Plugin Manifesto


Adobe® Photoshop® and Lightroom® Plugins 101


Lesson Info

Plugin Manifesto

When we left off we were talking about the sink box on dh making that so that your you know light room at home and light room at the office cantat to each other and you'll always have the same presets in your home computer and in your laptop so that they're constantly talking to each other so and we also talked about the fact that other programs can utilize that sink bucks concept as well so for instance I talked about using it with with my quickbooks just be careful when you're doing this that you whatever data it is you're trying to copy back and forth make a duplication of it first then test it and see if it works and test it lightly like be very cautious as you test it and make sure it works and then go with it because I don't know what it does to all programs I'm just putting that out there was a warning make sure that you're testing it very cautiously when you start so when I first did it I thought maybe this would work and then I started to create the thing but I I made copies o...

f everything and then I would gingerly test it and see if it work and it did so with light room it will copy the stuff back and forth and it works fantastically so with the interesting thing you know you know how we talked about the camera raw folder and the camera are awful there has its own so there's there's two folders that can't that light room looks out there's the inside the adobe folder theirs the light room folder and then there's also the camera raw folder um the camera roth holder tends to be a little bit more persnickety about the way it's viewed, and so you actually want to create the the camera raw folders have to be normal folders, and then the folder on the drop box is the one that has to be the the sim link, because if the sim link is the camera folder that the that is in the library, it won't work, so you have to sink it the opposite way kind of in order for I don't know why camera rafel there is more persnickety than the other so it's just something to play around with because it sees that it, even though it it's it's supposed to be a new exact copy of it it's not supposed to be any different, it knows it's assembling instead of a regular one, so you just have to play with the way you do it, but gingerly tested on the programs that you I didn't mention so that you don't totally get messed up on blame me because I told you to be careful, we are going to talk about presets and I'm sure that a lot of people have heard me talk about presets before out there in the audience but I think that in this discussion of plug ins discussing presets I think is important and the way we're going to discuss it we'll talk about successes and failures in presets so um in any given circumstance you're going to use presets in order to speed up your work flow and get things done but what we're going to do right now is we're going to go over the rules it's basically the rules for plug ins and I like to call it my plug in manifesto so we're going to go over our plug in manifesto and talk about the rules that we need to follow when buying and utilizing presets or plug ins kind these air basic general rules so the first rule or idea that you need think about is that manual operation is the thief of productivity when you do something over and over again and you do it manually you're just wasting time and when you waste time you're burning money or your or your burning association with your children or your burning association with your wife or your or your friends or whatever whoever it is you're want to hang out with even if you don't care about money in this process you are burning that association so you're throwing important things on the fire when you are doing things manually so we try and automate as much as we can in the process. Now automation does not have to steal from artistic value either. If you're if you're automation has done well, it can assist you in creating, you know you want to do this look to something and that automation can assist you in the process of creating an artistic piece. It doesn't have to mean, oh, well, that's automated than that didn't that, you know, I mean, how many people use actions and they win amazing awards w p p I or whatever and you have no idea how many actions they used you might be used ten actions that money used one and then printed it. You never know, but we still look at their art and we said that's, an amazing print that's an amazing whatever. So it doesn't mean that just because you've automated a process that it's not artistic or it's not beautiful, so keep that in mind any time you do something more than once, you need to find a way to automate that process and that's why we use presets, especially when it comes to key wording or two you know those types of things we just have to automate as much as possible because we we need to get more stuff done in less time I wish I had presets in my kitchen. Yes, I'll bet you I'll bet you there are chefs that have pre sets that they don't. They have they don't do things manually. There is an automated process for things that they do that they always do. I mean, just stay up until one o'clock and watch tv and you will find little chef tools that, like, help you cut an egg faster, you know, like it's got the wires and you can go and then you've got these sliced eggs. You could buy something every single night for the rest of your life to go in your kitchen toe automate stuff, and it doesn't mean the food's going to taste less good it's going toe, it will actually look pretty they've got the things that slice the things faster and prettier and whatever that's automation so automate as much as you can, the next rule is that excessive choice creates paralysis, so just because you have a lot of choices doesn't mean it's