Adobe® Lightroom® CC Photo Editing: The Complete Guide

 

Lesson Info

Questions & Answers Part 1

Hey, this is Ben, doing a quick Q and A with you guys. Sorry this was not part of the Facebook Live broadcast. We ended up with some issues when it came to the speed of the internet connection because of my location. I'm in a little town in Oregon that doesn't quite have what I want. And so hopefully future ones though will go good because I'll be in Florida, where we have a really strong internet connection, at least it usually feels to be that way. And so on the video I did post, we toured my vintage bus. The only thing we missed when it cut is off is in the far back of the bus is a bedroom. That's the main thing you missed. And I might have known you a few other details, but I know you guys were mainly here for Lightroom, so I've looked through the Facebook fan page group for this session, and I wanted to answer some questions there. First off, when it comes to future Q and A's, if you go to the fan page, there will usually be a post by me somewhere right there, and if you click on ...

my picture it usually brings you to the kind of base level of my fan page, and unfortunately Facebook doesn't allow me to do the Facebook Live broadcast within a group. If it did, I'd just put it in the group, because it'd be nice and simple and you'd know how to find it. Or the other thing you can do is you can search for my name, Ben Willmore, and let me glance here so I remember what the picture is of me. I think it's a picture of me holding, yeah, it's a picture of me holding a camera with like a cruise ship rail, some water in the background. If you search for my name and see that picture, you can click on it and then you would be on my fan page, which is where the Facebook Q and A's will appear, both when they're live and afterwards, but afterwards we'll post a link to them in the group that we have for this particular course. A couple other similar items. On day four, if you're wondering, for those of you who have purchased the course, where's my homework? Your homework is actually a Lightroom catalog, and that is in the downloads, if you go to the course page. And if you're not used to using other people's Lightroom catalogs, once you download that file, go to Lightroom, and under the File menu, there's a choice called, and I'll glance to just make sure I'm doing it exactly right, and it's just called Open Catalog, and you point it at the folder that you got from that homework. The folder, when you download it, will actually be compressed. It will end with the letters Z-I-P, a zip file. If you double click on it, it will expand and become a folder. And so when you go into Lightroom, you go to the File menu, choose Open Catalog, then you navigate to that folder, open it up, and there's only one file within it that Lightroom can understand, so you grab that particular file. It will change you over to that particular catalog, and the left side of your screen, if you go to the Folders section, you will see just one folder sitting there. Click on it and you'll see all the pictures, and your homework is to adjust the pictures and get used to the adjustment sliders that we were talking about during class. Also, if you're wondering about the Challenge image, well the Challenge image I believe is found under Collections, on the left side of your screen, when you're in the Library module. But you do need to purchase the class to get the Challenge image, because it's within that homework file, and you only get homework, and you only get Challenge images if you purchase the class. All right, let's look at a few other things. I'm going to mark these off as I go, because I got a little bit of notes down here. Oh, also somebody asked, are there classes on the weekend? No, they're not. They're weekdays only. Get the weekends off. All right, so kind of wide variety of questions, let's just dive in in kind of a random order here. One person was asking, when someone travels, what should you do with your catalog? Should you copy your entire catalog onto your laptop when you go, and how much of the stuff in the catalog folder do you need to copy, that kind of stuff? So let's take a look at that idea. It really depends on how many pictures you need to be able to view and process while you're traveling. So if you need to be able to view every single picture that was in that catalog, and work with it, then you would need to copy the entire catalog file and the previews file that's found in the same folder. And you'd copy those over to your laptop. And you can use those. If you don't need to work with all of your photos, but you know there's a certain set of images, you're like, I need to work on these on this trip, what you can do is you can navigate to those particular images, maybe you put them in a collection or what's known as a Quick Collection, or however you get to them. And you can select those images in Lightroom and under the File menu in Lightroom is a choice, I'll glance up here to make sure I get the wording just right. It's called Export As Catalog. And when I choose Export As Catalog, a little screen will come up. It will let you name the catalog, and you could calls it something like This Week's Travels or whatever, and at the very bottom will be three check boxes. The bottom most one will be Include Available Previews, and you want that one on definitely. If you need to not only see those pictures but also be able to adjust them while you're traveling, then you'll need the middle checkbox turned on, which is called Build/Include Smart Previews. Smart Previews allow you to adjust your pictures even when you don't have the hard drive that contains the originals with you. The top checkbox is called Export Negative Files, and you don't usually have to have