Syncing Changes to Multiple Photos
Now we're going to go into what I like to call the developed power tools. So we're going to get into how to copy changes from one photo to another, had a work on groups of photos, and then how to create and use presets. You've already seen a little bit about how to use presets, but I'm gonna go ahead here in the library module and go to a different folder of photos. I'm gonna go to my Victoria folder of photos here, and I'm gonna work on a photo, so I'm gonna choose that photo, find it here. Wanna work on this photo here? So I've selected the photo. Sometime is easier for me to find things in the library module that I'm just gonna go d for develop. And I've got the entire film strip here, but I'm going to start with this one. Okay, so let's do a little bit of work on this photo. I'm not gonna go through the entire workflow again, but we'll do some basic panel work on this photo. I'm gonna increase the exposure a little bit. And I'm I'm using light room for technology here. So light roo...
m for thinking and use of the sliders gonna slide the exposure slider up to brighten the overall photo. Maybe add just a little bit more contrast to it. And it doesn't need a lot of work in terms of basic tonal adjustments highlights. I'm looking at the highlights in the photo. They look fine. Nothing's distracting me or nothing really needs to be brightened up. The dark tones air dark, but I'm not blocking up any shadows, so that's really all I need to do there. Now, let's just do something for fun here. I don't know if it's gonna look great or if it's gonna look terrible, but let's go with negative clarity. The only time we have seen negative clarity so far is for skin softening in the adjustment brush. But you know, occasionally you can get this, not this painterly effect. So I went with negative 100 clarity, collapsed this top panel to make things a little bit bigger here. You could see him, so if I double click on Clarity to reset it, you'll see before and then after. So I've got a little bit of a painting, painterly look to it, and then I'm gonna go ahead and go a little bit extreme on on vibrance or saturation just to again emphasize this painterly effect. And if I hit the backslash key above the enter key, I get the before I hit it again, I get the after so it's not a to really an exciting photo to start with. So, um, this helpmate helps make it a little bit unique anyway, so I like this photo just dislike. I've done it. But I realized when I looked down at the filmstrip that in fact, I have a whole Siri's, and I've decided I want to keep the whole Siri's. I could have, of course, deleted the others There are similar, but I want to apply my work now to the whole Siri's not. I don't want to have to go work each one of these by itself. So now that I've worked on one, I want to copy these changes over to the rest of the Siri's. So what I'm gonna do is here in the filmstrip. I'm going to select the entire Siri's, so I'll click on the first hold the shift key down, click on the last and then the next very important thing is to make sure that the one I've already worked on is the one showing up in the main preview window. For that to happen, it has to be the active one. Now, the active one is the brightest one in this selection. So make this even bigger so you can see it that right now this 1st 1 is the active one. Now I've made my selection of five photos here and I want to make a different one, the active one. So to do something, t do something to a photo beating to make it the active one. In this case, I want to click inside the thumbnail. So on the first day of this workshop, I made a big deal about selecting by clicking in the border. And then when you wanted to do something to a photo clicking inside the thumbnail So that's how we get the one that I worked on. To be the one in the main preview window is by clicking inside the thumbnail. So now I've got all of them selected. I'm seeing the one I worked on. The next step is to hit this this sync button right here. Now If you're says Auto Sync at this point, you would want to turn that off by clicking on this switch. I wanted to say sink right now, get auto Sync a little bit later, but I'm going to click on the sink. But I need to zoom back out first. Okay? Click on the Sync button and light room is asking of all of the things you possibly could have done to that one photo. Which of those settings do you want to apply to the rest of the photos? Okay, in this case, I would start out by checking all and then I would just think about is there anything that I did to that photo that I would not want to copy over? For example, if I had done any spot removal, any cropping, any local adjustment work, I probably would not want that to apply. I need to go image by image and make those decisions because I haven't done any of that local work on this photo. It's not gonna matter whether I have these checked or not. So I'm gonna go ahead and click, synchronize and well, other They're all done. So if I click on the 1st 1 The 2nd 1 the 4th 1 and the 5th 1 So I had five photos Select that. I could have had 500 photo selected. So that's how you could copy your changes over from one photo toe. Other photos? Let's take a look at another example. Now I'm gonna work with Let me see. I'm gonna go back. I'm gonna go G for grid G for grid. I'm gonna be working with photos in a different folder, so this will allow me to get to that. Go to the develop module. Now, I'm gonna work with these three photos. Now, you guys here in the studio, you don't have these three. But you do have these two beautiful, um, fabulous photos here that you're gonna work with. So I'm gonna work with these three, So I'm gonna go differ develop. And I picked these photos because it's very obvious that I did not clean my sensor that day. Right. So I have lots of sensor dust on these photos. I'm gonna I'm gonna fix this on the first photo, but jeez, you know what? I shot hundreds of photos on that day. If I click on this 2nd 1 I've got dust in the exact same spots on all of these photos. So I'm gonna fix the dust on one photo. I'm gonna copy the changes over toe other photos, and I need to give you give give you a tip along the way. Toe help that be as effective as possible. Okay, so I'm gonna select the first photo. Now, truly, I would zoom in and I'd be very careful to get all of the dust. That would not be very entertaining for you guys. So we're just gonna deal with the largest, most obvious spots. So I'll click on the spot removal tool, and I'm gonna go ahead and click. Move my mouse out. Now, I would zoom in and I would make sure that I'm continuing the pattern, as you have probably seen. When do we cover this? Yesterday. You could always take this fix, circle and draw from someplace else. But I don't want you to do this right that right now, and I'm gonna explain why in just a little bit. So I'm gonna fix these circles, but I'm not gonna override light rooms. Decision on where to take the fix from. And that's not always going to produce the best answer for this particular photo. So I'm gonna have to get