Lightroom® Classic CC® for the Professional Photographer

Lesson 5 of 14

New Features in Lightroom® Classic

 

Lightroom® Classic CC® for the Professional Photographer

Lesson 5 of 14

New Features in Lightroom® Classic

 

Lesson Info

New Features in Lightroom® Classic

Let's look at the new features inside of Lightroom Classic. So Lightroom CC has some of the features that Lightroom Classic has. If you look at Lightroom CC, in fact let's go over to Lightroom CC really quickly so you can see what it does and doesn't have. So I'm just gonna click on, I just recently got back from Iceland, and so I'm really excited. I flew a drone over there. It was super exciting because it was the first time I've ever flown a drone. I got one, I got the DJI Mavic Pro. Fantastic little tool, and it's just so much fun to see things from a different perspective. So this is Iceberg, not Bay, it's Lagoon, Iceberg Lagoon, over there in Iceland. It's on the south eastern side of Iceland. But it's so cool looking down because these things like that, it just looks flat, but it's as tall as a two story house. So looking down on it, you just don't see that size. It's just really interesting to see things differently, because you're really looking at these things over here that a...

re literally two stories tall, and then this looks like nothing. So, it's really quite cool, and each one of these I went really high, and so like this is a house. So it's pretty cool, I love it. It was so much fun. Anyway, so I just get back from Iceland. And we're gonna adjust, say this image. So you have all of your normal controls, so like your basic settings. Light, exposure, highlights, shadows, all that kind of stuff, and then you have your color controls, which is your white balance and your saturation. Then you also have your effects control which is clarity, dehaze, vignetting. You have detail controls which is all your sharpening tools, and then you have your optics, which is removing chromatic aberration, and warping from the lens, and then you also have geometry, and so geometry is like when you're trying to fix parallax issues and stuff like that. And note that they have the version of upright guided. So guided upright is inside of Lightroom CC, so there's a lot of the tools that you're used to in Lightroom Classic that are inside of Lightroom CC. So you have the crop tool here. You have your healing brush here, which can be either healing, I got it, either healing or clone. So this is very much the same as what you have inside of Lightroom Classic. You also have the brush tool, you have the gradient tool, you have the radial gradient tool, and then you have copy and paste settings and things like that there. Okay so those are the things that you have available to you inside of Lightroom CC. There are no real major advancements in those things in Lightroom CC, so if you're used to it in Lightroom Classic, or even Lightroom CC 2015, all of that stuff is inside of Lightroom CC. It hasn't changed all that much. So we're not gonna go through the controls in Lightroom CC and go, oh wow there's this wizbang thing because you're gonna be used to it already. And we already went through in our class for organizing your digital photo life that we just finished. We talked about all of the tools inside of Lightroom CC, so if you're brand new to Lightroom CC or Lightroom itself, that's a good class for you to look at and learn from. So those are the settings that we have inside of Lightroom CC. So let's go to Lightroom Classic, because we're gonna start working on a photo, and I want to go to some different photos. So I'm gonna go to some Iceland photos here, and I'm gonna go to this photo. This is a really cool canyon that I was excited about, and I'm gonna go into the Develop module, and we're gonna start working on this photo. So in this photo, I first, I've already done some adjustments on it, and I did these adjustments inside of Lightroom CC for our previous class, and all of those transferred over to here, so the controls that I'm looking at now and the changes that I made were not made here in Lightroom Classic. They were made over there, but they just transferred over here. So anytime I touch something over there it's gonna be controlled over here. So as soon as I finish, and it's interesting because Lightroom is not going to transfer the changes until you move away from that photo, because it thinks you're still working on the photo. So just be aware of that, so if you're adjusting in Lightroom CC or on your iPad, just make sure that you know that when you go to the next photo, that's when it's gonna transfer the, hey he changed something. Yeah. Why does this one show original plus smart preview? That's a really great question. So what he's saying is right here, and this is where you always get to find out, inside of Lightroom Classic, right here is where it tells you what the file is. This says it's got the original and a smart preview. The reason it's got an original and a smart preview is because I built the smart previews when I imported this image, and I imported it into Lightroom Classic because I got home from Iceland and put them into this catalog. Because remember Lightroom CC wasn't available when I was in Iceland, right? So I wasn't doing it from there. If it were, if Lightroom CC, if this cloud structure had been working a month ago, then I would have just uploaded on my iPad, and it would have already been here, and then it would have just said original, because the smart preview wouldn't have been in the cloud, it wouldn't have been necessary. But I tend to build, when I put something into Lightroom Classic, I build the previews, the smart previews, because I want to be able to unplug the drive and work, right? So I always build the smart