Making Presets

 

Lightroom 101

 

Lesson Info

Making Presets

You guys had a couple questions that I thought were really important to touch on before we moved on, so why don't we just start here and move through questions? My mom was on the ah prescott vignette ing on dhs thie the fact that, you know, there's you using highlight priority, and I think underneath that there's color priority and that's, right? So so there are three, so post the post coppin getting has three options highlight priority color priority and paint overlay paint overlay is the old style light room two version type of of vignette ing, which was really ugly on dso all it does is just overlay a color from nothing to black, so it's just a paint over lance and literally black ink being spread over your print. So it's, very ugly it's just doesn't work very well, and so you should never use that one. I think they left that there, just in case someone was doing something artistic with it, I don't know, but the color priority puts priority on color and the highlight priority puts h...

ighlight our priority on highlights. And the idea is that if as you if you create a post crop in yet and you use the highlight priority, it's going to pay attention to the highlights that air going into that vignette and keep the highlight clean as opposed to kind of milky, and if you put it in color priority it's going to try and maintain consistency on the color so that the color doesn't shift as it goes into their so that's the difference between those two question my question was, what are the limits on doing some of these developed module things on import, like what can we specify to dunne and perfect sample like can most of the lens corrections be done? An important and ok, so the more you can do on import, the better off you are because you, if you conglomerate, do stuff before it ever reaches your decision making process, you're better off. However, some of those things you can't globally do, like, for instance, you wouldn't want on import. You wouldn't want to bring in a preset that exposes it, you know, plus one stop or something like that, because each each exposure in the basic module here is very unique to the images, but the beauty of a tool like, for instance, the lens correction is that in the profile, you have an automatic profile correction so it's actually reading your lens and your chip and knows what's happening there, and so it can create a very accurate correction for every single shot. Because it's actually reading shot based on the lens and the camera, so in that case, you can actually put that into a pre set so that on import and remember yesterday we talked about importing and using presets, same time, but you can enable that profile correction on import within with all you have to do is make a preset that turns it on so you can see number thirty seven here in my everyday favorites, his lens correction auto if I click it, it just turns that on, so you could use that pre set on import, but better than that better than that would be to create what we call a camera default. And so we're going to use this opportunity now to talk about camera defaults, because today this hour is about presets and printing, and so camera defaults are the ultimate preset because they do everything before you ever get there. So a camera default is simply going into an image, so you would go to an image doesn't matter what image, but it should be a normal in don't go to a dark image or a light image go to something that's normal that you always shoot, and I don't always shoot on, you know, salt, but but go to something that's fairly normal. And you want to reset the image so that there are no changes to the image and then you start at the top in the basic module and you deal with anything that you do all the time, so if you always add ten contrast to every image, at least like you always do that, then add the contrast. If you always add clarity to images, add the clarity if you always add our bring saturation down, which I generally bring centuries and down quite a bit if you always bring vibrance in if you always out of tone curve, if you always do, do you know a certain amount of sharpening or whatever you always do to every image you do on ly those things and nothing else don't change the temperature, don't change the tent, not the exposure. All that stuff is unique to every image, but do the things you always end up doing, and one of those things could include enable profile corrections if you click that, then it, then it's, what you're doing is you're telling your computer you're telling white room what you want done to every image that comes in from this camera once you're done, and that could also include your camera calibrations down here if you always wanted to use camera neutral, you would click on camera neutral, so that's always going to do that and if you always have to deal with magenta, you would pull it down to you know the greens or whatever and then you so you solve your issues that you always have to deal with and then once you're done, you go up to the development you and create set camera default when you set the default for that camera, you update the current settings and from then on out every time you import an image from that camera on import, it applies all those setting and so it will automatically apply the auto lens correction to every image that comes in from that camera. But the another camera say a different model of the camera it won't apply them to them because that doesn't hold true for that camera, but if you wanted to, you could set up a default for each camera you have so every camera has its own default if you wanted one kid, if you have one camera that's just horrible and color because an older camera turn into black and life make it your black and white camera you know that everything coming from that camera is going to turn to black and white on the way in because you changed it to black and white on the land is that going to be lend specific like camera and lend specific as well or just camera body's? Remember if you set it up in the lens correction to be in an auto setting enable profile corrections auto it