a good thing, so I could have a thousand presets, but they're not going to help me. If I have a thousand presets, they cannot help me because I'm going to spend so much time looking through the presets, trying to decide which one I should use that it's of no value to me. It burns my time and it makes it harder to make the decision as to what to do and you're going to see this in a minute when we go into the presets I have I'm gonna have a thousand presets in there because I I loaded up with every preset I could find that I could think was cool I guess only presets air coming out my years I can't stand it anymore you know I've gone through the last month I have gone through so many presets my eyeballs air falling out of my head there's so many presets and I found that when I tried to use them I became paralyzed I would literally go through images go that would look no that would look cool well that looks cool to that would be nice that might be cool to oh I like that I like the way this works that doesn't do me any good because if if I have twenty decisions that could look good and I never choose one what's the value of the twenty choices so what I found I had to do then is I had to take all of these presets and I had to um kind of distill them into what's important and what I would use on a regular basis and remember we were talking about the the style setter of the studio right the style center is the person who would waste the day looking at presets and saying this that and that are are acceptable for my studio the rest or not and so you might buy a set of presets that has a thousand presets in it which I don't think there's a set out there it's a thousand but anyway you might buy a thousand presets your job then is toe waste a day looking at the presets and finding the ones that are valuable that seem like they will do good work for you and then dump the rest and yeah, you may spend a hundred bucks on this set of presets and you may only keep five, but those will be really five good presets or ten good presets that you use the hundred bucks will be well spent once you start utilizing those presets if you don't keep home if you keep all if you think I'm going to get my money's worth and I'm gonna keep all you know thousand presets, you're not going to get your money's worth you're going to burn that money and it's going to have been wasted, right? Okay, so the ideas that even though you spend a lot of money on a lot of presets distilling them down to the best presets is the one is the way to actually make them value able if you keep them all, then there none of them are valuable, so never keep all your presets throw a lot of them away you know this is just important I really liked your advice of taking the time for a full day just sit down, do a mall, edit them and then make it don't try and say I'll do it you know as I get to them, right? Yeah, just because if you're going to do it as you get to him what's going to happen is you're going to do it while you're working on a wedding and now that wedding's going to be a three day process because you're spending the one day over the course of three days playing around and then what will happen is you'll you'll be in the because you're in the throes of doing it you'll actually go up but baby, that one could be cool I better say that one too better sit because you're not you're thinking about the wedding you're thinking about the photos, you're not thinking about the process of the presets and what value they have so it's really important to take some time and just you know, give yourself a day and say today I am going to streamline presets that's all I'm doing today I am not going to turn out one file today I'm not gonna work on one email today I'm just going toe I'm going to streamline my preset workflow that's a very well spent day, so um here's a concept that everybody needs to get used to magic does not exist magic does not exist there are no all in one tools there's not one preset or plug in out there that does everything that you needed to do you can't click on a preset and assume that that one present you click on it it's going to do everything that needs to be done to that photo because its magic and it'll just do it that doesn't exist there are known in fact everything that's in tell all the end teligent things tools for instance going toe light room and click on the auto tone thing the click on it and auto tones things and it always makes a bad decision it never does a good job why? Because the computer doesn't know what it's looking at doesn't know if it's a human it doesn't know I mean some computers khun programs can figure out there's a face in there or whatever but it doesn't know what it is it doesn't know whether the person is hispanic or white or black or doesn't know so it makes assumptions based on eighteen percent grey that's all and white so it makes color assumptions based on white and it makes adjustments on tone based on eighteen percent grey that's the on ly thing it can do so don't ever assume that you can make ah preset or use a plug in that will do everything if you try and find good try and buy a preset plug in or I mean a plug in pack like say, nick software on one soft or something like that and force yourself say I'm on lee going to use this one tool to do everything that needs to be done to all of my images and you will be sorely disappointed there are things in nick's software that they're the best at what they do and there are things in on one that are the best at what they do and there are things inside of alien skin are the best of what they do they're visco presets that air the best at what they do but they're the best that that one thing and that doesn't mean you need to go out by all of next software and all of on ones you khun by individual pieces of software so if you need something that