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Lightroom® 4 Fundamentals

Lesson 46 of 52

Exporting for Web

Laura Shoe

Lightroom® 4 Fundamentals

Laura Shoe

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Lesson Info

46. Exporting for Web


Class Trailer

Day 1

1 Pre-Show Banter 07:02 2 9:00 am - Introduction: Why Lightroom®? 13:23 3 The Lightroom Library Catalog 16:42 4 Staying Organized 15:00 5 Backing Up Your Library 11:12 6 Importing Your Photos 34:20 7 Preferences & Settings 28:57
8 Settings Q&A 10:49 9 Reorganizing Files and Folders 33:25 10 Using Views and Labels to Evaluate Photos 45:00 11 Filtering and Stacking Photos 13:37 12 Assigning and Managing Keywords 31:42 13 Keywording Q&A 12:43 14 The Metadata Panel 14:38 15 Searching for Photos 20:54 16 Creating a Collection 15:25

Day 2

17 Day 2 Pre-Show Banter 09:09 18 The Map Module: Assigning Locations 43:33 19 The Develop Module 11:37 20 Fixing Your Photos: Histograms and Cropping 22:02 21 Fixing Your Photos: Spot Removal Tool 33:25 22 11:30 am - Upgrading to Lightroom® 4 12:14 23 11:45 am - Basic Developing in Lightroom® 3 & 4 21:29 24 Basic Developing Part 2 19:43 25 Color Adjustments 23:36 26 Tone Curve Panel 18:59 27 Making Subtle Adjustments 13:22 28 Lens Corrections 10:54 29 Local Adjustments: Partial B&W 13:03 30 Local Adjustments: Portrait Touch Up 26:05 31 Additional Local Adjustments 09:55 32 Graduated Filter 24:24 33 Bonus: Day 3 Preview 01:19

Day 3

34 Day 3 Pre-Show Banter 12:44 35 Bonus: Recap of the Develop Module 08:44 36 Virtual Copies 08:58 37 B&W and Creative Effects 20:50 38 Noise Reduction 12:23 39 Sharpening 18:33 40 Sharpening for Portraits 08:46 41 Syncing Changes to Multiple Photos 17:53 42 Autosync 21:09 43 Creating and Using Presets 15:53 44 11:45 am - Lightroom® and Photoshop 22:49 45 Sharing Your Work 08:42 46 Exporting for Web 16:59 47 Exporting for Print 26:06 48 Workflow Recap 40:50 49 Thanks + Credits 07:02 50 3:00 pm - Lightroom® 4: Publishing 20:52 51 3:30 pm - Lightroom® 4: Video Editing 12:38 52 3:45 pm - Lightroom® 4: Book Module 19:36

Lesson Info

Exporting for Web

Let's take first the scenario of exporting small J peg copies of your photos to put on the Web to email out whatever they may be. So let's go ahead and select two photos, one portrait and one landscape. We'll click on the export button in the bottom left. Now we're going to export thes two are hard drive. So this top choice, I'll get into other choices later, But we're gonna export them to a hard drive. And we're gonna tell light room where we want, where we want to place thes J pegs now. Usually when I'm creating J pegs, I'm gonna just put them in a sub folder on my desktop, send them out to wherever I'm sent it out to, and then I'm gonna delete them. I don't like to leave a lot of extra J pigs on my computer. Of course, you may have applications where you need to keep her scenarios where you need to keep them around. But for this example, I'm going to say export to desktop and I'm gonna click on the put in sub folder check box here and I'll just call this email. You have the choice h...