previews regardless, and those smart previews are what get transferred to the cloud anyway. And so if you're transferring something to the cloud you're gonna have the original and the smart preview inside of Lightroom Classic. So it just has both. If I looked at this same file over there and hadn't imported it over there, I would see that I only had the proxy file, and you can see the difference here. So let's go back over since you asked the question. Let's go back over to our secondary computer, and if you look at the info, so if we instead of looking at all the tools up here, you can look at the info down here, and at the very bottom you can see that this is the original file because we just imported it in here too, so now we've actually imported this thing twice. But if I just go to some photo here of the swans in Prague, then if I click on the Info button, you'll see that this is a smart preview. And you'll see that the cloud also has a smart preview only. Because it came from here, and went up as a smart preview and then came down as a smart preview. However, that doesn't mean that I can't adjust this thing, because look I've got the access to that smart preview. So I still have access to the full file. At least to the full abilities of the file. I just don't have access to the full resolution of the file, all right? And once I've adjusted that, it's on its way over there. So as soon as I go off of that, see how it starts synchronizing up in the right-hand corner? So now it synchronizes those changes. As soon as it goes up, it's gonna go down to all of my devices, and by the way if you hover over these things it'll give you really annoying little lessons on how to use them. So, just in case you want to be annoyed, you can do that. Okay, so we're going back over to here where these adjustments came from Lightroom CC, and we're working on them here. Now, I prefer to do my final editing in a controlled environment where I've calibrated my monitor, so this monitor has been calibrated by my X-Rite i1Display Pro. You can also use ColorMunki, that's less expensive than the i1, it's just slower, maybe like a minute versus five minutes or something like that. But the X-Rite makes some great calibration tools, so that's what I use to calibrate. So, because it's calibrated I can trust the way it looks a little bit more. So what I'm gonna do is I'm gonna start playing around with this file. And the first thing I want to do is go into my gradient and you'll see, here let's hide this side so we can make this a little bit bigger. So I'm gonna go into my gradient tool and I want to create a gradient up in the sky, because that sky is a little bit too bright. I want it to be kind of like this eerie little canyon that you want to go down, so I'm gonna do a burn on that sky and bring it all the way down like this, and then I'm just gonna kind of rotate that. And then I'm gonna play with that burn, so I get to control it after the fact. So I'm gonna take, not the exposure necessarily, but say those shadows down, so that it's really working on the sky, and I'm not worried about the edges here. I'm not worried about that at all. All I'm worried about right now is I'm worried about the sky itself. Because we'll take care of the rest in a minute. So I'm gonna play around with this. I'm gonna make the sky a little bit more blue, a little deeper blue. And then I'm also going to take the saturation down a little bit, because I don't want that sky to look like it's this deep, deep blue, blue, blue. I just want it to be kind of like a rough looking sky. I want it to look like maybe there's a storm rolling in, which there wasn't, but I want it to feel that way. So I'm just kind of playing around with that sky until it gives me the right feel that I want there. And then, once I'm done with that, the old way of doing things would be to say, okay now I go from my gradient over to this brush section of the gradient. So the gradient is here, and then there's a brush here, and I can turn on the brush and then that brush, I can come in and say, all right I want to erase out the parts of this gradient that I don't want to use. So what you would do is you would go down to the brush and instead of using brush A or B, you would use the Erase brush. And then when you're in the Erase brush you would use the Auto Mask tool, and the Auto Mask by the way is one of our features that has just started, just new. So it's brand new, well it's not brand new. I mean the Auto Mask has been there forever, but they've made it better. So the Auto Mask is going to actually work a lot better. Do you remember, how many of you have used Auto Mask before? Okay. When you work one someone's skin sometimes it would show like these little speckles, because it would see like a little, maybe a zit, or a mole, or whatever, or even a shadow, like a really deep, I don't know like a gland or something, and it would go around it. And so you'd get these weird little speckly dots. So they've solved that better so now you're not gonna get that as much. So it's really gonna look for those edges and it's gonna leave those smooth parts alone. So you're gonna have a much better experience with your Auto Mask now than you did before. So as of Wednesday if you've updated to Lightroom Classic, you're gonna like that Auto Mask a lot better. So I would go into the Auto Mask and I would increase the size of my brush here, and remember that the Auto Mask, when you increase the size of your brush, the bigger the brush is, the more likely you are to spill. So you kind of want your brush to be the size of whatever, like see how it's green right there? I want the brush to be the size of that green so that it's really registering. This green is what I'm saying is my erase point. When I hit that blue sky