Lightroom 101

Lesson 4 of 20

Working with Images in the Library Module

 

Lightroom 101

Lesson 4 of 20

Working with Images in the Library Module

 

Lesson Info

Working with Images in the Library Module

We are back in the library module and now we're going to start doing some adjustments on images inside the library module um most of the accurate work that you will do in adjusting images is actually in the developed module um it's just a much more accurate place to work for instance the difference between uh if we look here on the right hand side of got all the what we call the quick develop if I click the exposure button and I click it once it takes it up one third of stop so they click it I get this jump in exposure and click it down and get a jump on exposure if I go to the developed module I get a very gradual increase so I can I can go basically a tenth of a stop um so it's it's a much more gradual increase so the more accurate work is always going to be done inside the of the developed module. Why then do we have a quick develop on the reasoning behind the quick develop? Is that it's actually a different type of adjustment? So in the developed module on and we're gonna have to k...

ind of do some work here to show you the difference but in the developed module if I take the exposure up say you know, three stops so we can really see that I've bumped that up obviously have over exposed it and then I go to the next one and I bumped that one up just a little bit to it where it's kind of normal so I've got the two different images and then when I go and we'll talk a lot more about this develop module tomorrow, but if I look at both of those so I shift click to the two of them and I am an auto sink mode when I grab onto this exposure knob and change it so I changed it to say, plus, you know, six point plus point six five look what happened to the other one that I had over exposed it actually takes it two point six five so these are what we call exact numbers or exact adjustments, their specific and so it's a when you're working on images here, you're working on a very specific point on the dial. However, when you go to the library module in the grid or even in the survey mode when you're an auto sink if you work on images so let's say we again took this one up hopes. Okay, well, I mean, I really you know did drastic stuff to that one and then that one's normal and I select both of those images watch what happens to them as I change the temperature or the exposure if I go down in temperature see how that one goes down but this one also goes down the same amount if I take the exposure down watch what happens see that one went down and this one went down even more so these air called relative adjustments everything that you push inside of the quick develop is a relative adjustment so it takes your image from where it is and it increases it by third stop regardless of what that is the specific adjustment why is that helpful? The reason it's helpful is that you can now have things that are all over the board so you can go into the develop module for instance here and here see that one's dark and that one's light so if I went in and just normalize this one so that it was a little closer to this so now there's the other the same so now I can highlight all of these images and I can adjust all of them at the same time and say ok well they all need toe have a little bit more exposure to him and they all need a little bit more contrast and they'll need to be warmed up just a little bit so whatever it is I do to them they all look the same even this one that was the outlier this one right here has a completely different exposure adjustment than this one but they moved up together like this because it was a relative adjustment now the best place to use the relative adjustments is when you are say at a reception or at a you know political fund raiser or you know some what where you doing like the happy snaps the gripping grins where you know people are looking at each other and you just take pictures they're all the same but you have auto white balance on and it's like it's all over the board you're sometimes it thirty five hundred kelvin's and sometimes it's sixty five hundred and you just kind of and otto white balance is going all over the place and then you get back and you say all of these images look just fine except that they're all a little too warm or they're all a little too cold so you highlight the entire event and just warming up a couple of clicks and it doesn't matter where the specifics are you could have one image that's here and one that's here and one that's here in kelvin's and it will just bumped them all up just a little bit and they will all become warmer or all become cooler by the same amount but they'll still be a different place is ok and it is of course assuming the urine wrought here in j peg the j peg always comes in a zero white balance because it's it's hard coded the white balance into the j peg which is why you shouldn't shoot j picks but if you are shooting were all images you will have all these varying adjustments inside of your white balance in your tent you're basically your temperature in your tent and you using the relative adjustments toe work on temperature and tennis event tastic way to use it the other place that I use it is I'll get images back from shoot dot at it right so I send him out and when they come back they're all normalized but then I'll look at him and think you know what this whole segment of images from here to here could use a little more contrast you know, just my own style type of thing and so I look at and say ok, I'm just going to highlight the entire segment of images so let's say I had gotten this setback and I say, oh well, this whole segment here could use just a little extra umph to it so then I would go here into my I like to do it in the survey mo just so I can see the images operating in turn it on auto sink remember auto sink on if I pick him they're all going to get picked right? So we want to do auto sink on if we're adjusting the auto sink off we're picking so with auto sink on I could just warm up the temperature and brighten up this and so now if this is how they came back from shoot dot at it, they were normalized, and I thought, oh, I could use a little contrast on that and maybe bring the blacks down a pop and that's, what I'll do to just kind of style eyes a set of images, but I don't know what they've done to him because they may have just a this one brighter and this one darker in order to normalize them all. So I don't know what the assistant or the out posting outsourcing post production house has done to the image is to get the normal. All I know is what they look like, and they all need to be a little more contrast here, a little less contrast, iq and that's when you really want to use the library module for the quick develop came cell