that one turned on. That means, make a copy of the original files, like the raw or jpeg files that are the originals, so you can bring those with you. The only time you'd need to do that is if you needed to make high-resolution prints while you're traveling, or you need to export very high resolution versions of those images while you travel. Which for me, most of the time that's not the case. So I usually have the top of the three check boxes turned off, because if you have it turned on, you're going to be copying a lot more information. Now, when you choose Export as Catalog, you can point that to any drive you want to to save it on, or you can just save it on your desktop and later on drag that over to your laptop that you're going to travel with. When you get onto your travel laptop, you'll launch Lightroom, you'll go to the File menu and say Open Catalog. And you'll drill into that folder that was just created by you exporting a catalog, and you'd open the catalog file that's there. While traveling, you can then work either with your entire catalog, like I mentioned previously, or with a smaller catalog that you export, like I just mentioned. And you can import your freshly shot images. So if you go out in the field and shoot more pictures, you can import them into those catalogs, and you can adjust them, do whatever you need to. When you return home, if you're going to go back to a desktop machine, then what you do is launch your desktop machine. Launch Lightroom with the catalog that you always use on that machine. The same catalog you were using before you left on your trip. You get home and what you're going to do is you're going to go up to the File menu, and you're going to say Import From Another Catalog, and you're going to point it at the catalog you have been temporarily using while you were traveling. You might need to copy it onto an external drive, and connect it to your desktop, whatever it happens to be. And when you do that, it will compare the catalog that you're telling it to import from and the catalog you're currently using. And if it sees that the same photos are in both catalogs, which will be the case for some of your images, it will see if there's any differences between them, meaning did you adjust the pictures. And you'll have a checkbox to import those adjustments if you'd like, but it won't need to move the pictures again or do anything like that. It will just see if there's any adjustments and copy them over. It will also look for new pictures, and there will be a choice to include those new pictures and that you can copy them somewhere else, and that usually means you've been traveling on an external drive and now you want to get them copied over to a big drive that you have at home. And you could use the option that you'll find when you choose Import From Another Catalog. So hopefully that gives you a little bit about traveling with catalogs. We do cover that at various different points during the class, but I wanted to make sure I addressed it somewhat here. All right, then, let's see. Someone asked for the best place for your catalog. Should it be on your internal drive, should it be on external, whatever. It's a personal preference, so it really depends on how you work. For me personally, I have one machine, which is a laptop, and my catalog is on the internal drive. Therefore any time I travel, I can always view all my photographs, and I just don't need to think about it, it's just always the same catalog. If I had both a laptop and a desktop, let's say at work I had a desktop machine and at home I had a laptop, or another desktop sitting at home, and I wanted to be able to work with my images in both areas, and I move between those areas daily. Then what I would do is put my Lightroom catalog, the entire folder that contains it, because that's not only your Lightroom catalog, but there's another file which is your previews. You want to copy that whole folder. I would put it on an external drive, and probably a little portable external, and when I get to work in the morning, I'd plug that external into my machine before I launched Lightroom, and then I'd launch Lightroom and hopefully it remembered the last catalog I used and it would just open it right off that drive. Then when I leave to go home, I would grab my external drive, that little portable one, head home, and I would plug it into my home machine before I launched Lightroom, and then when I launched Lightroom, if that was the last catalog I'd used, it should remember it, and do that. And I would just be walking back and forth between home and work with that drive always having my catalog. Just make sure you have a backup of it, because a portable drive is very easy to drop, and you don't want to lose anything there. Now if that wasn't the case, if instead you had a different setup, you only travel on occasion, then I would probably have my catalog file on my internal drive, just so that it's convenient if I ever have to disconnect any external drives, I can still look at my pictures. And it's okay to keep you pictures on a different drive, completely different drive than where your catalog is. They don't have to be in the same location. The main thing is just don't move those pictures without doing so in Lightroom. Otherwise Lightroom will get confused, and we can get it to recognize where you've moved them, but we have to do a little work to do so. Finally, you can't store your catalog on a network-attached storage device, because Adobe just won't let you, and that's because it's worried that more than one person would try to open the catalog at the same time, and Lightroom's just not designed for that, so they completely kind of forbid you from putting it onto a network-attached drive. Your pictures can be on that drive, but not your