2:30 pm - Palm Reading in Lightroom®


Adobe® Photoshop® and Lightroom® Plugins 101


Lesson Info

2:30 pm - Palm Reading in Lightroom®

So we were talking about doing a little palm reading again way were joking around over there with your palm reading, but what we're really going to do is we're going to use light room to read your palm the key to understanding what we can do in photography and what we do in photography is to get a sense of our history we need know our history before we you know, it's it's, that whole topping those who don't read their history are doomed to repeat it. Yes, s o so your history as a photographer is in that data light room is a great resource of data because it all of the stuff the light room collects all of that meta data that's in the file is when you shot the file. What lends used what apertura you were out what? Shutter speed? What s o on dh then once all this stuff is inside the camera. What camera used all that stuff once it's in the camp, in the inside of your catalog. Then you start as a person start adding stuff to it. You start adding key words to it. You start adding star rating...

s to it, you start picking it, you start putting it in collections, and so once you start doing that, then all of a sudden we know oh, we actually know which images air good we don't just know what how the images were shot we also know what you thought as a person what you thought of them and so suddenly we have this incredible wealth of knowledge about your images and how good they are and what a good image requires from you so we're going to look at some of your reports you ready for this? Okay, I went last night I looked at your catalog and I made a couple reports on you okay? And so I take it you can take it I can take it all right nobody's perfect nobody's perfect you continue you know you're good but the good news first or the bad news uh it's all pretty good news. So so I made two different reports. One is an aperture report and one is a lens report. So which would you like to learn? First your aperture or your lens report lens report lens report because that's where it's going you know that's what it's going to hit the road right? Because you gotta buy a less exact okay, perfect. So we're going to tell you what lends now this doesn't tell me whether you own the lens or whether you rented the lens or whether you borrowed the lens it just tells me that you used the lens which is fine that's good information to have so we're going to look at your lens usage and I made two reports. I made a report of a five star and then everything. The reason you do that and what you do and I'll show you how to do this in a minute. But I want to see you to see how we read this first on, what we end up doing is we end up using the catalog as a whole, and then we use the catalog is part. Okay, so you do some searching in the catalog and make another catalog, and that catalog is the five stars, five stars air, presumably the ones you like the most. Right? Right. And so if I can look at your lenses that you shoot as a global I mean, like what you shoot globally, every image you shoot. Now I know what villains as you use the most. Then if I look at those same ones, those lenses but which ones do you love? Which pictures do you love? That came from those lenses. And if I compare the two, I get to see how closely you're activity in the field is to the activity of what you love. Okay, okay. And if you shot ninety percent of your images with a twenty four, seventy but your five star images were ninety percent with a fifty millimeter lens then we would know that you're spinning your wheels out in the field with this twenty four seventy when really you love the fifty millimeter lenses so why shoot with that because you're what you're what you're doing is you're you're spending too much time shooting something that you don't love so that's what we're going to do so we're going to double click these pds and it's going to open up our reports so these there are two reports and we're going to look at the first report this is our so the first report is our five star in the second report is our regular so let's look at the regular first and let's look at what you are using as lenses so this is your pie chart on these air all the different lenses that you've used and you'll notice that there's a seventy two hundred over here and there's also a seventy two hundred over here so it's somehow used a different lens somewhere maybe it's you borrowed this when you borrowed that one and you rented this one or maybe it is friends or maybe or it might be for what's that could be a foreign to eight could be it could could be that it's not separating amount specifically okay bye oh yeah this is the after a this must be the four because there's no information on it okay okay so it could be the older one but it is a seventy, two hundred and of course we can look at our f stop report later and see what s stops you're shooting at, but this gives you an idea that your twenty four seventy is going teo, and can you pull up a calculator on your computer? I will indeed, just give me one minute, please. So we're going to have you calculate out how many images or how what percent of jim images you're shooting these various lenses calculator up, let's talk about, say, it looks like to me, you've got a twenty four seventy here and you've got twenty four, seventy here, um and that's it so we want to add eleven percent and twenty six percent, which that's an easy calculation. So thirty seven percent, so write down thirty seven percent. Thanks so thirty seven percent of the images you shoot are shot with a twenty four. Seventy. Now, let's, go to your five star images and let's find out how many five star of all of the images you five star. What the percentages of twenty four seventies. Okay, so now we're going to twenty four, seventy and we've got one here, and we've got one here, so there's, obviously two different lenses that each lens has its own unique identifying, uh, serial number on it okay, right and one may be a new one and one may be an old one or whatever but let's look and see if there's any more twenty four seventies there's only two and so then we're going to calculate between the two of these we have a twenty two percent and a