that being said, take a look at these temperature intent and exposures you see that you have four buttons for each one. The two buttons in the center are small adjustments, for instance, in the exposure, it's a one third stop increase or decrease, and then if you look at the outer ones, it's a one, stop, increase or decrease, so you're going a third of stop or a full stop each way, and then, of course, the other ones are not necessarily third stop, because it's it's not a stop when you're dealing with a highlight, but it's increased by a little bit and increased by a lot. So basically three clicks on this on the interior buttons usually equal one click on the exterior buttons, so small adjustments, large adjustments so that's, that's. And by the way, when you're when you're working inside of the library module or in the developed module, the reason I actually have two different sets of keys. If you look at the rpg keys, you can actually control those buttons from the rpg keys and simply just push exposure up exposure down exposure up, and we'll show that a lot tomorrow will work on him a lot that way, but you have the ability to adjust exposure up and down just by pushing buttons rather than using your mouse and navigating to a specific button, which is far easier than working on with the mouth. Ok, so you have all of those controls, and of course, you can always reset them all. Now something that you also need to note is that you have your presets available to you in the library module in two different ways, actually three so the first way that you have them available is here, inside of the saved presets areas right at the top. And also your crops and your treatments so you have all of these options so I can turn them all to black and white if I want and now all of those are going to be black and white I'm gonna undo that um I can crop them specific aspect ratios but in the safe presets I have every preset that's on my system available to me now this is kind of a slow way to find a preset but if you have a specific preset thatyou want apply and I wouldn't be applying this tow one picture at a time I would be looking at a set of images and say, oh, that whole set of images could use this look and then you would highlight all those images make sure you're in auto sink or if you're in the grid it's always auto sinking but I love the the way the images look inside the survey mode so I go to the same presets and I say I want all of those images to use a film effect and I'm going to give him kind of a cross and you and in this case you have to know what that the preset does you know it's not it's not like the develop modular it's going to give you a preview of what it's going to look like so you really have to know that pre set but I'm going to do a warm cross process on it and see how all of them got that cross process on it. So now if you look at the so that's the that's, the shot all right so so you can use the presets and you can also if you use these rpg keys you can assign any of those presets to a key and you push the key and it will operate both in the developed module and in library module to choose your presets so again, there's no reason to be going in and sorting for all of this when you consume plea just click on a button and have it apply the preset so that's that's the second way to apply is using keys to do that. The third way to apply presets is two and let's undo what we just did the third way is teo, you've got to be in the grid mode for this because you got a spray can remember we were we're adding key words before lunch about with the spray can well, now we're going to pick up the spray can and instead of applying keywords, we're going to apply settings and now we're going to go into the settings and choose a setting, so in this case we can go let's actually apply a another film affected and the reason I kind of go to these film effects and things like that that I'm not applying presets for basic adjustments and stuff at this stage if I'm fine spraying adjustments, I'm spraying style because someone else or I have gone in and adjusted and normalized the images the normal, the exposure contrast all that stuff has been done, so when I get image back from an assistant or from shoot dot at it, I'm going to then style the images and aiken style images just by spraying the style, so I'm gonna go the film pack and let's do like a nineteen uh, an eighteen nineties look. So now if I want to spray that aiken, by the way, the tab key brings in and out the side panels and the shift tabb takes all the panels out, so shift tab brings them in shift tab brings them out so it's a good way to get your real estate on your screen back, so now I could just go and say, ok, which images do I want this old style too? And I'm just going to do it to all of those they're so now you can see I've added that see that style so it's got kind of like a faded edge to a grain, a little bit of a c p a tone ok, so but I all I had to do was just spray like this and suddenly all of these get their style so the spray can is really useful for spring styles on two things, and you can do it before or after the fact to it's not like you need to do it just, um, after the images have been normalized, notice that this one here has not been normalized it's too dark, the one next to it was brighter, but this one got darker time, so I could spray if if I have assistance that do all the adjustment work on my images, but I'm the one that's going to choose the style I cannot choose aiken, choose a style spray can every image that I want styled and say this is going to black and white, this one's going to be you're going to do this with us, and I'm just giving instructions two people and then handed off to them and say, now normalize it underneath that style. So now they know what styles going to be applied in the end because already applied at the beginning and they just have to go into the basic adjustments and adjust brighter, darker underneath that style. So the spray can is a really great tool, very underutilized, actually it's a great tool for giving instructions to other people as to what you're going to end up doing with this image. So the spray can is a lot of tools, options, settings, metadata, ratings, keywords, labels, even rotations and putting things in target collections so you can do a lot of that spray can tool that you wouldn't otherwise think about so anything that you want to do something to a lot of stuff in the grid, you can generally do it with a spray can tool somehow kind all right, so that's using the quick developed area it doesn't have all of the functionality of the developed area that's just just the basics, but it does have let's click on an image that scott color in it you have the exposure, contrast all the highlights, shadows, whites and blacks, and then you also have clarity and vibrance, and then if you hold the option