will automatically judge that so every shot well we automatically judged based on the lens and the camera so but you have to put it on auto if you put it on you know, custom or something like that then you're going toe you're gonna run into the fact that it's vin getting everything based on one specific lends you want on auto okay, good all right that's great question glad we covered that. So my question was about your approach to your adjustment, so I noticed that we were looking at that landscape photo when you were adjusting the highlights and the shadows you went to your shadows first and then to your highlights and and it's I think it's just because your highlights comes up first in the sliders and then shadows and I didn't know if there was like a methodology to that you know particular adjust round for you. So the methodology for what you do first and what you do last there's a couple things that I do always and you always normalize the image first as a general, you're always going to do basic stuff first and then add other things to it so you'd never want to go and start adding stylistic presets or stylistic changes down here before you worked on normalizing the image because normalizing the image will change how the effects look so you want to normalize the image first and then start adding effects to it so in in general and and as a basic rule you always do your basic area first and then you start adding now when you're in the basic area, what do you put first and there's? Two two things you need to think about the first thing you need to think about is that exposure changes color right? So if you brighten up like let's say we're in a photo shoot and we take a brighter picture of a blue background that blue changes to kind of a powder blue if you take a picture of a red background and you under expose it becomes blood red if you over expose it becomes pink very different colors but it's based on exposure and it changes the color so that being said you have to in order to have accurate color you have to have a correct exposure otherwise if you adjust your temperature in your tent and then you change your exposure it's probably going to change the way the color looks. So now you have to go back and re adjust and the last thing that you want to do for speed purposes is to adjust something and then go down and adjust something else and then have to go and readjust the other thing because you messed it up so typically speaking I'm going to first get my exposure correct and then go into temperature so as a general then you work on the exposure part and then work on the temperature if that if the exposure is fine as it is you can start a temperature and then fine tune the adjustments but if you have to change the exposure to see it right then you need to do that first and then you do the temperature so some of these things change based on the need of the photo so if I come to an image that's perfectly exposed I'll start a top and move down but if I come something's not perfectly exposed I'll get the exposure right first then do the temperature and then when it comes to exposure versus highlight shadows et cetera at that point I look at whatever is important or whatever's an issue. So for instance in this situation there's a lot of shadows and I want to go to the shadows first because that's what I want to deal with the rest of the exposure was in the ballpark, right? So the cloud and this in the sky and all that was fine it was those shadows that I had to deal with had to make him the right amount not too dark not too light so that's where I go first if on the other hand it come into a photograph that in I actually know there's one over here that's brighter so I come to this bright photograph now I'm going to deal with the exposure first to figure out how much do I want that sky to show? How much do I want? You know the thiss tape be so I'm gonna work on that exposure first and then the next thing that catches my eye is the shadows here and the shadows here like how am I going to deal with those? So I want the blacks probably to stay where they are because you can see that he's got a zoomed in way too far so he's got fun that's that's what that's rich enough black there so don't necessarily need to work on that, but I need to work on the shadows which are more out here so those shadows I'll pull down just a little bit see how I'm working with those not necessarily weise um, so I'll play around those two rich in those up so it's always image dependent at that for me as to which one I work on first because if I if I can get away with only sliding one slider that's what I want to do so I'll go to the slider that looks like it might solve the issue deal with that and then I might have to tweak something else to add to it so it's just always the you want to go to the quickest the quickest route to fixing the issue on the image and that's hopefully one slider. Not too so ok, good questions now, let's talk about presets. Presets are one of the most powerful things inside of light room because it allows you to get a lot of sliders moved with the click of a button or the click of a button here. Even so, the idea of being able to quickly move a bunch of sliders and you don't even have to open up these panels to do it is a huge time saver. So let's let's learn about making a preset. We already talked about installing a preset, so that was this morning. We talked about installing the presets, so if you have issues with installing presets and you don't know how, go back to this morning and review what we did there's two ways to do it with the plus button here you can import I'm sorry you can make your presets you can right click a folder and import of precept from here and it'll go directly into that folder or you can go to the light room preferences in the pre set area and you can show the light on preset folder go into the developed presets and drag folders full of presets in here. Either way, there's three different ways to get presets in tow light room and those with three ways to do it just remember the only goes one folder deep, so develop presets pre there's your preset folder to organize it and then you've