Review and Color
What we've got going on today is aa lot of things we're going to continue on actually extend this idea of enhancing and elaborating are images in light room, and that images now will include video, as was mentioned, so that's very exciting for me. Adobe has done a beautiful job of figuring out how to do this very simplified way of doing video editing that is elegant and for a lot of people will actually be the a majority of what they'll need for video editing. Of course, photo shop also does, but you editing now and if you're a part of the creative cloud suite of products that you get everything that adobe has ever done, including in their premier product, which is a standard in the industry. So what I thought I would start off with today is talking a little review about some things, but jump into the import things to do an import. We really haven't been talking about that much. We jumped right into the new features, which is great and sexy and cool and groovy, but there are some thing...
s related tio import that I think are essential specifically want to touch on how to automatically adam meditate a template to all your images, specifically copyrighting with the current state of copyright laws and what has taken place in the last decade. It's now more important than ever if you don't have some way of differentiating or marking your images as your own, basically with the I've been to the internet here, work is up for grabs, which is the opposite. It used to be that if somebody wanted to steal your work, they need to prove that they had rights to it. Now you are the one who has to prove that it's your stuff, they can take it unless you have some sort of proof, or at least that's what it comes into aa legal battle, but potentially and hopefully none of that's going to get to it. But it's, so easy to add a thorough copyright and contact information whatever you want on every single image that you ever shoot there's no reason why not to also one of the things that's nice about light room that we've been talking about is that since everything could be saved it as a template, including when we touch on the book and video, this idea of coming up with a watermark or an identity for your photography somehow being able to label it or title it or water market is great, and you can save all of that is a preset, so we're going to actually start off this morning talking about how you can create your own watermark custom watermark and then use it on your work, so we'll start off with that whole idea of kind of importing and those sorts of things okay, sound good. Well, first off, let's actually, uh, go into light woman mentioned a few things related to our preferences or actually we've got two things here was turned on our old green highlight come in, we're in the light room menu, of course, that's on the mac on the pc. There is no menu titled the application that jury and so that's going to be the edit menu is where you're going to find their preferences, but commander control comma is going to be the short cut no matter where you're coming from. Well, right below that you didn't see your identity plate set up. The identity plate is your title. You'll notice that when we I move off to the side here, this is your identity plate, so I've changed that add my name to it so again, if you do use light room to show work to your client there's no reason why not to let them know that you're the adventure of flight room and take full credit for it. Why not, but over here is where we're going to edit our water marks. And they're called watermarks but there actually is a great little way to import overlay graphics so you can use water marks not only for a traditional watermark something ghosted back that's going toe tell person don't even think about stealing this you sucker you is a nice watermark subtle watermark to put on all your images you know big bold forty five degree angle seventy two point type don't even think about it I will hunt you down and hurt you you dirty dog you but also you can use it because it allows you to bring in if you know how images with transparency you can actually use it for some sort of framing or texture ing or patina zx you know there's all sorts of fun things that you can do with what they're calling watermark so we can actually start off with how to create a watermark. But first just a couple things related tio preferences that I wanted to mention to you all here if you like working with multiple catalogs I mentioned that I used to work with polly pretty much one project per catalog it allowed me to keep it small I could easily back those up our kind of them get rid of them I don't need access I'm not a stock photographer so where I don't need to have all ten billion images in one place so I can search for, you know, blue door and find all my blue doors toe sell a stock or whatever so working project by project much like you'd work in bridge, you know, when you look at a folder and that's your project now with the advent of the smart previews in the fact that you can keep track of a zillion images and actually even take them on the road with you and maintain them actually with even more speed because of this, you know, quick, low data, I'm going to be shifting over to having much, much larger catalogs, but because I do use multiple catalog still there's this little option right here in the general settings of preferences when starting up used this catalog, prop me when starting ok load most recent is the default setting it's so easy to shift between catalogs your personal, your professional, your travel, your family however you organize your work if you do use multiple catalogs by simply turning this on every time you start up like room, you get a list of all the last dozen or so that you've worked on you go click now you're working on your family images now you're doing your weddings now you're doing your travel, whatever so, um, that's how I like to work with it so just a little mentioned there in terms of presets, you can automatically apply some presets every time that an image comes into light room, I don't typically do that even though we found that auto is part of our tango, I still don't do that automatically because as I mentioned I do a lot of bracketing and shooting hdr bracketed pairs bracketed sets of shots and something like an auto would automatically flattened the tonal range on every single image you shot and you really then you don't see the exposure you don't know that it was a compromise shot you know under exposed and you know that you may have to do some special stuff with noise reduction related to things like that so I don't typically do that in terms of um my presets I mention this also yesterday terms of your external editor a couple things to remember we'll go over it again as a default the option for going from light room into photo shop and this is specifically edit in photo shop whatever your current version is is going to be a tiff pro photo sixteen bit sixteen bit component file and of course you all know what two to the sixteenth power is right so you know the number of colors that are associated with each channel of red, green and blue I don't know either, but it's a lot and your options are basically eight bit, which is two to the power we all know is two hundred fifty six all right so when you're working with a bid that's your color space for your typical j peg it's two fifty six fifty six green to fifty six blue to fifty six cents to fifty six times to fifty six that you can all do in your head that's the sixteen million colors on dh when you're working in this other color space taking it out that is going to take advantage of what you're probably getting when you shoot raw when you're shooting were almost your cameras now we're shooting ten, twelve or even fourteen and sixteen bits of information and just each time you go up to another set of bits of information it goes up virtually exponentially so you can get in terms of your as an example if you go from eight to twelve bits of information and file you win from twenty fifty six shades of blue you're working with your sky you've done to this nice big print you're doing with a nice subtle sky with this huge radiant ajay peg you only have twenty fifty six, two hundred fifty six shades of blue to cover that entire spans if you're shooting in raw at twelve bits of information per channel you have four thousand shades of blue plus four thousand shades of red plus four thousand stays of green for thousand times four thousand times for thousand of each of the channel's gives you sixty billion potential tones versus sixteen million sixteen million is actually plenty of color. I mention this again the other day that most of your printers can't print beyond in a bit on image sixteen million colors you know, a typical inkjet printer would be happy to be able to get that full gamut of color that reproducible range of color, but on the fact that you are going to be doing now all your color in tone. From now on, you will never be going into photo shop and doing elaborate color tone work again, except on this special occasion. So, yes, you go right ahead and do it, but for the most part you're gonna be doing all your color and tone, you're going to pull out that shadow detail you're going to find tune the color, you're going to do your effects, and if that's the case, then you can actually use this eight bits of information uh, when going into photo shop because one again, you're not going to be able to print probably more than that. Eight bits of information per channel also photo shop can't aa lot of their filters won't work in a sixteen bit per channel mode, and so you're going to find your filters just aren't there when you get into their in terms of this color space pro photo is such a