catalog. All right. Let's see here. Someone was asking, and my camera, I had mentioned during class about exporting images in either sRGB mode, color space I should say, or Adobe RGB, and do I change my camera as well? And I should mention that the setting within your camera only applies to jpeg files. So if you happen to shoot jpeg, then it's important to think about that setting, but if you shoot raw files, that setting is completely ignored when it comes to what's being saved for your photographs, so in general it's unimportant for raw shooters. For jpeg shooters I would think, if someone else prints your images for you, and they like sRGB, that's what they tell you to give them for everything, then it would be okay to set my camera to sRGB for when I'm shooting jpegs. If, on the other hand, you own your own printer, or the person you send your images to print with does higher-end printing and they're okay with Adobe RGB images, then you could consider setting your camera to that as well. For me personally, I have my camera set to Adobe RGB. That's because it allows you to have more vivid colors, and so with that setting, if I'm shooting flowers or something else that's extremely vivid, then I might get a wider range of colors, and I can always narrow the range of colors down to sRGB after capturing the image, but I can't really expand it easily. I'd have to take an sRGB image, there's a way at least in Photoshop to expand it to Adobe RGB, but then I'd have to up the saturation to actually make it so I'm using that. But in general, whatever you use for exporting your pictures. If you consistently use the same setting, then you can set your camera to that as well. You'll find though some people are color geeks and they're like more interested in their mindset about color than your needs in what makes your life easier, and so if you hear somebody like say, "No, you must use Adobe RGB" or something else, largely I would say ignore them. If they're thinking more about their needs and their way of explaining things than your needs and keeping your life simple, easy and effective, then just know there's a boatload of people out there that are more concerned about being technically right than being useful. So, sorry to say that. Hope I'm not too much of one of those, because any time you teach it can easily be the case. So for me personally, I use Adobe RGB on my camera, but to be honest, it's only used about 2% of the time I'm shooting, because that's the only time I switch over and shoot jpeg. My memory card's filled up, I can't fit anything else on it, I need to continue shooting, so if I don't have another card, I'll switch to jpeg. The files are smaller, so I can probably fit a few more onto a card that otherwise seems to be rather full. Or I need to hand these images over to a client immediately. Don't have time to process them, then I'll click over to jpeg, and then that setting will be used. For me personally, it's Adobe RGB. But just because I use it doesn't mean you should. For a lot of people it'd be simpler with sRGB, and that's mainly if you don't print your own images, you send them out, and the company you send them out to asks you for sRGB images. Then make it simple, shoot with that. Then there's no conversion needed to happen, and all that. Also know that the only time you'd notice the difference is when you have extremely vivid colors. If you don't shoot beach balls, and mega colorful flowers and all that kind of stuff, instead you shoot people, you'd never notice the difference. So don't worry about it. But if you do shoot extremely vivid stuff, then consider looking into it. Someone was talking about on Windows. I don't use Windows, so I'm sorry, I don't have much experience there, but on Windows it sounds like oftentimes if you're disconnecting drives and hooking them back up that the name of the drive is changing because it's using letters for the name of the drive, and Lightroom keeps track of what drive your photos are on based on the name of the drive. So if they were on your B drive at the time you imported them, and then three months later, when you launch Lightroom, maybe you have a couple other drives hooked up and now suddenly it's no longer called the B drive, instead it's called the F drive or something, then Lightroom just doesn't know where the pictures are. It's not that it's a big problem. We can do a change that I'll mention in a moment and everything will be fine. It's just that Lightroom, in its catalog file, just writes down what's the file name, and what's the path to get to that file, which includes the name of the drive, and if that doesn't match up, it goes, hey, I don't know where the file is. And your drive will show up in Lightroom with a little gray area next to it instead of a green light, and all the folders in there will have question marks on them. And that just means it doesn't know where they are. So there's a few things you can do. I wish you could right click on the name of a drive in the folders list, and just say where is this drive and point it to another to say, hey, I changed the name of the drive. But unfortunately, when I go to my folders list, and I right click on the name of a hard drive, it doesn't have the choice of where is this drive? Instead it always assumes it will be named the same. There's a trick though. Here's what it is. If you click on one of the folders that is on the base level of that drive, meaning not a sub folder or sub folder or sub folder, but whatever the closest to the name of the drive is level, if you right click on it, there is a choice called Show Parent Folder. Because usually Lightroom will only show you the names of the actual folders that contain the pictures, and if those within a parent folder, unless that parent folder itself has some pictures