got your presense okay, but assuming that you are going to make your own preset, we want to talk about how we make them and how we organize them. So I assume then that you have watch the installation section that we did this morning and we're going to look at the snack pack that you should have downloaded and you've got the snack pack here, so what I did is I made presets and I gave you some interesting presets if you turn on the navigator here, you can see what those presets will do based on rolling over the presets. So if I if I like this image, I'm going to first do the adjustments on the image so that I've got the image is exactly the way I want it and in this case, on a turnoff info there I turns on and off the info so if you want to see information about your photo, you can toggle through information sets with the I I ke and by the way, if you want to change that information, go up to the view menu and go to the loop info view option eri here and you can change what goes into information panel to impanel one so you can see the different information here okay, so I'm going to turn that off I'm also going to want to do like a little burn on here and so I'm going to choose my grady in't tool and in the grady it tool I can choose all sorts of options here and some of those options are presets and these presets are inside of that light room preset folder as well they're not developed presets they are called local adjustment presense so I'm going to choose burn one stop and when I click on the top and drag it's going to give me a grade ian from one hundred percent radiant two zero percent on that grady in after the grady is installed I can move it around I can change the tilt on it but I can also play around with the total effect which includes temperature so if I want that sky to be blue now I can simply take the temperature down that so I can change the temperature of the sky and leave them warm the way I want them and this is true for that are our image here where's our so on this image I really like the way this looks, but I think that the my my salt looks to blue and so I'm going to create a grady int and I'll choose reset all and then take the temperature up a little bit and I'm just going to make a grady int that runs across that see that so now I can change the temperature of my salt without changing the temperature of the sky, and so I'm I'm not going to go crazy like that because that's it's like it's weird, I'm not going to go blue like that. I had a joke I was going to tell about it s oh, here we go up a little bit and so that now because of add a little warmth to it, I no longer have that blue ness to it and I could also, you know, change the exposure and brighten it up or darken it down a little bit as well. So they're so now I've got the this and I can make this transition is small is I want it to be and just keep moving it closer to the horizon line so there you go, so that just helps it to be a nice, solid white down there below instead of kind of a darker blue. All right, so remember that you have presets available here is well and you have them in the brush module as well in the brush is no different than the grading except instead of a great and it's you, khun click on the brush and you can paint in the same effect that you had in your radiant tool so just be aware of those and we'll talk a little bit more about those towards the end of this segment so we're going to we've got the image the way we want it and now we're going to apply some kind of effect so we always normalize and then we apply our effect and in this case we're going to apply pb and j and we click on it and there's pb and j so that's what that specific one does um that's what it looks like now let's make our own precept first and then afterwards we'll talk about what to do with these crazy named presets so let's do a preset here let's do a landscape type preset for people ok? So back on landscape photography for those of you don't shoot people um what would we want to do to this? What what would you guys do to this? So we've normalized that but what should we do a fact wise to it to do a black and white but he grabbed my gun and I was going to add a bit of color into the clouds at the top of the morning it almost like a son settle some people okay, so add some color into the top all right? Well, we're going to do it globally because we're not going to do presets that air targeted because what would happen if you make a preset that painted a specific area over here or something or do it you have a problem because not all your images looked like that so a preset that does very specifically targeted things is not as useful a za precept that does it to the holes seen so think globally what coming to go get some color to the wife okay so if we want to add color to this let's let's start with vibrance ok let's say we want to make this a really colorful impactful photograph so let's take the vibrance up and so that increases the blues generally blues and greens are most affected by that vibrance so that's the first thing that we d'oh then maybe we'll go into the split toning and remember we already did some split toning on this but let's intensify it so let's take the saturation up so that we get some more color into the highlights but let's go for something a little bit different you know different kind of color so maybe we'd go for like a purplish thing and that'll feel more like a sunset so let's let's go purple and then for this shadow let's keep it nice and blue though, but let's intensify the shadow just a bit so that we get more shadow out of it and then the great thing about this split tony as you could take the balance and kind of, you know, change the balance between bluer or more purple and choose which way you want tio tilt okay on dh then why don't we also go into the hs cell area? And we've already done some work on that right? But we can go and do some further work on it so the saturation of say are you know, purple needs to come up a little bit more and are blue but then we can take the saturation of, say, the green and pull it down and then we can bring the orange back up so I got kind of a little curve going