will increase the size of your prints so that you can make a really large canvas that's thirty by forty you need to buy on one perfect recent because that's the best re sizing program out there and it will do a fantastic job at that if you want something to do a really great job portraiture like smoothing skin your best option is to go get image nomics plug in portraiture that's the best tool for that you know there are certain tools that are good at certain things in the same way there are certain things that you should do in a pre set and they should be targeted so instead of clicking on a preset expecting it to do everything expecting it to change the exposure the brightness the contrast the the temperature puts um vignette on it add a little sharpness to it put some grain on it and like do everything in the everything you khun d'oh it's going to ruin the photo in one way or another because one of those things is not gonna work for that photo instead we make presets that air targeted so that they're small so one preset will work on the vignette ng while another preset will work on the the the contrast and another one will work on the grain and by using surgical strike mentality you're able then to hone in on what needs to be done to this particular file and you can do it very quickly because you're saying this one needs grains so I'm going to add grain but it doesn't mean anything else that's all it needs can so the next thing that we need to recognize is that organization promotes efficiency so you'll notice that when we're in my presets they're organized very well you will see that they have folders black and white um color processes image repair issues on then I even have a favorites folder and I have you know, so they're organized based on what I need to use them for and how I use them so that when I'm trying to find something, they're organized enough to find him. If I'm scrolling through a list of presets that's, the thousand presets long, I will spend my whole life trying to find the thing that I'm looking for. One thing that will look at tomorrow is kevin cobb otas dashboard, so a lot of people have is many actions, as they do presets and so his dashboard, which is free actually, you can just download his dashboard for free, you know you're not the bias presets you arming his actions? You can just about download the dashboard, but the dashboard is a great little plug in to photo shop, and you can type in the name of your action and will show up. So you not the scan you can just go. I know the name of that is typing in and push play, and it will play the action for you, even your own. You don't have to buy his you can just I mean his are great, but you you can plug your own into it. So it's a fantastic little tool to help you find your presets and manage him army of your actions and manage him so you know, that's something that everybody should get. If you work and photoshopping of actions you should go get the dashboard it's kimoto image tools dot com so that that's and it's free so might as well but that organization being able to find things quickly will promote the efficiency that you need to get things done so make sure that you organize your presets and structure in such a way that they're easy to find okay when you're in rome you do not need to take a snorkel with you when I am in at the beach that's a good place for the snorkel but when I'm in rome I don't have a map maybe auto have like a book on you know roman histories maybe I you know should have some you know, euros with me things like that but when I'm in san diego that's when I should have the snorkel and maybe some swim trunks and american dollars and things like that so when you go somewhere you take the things that are appropriate to the activity you're doing because that's the most efficient way to live the same is true inside of light room when you were doing a specific thing you need to have the appropriate tools readily available to you right there so when I am in light room and I'm scanning through a bunch of presets that I could be using so if I go into the develop module and I look here you'll notice then that my um my presence there so inside of my everyday favorites folder you'll notice that if I'm near the black and white, then the tool for adding c p a or sigh in a type is right next to the black and white and also next to those tools is a remover for the split tone and a restored to color so they're not alphabetically named and they're not group based on what they do, they're grouped on based on how we use them. So when I am in a given location, I need to have all the tools that I need for that location and for that activity and I don't need any of the other tools available to me that's efficient taking everything you have with you to rome including your swim set, your snorkels and your air packs and stuff like that makes no sense because there's not an ocean there so you wouldn't be using them in that in that circumstance hoarders air wasteful if you hoard everything, it is a waste of your time it's a waste of your space you may think that you're saving money by, you know, taking your tinfoil and collecting it, putting it all together because now you're going to be able to reuse that tin foil later, but what you're doing is you're wasting space that could be used for other things that are more valuable than tinfoil and you're wasting time because now you have to actually go find that ball of ten foil, which is underneath all of the other things that you've been hoarding the same is true for presets and plug ins if you buy a preset or a plug in and you're not using it and you still keeping it inside of your realm of work inside of your workflow you're wasteful, you are burning time you're you're bloating your system so you've got all sorts of stuff that you're not using and it's sitting