in its level, it wouldn't show up. And therefore you don't have to see the whole path of how to get to a particular folder, it keeps the folder list clean. But if I right click on a folder, there's a choice called Show Parent Folder, and I'll do that, and on this I see the folder that contains the one I just right clicked on, and if that's not the name of the hard drive, I'll just do it again to the folder that it just made show up, and I'll say Show Parent Folder, and I keep doing that. Now it says Desktop. I right click and say Show Parent Folder. I don't know that I chose a great folder to start with here. But eventually if you show parent folders, you're going to get to the name of your hard drive. And when you get to the name of your hard drive, that's when you can right click on it, and there's a choice called Find Missing Folder. So you're getting down to the name of your hard drive at a point where you can actually right click on it, and there's a choice called Find Missing Folder, and you point it at, you nav it on your hard drive to whatever the new name of that drive is, if it's the F drive or whatever. And when you click OK, then suddenly all those question mark icons will go away, and everything will be fine again. If there's any way in Windows to manually type in a drive name so it doesn't have to use those letters, then there'd be no problem with this whatsoever. At least there shouldn't be, because it looks at the drive name to find your files, but if there's no option for that and Windows is constantly changing the name of your drives, then Lightroom's going to... Just imagine using a sheet of paper and writing down where a file is. Wouldn't you get confused if you wrote down B drive and this folder, and next week it's on the F drive? So I'm not familiar enough with Windows, hopefully someone that is can pop into the Facebook group and let us know, is there a way to substitute using letters for your drives and actually time in a name that remains consistent even if you disconnect the drive and then connect in two more and then put it back. Would it come back with the same name? If there's a method for doing that in Windows, then it would completely prevent this problem. It's a matter of Windows using different letters all the time for your different drives is what's causing the confusion, which would confuse me as well if I'm just writing down records of where my files are. In fact I had a Windows problem yesterday, and that was my Windows laptop, which controls my bus at the moment, it decided it wanted to update to Windows 10, which takes so many hours it's ridiculous. It gave me no option not to do it. And it made it so I couldn't use my computer for about half a day. That's not to knock Windows, I'm just saying, sometimes these computers are not the most friendly things. All right, what else. Somebody mentioned metadata conflicts. If you ever see, when you're viewing the thumbnails in a library view, that there is an icon in the upper right of your thumbnail, just outside of the picture itself, that looks like an up pointing arrows. What that means is that picture was most likely viewed and possibly edited with either another copy of Lightroom, like somebody else, maybe in your company, is taking the same folder of images, let's say they're in a network-attached hard drive, and they can access them as well. Well, they have them in a Lightroom catalog too. And they moved the adjustment sliders around, and that recorded it on the hard drive to say hey, this file was, remember what we did to it, and now your version of Lightroom is going back and looking at the same folder and saying wait a minute, something changed that file, and it wasn't me. The other time it can happen is if you view that folder using Bridge. Bridge comes with camera raw, and if you view the image there and you make any changes in camera raw, it also records the changes on the hard drive right next to the images, and Lightroom would look at it and say, wait a minute, I didn't make that change. So there's a conflict. Metadata just means text related to your picture, and that's how Lightroom and camera raw stores your adjustments. It's just text sitting next to your picture to describe what you've done. So Lightroom, when you see that up pointing arrow means something else changed that file other than Lightroom, and it wants to know, would you like me to import those changes, so you see them here in Lightroom? So if you see an up pointing arrow near the upper right of the thumbnails for your images, and you know that someone else changed your images using Bridge or another copy of Lightroom or something like that, then you could click the up pointing arrow, and it would ask you, would you like to take those changes from the disk and import them, so you see those changes in Lightroom, or would you like to overwrite them with what you currently have in Lightroom? Meaning ignore what somebody else did, instead, take what I got, and record that onto the file. You don't have to solve the metadata conflict, it just means something else changed that file. Do you want to incorporate those changes or not? And it can be a different icon there as well. I think it's an exclamation point. And that means after that change was noticed on the hard drive, made by somebody else using some other software, you also made a change, so that there's a different version. Same thing, you can click on it and it will ask, would you like to use the version you currently have in Lightroom and overwrite what's on the disk, or would you like to import what's on the drive, which was what somebody else did. It can also be a really nice way of working where other people in an office need to adjust pictures and you want to import those changes afterwards. You're using Lightroom, they're