twenty five percent, so we have a forty seven percent. So what was our first number? Thirty seven percent on the twenty four. Seventy okay twenty we shoot twenty four percent of our images on a twenty four seventy but the five star the ones we like the most we actually have a forty seven percent favorites. So what does that tell you that tells you that your twenty four seventy is actually reaping mohr benefits than you planned on? If it was exactly the same, then you would be shooting the same as what your favorite images are so it's kind of it would it would be perfect. So thirty per seven's thirty seven percent of the time I'm using my twenty four, seventy right and forty seven percent of the time those air the favor forty seven percent of my five stars are with the twenty four seven which tells me that you don't shoot your twenty four seventy as much as you should exact right you should be shooting your twenty four seventy enough that they equal each other the right so that your shooting the same amount of time with your twenty four seventy as you like the images. Gotcha. That's great math, right? Yes, perfect. So you just need to shoot a little bit more with your twenty for seventy now, let's, talk about your aperture so let's open your aperture report. The average report has so here's your aperture report and you can see let me zoom in a little bit on this. So you've got in your aperture report you have all of the different you. So you have everything going from a one point oh, up to a thirty six and obviously you don't have a thirty six aperture and you don't have a one point oh, but you do have a one point two somewhere in there so there's a fifty one point two probably or an eighty five one point two or something like that, and so you can see that the there's a lot of there's, a lot of images that to eight and then there's another good spike it for and didn't we talk yesterday that you liked for a lot? We did ok, but it looks like you like to eight more yeah, or at least you shoot it to eight more now does I don't know if that means you pick because this is your general shooting style correct so you're shooting it to aid a lot but but the second most shooting is it for and so probably what that means is this is your documentary stuff and this is your portrait stuff that would make sense that that's about the right spread there so looks like your portrait stuff is for and five six and anywhere in between like that little area that spike looks like a nice portrait you know this is a one person portrait and then yes is your three groups you write so and it looks like those are equal so you're probably shooting as many family portrait ce or you know two person portrait as you are one person portrait and then you probably you've got eight right here see that little spike it eight and and this is the same for me is that there's a spike it eight because whenever I'm shooting a family portrait or a group portrait I go to eight as a matter of course because I know I've got a a good amount of depth of field so is just like a bone I'm gonna shoot family portrait you know I mean yeah and so so that's why it spikes there but remember this is everything we're shooting so now let's go to the five star and see what it looks like in comparison it's almost the same let's go back and forth go now watch, watch the four point oh, and the five point six watch this little dip here and down, and then that spike and watch it's almost the same. Great ok, you have a little fall off on the four, which means that you probably are running into some kind of issue at four, maybe it's not a sharp, as you expect it to be, because probably what happens is you take a portrait of f four and you miss focus because you should probably shoot more it five, six when you're doing portrait's or five, four, four point five, you should probably push that up a little bit, okay, because you're probably in a position where you think four is enough, but it's not actually enough because you miss a little bit, and so now you're you're not starring as many of those, and they're falling off because they're they're not as focused, right? But if you look here, your spike it to eight is still the same, which tells me that when if your percentage of to a choices is about the same as your percentage of shooting, that tells me that that's a pretty that when you're doing your documentary stuff to a, you're doing it slow enough that you can, you can still pick those because you're getting the focus and you're careful about it and it just looks good and that makes a lot of sense I know that I resemble that remark in the sense that I think when I go to ford's like I meant for yeah I know I can do it I can relax right and then to a cannon right yeah right at two you're not relying not relax yeah so so what this tells us then is that you're shooting mohr foresee how it's almost more than this one it is more than this one just by a hair on then when you start choosing him it falls below five six and that's because five six is stays almost at the same level because five six is a pretty safe area and so you're not losing stuff to oh crap I missed focus so this kind of data khun b variant it could be invaluable to you in the way that you select images here's a little anomaly though look at this well that I guess is not an anomaly got so here's your uh two point three are no what is that three point three something like that so it's in the threes so right in the threes you got a little spike there and look at that there's that's mine I mean so this this actually bodes very well for you oh good yeah you'll live a long time and prosper because what it's telling me is that the way you shoot is the way you select, and so when you, if you are selecting the same things that you are shooting and that the same percentages generally, you're not losing a lot too missed focus or bad compositions or don't like the way it looks you you what it tells me that there's a lot of pre visualization going on shooting, where you're saying, I'm going to shoot this like this, because I know what it's going to look like, so I'm going to use the correct tools to do that, and I'm going to use the correct aperture to do that. What happens in a lot of beginner photography is that they think they