there and so you're wasting valuable hard drive space you're wasting valuable visual space that's in front of you that's it's distracting you because there's too many options and you're just wasting your time because you can't find anything is all buried under things ok, so I mean if you're going if you're gonna be oh if you're going to be efficient in life, get rid of the hoarding idea if you're going to be efficient in your workflow, you can't hoard there either. So no hoarding of all of your presets and plug ins find the ones that are valuable get rid of the rest even if you spent thirty five dollars on such and such get rid of it if you're not using it if you're using five of them keep the five throw the rest away browsing is a lazy verb so there's two ways to find something you can hunt for it, you can go get it or you can browse for it. Browsing is fun and browsing is it's it's a lazy activity? But we don't want to be lazy when we're work, so we don't browse for effects. We look at an image and we say, what does that image need? And then we go get the thing it needs and apply it and be done with it, so don't browse for things don't don't don't just kind of scan through stuff because you can do that, you can go into your image here and you can just kind of go like this, you know, it's changing the effect. So this is what you're seeing right now is just a one folder of everyday favorites inside of my presets and as I scanned and you can see what it's going to do to the photo, and so all of those are very different and what they look like, and so I could just scan through and go, I really like ah, that summit, click on it, and now I have that that can take you forever to finish a job. Because you're going to be browsing on every single image instead look at your image, decide what it needs and say I think that this should be a black and white and I think it should have a little bit of a light c p a to it so I'm gonna click it and I'm done be done with it and then live with the decision don't second guess yourself if you're second guessing yourself you're just you're just wasting your time um ok here's a really important one have you ever noticed that the first string sits next to the coach? The benchwarmers don't and I know this I know this very specifically because I was the bench warmer in every sport I played I was I was a bench warmer for the bench warmers you know, I was the guy that sat on the other side of the water, you know, like the water boy had the seat on the bench and I was over here all right, so I you know, I stopped playing football and basketball because I didn't even play in practice you know, I was a bench warrant practice so and don't mistake this I was actually okay at it, but I just you know, just wasn't as good as everybody else, so I sat on the bench why is that? Why did the benchwarmers not sit next to the coach accessibility accessibility the coach needs access to the guy that's the first string because he needs to tell him something and then get him on out there, right? He says, hey, someone so is doing this wrong? You're going to go in and get it right? And so he replaces that guy with this guy, and then this guy sits next to him so he can chew him out and say, what is wrong with you? You were never this guy was open and that guy was open and you were never passing the ball and you weren't doing this and you, you know, and then he's like, ok, I'll give you one more chance, get back out there and do it. And so it's, like these five guys right here have constant contact with coach because they're the ones he uses and they're the star players and that's how it should be. I should never have been sitting by the coach because the coach would have nothing to say to me. I wouldn't be useful to him on the team anyway, so I quit I didn't play, and that gave him access you no more immediate access, but why do we have a second or third string? Because they're instances where we need him right there, instances where someone gets hurt or there's a specific time where we need the kicker right and he doesn't need to be by the coach he could be back down there and then when he needs him come on up here, I need to go kick that ball ok, now come and go sit back down there right or go practice your kicking or whatever it is you do so we still need all of these other strings but we don't need them immediately available hence when we organize things we organize an everyday favorites folder where all of our first string exists. These are the ones that we use all the time and will always use and as we find that we've got a third stringer that's getting better and better and more usable all we can then take that and move them up into the everyday favorites to sit next to the coach and anything else we don't use, but we still need occasionally like if we're not using it all the time we don't use it all we get rid of it, we kick him off the team but if we use them a little bit and we need him occasionally we put them away from the coach so that they're accessible but they're not in the way so they don't know no third stringers get put into this folder they all get put way down here in the other folders, okay and you'll see that I've got a very big bench right now all right because I've put every preset do not I don't want anybody out there on the internet looking looking at my precept folder and going well he's one to talk he's got about a billion presets in there no usually I have from here teo here that's it so right there so I'll show you this this is what I usually have is right there from here to here that's all I have but because we are showing you presets I had to bloat my system and I got all those so there's a lot of presets do as I say not as I do now do as I do when I'm not teaching you right get not even rhymes very good okay so just remember the concept of that