large gamut again, gamut is the reproducible range of color and the reason why I give you geeky words like gamut or oxidative phosphor relation or things like that is, of course, to shut up your client any time you can use big words with your clients proves to them that you're the professional, they're not yes, I know you have an iphone, but I'm the professional photographer shut up and sit down and pay me my money basically what you want to use big words for pro photos such a large gamut it's hard to see on monitors in other words, your mothers can't even we produce it, therefore it's very easy to get into trouble with such a large gamut that can't be printed on most printers that can't be seen even on most monitors, you're basically flying blind there's a chance that you're going to do something that may look good on your monitor soon as you printed it's just going toe, band and posterized and freak out typically what happens when you're printing something that's outside of gamut let's say you're shooting a sunset? You've got this nice, beautiful yellow room around the sun well that yellows outside a gamut when you print it it's going to get to the next closest color, which may be a beautiful line green so that's that's the reason for making sure that you were able to see the color range that you can print to your images so I actually will use theodore b rgb color space much broader color space than the s rgb that's what most of your cameras have probably defaulting to again remember that color space the light room is using the lab color space, which is actually not an rgb space it's a different way of describing color a broader, more forgiving, better way of describing color these were talking about going into photo shop and photoshopped does not use a lab color space to do its work. It's an rgb processor so s r g b that is thie color space for the web and email and all those things like that. So any time that you're going out and sharing and most third party printers I mentioned again the other day that most of our commercial print houses have backwards calibrated their systems to work with us rgb, which is a show shane because it's such a actually a poor color space in terms of, you know, the number of colors that has at its disposal um, so I actually work in adobe rgb if I go into photo shop, if I'm going out to print, I can keep it in that adobe rgb it's a nice color space I can reproduce that and if I'm going to then go out for print to a service bureau that does not support custom profile or I'm going out to the web or e mailing that are doing things like that then I will export from photoshopped into srg be same thing out of light room if I'm going straight into anywhere that needs s rgb that's the reason for it but you don't want there's no reason to work in s rgb and photoshopped even though you're going to end up there. The fact for you to truncate that color space down into that color area is there's no reason to do it and remind me when we get into photo shop, I'll show you how to set up your color settings and photo shop because again, it can default to s rgb since it dobie knows that every camera on the planet is defaulting deaths rgb it's it is the default, but it was never designed for photography. It was, you know, microsoft came up with it to do pie charts, you know, one hundred years ago. So okay, so I used adobe rgb it's a nice broad space and I can still proof it and it's not going to get me in trouble like pro photo tiff is the default setting tiff or psd is your option? Tiff supports layers and everything that we go into photo shop and back, so when I see tiff, I know it's gone into photo shop and back, and also tiff can be is a little bit more forgiving into going into some page layout programs, but either one is fine. I use a bit, so I have access to all my filters and for shop, but you can set this up any way you want. I'm not saying that this is, you know, the only way to work this other area here, the additional external editor, is really fun, because there are certain things, as we've already found out that light room can't do it can't do filters, they can't do in layers, they can't do it a number of things, because it's this procedural processor, it's not meant to work with pixels per se, so you can put any basically application that you'd like a period and see that I used. Actually, I am also a knife pornographer and love shooting with maps, and you can get a bunch of aps for the desktop. You know, if your mac users, especially that the app store so some of these are actually what would be traditionally an iphone app and ios app that you can download, usually for ten bucks or free or something like that. So, as an example, in the olden days before google bought nick snaps, e was a desktop, great, basically all of the wonderful nick software in one little app, including frames and their structure and all this stuff so I can actually use snap seed as an external editor and that's, I'm going to access that, as you may have already noticed when we've been going into photo shop when you right click on an image down in the film strip you can say external editor and I could go right into snap seed the great thing about the integration of light room with third party aps as well as photo shop. For the most part, if the ap is playing nice, you can actually go out to the ap save it and it will also come right back into your catalog could be right next to your original. Some maps aren't that friendly or intelligent, but for the most part that's how they work and let him fly that's done it even a better job of that. So setting this up for again that same situation of when you go into an external happen. Of course, this could be your on one software aps again, the nick there all year by visa and all these other ones that you may have been using portraiture, there's a number of third party apps that you could put right here our long is they have a standalone version, not something that's, a plug into photo shop, the's air all standalone external editors this is the file format that you choose again. I'm goingto be wanting to do it's something that I can reproduce like an eight bit you know? Well, the rgb color space came, so there we go and we could have its stack with the original I don't do that stacking puts the image actually underneath that is part of what's what's known as a stack, and sometimes you just you don't see that you have the image there is actually hidden behind it and what they call a stack so you can choose to do that and let's save anything else that we've got going on here in terms of your d n g hears that embed fast, slow data. We talked about that if you want to do it on import, this embed fast, low data that is excellent, that is cool and groovy. It is it's a freebie there's no reason not to there's no downside to it doesn't compromise your image it's not a compression in terms of throwing away information there's no reason in the world to not do that you're smart previews will automatically take advantage of that, and any time that you convert to d n g or use a dj on import, it will use this fast, low data ok, so absolutely fantastic! I do not embed the original raw file that would be actually taking your c r two we talked about this yesterday you was here to your net file whatever it is technically by embedding it you have access to it you can extract it as you can see here if you put this in here you can't actually access the net for the cr two right within you'd have to extract it to get back to it toe work with it like I said, cannon really has not been working on software for a long time nikon has done a great job with capture annexed now the google has bought next uh nick I'm not quite sure what's going to go in with that I don't I no longer see really the need for doing that and that would dramatically increase your file size dramatically it's not like it's a quick, easy safety net this is a quick, easy safety net that is a heavy duty big file honking situation yes this is where I've always had a hang up and I don't I don't quite get it so if I'm importing in as a d n g does my nikon ralph, I'll go away so I needed any longer I mean it's your storage space it's just that that's been one of my things that I've kind of steered clear of light room for managing my files because I don't quite comprehend you know every time I'm seeing a little snapshot down below in the film's trip. I mean, my double tripling, quadrupling my file sizes that's a really good point and let me do a couple things related to import right there. We're going to get to that actually cancel out of here, and I'll do a couple little tips related to that one. If you are working on whatever size catalog oftentimes you're going toe obviously going to be adding to that catalog and regular basis. Let's, use the scenario that we have one big catalog, and I just did another project. I just did italy or the smith wedding or whatever, or I may have just added another watermark. Maybe I just created another watermark in photo shop, and I want to add it into light room or background texture or a title for a video like we're going to be doing later on. So one thing that I like doing in terms of importing files is one. Make sure that you put whatever file that you want to work on in the right place on your computer, so it answer your question. I typically am going tio take my images from the card onto a hard drive and put them where I want them. In other words, I first organized them at the desk top level, um people who don't know where their actual images are and they just use the default which ends up in a photos folder you know pictures folder is a default setting um get a little scary usually your library going to be so big that as the default goes on your internal now you're going to have