I don't want it to be there. So then I'll go in and click on that, and just erase out and you can see how it's just hitting the edge of that, and it's not going into the sky because I chose that green grass. It's kind of interesting that this has stayed. This dark, that might be interesting, so maybe I'll leave that. So that's the first way that you could go in and get rid of all of this stuff, is by using that Auto Mask and just kind of follow the edges. However when you're doing that you have to make sure that you are changing the brush size a lot, and you also have to make sure that you're lifting up your pen or your mouse and you're re-clicking when you hit a new consistency. Because it registers the green and then it's gonna try and erase only green stuff. So when I get to this dark stone, I need to re-click it and then work on that dark stone, and then re-click again up here at this part of the dark stone, and then re-click right here, and then re-click up here, so I'm just constantly re-clicking to make sure that it's registering the place that I am, and using those as my registered point for erasing. Otherwise you would just be trying to erase green off in some gray stone, all right? So, that's the first way that you can do that. Now what I'm gonna do is I'm gonna undo all of those. There, now I'm gonna show you an even faster way of working and this is brand new, and fantastic. So I'm gonna come down, so I still am at my gradient, and instated of going into Auto Mask and Erase, I'm gonna scan down here to the bottom of the gradient. There's a new tool here and it's called Range Masking. See that? And I've got two options, Color and Luminance. So I'm going to actually try Luminance, because there's a difference in luminance between this and the sky. I could also try color and just say I only want blue. One or the other is gonna work best for different circumstances, so let's try color first. So I'm gonna click on Color, and then I'm just gonna click on this little color dropper, and I'm gonna go into the sky and I can either just click once, and it'll just choose blue, or I can click and drag and choose like an average of stuff. So I'm gonna click up here next to the whiter part of the cloud, and I'm gonna drag into the darker part of the cloud. So I'm gonna go like this, because that's about the stuff that I want to keep, and watch what happens when I do this. Wow. So now if I put this away and I go back to the actual, to the toolbar and I tell it to show me the mask that's overlaying that, if you look at that, the mask is in red and you can see that when I zoom in on this photograph, do you see how the mask, it's just cutting along this area, and it's cutting up along that ridge. It's doing a phenomenal job. Now occasionally it has a little issue here and there that you have to solve, but in most cases it's doing a fantastic job. So, once you've got that basic mask, now what we're gonna do is we're gonna adjust that mask a little bit with this Amount, and we're just going to go this way, and this way, and you can see how it's softening up. So that edge, I would rather have it spill into the mountain just a little bit and solve those little halos, and then I can fix the other stuff pretty easily. So I'm gonna let it go out a little bit and soften up that transition, and then I'm gonna zoom back out, and now when I turn off that mask overlay you can see that there's a little bit of blue and darkness coming into the edge, but not much. It looks pretty good. Again, now I can go back into my Erase brush, so I'm in the eraser, and I can use the Auto Mask or not, and I can go with that brush and I can go clean stuff up. So now I can come in and really all I'm looking for is just kind of clean up the edges. See I'm just getting rid of this stuff because I don't mind that it's spilling over just a little bit. I'm just making sure there's nothing in there, and I can come over here and just kind of do this and make sure there's no little artifacts or anything out in there, but in general it's done its job, and then I can zoom in a little bit more up here, and this is where I can start to see, okay there's some stuff going on here, so I'm going to actually turn on my Auto Mask just to make sure that I don't spill out into the clouds while I'm working on that little edge. So I just want those areas to be nice and bright, because it's kind of this glowing moss, so I'm just gonna kind of go across that glowing moss and make sure that that little edge spill that I was allowing to happen goes away, but I don't have to be super accurate about it. And then I zoom out and there we go. So that is the range mask. I'm gonna continue working on this document, and I'm gonna use the brush tool, and this time I want to work on the grass and the moss, and so I'm going to go into the grass and moss and I'm gonna increase the exposure just a little bit. I'm gonna increase the temperature a little bit, like that, but most importantly I'm gonna take the saturation up quite a bit because I want it to be really, like green mossy stuff. So I'm gonna go in and I'm gonna paint that, like this. And I don't have to be really accurate about it, I just need to go in and choose the areas that I want to paint. So I'm just gonna go in and paint across here, paint across there, and I just want it to spill. So I'm just getting those little spilled areas of grass. There's some right here, there's a little bit right up there. There's a lot down here, some up there on the mountain, some over here. See how I'm just painting around? And I'm being super sloppy, super sloppy. Don't have to worry about it. Super sloppy. Gonna get some of this stuff clinging onto this rock here. All right, so now we've got that all done and it looks pretty good okay already, but