on there um and then we could take our luminant pse and we could say, well, we want, you know, our blues they're going to be naturally falling, you know, lower, but we want the purples because there's purple up in the sky, we'll bring the purple up a little bit we'll bring the orange and the red up a little bit so that there's some nice bright contrast in there, so I mean, we can do a lot of stuff and then once we've decided that that's awesome and we love it and we could go in and do say post crop than yet now if I were working on an image I would be using presets to do this but because I'm right now I'm working on a preset there's a difference if you want to build a preset you spend time down here building it if you want to work on an image you should be doing all in your presets you shouldn't be spending all this time down here because you can you can make your presets and then just use those the only time you should spend is in that basic adjustment area so let's go to we could do a post crop than yet on this so that it feels like a same midpoint we'll keep that out wide do you kind of a square on being a midpoint in a little bit more and they're so see out creates like that weird vignette looking thing and the reason do you see how it it moves like this it kind of see out wobbles that wobble is based on these highlights see the highlights allowing the highlights to go through helps to make that wobble happen because it's letting some stuff cut through so the more the more of this highlight you include them or wobble you get so now I'm going to if I wanted to include it and jared snack pack I would write I would go to the plus button up here presets plus and I'm going to name it and we're going to name this uh jelly because we're making stupid name right now we're making ridiculous names so jelly and we're going to put it in the jared platt snack pack where there is right there okay, so we're putting jelly in the snack pack now we have to check none all of the options that we have available to us we want none checked now we have to determine what it is we want to do with our pre set the time that you spend now we'll save you hours so think what is it that we did on this particular effect that needs to be in the pre set jelly? Okay, split tony was in there what else? Grab those mikes so split toning the vibrance where there's vibrance what else? Getting ok now do we want vignette ing on every single image that we put jelly on? Correct? We don't necessarily want the netting on everything so we don't make have been yet ing part of this we can make a secondary preset from the same image, so usually you can work on an image and get like five pre cents out of that image so well right now we'll do a color and we'll do it and yet off the same image so we hold off on the vignette ing and we do the color we do the vibrance we do the split toning what else would we do to this image? What way did oh, we did the hs cells so the color treatment so color adjustments that was part of it, what else do we do? You think anything else clarity now one thing you'll notice we didn't we don't include his white balance and any basic adjustments because if you do those you end up messing up the basic adjustments you did to normalize is the image so presets should onley include tone curve down this stuff is what you included presets this you don't including presets and last year making presets specifically for exposure or specifically for whatever but that doesn't make a lot of sense so don't use these use everything below those all right, so we remember we we we have lens correction on this image but we're not including it because we don't necessarily always want winds correction on our jelly present okay, so I think that's everything that we included we didn't mess with the saturation diddly know ok, so we're going to hit create and now before we do anything else, we're going to hit the plus button again and come back here and do that then yet all right, so we'll call this, uh, toast right since it's a bird it's a toast and we will check none again and this time and notice that I'm turning off the process version remember the process version is whether you're in light room four or three and so if you if you click the process version on it will force whoever is using this into the process version you're currently making the precept from and so in this case because we don't really care whether or not they're in light room three or four, we're going to turn it off and that way it doesn't matter if they're in light run through for the work so that all of my presets are built that way so that they work in light room three, four or five I click on post crop vignette ing and that's the on ly thing that we're going to include in this toast preset and hit create so now I can go to any image this image and I can hit toast and I've got my post crop in yet, but if I want jelly, I don't know how just jelly's gonna look a little weird on a on a person but that's jelly so let's go to this one instead and let's normalizes he first come in and you normalize your image, okay? And then we're gonna throw jelly on it and boom! So we added, our jelly too are normalizing of the image okay, now let's talk about presets then and how we organize them so we know how to make a pre set the question is, how do we organize a preset and that's making a priest that is only half the battle you can have the best presets in the world and they can be the most effective presets in the world but if they're hard to find, you might as well not have him because you it takes too long to get to them you you could spend you could do that effect more quickly here then you could come over here and scroll through a thousand presets to find the right one and and and the comprehensive preset collection that I sell has four hundred of them, but they're well enough organized that you can find him because I have an everyday favorites folder because if you need something that's film, you go to the film pack if you need a vignette, you goto the vignettes ok? So here's the way we organize our presets first we put them in folders and we name the folders according to what they do