesn't isn't showing me the final images showing me the original capture image because that's what was embedded on to it in the first place but if you open it and bridge then you see exactly what you did to the image in the end so the dmg final final file type is the ultimate raw file type in fact, I just tweeted a a know about that there was a guy that wrote extensive is which is a great cataloging system they they have a block and this guy wrote this blogged about the people that you would if file types were people what which file types would you not allow into your club? You know and and and one of them was the original camera raw file they wouldn't let into the club because it was tio it was too snotty and it wouldn't it didn't deal well with other people and so so it was it's pretty funny post it's out there I tweeted it about a week ago or something so the d n g is the great rock raw file type for bringing into your club and from a timing standpoint that conversion to dmg you d'oh after your friend at the very very because now all the information is in the file like the adjustments I've made as well as the key words everything about filed the name that I've changed it to all that kind of stuff is done and of course the that whole workflow I show that process in the creative live work shop the ultimate workflow so perfect so until then it's it's x m p until then it's just inside the catalog remember you're not writing the ex mp out all the time it's just inside the catalog itself all of the information about photos and what you're doing to him it's always inside the catalog not in the accent p the accent he doesn't even exist unless you force it to happen like we did earlier I'm one of those people who's been operating with it gigantic catalog because I've never really until now understood the difference between folders and catalog ok, so now I have all these photos and I want to convert them to catalogs or is it just right click exporters cashflow, right? So just the same way we were just dealing with clothes that the same way we did that and here tio send it to an assistant we can also do to send it to ourselves or to our archive so we right click export is a catalog and simply export the job to itself. So in this case we would actually export the job too itself because the raw photos aren't exists so there's no sense in copying them so I export to the job dr where all the photos already exist and just type catalogued so now it's the catalog is going right next to the raw photos which were here I don't have to export the negative files and I just hit export done see how fast that is instead of copying files over and so then if I go to it you see that I've got to go to the actual job folder go down to the to our creative life test and you see the raw photos or hear the catalogs there now wherever this full folder goes to an archive drive teo on, you know a cloud system where a disc whatever you're putting it on the catalog and the raw files air traveling around together if for some reason this ever moves say let's let's say we take this job and we move it to our desktop so I've just copy the entire job over to the desktop and I'm going to delete it from here so watch hit delete I just deleted off of the job dr it doesn't exist there watch what happens see these question marks has anyone seen those question marks before and they get really scared on a lot of them call me and they're like I don't know what happened it's okay it's ok all you do is right click the job where the question mark is and say find it and now I can go to my desktop and say oh there's the job and now they're back online so when you're missing files it's, probably because you move them outside of light rooms purview if you move stuff inside of light room, you're fine, because if I take images inside of this folder here and I grab an image and I move it from here to here, it knows where I moved it. It actually did the moving. So if I if I open this up, see how it moved it, it moved it from here to here. Okay, so anything you do inside of the folder area is actually happening inside of your folders on your on your computer and so that's good that allows light room to know what you're doing with your phone cause if you do it outside of light room, it doesn't know what you did, and so now you have to tell it while you were sleeping, I've moved this over here and you should know about it so that's how you do it, you right, click it and you tell it toe find the missing folder if for some reason you wanted to say, you know, I want to change where this photo all these photos are anyway, because I moved him over there, but I made a copy or something you can always right click it and also say, update the folder location so you can update the folder location without even having missing photos if you had two copies and you wanted to use that copy instead of this copy you just point to that copy so you have options to show light room what you did with photos outside when it was closed down all right, ok, so a couple of things I wanted to discuss preferences here we go all the preferences are inside of your light room preferences catalog settings identity set up water marks all that kind of stuff so preferences air here I'm just going to go through and talk about each preference that that matters there's a lot of preferences and there you can get in decide for yourself but there's a couple of preferences that really actually matter the first one is this show important dialogue box when the memories detect when a memory card is detected turn that off because light rooms not a good person and the light arms not the person to do that for you lite rooms should just be out of the picture when you're moving information into your computer remember I'm plugging in the card and putting the photos where they exist where they're supposed to exist do that on your own light room will do a ten times slower and you have the baby said it the whole time so just just don't do that the other the one other one that matters is treat the j pegs as separate files from the photos those that's important so that you can find them if you treat them as the same then what happens? Is it it's two separate files, but light room sees the raw and the j peg is the same file. And then if suddenly you did lead the j peg, it freaks out like from freaks out doesn't know what to do because half of its file is missing even though it's not so it's, a really weird situation, so