know what they want, and they shoot it, and then when they get to picking it, they realize they don't really like that look, and so then they choose the other version, because we all do that when we're doing portrait's, we have two cameras or two lenses or whatever, and we shoot the long shot, and then we shoot a wide version of that shot, and then, you know, we might zoom in on this and zoom out, or we might shoot, you know, one with more depth, the field on one with last, you know? So we were very things is we're shooting, and if you're if you're being true and selecting the on ly the best stuff you will end up with something that you've that looks a little different kind of like with the f four thing so the f four thing is a great example of I shot more of for than I'm selecting right? And I think that that's went one area where you can you can kind of a sign a reason for it and that is probably an issue of missing focus do tow it's just not you know just quite yet not quite enough, but other than that I everything looks like you know what you're shooting when you shoot it so all right, all right, good news from the doctor good news from the doctor okay, so now I'm going to zoom out and I'm going to go to victor so victor and malta who has been watching throughout the creative lives sent us a his catalog and I wanted to show you how I'm creating these reports. So if you have the program light room statistics, what it does is it opens up the catalog and it digs into it and find certain things and it has a certain number of reports that you can run I wish there are more reports I have some very specific reports that I would like to run that aren't in there, but I'm sure I can get them tow create them at one point but for now, it's a matter of just kind of playing with it so I'm actually going to open victor's catalog, and I'm sure the people in in the back are going, oh, no, no, we're going to be looking at someone's images and we don't have a release for him, but they don't have to worry about that, because when we look at victor's catalog, we're only going to be looking at data we don't actually have his pictures. So when I looked at victor's catalog it's going to open it up as though it's a normal catalog, but you will notice that there are no pictures in it see that they're all grey, so all of that is data about photographs, but there's no photographs involved because all he did is send me the catalog, so I've got a bunch of pictures and I have no idea what these pictures are, so we're judging his pictures based on no visual information, which is fun, so I can then sort these images, or I can run all of the photographs through a report. So at this point, if I want to run all of these photographs through report, I simply go to my light room statistics, so like room statistics, I open up the light room statistics viewer and the viewer is separate from the reports so the first thing after two is choose a catalog so I go to a catalog that I'm going to work with so I go to the my drive, go to my portfolio copies and stuff and click on victor's and hit open that doesn't do anything right now all it does is register that that's the catalog we want to look at then I go to the file and open a file the file I'm gonna open is one of my different reports so we can open up a whole bunch of different reports and in this one what we will do is the degree of organization, so we're going to find out how organized um victor really is okay, so I hope you're organized victor I don't know, so I'm opening that up, then I'm going to run the report as soon as I run the report. It asks me one question in alaska a couple questions each time you run a report, you could run it on leon the quick collection but I'm gonna run on the entire catalogue and hit ok, there we go here's the degree of organization of victor's catalog and what you'll notice is that he has mohr unflagging images than flag, which is good because we if someone if someone has a given number of images and flags mohr images than they don't have flagged, that means they're accepting too many images now I would suggest that victor could probably choose less images because he's about fifty fifty and a fifty fifty choosing fifty percent of all your images I don't know I think that's too many typically I choose about ten percent of my image is ten to fifteen percent is a good number if you choose fifty percent you're probably showing way too many of the same things over and over again so so I would say that that number should change this should I should see far less of a flag than a nun flagged star ratings this is a better result here now it's possible that victor and I don't know victor well enough to know how he runs his system maybe he uses flags for some other purpose but if it's on a star rating basis this makes more sense this is a good star rating, you know ninety and four hundred sixty four a new starred that makes more sense because that means that this ninety and this forty in the sixteen images that are going on right here and maybe I should zoom in a little bit more on this um you know this this amount of difference is a much better distance between mar unchecked and my checked images so this is too many flag this is this is the right kind of starring method right here I should have far more images that I'm not showing people then I am showing people cartier bresson said it best when he said that you showing people your contact she is like taking your pants off in public on dso it when you do this kind of thing like these flags you're taking your pants off in public when you do this kind of a star rating system and you're only doing showing ninety instead of you know in your left in four hundred sixty four drop then you you're a little bit more clothed in public so and then here's this tells us how many color labels he's got and notice that every one of his images is non color labeled so that tells me he's not doing anything with his color labels which you don't necessarily have to do anything with your color labels but it certainly tells you whether or not you're a really organized person because of your super organized you would have color labels doing things for you so like for instance my color labels red means that I need to make sure that it's in focus