so that we can find them. So if I'm looking for film grains it's in the film grain and they're organized based on light room puts in an order of alphen americ so if if you want your folder to be up top, you need to put a zero at the beginning or in a because that's what's going to hold it so what I always do is I put a code on things so have a numeric code at the beginning or or an alphen americo the beginning that holds it in a position and then I put the name of what it is so for instance if you look here this one this this one here everyday favorites the code is j p e p o two which means jared plot essential preset folder number two once you once you have this you can always right click it and rename it and put whatever code you want at the front to put it wherever you want it to fall so if you want it to if you want that folder to be at the top of your pre set list you call it oh one and it will be a top and then and then you just rename things the way you want them to be but we use the renaming tool very seriously to get things into the positions that we want them to be and to make sure that their logical enough that we can find them the other thing that we have to do and this is where we'll go back to our snack pack now we have to look at our images so let's just reset this image and then let's just click on apple and see what it does so apple is apparently a c p a tone because all it did is warm up the image so I can go down to my c peotone and I can look at it so I'm gonna click on the apples see what it did so it's a split toning so this is how you where we're now in reverse engineering mode so what your task or your assignment is for tonight is to go into the snack pack and click on every single one of these and figure out what they're doing so the way you do that is you open up all of your your panels and as you open up your panels you watch what they're doing so in this case we're looking at the split tone you click on apple and then you undo and then you click on apple and undo and you look at all the moving parts and you say ok well this is definitely a split tone and it's warm both in the shadows and the highlights so I'm going to now right click this and rename it and call it cpi a tone highlight and shadow that so now instead of a stupid name like apples it's useful look now it says c peotone highlighted shadows so now you know what it does so let's try another one grapes okay so grapes is obviously using the highlight and shadows but something else happened so let's figure out what happened let's go to the basics and let's undo it and then we'll do it again grapes undue grapes undo grapes I'll look what's happening it's actually changing the vibrance the saturation and the temperature now I tell everybody don't use the temperature but I'm a professional and so I have permission to use it because I know how to think the only time you ever want to use temperature in a pre set is when you're racking the temperatures so far out of whack that no one would ever do that and what's happening here is I'm creating a situation where the temperature is being thrown so high up to here that this is what it actually looks like it looks horrible but it looks fine if I d saturate see that so now I get that weird see how the blue is barely coming through but all the warms really sailing through and that's because the temperature has been thrown so far out of whack that it just makes no sense that's the only time you khun legitimately is the temperature to do something. So in that case I say ok, well, I know what this does now it's a soft de saturated warm tone image so I can go back to my grave right click it, rename it and we're going to name it um de saturated warm and hit ok, so now I've named it something it's out those of you out there that are doing this assignment don't name it the thing the same thing I just named it because that's a cheating and I will give you enough. So you have to name it something different. Name it with a code two so if you want them to be in position, you would name this de saturated warmth but you would put a code at the beginning zero zero one two spaces and then ok. And now it's going to sit up at the top of your snack pack and then if you want the next one let's say you wanted your c pia highlight one that we made to be second, you would rename that and say zero zero to two spaces okay? And the reason I put two spaces because if you only have one space that the words get too close to the number and it's not easy to see what the words are. So you separated out with a couple spaces. So you see how now we get organized. This is how I do what I do when I when I create a preset package, what I'm doing is I'm spending a lot of time making the presets and I just throw him into a folder and I am name brand um, things like, I don't name him jelly, but I name like warm de saturation form the saturation to warm, you know, and I just kind of throw him in a box and then once I get all of them done, I go in there and I look at him and then I organize them based on how I think that to flow, but you'll notice something about the way we organize then we organize our presets not based on what they do, but based on how we use them. So when you're organizing, you want your black and white, so if I click on black and white, I want it to be right next to my cps so I can click on see pia because I usually use cpo with my black and white, and if I have c p a or if I have a scion a type, I also want to have a remover so I can restore it to color, or I can remove the split tone. You see how that works and notice that when I click on the blue, the scientist type with warm paper, if I click on it, it doesn't add black and white. It just adds this that the tone because sometimes I want to do this to an image which I think is really beautiful. So so you you wantto basically the rules for making a priest that are put him in folders make sure that they are named rationally and that they're organized rationally based on how you use them, not based on what they do you don't put all black and whites together, all cpo tones together and all then yyets together and all you don't do that you put the black