using a program like Bridge, and you can say, go adjust this picture for me, and they can do it using Bridge in Adobe camera raw, and then you get back to your copy of Lightroom and in the end you hit that up pointing arrow and it just imported their changes. So I'm sure we'll have to talk about that more in future videos, because there's a lot of different times when it can happen. Some people asked about online resolution and the number 72, and resolution in general when it comes to online. The only thing that's important when it comes to posting an image on the internet is the width and the height, measured in pixels. Period. The number called resolution, on occasion changes the width and height in pixels, but the number itself for resolution is totally unimportant online. It's used when you print, or when you take that image into a program designed for printing, like InDesign or some other programs, then that would come into account. But the actual number that's in the field called resolution, like 72, 96 or 300, the actual number that's there, doesn't matter. You can have a file that says one, and have a file that says 30,000. And in the end, what your web browser is looking at is width and height in pixels, and that tells it how many of the little pixels that make up your screen it should use to display your picture. And depending on what you're doing with the setting called resolution, it can change how much information you have in the file, meaning the width and height in pixels. It can have an effect on that. But the number itself is unimportant. What's important is what is that number doing to the width and height of my picture in pixels. So what might it do to it? Well if, where you find the number resolution, there is also an area that mentions width and height, if that width and height is in inches, then it's being used to figure out how many pixels you end up with. Here's what happens. Let's say you have an image, and it's 10 inches wide, and that's what it's saying. And then you have a resolution field. Well, that resolution field means how many pixels do you get in each of the inches? So if the number you have for resolution is 72, and you have a 10 inch wide image, then what's 72 times 10? You'd have, what is that, a 720 pixel wide image. If you typed in 300 for resolution, again it would just do simple math and it would say you have a 10 inch wide image, 10 times 300, you now have a 3,000 pixel wide image. So in that case, if what you're seeing is measurements in inches, and then a resolution field, changing the resolution number will affect how many pixels you end up with. But the number itself is unimportant at the end. Doesn't matter if it's one, 72, 300 or 30, if you're talking about the internet. The only thing the internet cares about is width and height in pixels. So occasionally we do have to think about the number called resolution, because it might somehow affect the width and height in pixels, mainly when something's being shown as inches, because inches talks about printing. If you make an image one inch wide and show it on ten different computers on a web browser, it's going to look different sizes on each one, because each computer has a different size screen, and other settings, but you just need to think about how many pixels wide is it ending up and figure out the right number for your particular purpose. Related to that, somebody was asking about export sizes for email. It's a personal preference. If you send, like let's say you're an artist, and you send something to galleries, and they need to be able to see all the detail in it, you might need a larger picture, whereas if you're just setting it to your wife or boyfriend or whatever, and they just need to see a tiny version of the picture, then you'd need something else, but you'd probably start around 800 pixels as starting to be an okay image for email. You can go up a little bit from that. I'm just using kind of, how can I say it, common numbers. Around 1,000 pixels wide or 1,2000 pixels wide, it's starting to be a nice sized picture. Not huge, but just nice sized for an email. And when you get above that, then you'd better be sending it to people that really like big pictures, because they're not used to getting pictures larger than that in email. Also, somebody asked about when you export it, it has both a width and a height setting. And how should you deal with that, should you put the same number in both, that kind of thing. It depends. If you're exporting your image to be displayed on a particular device, meaning a projector, or a TV set, or your laptop, and you need your image to fit that screen, then you want to type in both a width and a height. You find out what's the resolution of your screen, and most of the time you can Google the name of whatever the device is and somewhere in there it will say resolution, and it will be a width and a height. You'll find there's no pixels, no pixels per inch, no 72 or 96, because it's only used when printing, as I mentioned earlier. But there will be a width and height in pixels listed, and if you're trying to scale images so they would fit on your iPhone, your iPad, your laptop, your desktop, a projector, then type in both the width and the height so that it is scaled to fit within that screen size. If on the other hand somebody is saying I need a 1,000 pixel wide image or something like that, I would most likely put the same number in both width and height. Therefore, it will be the longest dimension that gets the number you're typing in, and most of the time that's when somebody's asking, they want to print an image or they're just telling you a generic maximum image size and they're mentioning one number, then I would put it in both width and eighth, and therefore it will make the longest dimension