back to that. But I fixed. Let me see this one more. Okay, one more. Just one more. All right. All right. OK, so I fixed the spots on one photo. Now I'm gonna select all of the rest of the photos from that shoot. So in this case, these three photos in the filmstrip I'm gonna make sure that the one that I already worked on is the active one is the one that I see in the main preview window, and then I'm gonna click on the Sync button. I haven't done any other work on this foot on these photos, but it really in this case, though, let's say I have a whole shoot and I've shot not just water, but land and all kind people and everything else I would say, check none. And I'm only interested in copying over my spot removal work. So we'll click on spot removal and I'll click on synchronize. Now, let's take a look at these other photos. So this noticed that I'm already in the spot removal tool. And these other photos also have circles on them indicating that spots have been fixed. If in the spot removal panel I turn on and off this switch here, you'll see before and you'll see after. So of the ones that I fixed, they're fixed on all of the photos. Okay, if I go to the 3rd 1 here, switch off, switch on. So hopefully you're seeing At least the biggest spots have been fixed. Now I'm fixed. I really should be putting in quotes, right? They don't all look great at this point. Okay? But I've got a starting point whenever I click. Let me go back to this first photo when I apply a spot removal fixed, so I'll delete this one, and I'll zoom in a bit. So when I apply a spot removal fix, light room has math behind it to try to figure out what the best sources to take the clean pixels from. So I fixed this. This area here and light room decided to take the fix from here. So that's what we covered yesterday. Now, light room can't always make a great decision. Right. And you saw is I cycle through some of these that in some cases the fix is looks obvious. It didn't make a great decision. So why, when I was working on this first photo, did I not go ahead and override some of the decisions When you sink spot removal work? If you don't override the decision, so you work on your first photo, you just accept whatever it decides is best. Then when it goes to the next photo that you're copying, the changes to it will make a new decision each time it will do its best each time to find the best place to take those pixels from If on this first photo, I actually override this, I say, I don't want to take it from there. I want to take the fix from down here. And maybe I actually want this in clone Moz. That's obvious. Then on every subsequent photo light room will take the fix from exactly there. So from 50 pixels down and 50 pixels to the right, it will come from there. And of course, that's not gonna be appropriate. When you're fixing spots and you've got various compositions, you're gonna want light room to do as much of the work is possible. So if you use sink for spot removal, don't override the decisions on the 1st 1 Sync your changes, toe all of them, and then you still have to go image by image and sometimes makes them better decisions. So the good news is you can sink spot removal work to get rid of sensor dust. The bad news is you still have to go through one by one and review the results and override some of the decisions. So on this 2nd 1 I got a great starting place with what light room did. I'm in the spot removal tool so I can see the circles that lighter misplaced here. And I can I can, uh, override them when necessary. So this one here, for example, it did not continue the pattern in the water. So a click and drag take it from a better place, This one also, it didn't do a great job of continuing the pattern. So will override that one. Etcetera still work on that one a little bit more, but it gets you kind of half of the way there in, um, getting rid of sensor dust. Is it as good as cleaning your camera beforehand? Absolutely not. Absolutely not. I have this one photo I didn't bring it, but I've got like, I swear I've got 1000 spots on it. I had just gotten a digital camera and I was out in a dusty place shooting. I didn't realize that if I took my lens off of the camera that I basically be sucking in dust. So I did, in fact clean that up. But it was very painful. So I've learned. Learned for my own mistake questions on the sink process. We're gonna go into Auto Sync where we can actually work on a whole bunch of photos at one time. We do have a couple of questions. Sam Cox is asking, Sinking the photos this way. What is going to show up on the history panel of the the sink? Two photographs. So let's look at this 3rd 1 here that I don't believe I've actually done any work on except the sink. So will come down to history, and you will see that. Okay, what should I guess I did? I was looking afterwards, but what shows up from that process is synchronized settings Okay, so it's summarizing it. It's not splitting it out into individual steps. And we have a question from Sean in Malta when you sink different photos shot with different lenses and you apply the lens profile collection to the main photo does lighten profile. Each photo accordingly to the photos respective blends is I don't think you know what, I'm not sure, but let's that's one that we can we can easily test here. So I'm gonna go to this photo and I'm gonna reset it. So we start from scratch and find another lens here. This this is a raw file. Okay, well, if I can do this quickly, I'm most of my photos here taken with my wide angle lens, but well, we'll do this one. This one reset it. Okay, let me just start here. I'm getting scattered. So let's go down and let's set the lens correction profile here. So this is my wide angle lens. I'm gonna click on profile under lens corrections. We talked about this yesterday as well. I'm gonna enable the profile. And it didn't detect my canon lens, so I'll just nudge it a little bit reminded that it's cannon and now it's fixed. This particular lens issues for this particular photo. So let's take a photo that's been photographed with a different lens. So hold down the control or command key. Weps, user, air controller, command key toe also select that photo. So I've got both selected. The one I've already worked on is here in the main preview window. I'm gonna click on Sink. I'll check none to start from scratch, and I will apply. Where did it go? Lens profile. Corrections. Click Synchronize, and I'll come over to this photo and it has applied that exact profile. So that's what happened. So it's not detecting that this is not a canon lenses just accepting. You know, you said this is what you wanted to dio. You wanted to copy over that setting, and it's done that. So this really was taken with a Nikon lens. So it's a great question. Yeah, and, um, it's not a question, but Kim and Photo says she went back and rework some of her portrait. It's and Laura has literally helped me cut my post process time in her. So she says, my six month old will appreciate seeing me more. Thanks, Laura. That's Thor. Anything. Thank you so much for writing in that. That's wonderful