now if I come back down and I use my range mask and go to Color, and now I just choose that color and I just want to choose, and notice I'm gonna choose kind of a variation of grasses. So I'm gonna start with the green grass and I'm gonna get some of this dark green and light green grass all together. And I could probably even choose something right up here that allows me to get some of this mossy look too. So I've just got to choose the right type of grass. So I think this area right here will do it for me so I'm just gonna go like that. Trying not to get any of that dark, there we go. Okay. Do you see how some of that just disappeared on me? So the darker areas just disappeared. So now, the difference is, let's look at that mask. See how it's spilling around, but when you zoom into it, see how it's missing, it's trying to avoid those darker areas right there? And it's avoiding here, and it's avoiding there, and so it's just spilling in and only getting the areas that have that. And now that I have that setting on it, I can actually come back in and still paint, so I can still do some painting on top of that mask because that mask is still active, and I'm helping to further define that mask, so there's a lot of work I can do there. Let's say I'm done with that. So now I can use the range amount to decide whether it's gonna go, see how I can increase or decrease how much it's willing to spill or bleed out into the rest of the colors? Like that. And then the last thing I can do, we're gonna do another one, and this time I'll do it on a radial filter just since, that's the only thing we haven't used yet. So I'm gonna take that radial filter and I'm going to reset everything here, and I'm going to take that radial filter, and I'm just gonna go like this, so that I'm working here. I'm working on that whole blue area like this, so the water. And I'm just going to say, well I want it to be a little bit more blue in that water. Not too much, but just a little bit more blue in the water, and I'm gonna bring the exposure down on that water just a little bit. Like that. And now I only want the blue to be in areas that are dark. I don't want blue to be on the white because that's frothy whiteness, right? So we don't want that, and we don't want the blue on the rocks. So now what I'm gonna do is I'm gonna come down, and I'm gonna go into my range mask, and this time, and so I'm just gonna do luminance, and now what we're gonna do is we're gonna choose the amount of luminance that we want to apply that thing to. So I want it to be on all the dark stuff, but I don't want it on light stuff so I'm just gonna pull the white down, and you can see that I'm removing it. See how it's removing from the rocks right now? So I'm just removing it from the rocks and keeping it only, see it's not even, it's getting removed from this white frothiness on that right there, and it'll remove from there, but you'll see it stay right here. It'll stay in this darker area. It'll stay in some of the darker areas there, so I'm just gonna kind of remove it until I see the kind of look that I want. That works for me, and then I can change the smoothness as to how much it bleeds over into things, and that's probably about right. And so now I have my mask made, and then I can go in and rework that mask and say, okay I want it to be more blue. Now that I'm not coloring other things, now I can really see what it's gonna look like if I do warm. So, see, that's kind of cool. If I do that, I get that warmness inside of the reflection. Maybe I wanted it to be warm instead of cool. I didn't want it to be cool, I wanted it to be warm, I don't know, so I can play around with that until I'm happy, and I can bring the exposure down. See how now I'm just working on the darker areas? And I'm just bringing that exposure down. I can add a little contrast to it. So now we have the photo, and if we were to turn this to our original, so let's just see what that would have looked like before. Oh, sorry. So let's just, here we'll just do a before after version of it. So you can see the difference before and after, and this was all the original and then I did a little bit of contrast and stuff like that, but look how much those shine, and it's not like I had to spend a lot of time getting in and really zooming in, and now this really works well when you're working with a human. And that's mostly what I work with. It also works well with sheep by the way. So if you only work with sheep, it is very, very useful on sheep as well. So I can take a radial filter, and I can say, I want the entire place to be dark. So I can go in and say I'm gonna take my, I want it to be really dark and brooding, but I want the sheep to pop out a little bit so then I can take my radial filter, and I can say I want the sheep to be back up to be bright, so I'm gonna click it like that. But you see how the radial filter is spilling past the sheep? So then I'll just go in and say, okay but I only want the sheep to actually be colored, so then I would come into, where, there we are. So I would come into the sheep and I would say I want to do my range mask, and then I would either choose Color or Luminance. In this case maybe Luminance will work and I'm just gonna say I only want things that are light, and see how the darkness, see how the light, it's not spilling off here. It's just brightening up the sheep. So I can choose how much I'm willing for that to go out, like that. Or if I did it via Color, I would click on here and say I only want stuff that's that color. And see how all the other stuff disappears? And then it's just a matter of, there, see how the sheep is now popping out? And this one's all dark and feels bad, so then we have to do another one for that. So we're gonna go over here, and we're gonna