ere to add these little J pegs back into the light room catalogue now for the scenario where I'm just going to send them out and I'm gonna delete them. I certainly don't want them back in my catalogue. I generally, even if I need to keep J pegs around for documentation purposes, I generally don't add them to my catalogue. I don't need to see them in light room. I don't want to get confused between the master and the JPEG. So for most scenarios, I would not check this. But occasionally, like a viewer asked, How can I get it actually get a duplicate file copy in my light room catalogue? You know, this that person would want to add. This would want to create that copy through export and then added to the catalogue here. Existing files asked what to do. That's just that when Light Room writes out the file, if there's another file in this email folder on my desktop with the same name, it prompts me to overwrite or skip or or rename you can. You can rename these exported copies so sometimes you'll, of course, want to. Sometimes it won't be necessary, but let's say for example, that I'm submitting these photos to the photo center northwest here in town for a gallery show. And and they want everything to be shoe Laura. 12345 So I'm going to choose to rename here and under file name. I'll choose custom name sequence and then in the custom text box here, I'll put you Laura, and I'll start the sequencing numbers with one that I see A nice gives me an example right here. Shoe. Laura, Dash one. It's not gonna be a DMG file. I just haven't said that setting yet. And then I'll scroll down. Video will talk about later on today to the file setting section. So these air this scenario is exporting J peg copies to put on the Web or to send out I'm gonna choose J. Peg. Most of the time when I'm exporting, I'm exporting J picks and for general sharing Web email people to see on their monitors consumer level printing services. I'm gonna choose the color space s RGB. It's a smaller color space and light and works with some of your colors may become a little bit less saturated. That takes us into a soft proofing conversation, which I'll get into later on today and the what else is new and light room for? But s RGB is generally going to be the right choice for this particular scenario of small J pigs toe To send out the quality setting is a J peg setting that is used to save file space in megabytes. So when I'm emailing things out or putting them on the Web, I want them to be small in terms of kilobytes or megabytes, and I find that the quality and the range of 60 to 70 is perfectly acceptable. If you're sending out to print. On the other hand, I'll get to a print scenario that becomes another conversation, but I don't want to choke people's email image. Sizing here is size in pixels or inches, but we're doing pixels right now for this scenario. So I like to send out emails that are about 800 by 600. That might be what I put on the Web. The Web might be a little bit small in that, but this would be fine. Now, when you're specifying size in pixels, resolution doesn't matter, so there's no need Teoh to get into that conversation yet. But pixels are pixels, so we'll just go ahead and keep going here. Okay, So when we talked about captured, we talked about capture sharpening in the develop module to cut through that digital Hayes. Now we see output sharpening. So this is the size and output medium dependent sharpening. In this case, I'm gonna choose to sharpen for screen. You also have choices to sharpen for paper here. So all sharpened for screen. Now, Adobe worked with three experts, probably more than three. But at least three experts and they had different preferences in terms off levels of sharpening that they liked. So there are three levels built in to give you some flexibility for me. I'm fairly conservative in my developed capture sharpening. So I find that a standard amount here is perfectly is sufficient. I mean, if you want to know the difference, What I would suggest is that you out put it these three different levels and actually look at the photos and and see the results. Now, don't be fooled into thinking that because there are only two boxes here that this is very simplistic sharpening. It's actually very sophisticated sharpening. Adobe worked with the gurus of the industry Bruce Frazier and Jeff, she, we and others to develop this sharpening. It looks at the size you're out putting to the medium etcetera to come up with the optimal amount of sharpening. Now, when you're out putting when you're exporting, you have a choice to remove some of or all of the metadata from your photos. So, for example, if you use the map module or if your camera assigned location to your photos and you don't want that to be exported with your photos, you can simply check that box. You can also choose to include just this subset of the other metadata. So maybe you just want you just want to make sure your copyright and contact information goes, but you don't want your keywords or your camera information to go. For example, you could limit this is Well, now the next section is water marking. So let's go ahead and and go into how to create a watermark watermark. These photos, we're gonna put him up, pretend we're gonna put him up on the web. So in water marking here, if I put a check mark next to Watermark. The purpose of this, of course, is to have to put my logo or copyright Laura shoe or some other message right on my photos. So there's no question that I own the photos. You can choose a simple copyright watermark. This is the old light room to watermark, and what it relies on is that over in the metadata that you have entered, um, the copyright information it pulls from the metadata and it puts it in small in the bottom left corner. You don't have control over sized placements, really anything so light from three came along with much more sophisticated water marking capabilities. So instead of the simple copyright watermark, let's choose edit watermarks. So we get this watermark editor dialog that really offers, I think, an impressive amount of functionality up here in the top, right. You have the choice to choose a graphic. So if you've created a logo for your business, for example, you're going to click on graphic and then you're gonna tell light room where that graphic is. I'll go ahead and cancel out of this so it could be a PNG file or a J pig file. but let's go ahead and do a text watermark down here in the in the box at the bottom. I'm gonna go ahead and type copyright Laura shoe. And then just to show you that you have some flexibility here, I'm gonna put a second line. I'll go ahead and put my website so light room will allow you to have multiple lines of text. Now, if you don't have the copyright symbol in there, maybe you've wiped it out. If you have a Mac again, this is This is a reason to get a Mac. I'm a PC user, but this is cool. You can dio option G option G will give you the copyright symbol on a PC. If you have a numeric keypad to the right of your keyboard, you could hold the Ault key down and press 0169 Um, And then if you don't have a numeric keypad, you can copy something from the web or you could use slept parentheses, See, right parentheses. But I'm gonna go ahead and wipe out the second line now that I've shown you that you can have two lines or multiple lines now that I have some text here. Let's go ahead. You can Let's go ahead and scroll down on the right hand side to the to the size section and I'll make mine a little bit bigger here, but notice that you've got fit and you've got Phil that one of the cool things in this dialogue is that you can preview your copyright on all of the photos that you have selected. So we selected to photos before we came into this dialogue Appear in the top, right? You've got these these scroll buttons to scroll through your photos. So I had used specifically choose a landscape in a portrait photo just so that you could see what your watermark was gonna look like on these. Do these two different photos, so I'm gonna go proportional go smaller here. Now, my watermark is to club is too close to the left hand edge of the photo. So I'm gonna go to the inset box here, and I'm going to horizontally push it inward. It's also not close enough to the bottom, so I'm gonna go ahead and bring that down. I can anchor it to various points in the photo. I can anchor it to the center of the photo. Another idea might be to anchor it to the bottom right, but rotated with the rotate buttons here. So maybe I should have anchored. That's let's see Top the right. And then I would need to change the vertical, the vertical offset here. And then, if I scroll up a little bit, you'll see that you can also change the font and in some with some fonts, the style and you can change the color as well. So if you want a colored watermark, you can do that. I'm gonna go back to White, close that out, and then I think the last thing to show you here is that you can vary the opacity of it. So if I wanted to fade out so that it's still there, but it's not interfering so much with someone enjoying the photo. I can use this opacity slider, and again I would check it on the other photos I have selected. So this was a good reason Teoh have multiple photos selected as I designed this watermark. When I come to my second photo, I can't even see the watermark there, so I need to continue to refine this. I need to take the opacity up. And if I really wanted to show, I would need to move it in this case, Um, because white against that or I could make it bigger as well. Let's make it a little bit bigger. Check it on the other one. God questions on this before we go ahead and hit, save and and you know, then we'll do an export, Of course, And look at what these look like on our photos, but Okay. Oh, I'm sorry for Mr All right, let's go ahead and hit safe and I'll call this Laura Watermark so you can have different watermarks for different purposes. I'll say create. So here, in my drop down from now on, in the water marking section, this Laura Watermark will appear so again, I can build multiple watermarks. Now, while I'm here, let me just show you a little bit about managing your watermarks because I often get the question. How do you delete a watermark? Because you start playing with it and you know, so I'll go back into edit watermarks. What you would dio is choose the watermark from the list. You would have a whole list of them here, choose it, and then click on it again up here and save delete. You can also save rename. Okay, let me cancel out of this sore back in export. Okay, so what have we done? So with this J pegs these j pegs we're gonna be creating, we said where they're going to go on a hard drive, how we want to rename them. If we want to rename them that, they're going to be j pegs of a small size. We're gonna sharpen for screen, strip a little bit of our metadata and add a watermark. Now, if these air settings that we want to be able to use again in the future, I would recommend that we create a preset create an export preset so that we don't have to go through these settings each time. So down here in the bottom left, I'm gonna click on the add button and I'll call this my email preset, and then I'll click create. Now, let's go ahead and export these photos. Click on the export button in the bottom. Right? I didn't even see the status bar usually stands for the top left here will say that it's exporting the photos. It needs to take that original file bake in the work, um, and and then save into the hard drive. These were probably already fairly small photos that I'd selected, So let's actually just go out to the desktop light room like room. I don't need that up. Okay, so I have my email folder here, and sure enough, it was just lightning quick. I opened up this 1st 1 It opened up in photo shop. That's just the way by settings were set. But here's my my, uh my photo with my watermark applied and let me go back to the desktop. I've got my 2nd 2nd 1 here as well. So that's the basic that really the most commonly used export scenario exporting J pigs to share on screen