key down, you also get sharpening in saturation. So you have all of the basic module stuff, like all of the stuff that you would see inside of here you have, you just don't have anything lower than that, but as you're going to learn tomorrow, you don't really need to ever be down here all that much because most of what you do down here can be accomplished in a preset, and those presets khun be available to you in the grid via the spray can tool via the drop down menu or via your rpg keys. So three different ways to access those presets with ever out ever having having to go the develop module word of warning though there is an inherent advantage and working in an image in the developed module and the advantages is that you can see more accurately what's happening to the photo for instance, if I had the jakey it turns on the highlight and shadow warnings you don't have access to those inside of the grid or the or the survey mode anything in the library module does not show you those highlights shadow warnings I wish it did, but it doesn't and so you need to have access to those that way if I'm working on an image and I brighten it up, I can see when it gets when it's going to get over exposed what did I turn him off there? See? So I have access to those to see when I'm getting exposure issues also if you hold down the option key while used drag something now I can see when I'm bringing and see that so I can say ok there's the there's the places that air hot that air goingto be overblown so I'm going to bring him back just short of that and now I have the ultimate white as bright as it can be now that's obviously way too bright but that's his bright is all the white khun b without blowing out none of that is paper it's all about some kind of information in it and you can do the same thing with your like you can do that with the blacks so have you hold down the option key and grab the black sea that that shows you where the blacks air coming in so you can go just above where you're losing the black and that gets see that gives you a nice black on all those but it's an acceptable black so you're only losing in the shadows the deep shadows, which is fine so use and I would advise that anywhere you are in light room, hold the option key down and see what changes say that all these become resets so as I hold the option key down, I get reset, tone, reset presence all of those things even the buttons down here see this reset or set default, those change and we'll talk about setting the default defaults are important s o we will talk about setting the defaults on your cameras so that you don't have to do as much work and that would be useful to you as well. Any questions out there about the, uh quick develop okay, so one of the questions we had let me find his name so we do the shot out is hurley and he asked, are the presets applied in the library module undoable, that is, can I try to pre set on several photos and then undo the effect if it's not what's, hoped for? And in addition to that question at a question myself, when spray painting is that, can you undo that? Or do you do a quick spray or you really you're really holding it down and spring? Is that? Is that a doable question? So if if you're in the the library module and you spray one and then you spray another and then spread another when you hit the command, z unsparing is one on sprays on sprays, but if I click and drag like that and then I undo under all of them, and the reason for that is that you clicked once and dragged and let go, so it was one operation, ok, so that's the first you answer that question. Also, it kind of answers the other question, if I if I do some kind of a pre set and I undo it, it un does it immediately. But if I click on a pre set like this and I go to the developed module and I come down to the bottom of the developed module, notice that my history do the actual spraying of that preset is not in my history see that it's not there. Because I was done in the library module so it's kind of like the two hands or not talking to each other which actually is a flaw white room should actually see the history of the photo inside of the if it's a preset any adjustments should be seen okay so the history in the development module is the history in the developed module it's not the history in the library module be aware of that it doesn't mean it's going to ruin your life but it certainly is a kind of an overlooked thing so what should happen inside of light room is you should be able to go to an image and if you bring up the exposure and then add some kind of ah preset to it here like that and then you go to the developed module you should oh well there goes it did it this time you know what? I'll bet you anything that what happens is it on lee if you if you're if you're working in here and adjusting things on one image it may do it but if you do it as a bulk it may not let's test and see shall we so let's test so we're going to take an image let's go down here where we take two in there are well it's just apply those so we did a bulk and now let's go to the developed module oh no did at that time for some reason it didn't do it before and now it's doing it I don't know why so apparently it is seeing it so so not a flop not applauding see I told you should should be operating this way and to my surprise that they will be did it right it's not to my surprise and you mind if I wanted if I throw another question once you've applied a preset is there a way to adjust that pre set after the fact and have it affect what you've already applied to a photograph or a group of photographs oh I see well let me say are you are you are you asking that if I if I apply say the juice box this is from the snack pack which you can pick up a jared platt dot com ford's last snack pack so that's free and get it today or tomorrow morning so that you can use it tomorrow when we're working on our our presets and it's free so ok so let's do apples now let's do it cheese and crackers so cheese and crackers noticed that it put like a vignette like a little lens kit a negative carrier vigna on it say that ok, so we do we did cheese and crackers and chips ok, so now we've got to them crackers you know it's funny about these names is that I really dislike names like these because they say nothing about what they're doing to the photo and every time I teach people about presets I mock these kind of names and so when we talk about him tomorrow you'll understand why we named him these things so it's a lesson for you and you're going to get to do something to fix it ok so anyway so we did cheese and crackers and chips and we've got our are set this is what we wanted to look like are you asking if I somehow can adjust this and it would it would cross everything no there's absolutely no way yes the you can change a preset you can do that on we'll talk all about that tomorrow you can