put the same thing on sheep number two. This one is Fred. So Fred needs to feel good too so I'm just gonna increase this, and see how it doesn't matter how much I increase it because I don't worry about the spill as much. Because now I can just go into my range mask, not Luminance, Color worked better. Click on this, do that, there. So now my sheep pop out from my background. So it works on sheep as well, but think about this for the process of working on a face. So if I want to work on a face, I can, let's see if I can find a little shot to work on here. Okay, so here's a great example right here. So, I'm gonna work on this image, and I want to work on his face. So if I want to brighten up his face, I can simply go in and it makes it much quicker to just either do a brush and just kind of paint in his face, and say okay what do I want? His face, I want it to be just a little bit brighter, and the temperature on his face to come down a little bit. So now I'm just gonna paint it like that. Now that was way too much, but as I zoom in, now I can play around with that and say okay what do I want out of his face? How much brightness do I want? How much warmth do I want? And then, do I want a little blacks in there? Stuff like that, and then all I have to do is say, oh and then let's say I wanted to do some clarity. So if this was, I wanted to soften up, say a woman's face, or something like that, or a baby's skin or something like that, then I could just simply do that, and then I'm gonna come down and I'm gonna grab onto my Range Mask. I'm gonna do only Color, and then I'm gonna go like this, and say anything within that color range. And so now it's only affecting his face right here. It's not going out into the sky even though the sky was part of my brush. It just found the edges, and then I can always come in and clean up just the last little bit right here that's hitting his shoulder or whatever. I can erase that out, just really quickly without even worrying about like an Auto Mask or anything like that. I can just go, swish, like that. Okay? So range masking has just created a way for you to accomplish things that otherwise you would have to go to Photoshop to and start cutting masks, and really working on masks. This changes everything. So I'll tell you how I used it recently. I shot a job and I thought that I was going to, like I had this black felt backdrop and I thought it was gonna be really cool to get the lights to come into the shot so that there was a little bit of glare so it felt like you were looking at a theatrical thing. And then when we finished all the portraits I looked at them and I was like, it didn't work, and so I had all this glare coming on the backdrop, that made the black background that was pure black because it was felt, and then you saw this glare coming across it. But I didn't want the glare anymore. And so I was gonna have to go in and burn around every person, and then Auto Mask out, and it was 300 portraits. Did not appeal. Well, what I did instead was I just took a gradient and I dropped it over the top of their heads, so it only had, the glare was only up at the top and so I just brought it over the top of their heads to about like their chest. And then I used the controls to get rid of the glare by putting a little extra dehaze in there and bringing the exposure down, and stuff like that. So you fix it, except it's also doing that to their faces and their bodies, and stuff like that, and then I just simply turned on the Range Masking and I turned it on to Luminance, and then I just told it, I don't want you to affect anything except for black. And it went, woop, and gone, but the people were just fine, and the beauty is I was in Auto Sync. So it did it to 300 people just like that. Do you see the value of that? Just like that, and then what I did is I just cycled through them and looked for places where someone had black hair, and it was kind of affecting their black hair. Then all I had to do was erase that little piece of their hair with Auto Mask, because the lights were creating a rim light so it was very easy for it to, Auto Mask would just, so I just went swish, swish, and then I cycled through until I found another problem, and so I think I had to paint on like 20 or 30 of them. But it was just like a swish, swish, swish, and that was it. So a 300 photo edit job took me I don't know, 20 minutes. To edit 300 problematic photographs. So this is a real huge deal. So any questions about this, or anything? No, no, we're all good? We're all liking that. Yep. Okay, so that is a fantastic upgrade to Lightroom Classic. It's not in Lightroom CC by the way. Yeah. You mentioned Auto Sync. How do we, I don't know that feature, or how do I find it? Okay you don't have that feature, Lightroom CC does not have it. Let me show you Lightroom's syncing capabilities. Lightroom CC's syncing capabilities is this. So hold on one second. Let's go to something that I've got a bunch of photos that are similar. Here. So if I like what I did to let's say this photo, so I'm looking at this photo, I like what I did to this photo. I like the adjustments I made on this photo. I have to go to this little dot button here, or I have to hit Command + C, Copy, then I have to go over here and click right there. And then I have to go back up here or I can hit Command + V and paste the settings, and it pastes everything. Everything that I've just done. So, if you are interested in doing more than one photo at a time, Lightroom CC is not your animal. It's not gonna work. It is not a speed demon. It's fast, the program is actually very fast, like they've built it from the ground up to be very quick, so it operates very fast, but they haven't given us some of those controls that were back there. Auto Sync isn't there, you