problems because you're going to fill up your internal you get rid of your scratch disk and now you're splitting your catalog between an internal external so one set up your photographs where you want them to be hard drive space is so expensive now getting a nice fast you know three terabyte usb three drive for siri's of them just makes sense especially with this smart previews when you constituent have access to the actual data's on your internal drive so I would do that and that would be coming off your card let's say you're nikon net files so you've got what I even do on the card level is I'm looking at my card plug it in comes up on my desktop I renamed that folder so smith wedding if I know that's smith wedding and within smith wedding I have the um pre portrait the family portrait it's the service the kiss the cake cutting the you know the drive away you know whatever organized everything at the desk top level if you can because that folder structure actually will come into light room and you'll be done you won't even have to technically use collections if you don't want to because that folder structure you will already have been organized the entire shoot if you add another card later on and that would know here's one that I had forgot for the drive away you can take those images put that into the drive away folder on that hard drive and then what you're going to do is synchronized that folder again in light room and will automatically updated so they always stay in the same place it's not like you have some images over here and somebody images over here s o a backup as I recommended you do that you're actually your images reside in a couple different places by importing your neff's into a folder structure and then taking that folder smith wedding and then dragging that on top of light room to import it that un import is when you're going to copy it as a d n g well that's one of the ways that I do it again this is one of those blue state red state kind of questions. There are a lot of different ways a lot of great pro shooters who do different ways of how they organize images, but if we wanted to take this is smith wedding I've put this on my external hard drive and I drag it over my icon for light room or my shortcut on um might like five it's going to bring up my import dialog box. These again are video clips here, but this is your copy is dmg, so it would automatically leave my original neff's that's, my backup that's, my safety net and it's going to copy at a version of them a copy of them into my location where I have them. And, uh and in this case also do that conversion into d n g and again, if I wanted to, I could even build the smart previews at this point. Okay, so that is how I like to work in terms of, um, organizing my work. I'll do that on the hard drive when I bring it in on copy and convert into the engine at that same time, I have a safety net of all my images as a secondary copy and but these are the only ones that are going to be in my catalog and light room. I will never see the nef files. I don't need to see that net files those of my safety net, these dandies of what I'm gonna work on, you won't have two versions of them in your catalog. Ok, good question, okay, um, but going back to that concept of a a cz we saw up here and light will this idea of edit watermarks water marks has I mentioned you're typically think of that as the scary warning on here that says, you know, copyright in your name so person doesn't steel your images on the internet that's what we think of in terms of a watermark some subtle thing like a traditional watermark which is actually was a either put into the paper and impression on a piece of stationery or even, you know currency to protect it so that's the concept of a watermark what we're going to use water marks for aside from doing that also for adding identity to say a slideshow or video but because it's one of the best ways for you to bring in like titles for video or things like that or I mentioned even textures and stuff like that there are very, very useful beyond just the idea of a traditional water mark, but the question is, how do you make them and what is the best way to make them so let's? Go ahead and I have gone into photoshopped actually I've got them on our desktop here and I've created one let's see, we'll take this one right here and we are gonna open this we won't open this and preview we're open this up in the photo shop I know I can't even see how tiny those things are, okay, so what kind of consider this, eh piece of artwork that I've scanned we're going to do with a piece of type could be a logo that you've brought in from illustrator will use this as a starting point for creating ah, watermark and that is why I'm doing this is this is flat artwork on white it's an opaque black on white it could be full color could be whatever the situation is but let's say that you've got this mark, you've scanned it, you wrote out your signature, whatever you got your your artwork so this is the more difficult one to do if you're starting off with type, obviously you khun set the type on a transparent background and you're already you know, ninety percent of the way there in this case, we're going to start off with this mark right here, and the question is, how do I get this to be on transparency? Perfectly ok with no compromise, if you think that you could come over here with your tragic wand, you know and click on it and then use that, invert that and do that. No, that is not how you make something transparent is coming over here and delete that actually there's one layer and photoshopped that doesn't support transparency it's the background you notice that little lock if you double click on any layer and just make sure that it's not late named background in italics and now supports transparency. So now if I were to hit the delete key, that's supposedly now is on transparency but it's not actually because of these settings of the, uh what we call the tragic juan the magic wand up here it has a tolerance and anti daily saying it's going to try and find if we look up here, if we zoom up on this all these subtle shades of gray at some point it stops selecting based upon this tolerance. So when I hit this background it comes up to an edge it could care less about what's inside, it cares less about this little edge it's not on transparency let's just go ahead and we will do exactly that will knock that out and put this on a red background just tow show you what it is subtle color and you can see that that is what would be going on. It is not actually doing transparency and you'd be seeing that on your image, right? So what we want is this to be true transparency perfect, especially since we're going to be wanting to do some other special effects with it. So I made back up a couple so it's now back to the way it was, by the way command z or control zia's undo and photoshopped back and forth command options ea or control all z goes back through your history states you can do as many undoes as you have in your history state command shift to control shift zia's forward in time if you've gone back you could go back you can go forward in time whatever you do do not do command option shift dizzy that will create a temporal conundrum right remember the evil spot with a goatee yeah that's how it happened that's how it happened ok ok enough of that so how do we do this? Well here's a little trick it's a great trick to know I think I mentioned passing before you're going to go to your channels palate that's where that red the channel's that's where your color information resides channels are also where you store what are known as alfa channels in the olden days channels or how you selected safe selections and photo shop it's still basically a concept of selecting is one of its main things all of these channels are actually had the same information because it's a great skill document this little set of icons down here let's go down in the bottom we're in the channels palate by the way, of course you can go to your menu any time you're looking for a particular window in this case we're going to go to channels so if you can't find a particular palette window channels it will automatically open it up okay? And what we're looking at here is this little icon right down here at the bottom. This one is over, so we can see it low channel as selection, which is very, very cool because it does exactly that. It loads that white as a selection and loads. The white is a selection, and the shades of gray are all slightly selected. In other words, it's, a smooth, perfect selection of whatever wass black is not selected. All whatever is white is selected completely. Whatever is a shade of gray is partially selected it's actually using the true luminosity of whatever is on that channel to make this election much, much, much like a mask. Okay, it is perfect now way have that selection in which, by the way, there's also a keyboard shortcut, which is really geeky, which is command or control clicking on any one of these icons or met fact, any thumbnail anywhere in photo shop, you click on a piece of a type that thumbnail for type player, and you can load it as marching ants because when I hold down that command k, you're going to see that that icahn changes to have the marquis so click and that's your geeky shortcut for loading anything as a selection in photo shop. Ok that has anything that has transparency in this case it's a channel so it has that so I have my selection my logo, my signature my whatever I have is perfectly selected wonderful I go back to my layers palette I've selected the background I really don't want the background selected I actually want the logo selected right? So under selection since we're dealing with selections select inverse and now we