actually if you've got a pre set and you like where it is except it's not quite what you want it you can change that and then from there on out when you use the preset it will change um all the new images with the new preset but it won't go back in time and do it because that would actually be problematic because then if you started changing it than an image that you liked two months ago now has changed and it would mess things up so all right back to our grid that actually looks pretty good I like that I like the way that looks so the recipe for this images cheese and crackers and chips okay so we're back in the library module and I want to talk about the importance now since we're in the library module and our plan is to stay here and a just an image if our plan is to stay here and adjust the image or a set of images, the importance of this history damn it can't be understated because we can't actually see the information in here like we can in the developed module because in the developed module we have the ability to do the jakey which allows us to see where the highlights are starting to blow out and where the shadows are getting too dark but we don't have that information inside of the inside of the library module so it's important to be watching this history graham and seeing where all the information lies so this area is the snow well it's not snow it's the salt looks like snow but it's all so that's all the salt all the white salt his hat is somewhere here, his face and hat and all that kind of stuff is here and then you start to see a shirt right about here and then his little undershirt right there and the broom on its hat that's right there the mountains air like right here that's the mountains and then the deep deep shadows like that underneath here all of that is this little trailing line so as we adjust something then we just pay attention to where that hissed a gram is always keep it in our eye and we adjust so I'm going to bring up the exposure so that I can see now now you can see that all this is bunching up up here it's getting too bright and I don't think that's gonna work very well so I need to bring it down just one what temperature down that's probably better and here's here's the key between exposure and contrast contrast by nature watch the history ramez I increased I'm going to go crazy on the contrast watch the history graham it spreads the history ram out you see how some of its moving forward or to the right and some of it's moving to the left okay, so let's uh let's reset the contrast and by the way did you see I did that? I just double clicked so if you double click one of the actual names if you double click it it returns to zero and that's true in the developed module as well. So let me undo that change though. All right, so if this is where we want the exposure to be but we'd rather notice that if I go one more quick to the right it's too bright and if I go back to the left it's too dark too bright too dark too bright too dark well now I'd have to go to the developed module to try and find tune it but I don't want to go the develop module because I'm teaching you the library module and so we're going to stay in the library module what can we do to bump it up just a little bit remember the contrast goes like this it pushes things that are on the left to the left and things that are on the right to the right because it's separating out the distance between darks and lights or I should say dark some lights and so what we're going to do is what if we just do a little contrast push he's going to get a little bit see the whites are getting a little wider the darks we're getting a little darker and it's very subtle you can also get a little subtle adjustment either just with shadows see how we get a little subtle adjustment in the shadows or we can get that same subtle adjustment in the highlights or we can get that in the whites and it's important when you're working in here to know what those air doing so let's go back to the developed module and let me show you where the whites and the highlights are it's probably clear to you where the blacks are right blacks or the darkest thing right and shadows or the kind of dark things exposure is in the middle watch this history ma'am if I high hover over exposure see where that is it's in the middle is highlighting the middle of that see that highlights different parts of the history room so if I'm over exposure it's the middle that's your mid tones so if you want to adjust expose mid tones you just the exposure if you want tojust the highlights you're adjusting white things right? You're adjusting lighter things whiter things things like that when you adjust the white that's like the white whites that's where you get that's where things were starting to be recovered it's like that that deepest air the brightest edge of things okay so highlights is just the brighter things and whites I think that's a confusing terminology I think highlights and whites kind of confuses everybody so remember whites is the white ist white stuff because just remember whites air here black here whites are super white, black, super black ok that's your edges of the of the history graham and then your highlights in your shadows are the things that are brighter and the things that are a little darker and then your exposures in the middle okay, so now when we go back to the to the library module in the library module when we're looking at this we say, what do we want to brighten a little bit? Well, it would be the highlights of the whites highlights because the whites are about where they need to be and if I thought that the whites were too bright, I could always take the white down a little bit and get some of that back and then take the highlights up a little bit so I'm taking the brighter parts here of this graham and moving him that way and taking the super bright white white and pulling it back try and recover this sky a little bit, which isn't doesn't necessarily need recovering because there's no nothing blowing out kind then of course, clarity is a very interesting tool because it is mid tone contrast, whereas contrast deals with the whole history graham mid tone contrast deals with the clarity just deals with this little area in the middle, so as a result of that, it does a much more, um how shall I say drastic contrast because it's looking right in the place that we always look you know, and so that's why when you increase clarity, you get wrinkles and when you decrease it, you get softer skin because wrinkles are mid tone contrast if you look at someone's face and they've got wrinkles here, it's because they have a mid tone highlighting the mentone contrast, and then I met tone highlighting the mentone contrast in it and that's what creates the wrinkle because the shadows aren't super deep so if I want to get rid of someone's wrinkles, then I'd take the clarity