bench you want your first stringers next to you and you want everything else available but over there and if you want you can also take the ones that you fired from the team and put them in a folder and save them somewhere just in case someday you wanna go revisit him but if you've already looked at him once and they're not all that interesting it's probably no reason to keep him because it's not like presets like go off in practice on their own and then get better and come back I'm writing coach I can do with this time they just they don't get better they just stay the same all right? Oh all right tools are useful to the extent that they've been to our will so the more you are able to take a tool and make it your own the better off that tool is so like of your violinist you're going toe add stuff to like a chin pad and you're going toe you know, use very special bra very special bowl with some extra you know, special horsehair or whatever to make that violence sound the very best you're going to do stuff to tweak your instrument and then you're going to practice and then you're gonna go all that needs a little more tweaking you'll tweak it a little bit you have become familiar with it and then it becomes your own once that that instrument is your own then it becomes very valuable to you is an artist what I'm going to suggest is that no pre set and no plug in should ever be used out of the box as is they should be tweet until they've been to your will until they are you sell for instance I can go into an hdr program on dwork on hdr images but there is not one hdr preset that's inside of the knicks software that aiken stand and yet the hdr nick software is awesome but it has to be tweaked by me and so I create presets within the aged air software to make sure that that software is valuable to me and the same is true for presets, and we'll talk about this a t end of this segment and the beginning of next. Well, we're going to go through the presets and I'll show you how to make them your own. So there is no reason why you should buy visco presets and keep them the same way visco made them. Okay, this goes the s c l visual supply company. Awesome, awesome job. They did a really cool job with some presets that kind of mimic film, and they really utilized a lot of tricky stuff to do it, but there's no reason you should keep them that way, because oftentimes they they need to be tweaked a little bit to make it right. Ok, all right, um, what is good for the goose should be synchronized. So if you have something that you have developed and we talked about this earlier with the sink box, if you have something that you've developed as the decision maker in the studio as the style setter, if it's good for what you're doing, everybody needs to be using it right now, not tomorrow, not the next day, not ten weeks later, when you finally get around to copying and pasting it over to their system if you've developed a system or a preset or something that works for an image or for a set of images, then you need to share that immediately with your studio so that your studio could be using it as well. Or if you're just a one man show like me, then it's a matter of I'm I like what I've done here on the laptop. It better be available to me on the desktop when I get home, because that's, where I'm gonna be using it. So if you develop something that that process in that effort that you went through needs to be worth something, that means you need to get those things available everywhere, so find a way to make that possible, whether it's creating the sink box that we taught you to create, so that can automatically syncs stuff across your studio and across your laptop and desktop. Or if if you don't want to get that tricky and you just want to have a a place where everybody goes and they khun, grab the latest presets and storm in there. That's great, too, like you could create a published service, or I mean out of publishers, but a drop box where all your friends and family have access to that drop box, and you've put all your presets that you have made inside of there, and then all of your assistance go out there and grab their presets and pull him down once a month or something and say you know, this is where you go to get presets so that you, when you're working on image, they look like whatever it is you come up with a system I think the sink box is great but come up with a system to make sure that whatever you done is repeatable across your studio. Okay, all right too is worse than one. You can have two awesome plug ins and having to awesome plug ins could be worse than having one because if you have too and one is good and one is a little bit better what's the point of having the one that's not as good now you're just giving yourself a decision to make which plug in do I use or which precept do I use? Not sure, so you're wasting time deciding between the two and you're wasting valuable space on your hard drive and you just wasted money because you bought two different things that do the same thing. What I'm suggesting to you is that you take the opportunity of this three days watch what we do inside of the software so that you get a real good feel of what they do and then make a decision as to which one you want to investigate and maybe you'll investigate both but you if you're armed with my opinion and the opportunity to see what they're doing and then you're armed with the opportunity of going and visiting the software and using it for thirty days and playing with both choose one don't choose to don't choose three don't choose five choose one don't tell you the same thing with presets you know I I sell preset you can go on toe to platte store dot com and by presets at fifty percent off for the next week all right all you have to use the code what is the code ryan looked at the code for us anyway