don't have like, you can't highlight a bunch of images, and then hit Sync and then tell it to synchronize from this image to all the other images and only tell it to synchronize these few things. Because, let's go back over here. If I like a certain thing that I've done to a photograph in the Develop module, let's zoom out here. Okay, if I like what I've done here, I can highlight that image, and synchronize across four images and hit the Sync key and then I can tell it, oh I only want you to, Check None, I want you to only synchronize the white balance and the clarity. And then hit Synchronize and it'll do all of it, right? So that's the difference. Lightroom CC is expecting that you only want to work on an image, and then if you go to another image and you like it, you'll just say, oh copy from that one and put it on this one. But it takes everything from image A and puts it on image B. So, there's a lot of people out there right now that just went, oh whoa, whoa, wait a second. So, Nicole is going, I see her. She's just shaking her head. There you go, that's what I saw. That's what I saw, that shaking the head and putting her head down, and being like, what in the hell was Adobe thinking? Okay so here's the deal. Let me help you on this. This is a 1.0 release. This is the beginning. Lightroom CC is a fledgling program that's built on a very fast little, it's like Lightroom Classic is a very robust program that's built on a Model T engine. Because it's an old program, right? And so they're working hard to make it faster, but it's a lot of stuff built on a very old program. Lightroom CC is built on like a Ferrari engine or like a huge truck engine or whatever, so it's got a lot of fast and a lot of power to it, but it's only got like two or three things on it. It's like two people sitting on this huge engine, like oh I'm so happy, I can go fast, but there's not much I can do, you know what I mean? So Lightroom CC is going to advance fairly rapidly, because they're taking things and taking them from here and putting them in there. But I want you to be aware that the raw engine that's inside of Lightroom is also in CC. So for instance, if there's a slider that's not in CC right now, the engine's still there, and so I can, if I send something, if I work on something here, like for instance if I use that luminance feature inside of my local adjustments, and I actually range mask out something, when it goes over there, it's exactly the same. But the range mask feature is not in there yet. It will be. But it's 1.0. You've got to give them time to get it all in there, so they released it so that you could have it and start playing with it and get used to it, and they're gonna keep adding stuff in. So you're gonna see a lot of stuff just even this year going to come into Lightroom CC, and then next year you'll see stuff coming into it, and it'll just keep getting advanced and better, and better, and better, and better. For the time being, it is a great program for someone who just wants to work on their travel photos. It's fantastic because you're not going to be trying to speed through those, you're just looking for a photo and then you're gonna adjust it, and you're gonna share it. Or you're gonna look through a bunch of photos and then you're gonna collect them and then you're gonna play them as a slideshow for somebody or whatever. That's how you're gonna work. For those of us who are professionals, and that's why we're having this course, for those of us who are professionals, need to understand that it is a tool that's been added to our toolkit, but Lightroom Classic is still the workhorse. If you need to synchronize and all that kind of stuff, that's gonna happen in Lightroom Classic. That's where you do your bulk of your work. Promise you that Lightroom Classic is now faster. It's a faster program. They've done a lot of work to speed it up so that it's not as slow, because it's got a lot of stuff inside of it. But we now have an extra tool, so in our workflow we'll show you how that works. So, you asked about Auto Sync. In Lightroom Classic, if you go down to this button right here in the Develop Module, Sync dot dot dot, you can click on this and it turns to Auto Sync. If you're in Auto Sync, anything you do to this photo is done to all the photos that are still selected. So if I take, if I go into my basics and I grab the exposure and I bring it all the way up, all of these other ones go up as well. So I can work on a thousand photos at the same time, and all of it happens at the same time. So I'm working on one photo and I don't have to synchronize. I don't have to, it just happens. Okay? So I work in Auto Sync all the time. Everything I do is Auto Sync, Auto Sync, Auto Sync, because I want to be able to work on a group of photos that are similar, work on them, they're done, move to the next, work on them, they're done. And we have courses on courses, on courses here on CreativeLIVE about that workflow and about synchronizing and speeding up your workflow, and stuff like that, so this isn't necessarily the time to go through all of those ideas. But, just so you understand the difference. Synchronization is totally amazing inside of Lightroom Classic. Synchronization inside of Lightroom CC takes you into a realm of, oh my gosh this would take me forever to do something if I were a professional working at high volume. But if I'm not a professional working at high volume and I'm just doing my own photos, and I'm doing it at my own leisurely pace, Lightroom CC is perfectly fine. Because most of the time you're just working on a photo, and then you're gonna choose a photo about three weeks later that you like, and it's not gonna have the same settings from this one to this one, and so you're gonna adjust it there.