Class Description

Learn the fundamentals of Adobe® Lightroom® in three days. This workshop concentrates on the Library, Map and Develop modules where you organize, edit, and fix and enhance your photos and videos. Learn how to import and organize your photos and videos; evaluate and assign keywords, map location and other information to them; find them, and fix and enhance them. Learn how to work more efficiently by working on multiple photos at once and using presets. Learn how to create jpeg and other copies of your photos to share with others, how to email directly from Lightroom®, and how to upload photos directly to Facebook and other services. Finally, get an overview of all that is new in Lightroom® 4.


Miguel Lecuyer

Great workshop! New to Lightroom and found it very helpful. Saved me a couple hundred dollars and time by not taking an evening LR class. Creative Live workshops match my learning style perfectly. Laura is awesome! My only complaint is maybe Laura can use a PC next time which is what she seems more comfortable using. Her shortcut mix-ups on a Mac were making me a bit dizzy :)

a Creativelive Student

I cannot express enough how impressed I was with Laura and this class. I learned more in the 3 days of this workshop than I did in all 6 weeks of a class I took online that cost three times as much. I left not only impressed by the class but MOST importantly - refreshed and energized to put my new knowledge to use! Thank you for that!!!

a Creativelive Student

Excellent workshop bar none. I learned more about Lightroom than I did from any other tutorial/workshp that I previously encountered. Thanks Laura!