down because it's bringing up is taking, taking this history graham and springing the mid tone shadows up and it's bringing the highlights down and it's matching him. So those shadows go like that and fill in okay, so that's what's happening? So if I want to add a little extra contrast here inside of the the mid tones, which is his face and stuff like that that's where I would use my clarity to just kind of increase the contrast between the two and the whites will get a little wider in the dark saloon get crisper so we haven't dealt with color at all in this instance, but we would just warm this up a little bit so that and when I'm dealing with temperature, I'm just going to be dealing with this temperature here. This is what's going to tell me because that's the most that's the easiest thing for me to see right away, whether it's the color I saw because it's this bright, vibrant orange and I remember the color and of course you you would want to look at his face to make sure it doesn't go crazy on you, but that being said that's, how you would work inside of the quick developed area, but I wouldn't work there the only time I work in the quick developed area is for global adjustments on things that I don't know where they are, and so I'm going to adjust them all together a little bit, so if they're all you know, the exposures air different, I'm going to raise them up or down, okay, but it's important for you to understand how they work and operate, and we've got a good opportunity to discuss, um, how they're operating, and so we want to discuss it as much tomorrow, but pay attention that history ram that history is going to tell you whether the file itself is, uh, unacceptable file because that's your only quality control when you're dealing with with the library module, because otherwise you don't see the real information, ok, any questions out there? Always have you had a chance to play with the beta for light room five? Uh, is it how publicly but our internet friends are telling us it is out publicly for beta it's? What they're saying? We'll go get it seriously, if it's if it's out publicly on beta right now and I haven't been paying attention, go get it. We had an interesting question for converting color, color skin, the editing images and black and white k mcc says say I have a group of thirty images and I've tagged ten of them with a color marker that I want to also make block and what a black and white copy of however I also want to export them in the color version as well how can I do this without having to individually mayko virtual copy of each one you know it's interesting that you she okay, she would mention that because that's what we need to talk about virtual copies so let's just say thank you so let's just say that I really like the way this looks I like that look and obviously we're still haven't been really doing much with these images yet, but let's let's just take this set of images and let's add a little exposure little more contrast well more clarity and do basically what we can do to him in the quick developed without spending too much time on it. So if that's what I want to do to the image and I want tio I actually want to do more contrast, bring the shadows down a little bit more had some clarity notice I'm I'm not looking at the images am I? I just kind of know what I want to do to him, so I'm just doing it um that it's not necessarily the best way to operate but I just kind of know what I want done to it and generally speaking, when I look at an image, I already have a concept in mind as to what to do to it, so I'm just going to go to that I don't feel my way to an image that's just the way I operate I look at it and I say I know that this image should be a black and why I know that it should feel this way, and so I'm rapidly moved to that point. Sometimes I'm wrong when I get there, but not often and so I get to the point, I like it and I'm done a lot of people kind of meander their way through and they're like, I'll do this now back out, I'll do this and I just don't do that. I just go directly to what I think ought to be done with the image, so as a result of that, I'm not really looking at the image all that much when I'm adjusting it, I'm I just know what I should be doing. So if this is what we decided to do to the image and then we decided we wanted to make a black and white version of all of these if you highlight the whole set of images like this and let's say let's, follow this scenario where she likes to tag them as yellow so we've tagged them is yellow. I can now sword bye yellow images. I go up to the library filter and sort by yellow images, and now I've got a bunch of yellow images. If I highlight a mall and I write client right, click and I create virtual copies so it has an asset the end now. So now instead of saying because if I just click on one, it says, create virtual copy, but if I highlight him, all right, click and I create virtual copies, and now it's created virtual copies and the way you can tell that it's created a virtual xyz, that little folding thing on the right on the left bottom corner that tells you it's, not riel, just like collections or not. Riel a virtual copy is not riel it's, just another reference to the same photo. And so because I've created it, look how it's highlighted them already, and all I have to do is now go to my saved presets and choose a specific black and white say let's do black and white and then let's do in the same let's do like a scientist type with warm paper, ok, so now we've got a regular copy of this image, and we've got a scientist type version of that. Now the other thing that we should do and remember now we've done a virtual copy and a real copy of each of these highlight all of them and we should do we should get rid of this do you see that right there? Okay that's annoying in this image so what I'm going to do is I'm going to go back to the grid and I found all of those places where I'm using and by the way this is a really good a place to combine presets and adjustments with your library filter that's another good reason to be in the library when you're working on this let's say that you have a situation in here where you know I need to fix a certain linds issue that's going on so you can sort by lens and say I want all images that were shot on the seventy two two hundred at a focal length of seventy millimeters and it would show you all of the images that have that issue then highlight all those images go to your saved presets and go into your everyday favorites and turn on your auto lens correction and now are annoying little thing is gone tow every image that was shot with that specific lends at that specific millimetre rating and now you don't have the issue and it did it to all of them at the same time including both of our copies this one and that one say that both of them look great okay so I think that answers