and whites in the cps together because you're going to use them together. You put sharpening and luminous noise reduction together because you use them together, okay? And then the last thing is, make sure that when you make a preset or a set of presets, make sure you make remove er's for them so that you don't so that if you're over here working on something and then you decide, you know, after you've changed it to black and white and you've added as a tone to it, and then you came down here and added some grain and you added, uh, medium contrast are even, you know, super contrast to whatever you did to it, and then you think, oh, I really wanted to be color you don't have to come over to this side of the screen, which, when you're using that twenty seven inch monitor it's ah, you know it za long way instead of coming over to this side of screen to turn it back to color, you can simply go here and hit restored a color and it comes back ok? The other thing is just to keep in mind is that if you have keys you don't have to go over there either you don't have to go to either place because you can simply press the button so for instance in this circumstance if I want to use my keys tio work on this image I just simply say ok, well I want this to be a I want this to be a black and white so I click on my black and white and it's now it's black and white and I want to add some contrast to it so I click on that and I added a medium contrast to it if I wanted to be super contrast t than I had more contrast I'm not touching any I'm just pushing buttons so it doesn't take very long toe learn you know, twenty one keys and what's there and when they're organized correctly when I when I use this I actually again organization is key right? I've got them all organized here based on numbers and let you know like organization but even here and you're not gonna you can't see this here because these are not actually the the keys were still in production but on this line I've got this whole line set up so that it's black and white here and then all the stuff that would be used based on black and white is under it and then the color is here and there's three different color modes and then everything that you would use under it is color, in fact, can we pull up that slide, pull the slide on the rpg keys because I've actually got the the overall map on there, so if we can pull that up, you'll see the organizational structure of the keys, and they're organized just a cz well, as they might not be there there. Okay, so but you can see that they're organized so that black and white stuff is here, and then here's like cpi and sigh in and here's, you know, the contrast curves and here's, you know, old looks like eighteen, ninety in nineteen twenties, and then up here is color, and then when you get into here there's aged cross processes, and so it kind of follows a logical progression, and here is like you're burning and dodging tools, so you're grading your brush and then below it is your then yet ing, because it also is kind of a burning tool. So you try and organize things in your life that's good for that slide you trying to organize things in your life and in your work flows so that they make sense and they're organized together so that whatever you're doing is located next to the thing that you were already doing, and that's how we organize the presets. It's very important to pay attention to the way you build your presets on the way to make it presets so that when you're using him it's quick you have christ just curious because you know it's not building a precept that with these premade presets you could do the same thing they're certain ones that you're going to use potentially than you wouldn't use other ones that's correct and so and that's that's why you're going through the snack pack exercise tonight s o that when you go through the snack pack exercise you are learning how to rename things how to delete things you don't want so you come into the snack pack and you decide you know what? That that fruit snack one is ridiculous I have no interest in it so right click it and delete it get rid of the fruit snacks you don't need him if you don't like for snacks or if they're unhealthy throwem away you don't have to eat them right? And so we're going to get rid of the ones we don't want we're going to and by all means four hundred presets in my comprehensive collection throw some of them away you know rename readjust them and by the way, if if I reset this and I click on chips and I like that except I don't like the grain I go to the grain turn on the effect turn off the grain then I just have to go back to chips right click it and update it with the current settings and now I just have to check what has been used. Ok, now the question then is you have to reverse engineer it so now you would have to go into the basics and you would hit chips undo chips undue so nothing in the basic is being used. How about the tone curve hit chips undo chips under nothing in the tone curve is being used how about in the black and white settings chips undo nothing's being used their split toning I guarantee you something's being used there and then you just kind of go through that process and in this case you will find that the only things that are being used is black and white and split toning so what you do is you remove the grain right click chips update with current settings, turn on black and white and turn on split toning and turn off everything else and hit update and now chips if I go here chips will do exactly what it did before without the grain so even if you're buying presets from people you don't need to keep them the way they left thumb you can adjust them and change them to your liking and that's important okay all right so that is how we use presets it is time now for us to do a little printing yes question so say you got some color presets on dh you try one out on dh then you try another one out is the second one being laid on top of the first one? Or was it resetting in between so that you just feel seeing it? So it depends. For instance, if I take an image, so say this image and I go and turn on a black and white setting, so