so I think the code is uh oh it's plug ins one on one I think or I think I think that's what it is anyway I'll give you come you can buy those at fifty percent off and that's great but I'm also showing you visco and I'm showing you pretty presets and I'm showing you ca botas presets and I'm showing you all sorts of presets how care which ones you buy if you're going to buy mind don't buy someone else's if you're gonna buy someone else's don't buy mine figure out which one you think looks the most likely to be valuable to you and by that one don't go by every pre set on the planet by the ones that look valuable to you and then once you have those tweak him and make him your own that's the important thing is that you're that you're making conscious decisions as to what you're going to get based on what you're attempting to accomplish, because there are some of you out there that, you know, want to do some very artsy type things, you know? So by artsy type presets, there's a lot of other people who want to get things done, you want to get things done, then you buy my presets because that's the point is to get stuff done so they do buy your presets. They can use the code plug in live. There we go, plug in live right? Yeah. So you got a plant store dot com and you buy it presets. They're fifty percent off with the code plug in life. And I also, by the way, on that deals page, all the people who have given me a code because a couple of the pre set makers and plugging makers who's giving me code to give you discounts, and some of them are as much as fifty percent off in some are twenty five percent off on whatever. So all of that is on the plug ins page there's a link. Just follow the link, use the code and there's also a date at which that coat ends, so go to the plug ins on the creative live website when you register and open up that plug ins are the great deals it's called great deals open that pdf and there's plenty of great so there's lots and lots of deals. So there's a great time to make your decisions, but use this three days to really investigate the decisions, and then download them and play with them, and then by except for presets. You can't do that with presets because there's no way to evaluate a set of presets so anyone alright so too is worse than one. Don't be buying twenty million things by the ones you need leave the rest that is the plug in manifesto which you can also read. If you go to the course website and you purchase the course, the plug in manifesto is in full display as a pdf with lots of written information on it perfect, so it purchased the course. You get the plug in manifesto and you can you can be one of the followers of the plug in manifesto, all right, so anyway, but the important thing is that we've discussed the concept behind the efficiency model for your plug ins and your presents. Now, as we go through these, I want you to think about those things that we talked about and see how they fit when we're talking about different presets and different plug ins because you will see there will be times where the precept that I'm using is going to violate our manifesto or the plug in will violate the manifesto and so at that point we delete it violates the manifesto, we delete it or we change it and it's possible to change it as well. All right, see you ready, rebecca marie assets and this is going back to one of the earlier manifesto items. Can you give any recommendations on what images you would use to help streamline the presets and test the presets during test phase? If you're taking a day to test, you do not want to use photos that are too dark or too light or too whatever you want to use photos that are normal toe what you do, so don't try and test unless all you do is like dramatic film noir photographs, then test him on those but take whatever is common toe what you shoot and test on that, and you're just going to take a smattering of stuff. So what I would do is just take a couple of jobs and grab a couple images throughout those like grab, you know, getting ready if you have you do weddings grab like three different weddings and grab a smattering of images from that and throw him in a collection so just because you could make a collection here so if you're in your working catalog and you have this many jobs, you could then go in and collect a set of images from all these different jobs and then you could come down here and make up a collection of different items so like, for instance, I could here's ah, little job that I did for some collateral work for ah resort and then here's a wedding that I did up here, so I've got I've got some collateral work for this resort, and then I've got some wedding work here for those wedding, so there's all sorts of stuff that I have, and I can just put them all into a collection so that I just have various things and and make them close enough together, you know, you got three things from here and three things from there so that they're different, you have different things that you could try something on, because then what you want to be able do is you want to be ableto click on an image so let's say that's, the image you want to click on you want to play with this image, the first thing that you're going to do is you're going to, you know, brighten it up and have it just kind of normalized once you've got it fairly well normalized then you're going to go over to your presets, and you're going to start clicking. But you want the preset to be valuable on this image and on this one, ok, you don't want. You don't want things that are only valuable to dark images and only valuable. You want things that are valuable in both this condition and this condition, because that's, the most useful, valuable plug in or pre set, is something that can actually work on both.

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