have our logo perfectly selected could not be better settle gray scales angels weep with how good the quality is of this selection the problem is now all we have is a series of marching ants if we turn off this layer, we have our marching ants what we want to do is fill those marching ants with something we don't want to just come up here and say duplicate that selection up to another layer because this layer if we hide those marching ants actually has grays and blacks and whites and things like that we don't want our mark to have other tones in it we want to have transparency we want pure black with transparency we don't want shades of gray this piece of artwork has shades of gray knit we don't want to select that I know it gets a little confusing but you'll see in a minute what I'm talking about so what I want to do is I want to take advantage of those marking marching ants and let's actually come over here and, uh, clear those guides I don't need those good guides. I want to take this selection and move it on to its own layer and there's a couple ways that we can do that I'm going to come down here and the area in photoshopped that you normally think of as adjustment layers down here they the chocolate dipped cookie icon actually in levels and curves and everything these first three are actually phil layers there, not adjustment layers, solid color, grady in pattern very, very powerful. Radiant is very cool that's your little graduated indeed tricks you can do here pattern I've given you a bunch of free patterns that come along with arlo many one klick while preset sampler, but solid color is what we're going to do here, and I go to solid color and I'm going to make it black, and that is what it did. It automatically took advantage of the marching ants that were there and use that for a mask on this procedural phil layer and the reason why did fill air? I could have just done an empty layer and filled it with black would have done the same thing, but this is nice because this is procedural I can now click on this and change the color at any time if I want to um I can change the color to anything thing that I want to oh perhaps it like so anyway you got you know what you can do? You can also change that content to something else um but phil layers have a lot of flexibility on them, the benefit of doing that if we now come up here and I'm going to do another solid color fill air just like we did before and this is where you can see the benefit of this technique that we did it is perfectly transparent there is no white, there is no edge I didn't select with the marching ants with the tragic juan or the quick select or anything else. This is perfect black to transparency, which is what we want, especially when we're dealing with are photographs so I'm going to come over here and we'll do you know we'll do some color for checking the quality of our water mark okay, this right here if we wanted to, we are ready to take this out as a watermark we wanted a blackwater mark here, but we're not we're gonna do some more stuff to it, but we certainly could let me give you actually tip if you did want this, if this was all that, you need it for a water mark if you wanted your logo hand sketch something you scanned as a watermark you're good to go here one thing that you can do though toe make it even a little bit better in other words, because you're going to be aligning your watermark once you get into like room with the edge of your file or moving it in or something like that. This file is obviously bigger than the mark there's a feature that's been in photo shopped for one hundred years called image trim, image trim and image trim is specifically set up for prepping images for the web that's one of its main benefits because it can go through and if they can find no pixels that will trim those off and if it finds even a one percent the most subtle halo glow drop shadow soft one you say do it on transparency. That image is perfectly trimmed to the smallest possible size with no clipping if you've ever worked with soft dead drop soft edged drop shadows or glows or halos and you're trying to make it small and you put a nice little soft drop edge soft drop shadow you've probably crafted before placed it in a page layout program and realize that that soft shadow automatically or or cut off it was not a subtle transition because you missed something you cut off something that was invisible so trim is excellent and then what we're going to do is we're going to go at it and say for the web we'll get to that in a second that's, where we're going to save this office of png. Png supports the transparency and that's going to be your main foul for meant for watermarks. Jack and I interrupted. You certainly can. All right, keith, as well as much in the chat room are asking about color logos. Magic said what if the logo's in color the channels will be different? How do we go about selecting the logo as a transparency? That is a a good point. If the logo is on white, you're still gonna have that each one of your channels is gonna have that differentiation of the marks. Um, you can well, it depends. First off, this is all presupposing a scanned logo, right? The logo is on white. Hopefully your logo was actually designed in neither in photo shop or it was designed in something like adobe illustrator where it was it's already has transparency is an option, right? You do not design a logo and automatically flatten it down to a white background. So if you have a professionally designed logo that it should already be on transparency, you will turn off the background of whatever the logo was designed on, and your mark should be full color in with transparency. When we save it often png it's going to be what's known as a twenty four bit png it supports full color as well as transparency, so that's really typically is not. If you've got a professional logo, it should be on transparency if it's not, then find out whoever designed it and say I want it on transparency because they did not design it flattened on white they designed it in layers with transparency as an option, so if they provided it to you as on flattened on white demand that you get it on transparency there's no reason nothing that you can do well do as good a job as as it was originally designed and created taking advantage of the transparency that was part of that. If it's on illustrator you can take that illustrator one of the nice things about illustrator in its integration with photo shop is you take your logo, go over to illustrator, select the logo, copy it to the clipboard macro pc go over to photo shop and paste commanding control v it last you want a paste as shapes paste is a smart object paste as a path, whatever you'd like sewing paste it as a smart object and that transparency will be part of that so that also is going to be a great way of working the nice thing about copying and pasting as a smart object from phyllis straight into photo shop is that will remain intelligent about everything about illustrator meaning that that logo that you paste it still has every single thing about how it was created, an illustrated there, including possibly the life type. It could be that you've got siri's of types that you have different for your wedding photography versus your children, photography persons, your pet photography and you do a variation on topography, or you actually add, you know, some special u r l or something else. If you copy and paste a logo from illustrator into foot a shop and say paste as a smart object, you can double click on that thumbnail for it it'll open it back up an illustrator, you could change the type, close it, it'll come back into photo shop automatically reapply that change and do whatever else you did to it. If you had rotated, distorted it, twisted it out of the drop shadow, it'll automatically have the new type rotated, twisted, distorted with drop shot. So anyway, so hopefully that answers the question if you really do need if it's on white get it, not on white in this case, we're talking about a scanned, you know, a brush stroke that wasn't actually a graphic element. But I won't spend the time going in through how to do it the best selection color because there's no way that anybody would actually design the logo flattened you know you don't they don't draw out a logo they're going to create it from objects and shapes the type so the one thing that we want to do here is in terms of a water mark what I like doing with a watermark well, turn on our background again is I don't want just a black logo sitting on my photograph, okay? Typically I'm gonna want a white logo I wanted to reverse out of my photograph I want that ghost it back a little bit and I may even want a little halo a little dark halo around it in other words, I wantto qualify it I want to qualify it all right? I want the subtleties of what would be a nice watermark um so what I'm gonna do is I'm going to do something like this and I've given you guys a bunch of these later styles it will use these as a starting point, so I'll come up here and the's you're goingto see these ones here I think I'm gonna go with a kind of a halo one these air known as my wow halo um styles and we'll mark out what that is this one right here is while halo twenty two I think I've given this is part of the mini set that's at my facebook page that jack davis wow like that page and you'll see a little star that says, jack freebies click on that you're gonna get a bunch of presets, including the fifty light room presets for everybody plus these plus the invitation to why plus my first born male child who's really, really professionally good looking, so that's actually is a great little benefit there. I don't want to far off topic, but this just prompted something, you know, when you get