that question possible a little more so the important thing to know about the virtual copy discussion is that you are literally creating a duplicate version of it but it's not taking if any space and you can adjust it and then once you want to send them all out you highlight them all and you go to the export dialog box and export all of them and what it will do is it'll export image one and then image one dash one and if you have four virtual copies that would see image one image one dash one one dash two one dash three one dollars for it would put a dash at the end and so that there you would know that it was the same image but a version of it if you've made a virtual copy and then for some reason you decide you want to delete the underlying color version does in the virtual copy go away or does it continue to exist as a proper image oh I see ok so if you if you saw this image you say I like this image better and got to get rid of this one okay if if you delete this one so I'm gonna delete that one and I say remove it watch what happens to this guy right here so that he's gone because he's part of a stack okay, so you you you don't want to try and remove the parent of a stack the way to do that is to take the secondary copy if this is the one you like, then you shift click it so that you've got both um and then you're going to sink the settings and just synchronize everything and now you've got this one is the real one and now you can delete this one so that's the way to go with that or the other thing to do is just to take the virtual copy because virtual copy doesn't actually take up any space so there's no reason not to have five virtual copies other than that means you don't know how to make any decisions, which is a whole different issue if if you're the person that has five virtual copies of every image, then there's a whole different place you know you need to be going and seeing seeking counseling to figure out why you can't make decisions. So virtual copies air are an indicator of people who don't know what to do with their images. There are purposes outside of that, for instance, if you're doing hdr effects or something like that sometimes that's very useful, but in general you should probably stick toe one treatment for image, but if you click on the one of two to two area here if I click on that, it collapses the stack. If I click on it again, see now you can see it's got two images in the stack. So if I click on that, it will expand the stack, so I see what's underneath it. If you decided I want to only send out one version of each image but I want to choose the version. So you just made all these copies so that you could make a choice between them. What you would do is you would click on the choice that you want. So if I like this one better, I would just klick the two of you, the two of two, and it will promote it to be the top of the stack. So now if I click on it and close it now, the virtual copies actually the top of the stack and the one that's, not virtual. The rial one is underneath and this one represents when I highlight all the images. If this stack has collapsed on lee the top, it goes out. Okay, so if you have virtual copies, they're always well, generally they're going to be stacked underneath the original. You can promote any of those to be the top of the stack just by clicking on that one. Little icon two of two or three of two or four of two and it will move it to the top of the stack and then to collapse it. You can either click on one of two that top little bad you can click on it and it will collapse it or you can highlight all your images and go up to the library menu go to our I'm sorry the photo men you go to the stacking sub menu and say collapse all stacks when you collapse all the stacks, every stack is collapsed and whatever the the top guy was is the only one that will export. Okay, so always if you're if you're a stacking kind of person in a virtual cut copy kind of person before you export, your image is always collapse all your stacks because otherwise you'll be sending out random images that you didn't mean to send out right? So stacking is really important on dh also, by the way, not only do virtual copies become stacks, but if I export an image to become a photoshopped image so let's just say, I'm going to retouch this image and I send it out as a photoshopped version if I put it in the same folder is the original I can tell it at it back to the catalog and add a stack, so put it on top of the original and I can set up you know what kind of file I want psd sixteen bit pro photo rgb and if I hit export its now exporting a psd and it's going to stack it on top of this so now see, I've got three in the stack see that so there's three in this stack and the top one is the psd that being said don't ever export ps d's or j pegs or go at it and photo shop until you've renamed your photos because you want the original image to have the same name is all of its copies right? So if you're going to export j pegs to your client, make sure that you've done all of your selecting and adjusting and you have say you have five hundred pictures you want one through five hundred so there's no gaps in the names so you rename the photos which you do by selecting all and of course in this case because we don't want to name the the underlying we want the top name of the step so if we were to open all the stacks if you go to photo stacking, expand all stacks and then highlight it then suddenly you're naming everything all right so before you start making stacks before you start exporting things, name your images one through whatever then come up to your clock collapse these stacks so it doesn't look like we were doing that so then you'll come in and you'll say library renamed photos and when you re named the photos you can choose how you want to rename him but in general the way I want to rename them is just based on a four digit sequence zero zero zero one zero zero zero two and the reason I rename him with such a simple code because then I use that to make proof books and I don't want the name of the photo to be this long under each image I just wanted to be zero zero zero one that's it sell it just makes pretty your proof books that's it so but we want to rename our images so that then they have a pretty or naming structure and now we have permission to start making copies and exporting things and stuff like that because now the raw photo will be number one the j peg will be number one the psd will be number one and no matter where it goes it will always be one that image will be number one all right questions out there? Any questions? Eso eugene asked cannon software has auto dust delete data settings can this be done in light room um not auto delete so so cannon has the ability to you can take a picture and it'll be like a great card or whatever and you can register the dust and then you can