just treat them in separate so those are the ones that really matter and at the bottom you can see that there's a go to catalog settings there's a difference between the preferences and the catalog settings. Preferences are global. Every catalog gets these preferences. Catalog settings are unique to each catalog, so if you set it up in one catalog, you can set up differently in another catalog. Okay, so catalogs are have their own settings in each one. All right, so let's go to the second panel, which is the presets panel. The presets panel has to really important ones down here. Now I turn off um, the auto mix on black and white because usually it gets it wrong usually goes the opposite direction of what I want to do, and so I just leave it off so auto mixes when you convert some to black and white, then it goes in and kind of adjust the colors underlying the black and white to try and make it richer but it doesn't tend to keep face tones in included in its decision making process, so I turn it off I also turn off auto adjustments the two down here are really unique interesting ones for instance, you can make default specific to the camera's serial number if you do that when you make camera default which we'll talk about later on when you make a camera default you actually can tell it on my camera so on this mark three everything goes black and white but on my assistance mark three everything stays in color and gets a vignette and on this camera everything is you know, because it's an older cameras so we put a little noise reduction on everything so you can do each camera on its own or you can uncheck that and then all mark three's get the same and all marked two's get the same and all nikon d eight hundred's get the same treatment regardless of who's shooting them so you kind of have options there the other one that's interesting is making the defaults specific to your eyes so if you make him specific to the I s o then every eso setting gets a different default meaning that you could slowly increase the amount of luminous noise reduction you're placing on a file so that by the time you get to thirty, two hundred, it still looks like it's two hundred, right? So you can do that, but it takes time and take about an hour to set up your camera that way, because you have to take a picture of every single aya so setting, and then you need to adjust every single is so, and then you need to make the camera default for every single aiso, and I'll show you how to make cat camera defaults later. Okay, now, here's one that you never click, and that is store presets with catalogue, at least upto light room for at this point, don't ever click this, because if you d'oh suddenly all your presets will be in with one catalog, and then when you make the new catalog, you'll have to re import all of your presets into the new catalog because every catalog has its own preset stack, and so you don't get the presets. Every time you make a catalog, you have to then reset up your catalog with all your he sets in, it says, ridiculous, I don't don't do it you want all of your presets to be in the global arena so that all catalogs have access to it now. Right next to it is the most important button you can have when it comes to presets and that is this show light room preset holder you have to click this button because it's buried so deep, especially on a pc that folder is buried in such a wonky, strange little place that you click this and it just opens it for you. And there it is and you'll notice then that all of this harris light room folder these air all your presets inside there so if I want developed presets it's in the light room folder inside the developed presets area and you can see all of the presets that I have and then I'm I congregated them into individual folders. So for instance, here's, my everyday favorites folder and the everyday favorites folder has all of my presets in it, right? But notice there's no folder inside the everyday favorites holder because light room can't see a folder nested in a folder can only go one folder deep past the actual main folder here, so develop presets and then we go into the everyday favorites and there we are. Okay, it is important that you know how these things where these things are, so that you can add things, so if you want add presets, you simply need to grab whatever presets, for instance, the snack pack when you get to download the snack pack you're going to then take the snack pack and put it in here and it's you'll see right here there's my snack pack on it's got chips and cookies and cupcakes and fruit snacks and grapes so it's got all of the different things that you would need for your snack right and they're one folder deep so in the developed presets you just dragged the folder into there and then when you restart light room than the snack packs available okay so all your presets operate this way it doesn't matter what you're looking for your export actions air there your filter presets your keywords sets everything is in there anything that you could make a preset foreign light room is inside of this light room folder which gives you a great opportunity to simply once you have it the way you like it take that and copy it and put it somewhere and then the next time you have an issue with light room or you get a new computer all you have to do is copy that light room precept folder that you've put somewhere else you take it and you overwrite that light room folder and now both of your computers or the same or if this one crashes and you restore it just grabbed the light and folder and replace this light room folder and you're you're set so I keep that on my dropbox so no matter where I am in the world have access to my drop box so it doesn't matter whose computer I'm on if I need my presets if I need light room to be set up a certain way all I do is open up their light room grabbed my go to my dropbox, grab it over right what they've got and I'm good so keep that light room copied so many times people call me a little my light room crashed and you know and I don't have and they want to re download presets and whatever if they would just copy this light room copy the folder like that and then you know go toe your desktop even and just paste it right here on your desktop here we go here's your light room folder and from here on out that little light room folder is your backup so you back up your lighter and full of the same way you would back up your your