Class Description

Adobe has just released the newest version of Lightroom at Adobe MAX. There are major improvements and a few new tools to learn about, but more important are the updates and improvements in the entire Lightroom Creative Cloud ecosystem. Whether you are a professional photographer or a serious photo enthusiast, you need to know how the new Lightroom ecosystem works and what it can do for you. Join the world's Lightroom guru and learn about the newest updates in Lightroom and how to harness the power of the Creative Cloud. In this course you will learn how to put the new tools in the Creative Cloud to use in your serious photography workflow: new organizational strategies, simple image backup, universal access to your photos, and so much more. Adobe’s new Lightroom ecosystem, including Lightroom CC, Web, Mobile and Classic are the beginning of a new future in photo-post production. Come learn what Adobe’s powerful new tools mean for you and how to implement them into your workflow.

This class is for Professional and serious photo enthusiasts or anyone who is a serious Lightroom user and wants to learn how to increase efficiency in their workflow and have even more fun with their photo collections.


Software used: Lightroom® Classic CC 2017 and Lightroom® CC 2017

Reviews

user-200a2a
 

Really like Jared's teaching style...has a great sense of humor & education to support anything he says. Learned a tremendous amount and feel comfortable & confident that I understand the basics and how to take advantage of the LIGHTROOM ecosystem. Good job....this was my first Creative Live purchase and am very satisfied.

JennMercille
 

Before I took this class I used Lightroom Classic CC as a culling tool more than for editing. Jared Platt showed me how to speed up my editing workflow, and rely more on Lightroom Classic and less on Photoshop, which cut my editing time nearly in half. Platt teaches in a holistic style with humor, demonstrations and tons of knowledge that is easy to follow. I really enjoyed this class, and I highly recommend it to anyone who wants to speed up their workflow or take advantage of the new mobility features that Adobe has added to the Lightroom platforms.

Candy Smith
 

Jared does a great job of getting over the fear of the changes that my photography friends were talking about when the cloud went into effect. He really encourages you to take full advantage of all that is available with the CC subscription across all your devices. Huge time saver which I appreciate as I have many projects going at the same time. I now travel way more than I thought I would, and Jared helped me move into a more mobil form of editing so I can use my time more wisely.