into layers stiles and he just nails something wow, that's cool is your how do you saved out to where that you can bring that back in like you're doing over there? If you have a styles palate and we come up here and we say way customize this first of what you're going to, you're going to start with my layer styles, customize them, rename them and then sell them on ebay, right? And that's the smartest thing because it's really dumb to give away all this stuff, but basically what we have here is I've got a color overlay and I've got a drop shadow, but let's, just go ahead and oh, we'll customize this and dance your question, then we'll come back to it, so here is the shadow on my logo just in the drop shadow area and I'm increasing the size I don't use that distance that distance is offsetting it I often like more of a halo so's I come over here and take that distance down to zero it means that it's just there's no offset to it you can also the nice thing about layer styles we did a course on ground did not if you have any interest at all in graphic design and styles and typography and the concept of unique selling propositions there's a creative life course that I finished that you can buy more than happy to sell it to you but there's all sorts of things related to layer styles they're incredibly powerful and there's a little love note up here, by the way, did you know that you can click and drag to reposition the effect you know so you can just, you know, move your cursor around and do all sorts of cooling groovy stuff with your layer style. So I did a color overlay I like actually using overriding the color of whatever the layer is. So I've put in white as a color remember it could be that you've got color libraries like a pantone color if you've got a specific, you know pantone color that's your logo or company logo, you've got a different color picker over here in a photo shop and you can use pms or tell yo inks or you know whatever you'd like to do, so this is certainly something that you can take advantage of this one is not solid color because I'll show you in a second thiss translucency you can see the green through here it's a very transparent but I have it set up for white so I have customized this and what you can see is this new style if you open up the styles palate answer a question this right here new style is actually the way how to do it you click on it, you cannot come up with a name and, you know, put into category I have as part of the one click the ones that are at while creative arts dot com that has twenty different libraries of layer styles, literally hundreds of them that go through metal in tone and color. I have ones that do are medically do sunset effects and all sorts of yourself theater thing what we're in the styles palate here that a lot of people don't realize is this little what looks like a label appear styles is actually a button that shows all you're currently loaded styles, so you guys will have a bunch of styles once you download the free ones or perch just the one click while ones from that while creative arts dot com ok but back to it. You can save it here, customize it let's actually start from scratch and dio really easy layer style so here it is black on a color, any color you want that's going to be in your photograph I'm going to come over here down here this little curse of f at the bottom of my layers pellet is your layer styles you can start off with blending options and blending options right here is exactly the same as your opacity. You've got these things up here in your layers palate capacity and phil, you didn't get quite all the way to one hundred percent we look down here, you'll notice they're exactly the same. The blend mode and these two capacities are exactly the same. If you change one here it's going to change it in the layers palin, you're looking at the exact same thing, so we've come up, we've come up here is the technical way came up here and the first thing that you can do is work with capacity, obviously, or it changed the blend boat. The blend mode will not come into light room, so basically I would leave your blend moat whatever you going to do here in normal you cannot there are no blend modes for your water marks in light room, which would be really nice maybe eventually we'll get it would make sense but right now there's not so you're going to use opacity if you want this to be able to look through your watermark to your graphic, you'll use the opacity slider here um and what I'm going to show you in a second the difference between these two which is really important but I'm gonna come right down here and I mentioned that color overlay I like using that color overlay it overrides whatever the actual color is of the layer so it it can especially pure one hundred percent again we'll go up here and choose white it will override it and it will be now built into this a slayer style so whenever you click on this layer style again, that could be your pms you know, one eighty five coca cola red when you click on this layer style and apply it, it will be that pms color you never have to worry about it or anything else. The nice thing about layer styles. Once you come up with a look that you like one, you'll save it for your own layer style but two you can share those layers styles around the office and that way you say bob use layer style x and you know that they're going to have the right style and color and drop shot on capacity and pms color and everything so it's a very easy way to unify a whole series of jobs or certain client or one of your own brands so their styles are great so we'll do a color overlay as a starting point here. Now I'm gonna go down the bottom and click on drop shadow I can turn it on and off by using my little check box here I click on the name that's going to give me those parameters these again are going to be things like distance and size sizes, the softness that blurring of it again. I'll take that distance to their zero so I just get kind of a halo effect and again, I'll affect that size basically, I wanted to be able to pop if I have this watermark on a white set of clouds it's not going to do me very good that's why add a little halo that way? Whether the mark goes over a light or dark it's still going to be legend? I'm gonna change my capacity and that's why I use halos do a dark watermark with a light halo what would be a glow or go into the light water mark with a dark halo I've got that great, I do not want solid white. I want this watermark I want it to be subtle so this is we're going back up to these blending options come in and why we have two different capacities this opacity this main one right here is going to be everything that's the main opacity you've been using since you were a child and fluttershy this advanced blending phil opacity is everything related to what's inside the graphic not counting your layers miles I mean I can take this down and it leaves behind the layer style okay, so the logo the phil is now changing its opacity in this case I actually want some white there I want some white and so you can see by taking this down toward twenty percent of the white I now no matter what let's go ahead and we'll change this background toe something so you can something really nice and uh let's do a pattern I mentioned the patterns that I've given you guys we could do something subtle like, you know well, do these air these air part of my wow patterns and textures tarnish it will go with a hey paper here are, well, brown paper okay, so we'll say that that's our photograph and now you can see that what we're getting in terms of this transparency and how it's going to look on a photograph it's going to lighten it it's gonna have the halo um I'm not using any special blend mode in terms of overlay or soft light or screen. I'm getting just what I want so again, going back into the drop shadow, anything that I do changing here spread is how quickly it transitions to the size a million things we could go in here. You could add a little bit of noise if you want to help with any banding of soft shadows, but basically all we have here is I've put in color overlay white one hundred percent drop shadow black multiply it could actually set this again to normal because it's really not going to be taking advantage of the multiply blend boat so normal this is what it's going to be doing to the file we're using this capacity of the drop shadow we can do that here we're also going to take advantage of this what they call under the top blending options this phil opacity is how we can just do it, so we're not getting actually any phil whatsoever. I wanted to be goes, I want to actually see some of that logo. So whether I go onto a light or dark photograph, it's going to work, okay? If it's on a dark portion of the photograph, I won't see that halo, but I will see the mark. By going a light area I may not see that interior but I will see the halo no matter what this logo will work on lighter dark question well, that was gonna be my question is that he did two or three versions for light darker medium because assuming in light room only control you're going tohave is opacity once that's right that's right size opacity on dh scaling and things like that so absolutely you can do different versions of it because especially you doing an entire siri's if there was a theme to it that these were all night shots then you'd want to you know, customize one that worked with you know, dark images or you were doing an entire you know, serious of misty mornings you know, with subtle of atonality there's no reason why not to especially since all you're going to do here is you're going to duplicate that layer I need to do a command jerry control j or drag it down to the new layer icon and now you just simply come up here