I just had black and white it's doing black and white and now if I had see peotone it's layering on top of the black and white, however, if I take the cpi a tone and changed and and hit sayin it tight it's not layering its overriding it because they're the same knobs. So if you look at the split toning area, if I click on c peotone it's changing it, it's it's using that so a preset simply takes a slider and moves it to a position, so if you're clicking a preset that has the same slider in it, then you're overriding it if you click a preset that is using a different slider than you're adding to it when I see the in the navigator when I see the the the, um previews they are all none of them are over that's how they are naked as it were there, not overlapping each other right they just go from one to the next okay it's not like adding this this this altogether would be that it's just as you roll over it says if you click this this is what it would look like okay and then as you go to the next one and saying if you click this it would look like that before we move on okay printing we have a lot of questions about presets is that okay if we go into this uh yeah that's fine and if we if we don't get done with printing we have enough time after the break that we can spill over into printing too well you yeah, the chat rooms it seems like they're really latino and if we want to spend the rest of the time on this concept that's fine and we can do printing after the break so just let's let's not come out way cool well your name your name don uh ass is there any way to reduce the effect of a pre set on a photo maybe liken opacity slider that to tone down a specific precept that we like but maybe a little too much okay if I were doing that there's not in light in photo shop you can do in action and then pull the slider the capacity slider back like you can undo do it by a certain amount or if it's on a layer you can you can kind of pull that back but in light room that's not the case and so there are places where you can do it for instance, like if you did a grady int and you are not a great butt a brush and you did say a burn right? So and by the way, when you create when you move these sliders and then if you like what you've done on the sliders and it works well, simply click on the effect this drop down menu and then go to the bottom and save it as a preset and now you'll have all of your brush is all set up his presets so those those air important I have about thirty of them here inside of my comprehensive preset collection that I that I have put together but you khun they're very easy to make, so just make him but if you say you know, use this thing to burn and I'm just going to turn up the flow down here on my brush, turn up the flow so that I you know if you like that but it's too much, then you can just simply hover over that dot and then you can scale it back or a lot and it will scale the entire effect even if the entire fact includes all sorts of other earth things watch what happens to these sliders as I scale it its scales percentage wise in all of them are scaling back and forward to the effect so inside of the brush tool inside of the yurt local adjustments it does have the ability to scale back, but inside of a normal pre set you can't just click a preset scale it back, but what I would suggest is if you're always scaling back a preset, I would suggest that you reverse engineer the preset and go in and figure out what it is it's doing and then pull all the sliders back if the deciders going to the right pulling back to the left side is going to left pulling back to the right and just kind of just kind of pull him in, rein him in a little bit and then right click it and say a nup date the settings and then you will have and then just name it the same thing name name that duplicate that and name it the same thing. But name it minus, you know, fifty or something like that or fifty percent or whatever that's how I would do that and then you would have to you would have a original and then the other one, and by the way, you can't just right click and duplicate one it's you can't do that, so what you have to do is you have to right click it and show it in the finder once you're in the finder, you can right click it and you can duplicate it here if you duplicate it inside of the finder and then you go back and restart light room, you'll have two of the same thing so the only way to duplicate is to right click show it in the finder get into the finder duplicated here duplicate that pre set here and then restart light room and then it will show up as two and then take the second one and update the second one and rename it so that it's you know, super color effect and super of color effect light or something like that and that'll give you your options that way you can choose one of the other cool hey great d wants to know would you recommend normalizing your your image first and then making a virtual copy toe work on the more creative parts of developing tone curves, presets, et cetera on lee if you're timid that's it? I mean really so if you know what you want, just normalize the image and then go for it and get it done because it's not destructive if you're timid and you don't really know what you want then make normalize the image make the duplicate the the I just virtual copy thank you virgil very well from making the virtual copy and then and then work on the virtual coffee but that's that's really for a timid situation where you really don't know what you want, I'm I don't generally operate that way occasionally I do when I'm really not sure what which way to go and that's when I bring in my consultant who is my wife and because, well, it's always I'm looking at a bride and I work on it, and then I and I think I want to go this far with it, but I'm not sure you know it's all I'll make a duplicate, and then I'll bring my wife in and say, ok, which one? Because she's a woman and she has a better sense of what a woman would be attracted to and whatever and so I'll bring her in, and she compares and that's that's when she'll she'll make the call on it. I won't, because I don't know, but that very rarely