run it through this I can't believe I'm actually okay when I talk about it becomes absolutely silly so so you take a picture of a great card and you get the where the dust is then you go and snap your pictures all day long and you come back and you run it through the auto delete and it looks at the great card says, oh there's the dust and then it goes to the photo and deletes the dust by basically saying ok, there's dust here so I need to grab something from here and moving over to here but that software doesn't know if that's an eyeball so if the dust was over the eyeballs certainly the person has three eyeballs you know, like it's it's going to move stuff around so you don't really know where the person is going to be and so it's going to copy like a piece of any year out to here and it's going toe so it's going to auto, fix your dust and give you like, you know, some kind of a horrifically like, you know, a salvador dali photograph or something. So so I mean that's pretty humorous on its own, but what I find even more humorous than that is the idea that we know our chip is dusty and we'll go to the the effort of taking a great card and then running it through a software that super slow and clunky and an awful in order to fix what I should have just cleaned the chip. You know, like take a little blower and blow out the chip. You know, take it, send it into cannon and they'll do a wonderful job of cleaning it every couple months. Just send it in having clean it and you won't have dust that's the that's the way to do it. The auto dust removal system is simply clean the chip that's. How you remove that's, how your auto remove dust. However, that being said, if I'm in an image like this and I let's see if I see ok here, so develop module dust removal. We removed the dust, so but you see how it see how it started. See that it pulled that that would happen automatically inside of your cannon dust removal system, too. And so, in this case, you would come in and say, ok, well, this needs to be moved down a little bit or up and let's move this so that it matches it there. Well, the way I went too far area, huh? I shouldn't be removing on anyone. But you see what I'm saying like if you take a little piece of dust and you can synchronize that so if I have removed some dust and I actually on this on the wedding shoot did some like removal of these little pockmarks in the in the in salt so if I removed some of this stuff here like this and I knew that the camera was on tripods so that that stuff wasn't moving so it's not dust it's actually something on the ground I want to get rid of or if it was dust than it would be in the same spot then I can go to the next image say this image right here shift click it and synchronize and I could just check none and then go synchronized the spot removal and when I do that now if I go to the second image the spot sir of course my camera moved so that didn't help me but you get picture so if it was dust you could auto remove just by finding the dust clicking on all of it getting rid of it and then synchronizing it across because it's just dust but what will invariably happen if someone will walk across the screen and they'll hit right next to the dust and then also you'll be copying their face across and so but in that case you can just go to the one that's offending and move it so that it works so you can grab these things after the fact and start moving them around to get the right placing for the for the dust came so that yes, you can auto remove dust but it's not auto auto like the cannon software claims to be which don't really work well and and since this is ah one o one class could you it was asked from the chat room, could you show us how to import preset? Yes and we'll we'll actually talk about presets all morning long so let's go to that tomorrow we'll talk a lot about presets, but you do remember when we we're in the in the preferences the preferences at the very second second tab is that show lighter presets folder that's where we're going to put our presets in there but tomorrow we're going to go over that in detail is too, because we're going to have to import the snack pack and play with the snack pack and stuff like that so everybody get your snack pack andi once you've got your snack pack tomorrow will play with snack pack. All right um and and everybody tomorrow should actually tell me what their favorite snack in the snack pack is every fun so currently I'm a fan of cheese and crackers and chips that seems to be my favorite so far, but you got to use the horizontal cheese and crackers okay? And we'll talk more about that tomorrow to horizontal versus vertical cheese and crackers. There is a difference. Well, any other questions? Uh, cava tuffy says I upgraded from light rooms. Three delight room for now I have to catalog the light room three catalog file is twice as large as the light there for kind of like, well, can I delete the light room three catalog or do I need to keep it on ly if you want to go back to light room three, should you keep that I every time I operate, I just delete the olds the old software off the system because I'm not going to use it. And besides, that light room for has light room three in it. So even if you did want to go back and use some of the controls that you were used to enlighten room three, you can always do that just by going to if you go in the developed module at the bottom of the developed modules camera calibration. And if you take the process version at the very bottom here you click on two thousand ten, you will suddenly be inside of and notice some of the things went away like that that vignette went away because it deals with vignettes differently, but if you go up to the basic module, you'll see that now instead of the old, the new dials you have exposure recovery, phil lightened black. So you back in the light room three, even though you're using light room for so that that's a long way to say yes, you can delete that catalog because all it did is it took your when you upgraded you, it took your light room three catalog, and it changed it into a light room four catalog, even though it kept the settings from the light room three catalog and you notice that when I change this tow light room three, the little exclamation point came up, that means warning you're living in the past, ok? And so if you click on that exclamation point, you will be transported to the future say that now we're in light room four. We're using light room four controls up here now highlights shadows, whites, blacks so, yeah, you, khun it just made a copy of it. Upgraded it. You can delete your life from three catalog as long as you've tested the light room for its working. You know, as long as that catalog wasn't corrupted or something you find so baesa, django asked, is it possible to convert any f or c r w files in the existing catalog into dmg files, retaining