of your picture end up being that. All right, oh I'm getting most of the question down. I think I have one or two left here. Somebody was talking about moving images between drives, and that was I think they were saying you'd have some images on your internal hard drive, but you want to get them on an external, because now you're putting all your images on a larger external drive. How do you do that so Lightroom's still happy afterwards? And you have a couple choices, but the main thing is, in Lightroom, there is a, let's see if I can find it here, just take me a second. In Lightroom you can move the folder between drives, the only thing is, if it's an external drive that you've never imported anything from within Lightroom, then it won't show up in your drives list, and so it won't be there yet. There is a choice in Lightroom, I just have to figure out how to get to it, take me just a second. Something like Import Another Folder, where all it does is, well, I'm not going to find it this quickly. But what you can do is one of a few things. If the drive is already showing up in your folders list within Lightroom, then just click on the folder you are wanting to move within the folders list in Lightroom, and drag it on top of the other drive within Lightroom, in the folders list. And then it will copy that folder to the other drive. If the other drive's not showing up there, or you just feel like doing it a different way, you can move that folder outside of Lightroom, meaning using your operating system. Go into the Macintosh Finder or Windows Explorer, click on the drive it's currently on, drag it onto the other drive, wait for it to finish copying, then go into Lightroom. And in Lightroom, it will most likely have a question mark next to it. If it doesn't have a question mark, that means it's on both drives. It copied instead of moved. So you could delete it off of the drive it started on. Then you go to Lightroom, and the folder will have a question mark on it. And when the folder has a question mark, you can right click on it, and there's a choice called Find Missing Folder, and then you can navigate to that other drive you just copied it to, and you just click on the folder and click OK, and suddenly the question mark will go away. And you'll find that it moves within the folder list to where you've moved it to. Okay, then one final question, and that was just a variety of questions of what we had is things like old faded photos, I mean ones that look almost totally purple kind of thing, or images that have extensive lens flare, and other similar problems. There are some things that Lightroom just isn't good at, and it has to do with Lightroom saving all your changes as just text, where everything can always be undone, your original files are untouched and everything, it limits how much Lightroom can do. And for some things you simply need Photoshop. And those would be some instances. Because Lightroom, when it comes to color correcting a picture, is designed to color correct for different kinds of lighting. So if you shot under fluorescent lights and then incandescent lights, and then daylight, and it shifted the color of your picture, it can correct for that easily. But if the reason why your picture shifted was because the photo faded over 40 years' worth of time, then it's not quite the same kind of a problem, and Lightroom doesn't have a lot of choices for fixing that, but Photoshop has a lot, and so that's where you need to go to Photoshop. Same with extensive lens flare. We can do a little bit in Lightroom, but Photoshop's got a lot more tools for that, so that's when you'd have to learn how to use some of the features there. All right, so I'm going to wrap this up. It's been over a half hour here. I wish you guys were live here. I'd love to be reading your comments as I'm doing this. I'd much rather do it fluidly, and I'm sorry that didn't happen this time when we tried Facebook Live. I certainly hope that our future Facebooks will be a lot better. And in case you're wondering where I am here, doing my Q and A, I'm in my bus. There's the kitchen over there, and all that kind of stuff. So if you're wondering what was behind me, it's my bus. There was even a fly going around during this. So if you have any additional questions, post them on the Facebook group. I go in there on occasion. I haven't been able to for the last few days, because I've been visiting my bus and had a lot to do here. I do fly back to Florida tomorrow evening, and after that I should have a lot more free time, and that means you'll find me a little bit more on the Facebook group, popping in and putting comments in on people's questions, and then on Friday we'll do another Q and A and hopefully this one will go off without a hitch. We'll see. I've found so far my experience with Facebook Live looking at other people's broadcasts, is most of the time you go to their page when it's supposed to be live and you can't find it, and then it shows up either when it's halfway done, or you see it afterwards. So I'm not sure what's up with that. It sounds to me like it's a new feature on Facebook. Also the lip syncing seems to be terrible when it comes to Facebook Live, at least in my experience. So hopefully they improve it over time. Anyway, thanks for tuning in on this. I'm sorry it wasn't live. Hopefully the next one will be. And I hope you're enjoying the class. I put a lot of effort into it, and if it doesn't provide for you what you're looking for, what you need when it comes to Lightroom, let me know what you're looking for in the Facebook group so that I can be aware of it, and who knows, maybe I can make extra videos or at least put in comments on the group to help you out with whatever it is that I happened to not cover. All right? Thanks for tuning in.