do I get myself in a situation where I don't think I know the answer right? And and usually that's my fault. You know, I often think I know the answer and I don't, but I just pretend I do and so you know, I I'll make the decision always on the one image usually always usually like that I was good, but if I'm timid about it, then I'll make the virtual copy, which rarely happens for me. But some people are just they don't know which way to go, and so then that's a good way to see them and decide ok, and along those same lines a z web video would like to know is trial and error really the only way to discover what a preset does? Well, no, no, not actually because you can actually, if you take a preset and and open the code like just look at it in like a text viewer or something, then you can you can see what's going on in it, but you just have to know how to read the what's going on, you know, so you could look at it by opening it up and text and trying to read the the code in there or whatever, but but otherwise reverse engineering is the way to do it. Perfect pazin design ask and you create a precept that will contain a page size such as an eight by ten or and with the crop tool well, you can you can create a pre set in the crop tool that gives you specific so, like for instance, I have a sixteen by nine because whenever I make a cover for a video for a slide show, so I make a slideshow posted on video and then instead of having just the video show through, I want to cover for it and so then I'll make crop at sixteen by nine and export that and then uploaded to video and that's what gets put on the cover of the video so if you look it if you go toe plateau griffey dot com and go into the slideshow section all the slide show covers that you see the front of the of the video is just a photograph that's been cropped to sixteen by nine and that's in there just by clicking on inter custom and we'll all the custom crops you put in get stuck there as the presets so crops yes but there was another thing in there that I asked no just cross this couple within the presets so that makes them yeah but if you want I'll page size though if you want a page size than you like printing out or something like that when we go to the print module will talk about because then you have what's called a template not a preset it's the same idea but a template will give you the size that you're looking for so let's just introduce you to the print module and then when we get back we will finish working in the print module so in the print module you have all the same areas but you have instead of presets you have templates over here on the left hand side below that you have your page set up which is the same page set up that you would get on any printers. So if I hit the page, set up it's, your printer, dialog box and it's drawing from your printer dialog box. The options that you put in there, then light room is drawing from there to make your paper size so that's, where that comes from your printer settings are also here. If I click on here, it will pull up the printer settings for whatever printer it is you're going to use, so these are literally drawing from your system to decide the page size and the printer settings for for printing something out. So in this case, we're going to go to our absent prints here, and we'll do a seventeen by twenty two page, and then we will determine where what we want to do on the page itself. So, up above the printing is you see, it says unsaved print in the unsafe print, that means that you have created print that's, not it's, not saved anywhere, so if you come back it's not necessarily going to be here, but if you hit, create saved print, it does what we call making a collection so it's a safe print, a saved slideshow save book is basically a collection, but when it comes in, when you get into the module then it shows you all the details of that collection so I'm going to create a print and we'll just call this a as uh sixteen by twenty print and I'm going to include the photos they're there and hit create so now see how I've got in the collections area I have something looks like a printer that's a printer collection basically and there's also book collections and slide show clark actions but we're in the printer collection so I'm gonna back out of there so that we have all of our images available to us and I'm going to look over here on the right hand side and you can see that I've got light layouts styles, image settings the layout itself guidelines pay the page settings themselves and then printing options down here okay and we'll go over there is those as soon as we get back if you look down on me turn off the info if you look down at the bottom we still have the film strip here and if I click on a number of images then if I'm in the single image contact she starts throwing up like this if I'm in a picture package situation than I get to determine you know which images go on there c aiken dragged them and then aiken you know resize the windows and I can you know move him wherever I want him to be click here drag this so I'm creating a picture package them, um, and then, of course, the custom package allows me to draw images like completely different images onto a page. Sit out. So instead of, I'm actually designing a page, rather than because on the picture package, when you worked on an image, it's see it's it's changing the size of the window. Whereas when you're in the custom package, it's actually just changing the image itself. Guys, you're just creating a page design, basically. So those are your three options on layout styles, so when we get back, we'll talk about making some pages. The print module is fairly simple, straightforward, but there are a couple little tricks and tips that you want to know about that will be very useful to you. S o soon as we get back, we'll dive right into the rest of the print module.

Class Description

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

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

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


Software Used: Adobe Lightroom 4

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