to say things like that color overlay and now maybe now we do black well just reverse that process so now it's a black overlay uh we can either take that drop shadow often we'll call it going to be a outer glow ok, which now is what they used to always be yellowstone of their white so now we've got a um glow we don't need that much and again we'll use that normal because we don't have the screen modes so now what we have is we've got okay lighter version of it which again we confined tune and customize here's our phil opacity so now we've darkened it we've got a little lite halo version of it we hit ok and now we've got a dark version and a light version so that's exactly what you know you do what we're gonna do later on with our video is this right here is how we're going to make a title for our video editing in like we're going to take advantage of water marks so I'm going to set a piece and nobody will do it right now we're gonna come up here and do another one we're going to come up and set the word tonga we did that the other day here's our logo that we used that are type face that we did before and again if we want to let's go ahead and we're going to do another layer style this case we're going to do something a little bit more elaborate and this would be that color logo well, those of you are asking about a colored logo for it it's actually we're going to do in a new document here much bigger this is going to be set up for a video size so this one when you create a new document it's actually do that from from scratch if I do a command knew and you're going to do a title now for video we're just we're working on our logo for a watermark I'm going to now say new if you know you're going out to video you have a siri's of priest that's called film and video so you coming up here and saying I'm going to use a ten eighty p you know um template go ahead and do that or you know hdtv same sort of thing is going to the same aspect ratio of the ten eighty by nineteen twenty and come up here and there is our image this is kind of what's known as a title safe area so it automatically gives you a graphic to work on let's go ahead and drag that type because this is going to be this is my watermark page I don't need toe when it saved my master logo onto a psd document that I could go back to and fine tune it over and over again so this is something that I want to you know use for my logo here is something that I'm going to use for creating my tonga video I've got my type and the thing is is that I want this to be you know, subtle no I want this to be settled at all so this is my graphic and it's got the layer style applied to it and again you can blair styles are great because they are um procedural you can change them if I come up here and zoom up here and I want this to be go to my type tool is an example and do something like and um make them tighter what's known is tracking you'll notice that basically I am um creating a custom logo I just increased the price of uh this logo market actually the fact that it's alleged balloon it means that's worth way more money right? Um I'm going to use my option case to do this so I'm doing what's known is tracking in photo shop but you'll notice that the layer stiles um I don't care that I'm colliding my letters and notify could likes it because it's going to follow that contour of that so let's actually do that I like that let's do that tracking basically if you put the cursor between any letter pairs ok it will and use your arrow keys hold down the option key on the mac hulk in the pc, put the cursor in one spot and then left and right eros is what's known as turning if you select all your letters you know you typically will do a command or control age to hide it so I don't have that obnoxious color now that option or all is going to do all my characters at one time. So here is we'll do this my custom tonga logo with custom layer style, and I'm going to use that in my presentation. It looks like tango it's like a it's like tango. Yes, I do use tank so? So tonga I can do that if I wanted to have not just a piece of type on transparency, if I actually wanted this to be the title for my video and maybe I would come up here and use something like a pattern, phil and again is one of my, um, you know, seed pod layer styles and the nice thing is that all my patterns and textures, they're all seamlessly tiling so you can just drag and reposition. We never see an edge on any of my patterns, so we could do that, and we've got our piece of type right here, and we're gonna go again. I use a different style if I want, because now, it's ok, I can do something like that. So we'll do something subtle like this. So if this was going to be the title, all I'm gonna have is this a cz the first frame of my video? I'm set to go I can actually see it this out as a j peg are any file format and I can bring it in they will just be an image part of the slide show justus if it was a photograph of a whale or something like that if I want this to be a uh technically a watermark so I can use it in different ways within that presentation maybe in the upper left hand corner it stays there while the video is playing remember when I first showed that original video clip I can do that same thing we're now this right here can be saved out with transparency and it just like a water mark this again going back to the question about a colored logo this is now say my colored logo I want this to be able to be used inside of light um in the most non subtle plaster gold sort of way so we've got now are different um different watermarks one over here let's go ahead and click on this one I'm going to turn off our background we've got our subtle white with a little gray on it we've got another one that was going to be our colored logo or for use on video the thing that I want to do is I want tio trim them okay let's again we could use that let's go ahead woman is going to save this we'll do a save as well put it on our desktop we're going to call this tonga title that is with the background and we can do that you do it in photoshopped format we can also save it out to j peg we could do it as let's do it in four shop we'll keep it in layers so we have access to it if we want to change it later we can embed that color profile though when it's srg be most systems kind of presuppose things aaron it's rgb so technically you don't need to embed a profile if it's rgb but we'll come up here and say good that title is now set I can access it I can bring it into light room it's going to be the title for my video I'm going to turn off the background and now I want to save a version of this with transparency so I can put it on top of a photograph ok makes sense so one is an overlay known as a watermark and one is going to be a title I don't want all this transparency to come in here I want to be able to make this a smallest possible so when I align it I know where it's going to be what was that that menus command that trims things down to their smallest size trims things down its tramps yeah it's it sounds just like trip image trim transparency and now it is exactly a small is it can be if we look for trump no you can assign any menu item two um anything so trim doesn't have but you could assign it to accustom menu how do you do that? You go edit and you come up here and you say keyboard shortcuts so as an example you know notice that I like tiling my image is so I can see everything that's opened in photo shop so I've used command option t as a tile so all my photos opening photoshopped automatically tile so I do use custom watermarks but you'll notice I mentioned that subtle drop shadow I don't see any drop shot I don't really know where that drop shadow ends it new and it's perfect that halo and everything else is just perfect so now I'm going to export this and going to say safe for webb the best way to do this is going to be safe for webb I already know the size is going to work because I put it into that templates whites have ah you know relationship of how big I could possibly use it I don't want to save it is j peg I'm going to use this png file format png twenty four supports transparency ping and there we have it okay it is all now one flattened file but it has the transparency it has everything that we need it's twenty excuse me twenty four bit is not going to ask me for any kind of special um compression or anything like that again this was an s rgb I don't need to embed that color profile it's converting it into s rgb in case it wasn't already srg b is the one color space that doesn't need to be embedded because everything is pre supposed to be s rgb some actual pieces of software get confused if you embed the profile when it's already anticipating it's s r g p and that's what's known as double profiling and if you ever see a color that doesn't look right, it could be that you've embedded the color profile and it's an s rgb and it's just not smart enough to figure that out that typically is not the case anymore but that is something to keep in mind I'm going to say save we'll put this again back on the desktop just far thing it is tonga title and it's a png so I know that that has that transparency I have just created the super cool groovy awesome watermark we're going to use this later on today when we get into the video this case we can use this way wanted any time this is our mark I don't know where that transparency goes on here and if we turn on our image I don't know it could be going further out so in this case, when I go image trim and we don't want our rob background there, you can actually, right next to trim is reveal all if you've ever gotten, you know, I know that there's something off side the canvas, I dragged something something was bigger than the actual canvas reveal all you notice that