quickbooks data or your whatever can back it up all right going back to the preferences you have external options they give you two options for where you want to edit your photos so you can edit them in c s six which is where I had it my photos so you got a tip for psd I always operate either with a tip for a psd in pro photo rgb sixteen that three hundred d p I know compression that's the file that I used to do re touching because you want the best bit depth you can get on your file before you start shoving pixels around the second editor down here has the ability to create presets of different things so you can create as many additional editors as you want so you can have one set that's the standard file but then you can come up with all other things like for instance, snap seed if you work on files and snap seed you khun simply create a preset for snap seed and it see it's out sending out a tiff with a nineteen ninety eight r g v sixteen bit three hundred d p I resolution and then I can send this out to snap seed. So now whenever I go to right, click at it in all of these presets are available inside of that edit in command, so I don't have to worry about changing it up or I just have all the different options in there. Okay, ok. And of course, when your name when you're sending him out to be edited, you could change the way the name works so you can change the naming template so that it's file name dash at it or something like that, okay, um file handling so when you import a d n g creation, it will give you an option as to how you want to do so if you did that copy and make it is a d n g or importers of tng that's where that information is as to what kind of dmg it's going to make, whether it makes a big j peg or a little j peg for preview things like that on then you're naming conventions down here, so when it's making file names, you can tell light room what's an illegal file name and change it to something so for instance, the web doesn't see spaces, so then you get these weird like, uh percent signs and whatever because it can't see a space so you can tell it that when an illegal space are women, file name has a space, you can leave it as it is or you can replace it with an underscore and so then any time you export something and it seems that there's going to be a space that would just put a underscore under it um here is one of the most important things you khun no in light room especially for those who think light room is slow check this setting right here this is called your camera raw cash setting this is where you're telling white room how much space it has to work with and if you give it one gigabyte of space it's going to be really slow and if you give it two hundred gigabytes of space it's going much faster so fifty gigabytes is a minimum for light room fifty gigabytes of cash that means you have to have fifty empty gigabytes on your hard drive which means you have to be better about maintaining your files but give it fifty gigs and you can even tell it where it's going to be if you if you have a desktop that has multiple hard drives you could donate untie wr hard drive to your desktop say ok that hard drive is your cash but it needs to be a fast hard drive so you have a fast hard drive or a local a portion of your hard drive as cash okay if you partition your hard drive you could have a partition that is cashed but that's fifty gigs is a minimum if you can increase that goforth get about one hundred light room would love you for it there's also video cash I don't use all that much video so I don't worry about it and nor have I tested how much cash is best but I I would suppose that that would be the same or worse so if you want it to operate faster give it more cash interfaces all just like bells and whistles like how do you want it to look do you want you know, lights out to have fifty percent or seventy percent that all of this is stuff that it's pretty unimportant although there is in the film strip you want to show your you want to be able to show like your ratings and your picks and your badges and stuff like that so I would check all of those things on um and then also separate your keywords using commons that's important but most of it's just the way it looks so not not really critical on the interface. So then if we go to the light room catalog settings remember these air unique to each catalog you have the general settings which is back up how often do you want to back up back up a cz much as humanly possible? The more you back up the safer you are once a week is fine once a day when exiting is awesome so but the problem is most people when they used to be that it backed up when you open it and no one did it because they're like I want to work I don't wantto back it up right now well now it's on exit so you should be able to do once a day when exiting and feel really good about doing it so when you quit and it says, do you want to back this up saying yes rather than no ok file handling this is where you get to choose how big that standard previews remember we talked about the standard preview being the one that I never used because I mean, either do one for one or I'm gonna do minimal if you have a choice and you want to use standard previous, this is where you would choose how big that preview is going to be. The bigger it is, the slower it is to make smaller is the faster it makes it. And in your meta data area here, this is basically where you get to choose things like geo coding. So if it brings an image in that has geo coding in it, do you want it to suck that information in? Also you have the ability tio include developed settings in the metadata inside of a j peg or tiff, but the most important check box here is automatically right changes to eggs, and pete and I haven't checked off because it actually slows you down. But if you want to be ultra safe so that you know that you have a backup of all the stuff that you're working on sitting next to the file, when you click on this, it will automatically, right those ex mp changes the same way bridge does it, sending it out to that little sidecar file. Every time you make a slider movement it's sending it out there, and it's saving it. So saving it in two places that saving it and it's, the light room catalog and it's saving out to the ex mp. So it just kind of makes you doubly safe. But I don't like to use it because there's a slowdown in light, because that's the right to places. And I hate seeing except peas. I just