Welcome to CreativeLive’s comprehensive Lightroom® workshop! Join one of our best software instructors, Ben Willmore, to learn how to process and organize your images more efficiently - and have more time to spend doing the stuff that matters. In this series of lessons, you’ll learn how to:

  • Import and organize your images
  • Optimize your photos and workflow
  • Make your images searchable within the program
  • Exporting, printing, and troubleshooting

When you purchase this course you’ll gain access to both an enduring resource to build your skills and a community with which to share the fruits of your work. Ben will provide a workbook that acts as a reference guide.

Don't have Photoshop yet? Get it now so you can follow along with the course!


Software Used: Adobe Lightroom CC 2015.2 - 2015.3

 
 
 
 

Reviews

  • Creative Live is a godsend and, in my opinion, Ben Willmore is one of their best instructors - if not the best. He is as natural and thoughtful a teacher as he must be a learner. He knows a lot! He is clear about what his students want and need to know, from basic to advanced concepts, and he is constantly aware that he has students watching who are of different knowledge levels. He never takes off, leaving the less experienced behind - instead he moves forward at a good pace while referring back to create mental links during the progression; good for all levels. I work with Lightroom already and so have both experience and questions about how to work more efficiently and creatively. This bootcamp is definitely helping me. I've watched others of Ben's classes, and they always help. Thank you, Ben and Creative Live.
  • Thanks again Ben, for your fabulous teaching and your ability to actually teach and not just show and tell...As other people have commented you have a gift to teach in the way that you do. I have purchased many of your courses and was not going to purchase this, thinking I have all your prior courses...alas, you are just too good!!! I had to buy it in the end and thanks again for all the goodies, so worth the money: Really looking forward to June for your Photoshop class. Once again, I have taken many of your photoshop courses but you keep adding such great info that I cannot resist...see you in June!! Keep up the fabulous work, byw, I love all the yoga poses, what fun you both have with this idea...
  • I have had the privilege of participating in this excellent class from the front row seat in the Creative Live San Francisco studios. After only a few of the 20 sessions, I quickly appreciated the many features and benefits of using LightRoom to organize and edit all of my images. If you're like me, you've had access to LR for a while, and have opened it and fumbled through the myriad of complex menus a few times, then have gone back to using Photoshop. After these classes with Ben Willmore, (and they're not even done yet), I have tackled the job of re-organizing and keywording tens of thousands of images that reside on various backup drives, many of which I've never even had time to look at. I now have a path forward to enjoying what is in my archives rather than letting them gather dust. I have made HDR images, panoramas, slide shows and Blurb books with ease based on the techniques learned in class. Throughout the class, we lobbed many questions at Ben, and every single time he knew the answer in an instant, or could give us a work-around or several ways to do what we're trying to accomplish in LR. His deep knowledge of LR (and PS) simply cannot be matched, and he's a natural trainer. The days have flown by, and after each day I can't wait to get home and start working on my images. Regardless of your type of photography - professional, avid amateur, or hobbyist - if you shoot and edit a lot of images, LR can be a huge benefit in your workflow. Even if you think you already sort of know how LR works, there is still plenty of useful info in this course that will help you to extract maximum benefit from Lightroom. For me it has been nothing short of transformative!