actually got bigger, that drop shadow, which I created after the fact, actually was bigger than the actual canvas eyes, so reveal all is awesome because that made sure that there's no clipping there's not going to be any hard edge to this soft edged watermark. So it's really, really good to know this idea of reveal all we could even do trim afterward, and you'll notice that what that did is expanded it to make sure that everything was in there, it didn't expand it didn't automatically find the edge. You just make sure that everything was visible, then use trim, and it says, ok, now I know where everything is visible. Now I'm gonna bring it down so there's, nothing but what's currently visible. So let me remind that again, we've got its there's a number of steps related to this process is actually not a cz challenging as I possibly have made it, we have our market, our logo we'll use this typically what you're going to have is a piece of type that you've said or a logo that's been created you simply want to have that on your transparent background once you have this your logo on a transparent background you're turned off any background that was part of it, you're going to file safer web and you're going to take advantage of ten p m g twenty four okay, so steps for making a watermark logo on transparency if you're not sure where that edge is you can use reveal all and trim to get exactly what you want go to save for webb once you're and safer web, you're going to go here to png twenty four and save it those of the simple steps when we want to get really cool and groovy and make our own custom thing that's you know, painting and that we want to save it and add all these subtleties in terms of a layer style and stuff like that, then you'll do those cool and groovy things that I did to make that cool and groovy, which in this case was we'd loaded the transparency of are marked by taking advantage of the channel's palate and clicking on the little icon down here that said makes election once we had that selection, we made a film layer right here with the marching ants and we just hit at it solid color. It automatically used the marching ants to make that logo. And then we did a really cool a layer style on it. Wow, halo twenty two is a starting point if you want that's the one that I'm actually giving to all of you guys once I had that there I simply can again do that same thing of both either reveal or trim or a combination thereof first revealed and trim and again file safer web and that's going to be the png twenty four and then you name it so we just did that. I haven't saved this one yet. So safer web png twenty four there's my subtle whites. Subtle gray's. I come up here and save it. This is going to be the brush logo. We're going to call this light and I'll turn on this version of it, which is my dark version, right? Come up here at it. Final, safer web, zack same thing save it's going to ask me to name it? This is dark. Now I have two different versions of the file. And again, I've saved that as this is going to be my logo document. This is just for immediate will be able to go back in and fine, tune it and change it and do different things good, but I want to expand it into a texture in the background. Maybe I start off my slide show with my own title, just like I did with the tonga it's got a textured background, maybe some nice black rice paper be really nice if someone you know give you a really nice set of textures that included things like black rice, paper or white rice paper, I don't know who would do that, but if they were or, you know, you always need to have somebody loves you tremendously. Somebody loves you enough to also give you pineapples. Ok, so we all need pineapples. Yes question, yeah on the reveal on the trim future that's pretty cool. Does that change the actual campus? Eyes documents? Size does a scale resolution. It doesn't change resolution, but it does trim the canvas that's that's part or adds to the campus where adds to the canvas, but resolutions maintained throughout that he started with a three hundred g p I documented still three hundred d p I threw out. When it expands, it keeps the pixels per inch, it doesn't necessarily keep the the dots per inch. This is maybe I don't know if we want to get into the devastating pp and g p I pixels per inch is how many pixels will be together when you hit print company will squeeze together to do a printed page the dp I technically you could say it's how many dots are in the file? How many dots for inter actually in that file? If you trim it, then you're changing how many dots there are in the actual file the p p I is something strictly related to print and how money you're going to be squished together when you when you hit the print command that dimensions or that dots per inch is a variable um we could wake and we could spend more coming yes, so what's the difference between save as png and safer web as png it just going to give you more options and the preview capabilities you're absolutely right you could come over here and we could do that mark here and edit I mean file save as and you have all your different file formats here. So here is your png. Um but you're not getting any way of previewing are confirming uh and again it's not even telling me whether this is is it a bit or twenty four bit png so you know that say for the web is fantastic it's going to create a small file size it gives you a preview if you're doing a j peg, it will give you that preview of that it allows you to use gift if you wanted to use gift you know there's all sorts of things that's a benefit for a start the mission let's do some q and a this is titian oregon who said in line with importing an organization's going backto light room is there a way to key word on light room and have it carry over to the original raw net file if you are doing anything related to a file that is not in adobes own format dingy or not in an open format file format like j pecker, tiff tng j peg and tiff are all open and therefore adobe khun right back keywords meta data brush stroke with the adjustment brush those are all pieces of meta data we're going about ready to do our copyright template if you have a proprietary file format like nikon sneh for candidacy or two, it has to make what's known as a sidecar file um technically light room doesn't even take the time to create the sidecar file. All that metadata is inside your catalog so it's inside that big database to make things as fast as possible so technically no if you're in a non open file format, you cannot technically put a copyright key word. Anything inside that file, the best you can do is actually write a sidecar file that would sit next to it. If you want to, as a default do that, even though the default is all the stuff is in your catalog, you can select an image or a range of images or all your images, which is actually a very nice safety net when you finish the job and you're ready to archive that if you want extra little safety net for that folder of images, select all do a command ass or control s that will actually write the metadata in decide car files in the same folders, the images and now is a safety net. Everything that you did to the files is also with the images. Ok, as opposed to just backing up the catalog and the images. Because if something happens to this catalog, you have no back up that dvd. Something happens. That catalog is where everything you did to those files is residing. A nice safety net is in addition to having that catalog, you do a command s before you archive it, and now they're also with all the images. Every single sidecar file is there with every key word, every brush stroke, every snapshot, everything that you did to it. We'll be with the images a sidecar files as well is in that catalog ok so that's also good if you have working with the ngos and open file format and when you do that commander control s it actually puts the maeda data inside the d n g so that day angie is actually a self contained file it has your keywords your copyright your adjustments it's awesome so I highly recommend doing that as part of your archiving process not just have it in the catalog not just exporting the catalog but also doing a commander control s for all the images that way if the catalog yet somehow separated from the images you're good to go okay cool thank you boo from wisconsin would like to know why you chose to leave the rather solution that two forty in preferences and not potentially three hundred very good point that resolution is that p p I the pixels per inch and that it really doesn't change the file at all theirs basically makes no change whatsoever to how many dots how many pixels aaron the image it's completely variable you could set that to you could set that to ten thousand changes the image not one iota what it does effect is how many pixels we're going to be crammed together on the printed page and because that's a variable based upon what you're going to print too I don't waste time changing two to forty if you're going out to a canvas wrap you can get away with one, fifty two, two hundred pixels prince in other words, you can print much bigger ah file to a canvas rap than you could ever do tio say a metallic paper kodak endure or something like that that you're going to need that three hundred pixels per inch because you're going to have to I hide any pixel artifacts as much as possible by throwing a lot of pixels at it because there's nowhere to hide there's no texture to the paper there's no dot gain on the paper so I don't change that because that's again that's based upon your substrate your medium that you're printing too if you're printing something that's going to be a billboard you know there's no way you're going to actually make a three hundred d p I file