or whatever it's a danger sign blue means that it's going to go teo too bright lights which is one of my sponsors that that deliver images too you know paper magazines for publication and stuff like that so I have reasons for color labels and that's so if you looked at mine you would see a lot of color labels because I need those just organized images even further so so and then keywords is another interesting thing to look at and you can see here that he's got you've got how many number of key words have two key words in him have three, four, five, six, seven, eight and zero so this is good sign what this tells me is that victor when he's bringing the images in he's putting key words on him pretty much although he's obviously not doing it all the time because there's five images here that have no key words. So if victor has five images with no key words, that means victor is not always following the workflow, so victor needs always follow the workflow cell victor if you're listening right now, you need to follow the workflow all the time there should be there should never be a time where you have no key words on an image at any point. If it's in light room it should have a key word in it because you have a spot for key words on import so there is no excuse for zero keyword image it just shouldn't happen. You should always have key words in them. Um and by the way, did you know that light room has its as it comes out of the box light room has a a smart cat, a smart collection of no key words so if you click on that smart collection it will show you all the images that don't have a key word that's so helpful and then you click on it and look and go oh no keywords highlight all the ones that don't have keywords and start putting keywords in him now especially the basics right right your copyright your you know well copyright is metadata oh sorry keywords right he learned is just like where it is or what it is or whatever even basic you put in basic he words you have those as well right so but bear in mind that if you're in a smart collection and you type in a key where two cities you hit enter it'll disappear from the smart collection right? So what you do is you go to the smart collection you highlight all the ones that need key words and then you make a new collection that's not smart and you work in this non smart collection okay and then start working on so they don't disappear on you while you're typing keywords okay you know smart collections are not meant to be worked on inside of them because as you work on him it will change the smart collection you know it's it's a black and white smart collection and you turn into color also in your image will disappear it's gone it'll it'll leave from the smart collection so smart collections are a way of finding things and then you go in and grab those and put them into another collection toe work on them eso anyway that I think that's an important thing that we learned from the key words is how involved is someone and whether there you know following the workflow two key words clearly these two key words are the ones that air coming in from his import so like wedding and then the city or something like that is coming in but that two key words does not make an effective strategy for s e o or for finding images because if I if I typed in wedding and phoenix and that's the only key words I put in my there's no way I could find the images that were at the royal palm's nor could I find the ones that have flowers in them so it if I don't see fifteen key words in an image there's no way to specifically find that one image you know five key words is about a minimum I think before you start losing the effectiveness of the keyword so five to fifteen is a pretty good that's that's a decent key wording strategy once you get into like I would be, I would be really worried about someone that had, you know, thirty or forty keywords in every single file because that person's wasting their time and they're doing too much key wording now thirty, forty three or thirty or forty keywords in an image that's going to a stock agency might you know in some cases be appropriate but generally, you know ten to fifteen key words is about all you need to get a really good handle on what that images so I would rather see this pile right here, way up here in the eight keyword area okay, right and only have a couple of them here and have zero here ok? So if I wanted them to look at and I'll show you how I did this so what I did with victor as I said, ok I want to see because I want to tell victor what lindsay should buy because victor it looks like he has two lenses something like that so he has two lenses and I want to tell victor which lens he should buy next. So I went in and I first looked at his entire his entire lens arm in his entire collection his entire catalog I looked at his entire catalog and and asked what lenses is he using so here's this focal length analysis? So as I go into this, you can see here's his focal inx it looks like he has a cz faras I could see and two lenses wide one and a long one and the long one covers a lot of territory it's like along to a pretty wide and then he's, gotta. Why, you know, kind of a wide one or whatever. But it doesn't really matter what lenses he has. What matters is, if he was going to ask, what lindh should I buy? All I have to do is look at the category of millimeter lens length.

Class Description

Want to know how to tailor Adobe® Photoshop® and Lightroom® to make them even more powerful? Join creativeLIVE instructor Jared Platt for a three-day introduction to the plugins that will change the way you use Adobe’s seminal programs.

Jared will guide you through a wide variety of plugins as he explains why and how to use each one. You’ll learn about building a workflow that incorporates plugins, saving you time and money in the post-production process. Jared will also cover ways to synchronize and implement plugins on multiple computers. You’ll also explore the built-in tools in Lightroom® and Adobe® Photoshop® for creating and implementing your own plugins.

By the end of this course, you’ll be ready to harness the power of plugins and take your image editing skills to new heights.

Software Used: Adobe Photoshop CC 14.0, Adobe Lightroom 5