all the editing history? Absolutely so. When we deal with the ngs if you were if you were five years behind on the dmg conversion, you just haven't ever done it, but you wanted teo you can simply go to whatever it is, whatever job I and I would do it job by job as opposed to entire catalog because at least then you'd know where you are in the process and you could like boarded at one point if it was going to take six years to convertible but just highlight the entire set of images that you want to convert, go up to the uh, library menu and then convert photos to d n g when you convert them, it gives you options as to how to convert him it's important that you check on ly convert raw files because you don't you could convert a psd or a j peg to a d n g, but that wouldn't make any sense because the psd on its own is is a good file and it's probably got layers in it. If you convert it to a d n g, you'll just convert it tio a raw file that doesn't have any of the advantages of raw anyway because it doesn't have the original capture data so so you on ly convert raw files to dmg and the rest of them will stay whatever they are also I always delete the originals after their successfully converted because I don't want to pictures on on two of the same picture, just a waste of space, so it checks and make sure they're successfully converted and then deletes them after its successfully done so the file extension could be their capital or small compatibility. I always keep it at the latest version of camera on dh, then you're j peg preview, I just leave it a medium size, and then this this check box in bed fast low data is pretty cool, so what it does is it helps to speed up light room because we have you ever noticed. When you go from one image to the next, it takes a while for the little sliders to blink on for you that speeds up significantly when you put the fast low data on because it I don't know what they're putting in there, but they're putting in some kind of a little extra something in the code of that file that tells light room how to access it faster. I don't know what they're doing, but anyway it speeds it up, whatever they're doing otherwise, don't do the others embedding the original raw will make this thing twice the size and using lossy compression obviously will make the picture worse, so it makes a smaller but it gives it compression, so we don't like compression, and then you'll have all the injuries and speaking indian thompson, world ass he's from wisconsin high thompson world regarding dmg, I hesitate to convert to dmg because when viewing it in the finder, you can't see the image. You can only see the generic tng icon. Any solutions for this? Um, don't look in the finer typically speaking. You should be looking for your d n gs either in light room, because that's where they were created and that's the best place to find him. So if you're making a portfolio catalog that's, why that's where I view my d and jesus from apart folio catalog andi, if you want to make a portfolio catalogue at photoshopped week, I did a whole two hour segment on making a portfolio catalog and that's where we talked about the dj so that's a good reference for that, but the long and short of it is. If you use your light room catalog as your portfolio viewing mechanism, then you don't have a problem finding images that's going to be very easy to dio um, if you need to search system wide. Because you're trying to find something that you'd never included in your portfolio, then you would just open bridge and bridge axes as a simple finder, but it can search every disc that's on your system and it can see the d n g s exactly the way they were created inside of right, so I just wouldn't use the finder of course I mean, if you're in the finder and you search for, you know a d n g so I'm just going to search the finder for dea there's some d n gs right there, and it has an icon on it that will show you what the image looks like, but it shows you the original image, not the finished image. It shows you what was originally captured if if you're seeing non uh, if all you're seeing is an icon for the dandy and not a thumbnail, then you need to look to your system and find out why it's not seeing it's probably because you're on an older system because the newer systems khun read tng and and see like actually make a thumbnail for it older systems, maybe not so cool eso pinky asks, how often would you recommend purging the cash in the file and file handling tabin preferences any time there slowness inside of white room I would do several things purge cash s o the best way to to speed up light room is to optimize the catalog, so any time you recognize slowness inside of light room, I would just go to the file menu and optimized the catalog and so that's the first thing that you would do to increase the speed inside of iron so basically goes through and cleans up all of the random. Not sure what it's doing but it's sweeping cobwebs or something like that and and it's then it really increases the speed, so if you like, if if you were fast and then also you start getting slow and clunky there's a couple things that you should do number one is look at your desktop and see if it's cluttered with lots of crap. If your desktop is cluttered with all sorts of stuff, clean off the stuff on the desktop because that's definitely slowing down your computer. But secondly, go in and optimize the catalog because the catalog once it's optimized I have a portfolio that is about sixty fifty thousand images. It was sixty, we got down to fifty and and the portfolio catalog was running really slow to the point that we were just amazed at how slow it was like we had moved from image to image and it would be behind us like we'd flag something and then we moved to the next image and it would flag it like through four seconds later, it would show up with a flag who's that slow and were some was wrong. So we optimize catalog, and then it ran just fine. So it really does make a big difference in optimism catalog. As for the purging that the cash, which is, should be all right. Oh, it's, not it's in the preferences. So there we go. So purging the cash is just one more thing to get rid of all of the dead way where whatever it is. So if you if you feel like it's getting slow first off, make sure your cash has a lot of cash and then purge the cash and let it start over. Those are things that will help to speed up. But obviously the most important thing that you can do in light room to keep things speedy is to make sure that you are have the most ram possible. The fastest discs possible. Nice big cash size optimized the catalog, and then just, of course, keep your catalog clean. You know, when you're done with the job, get rid of it. Don't don't keep it in the catalog.

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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