that's fifty feet one hundred feet across you're going to take advantage of the fact that that billboard can actually print out at ten pixels per inch and look great from you know a freeway going eighty miles an hour so that that peopie iive dot number right there the two forty is a default adobe a set that up it's a great default it's plenty of resolution for most jobs even coded stock it's more than enough for an encoded stock it's a great you know middle ground great have a couple questions regarding light room catalogs this is from stefan daniel schwartz from germany who's asked some great questions this week we appreciate that would you recommend to go the other way? Not combining other catalogs into one but splitting up one catalog e all my images into several like work and personal etcetera? And michelle from virginia said regarding catalogs is an important have multiple catalogs when putting all my images in one catalog be a bad idea again is one of those religious questions that you know I because there are so many people that I respect that have different opinions, I'll tell you how I work in the past, I've worked with a catalog and a serious of the number of images no bigger than I can back up easily and keep safe. I back up to a dual layer dvd drive their cheap twenty five gigs on a piece of plastic I can put in a you know, darkened zippered folder, put it on the shelf, put it in a safe deposit box and that project is safe, especially with the ability to do these lossy compressed raw files in came in with lightning, for that was my determining factor because if you can't back it up but you can't archive it, if you can't in my case also taking on the road it does no good I don't need a big catalogue the benefit of a big catalog is that you can search within that catalog and again if you're using if you're a stock photographer when you need to find all my blue doors all children blonde in hawaii on the thursday you know, drooling, you can keyword search and if you do a lot of key words as well, if that's what you need to do is find work that's the benefit of big catalog so I've never needed to have a big catalog again. I was weaned in the bridge and working on a project by project basis. You know it's totally fine for me, since all my folders and all my projects are named correctly on the hard drive. If I ever want to find italy, I do a search of the desktop level for italy inside italy is all my images, and at the top level of that is my catalog for italy that has everything that I need. I don't need to have a catalog that separates italy and france and my kid's birthday party in these sorts of things that just don't need it. So having it organized on the hard drive is plenty enough for me. The one thing that I mentioned where I'm changing over to the potential of a large catalog is this fact that we have the smart previews that allow me to work on the road tweak, edit, adjust images have these huge catalogs and still have the ability to work on them in a you know, in a very practical way just because I can work on the smart previews it's still you still have the issue of archiving it so that would still be an issue is how are you going to archive it if you do have a big catalog that's you know, terabytes of space so you may start doing what I do is where you have your external hard drives, you know, they now have the's usb three, two terabyte pocket drives, and it could be that you start using those as a way of, you know, backing up in archiving your project, so it really is up to you if you're working on smaller catalogs, I think there are some benefits to that because there's a you know, any time it's like, you know, do you have a sixty four gigabyte compact flash card when you're shooting and your entire shoot that you've done, you know, your entire italy trip is on one card that's a little risky, right? Smaller cards and a bunch of different cards in case one gets lost, you haven't lost everything so one giant catalog in one big folder with all your images on it, so again, that's that's really kind of a personal preference? I don't, you know, smaller catalogs, smaller catalogs are fine the one tip that I mentioned that I like using is organized all your images on your hard drive in a folder set up before bringing them into light room that way you have that organizational structure already there um if you are doing that and you are using smaller catalogs put the catalog in at the top level of that same folder if you have italy two thousand twelve put the catalog for italy two thousand twelve not on your system but inside the folder for italy two thousand twelve that now folder is completely self contained you can archive it move into a different computer do whatever you want with it and you will never separate the catalog from the images that is again another one of the main benefits of smaller catalogs is you keep the catalogue in with the images and there's no chance of them getting disconnected because if they're disconnected it's not bitching it's not pretty we'd use profanity when that's happened so that would be the the other thing to keep in mind is where do you put that catalog and the benefit of a smaller you know catalog proper project is you keep the catalogue in with the images that way you also never need to export a catalog you never you know when you're ready to archive it it's that folder you back it up you move into a different hard drive you're done there is no exporting of specific catalogs and doing that they're all self contained. Cool that's, great advice sitting up your folder structure before super smart. Let me get one more tip related because it's kind of a gotcha if you do need to change it if you are in light room and you've been using holders or you say I forgot a folder, I didn't even have the kiss you know as the separate thing, create your folders and move folders renamed folders if you've already done your initial set up on your hard drive and you brought it into the light room and now you want to change it, change it in light room. Do not change it on your desk top level after you've already said, like room here's everything. If you rename folders, move them around to do things like that and then open up light room is going to say, dude, what? Which you just so messed me up goingto light room ad folders moved them around, you actually have access. If you come over here, you've got your hard drive, here's all my you know things in terms of their structure, of your hard drive in your desktop and here's, you know, all the things that we're doing here, you can create folders, you can move them around, you can rename them do it all within light wound because that's the excel spreadsheet it says ok I can keep track of it as long as you re name it moving to do whatever you want inside light room after you've it's once it's got in delight room do all your changes in light room okay if all possible I mentioned you know ok so ok so make trev asks I work on high contrast photo etchings with pure white backgrounds does jack have a suggestion for hidden one mark for hidden watermarks replacing artwork where a visible water mark would interfere with the image in light room you want to do a hidden one for protection is take it what he's going for protection on pure white backgrounds for placing on artwork where a visible watermark would interfere with the image in well it's actually is a really, really good question and this idea of protection and we're going to dick and do it a couple right template before we leave for a break but the nice thing about what we just did in that trim and the little things we did related tio watermark in photo shop if you even have your logo that this copyright that says you know your name copyright whatever and it's purely for a protection that in a court of law if a person says no that's my image if you have that logo at one percent it is invisible unless, of course, you opened that back up in photo shop and do a levels and hit auto where everything is going to be exaggerated. So a technically a one percent logo is still completely there in photo shop. The person who steals your photograph will never see it, but in all that you need to do is open it up and photo shop and say to there's my name, why did you put my name on your your artwork? Okay, so you can do that specifically that's on a one percent if it's not on if it's on a regular photograph and it's one percent you know you know, but that you can use that transparency if you want to do that and technically you will be able to find it back in the image. There are different services that actually use a noise pattern, you actually can register and noise pattern, and it puts it into the image, so it is actually invisible. You have to use special software to read that special noise pattern that has embedded your copyright into the physical dot structure. The problem is, is that by j pegging or re j picking the image or things like that it's not quite as foolproof as you may want to be, and very few people are doing it. The service never really caught on, so a little bit of transparency if we're talking about webgraphics, you know the clients that you want to see that you don't wantto make your image obnoxious by a big, scary copyright warning on it. But you do want to have some safety net. You can make that transparency is a subtle is you want in terms of your logo there, so subtle that you really don't see it, unless you know where to look on what's going on, or just do it. What we're doing here in a second, where you're going to do it at ten percent. So it's, not obnoxious people know that it's, it's, elegant, you know, when we do put that logo on there, it's actually is a is an elegant representation of of your identity. It's, not it's, a feature, not a bug, as we call it.