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Workflows with Lightroom 5

Lesson 15 of 21

10:00 am - Export or Edit In Pt 2

Julieanne Kost

Workflows with Lightroom 5

Julieanne Kost

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Lesson Info

15. 10:00 am - Export or Edit In Pt 2

Lesson Info

10:00 am - Export or Edit In Pt 2

so there's also a way Teoh to merge images together, which are HDR images. So we'll talk about that while this is building. So HDR images are high dynamic range images. So a lot of times you might go outside in the middle of the day and there's just a ton of contrast in the scene. So you have really dark shadows and really bright highlights, like maybe nice clouds, but also you're photographing into a forest so you can't really see into the shadow areas. So you know a digital camera can Onley capture a certain amount of values before it's either going to clip your highlights toe white. Or it's going to force your shadows toe black. So what people usually do is say OK, well, I'm gonna expose for my highlights because it's really important that I get that information and I have highlight information in my clouds, and sometimes they just say, Well, I'm sorry if my shadows falta pure black or they say, well exposed from highlights and then I'll just use the shadow slider in photo shots are...

in light room and I'll just bring up my shadows. But what's the problem when you do that. The noise exactly. Right. So you're gonna get a little bit of noise. So, um, so there's your panorama. Okay. All right. Sorry. It was like, Oh, and we could use Puppet warp. Or we could go ahead and change that distortion. No, Stop it. All right, move on. Okay, so we've got these three images. So this is what I mean by my info there. Let's show my hissed a gram so high, dynamic range. So we have this image here, and then we have another image. That's that's photograph. Basically one stop apart, and then we go to the next image here, and we've got this one. So the 1st 1 had areas that were under exposed that were pure black. And then this one, we have areas that are pure white. And what we want is we want to hand off kind of like the best of each one of these exposures to photo shop, right. And sometimes you have to take three images sometimes have to take five images. It's better if you put your image on a tripod. Because if you have your image on a tripod and you're changing the exposure by the way. Don't change your f stop, right, cause that would be changing your focal length. And so when you change your depth of field over a series of exposure, it's gonna be harder for Photoshopped to stitch it together cause different things will be in and out of focus. So you but you do want to put this on a tripod. If you don't, we will do some auto alignment and try to correct them. But don't forget. Every time we have to distort something, you're going to be interpolated pixels. Your image is gonna get a little bit softer. People are on lighter like, Oh, she doesn't really care about that. Did you see her at those color caste? She's not a purist. Alright, so I've got these three exposures shot, one stop apart. I'm not sure why with the math one stop apart, but the engineers tell me that's what they That's what Photoshopped blanks. So this time I would say merge to HDR Pro in Photoshop, and there is a really cool new feature in a photo shop that I have to show you. So we're just been a little bit more time with this, But What's basically happening is Photoshopped actually uses cameras, capture some cameras, capture in 12 bit, some cameras capture in 14 bit. So instead of having a Photoshopped version that has eight bid and 12 been and 14 but we just have a thing 16 bit and 32 bit. All right, so those are the three that you can dio and, um uh, go away. Okay. All right. So you can see right here. Here's my different modes. And I could say, All right, well, I want I want Photoshopped to go and open this, but then convert it down to eight bit. And I have all these controls that I can use. I could do the same thing and say, Well, no, just go to 16 bit again. I have all these controls, but a cool new feature in Photoshop Sisi is the ability to actually keep this in 32 bit and then complete the toning in camera raw. What? How's that gonna work? So, in photo shop CC, we've added camera raw as a filter. So it's not just as you double click from bridge. You go into camera, Ron, and you go in a photo shop anymore. That workflow is still fantastic. But when you have something like this where I'm in light room, I've got three images that Air HD that I want to stitch together, not stitch, but I won't emerge together is hdr Hand it off instead of having eight bit images, 12 images, 14 minutes. Have a 32 bit image right here and I'm gonna complete the Tony in camera raw. So let's go ahead and tone that in camera raw, it's gonna create the file. So now I've got all the good information in the shadows, the good information in the mid tones and the good information in the highlight area. So I'm not gonna probably have to drag those sliders as much. But if I do, there's more information there to drag. I'm not dragging the shadows, you know, into my mid tone area because I've got so much more depth to this file. I'm not gonna get that noise. Yes. How aggressively will adobe be keeping the light room in sync with the camera raw? I know in the past there with some lag between updating the one versus the other so you couldn't. But it looks like Maybe that's become more right. So I think it's a great question and it's something that we struggle with. And the reason that I say that we struggle with it is because light room wants to be super fast and super nimble, right? And so does Photo Shop now, right? This is the whole change to subscription and creative cloud is to keep us to give us the ability because it used to be that we, you know, we would finish creating features, but we couldn't ship the feature for months, so we were just sitting there on futures that our customers wanted, but we couldn't deliver to them. So now, with Creative Cloud, the whole idea behind that is we can, as we create the features and test the features, we can actually add those features to the subscription based model. So or I should say, it's a membership sorriest on a subscription membership membership has its privileges. Okay, so So with light room now, you know that is part of like we have this photo shop boil loyalty both the photography program. So we know that we can get this kind of I can't say, but it's a bundle, right? So and it's a limited time offer, meaning that, you know, we have said that you will be able to do this little offering that we have until the end of the year and in after the end of the year. It might no longer exist, so if you kind of lock in now it's 1999 and you get photo shopping. You get light room. But light room is also still a perpetual product. Perpetual meaning is a box copy. You can still buy it as a box copy. So it's going to be very interesting to see what happens because we can't update that perpetual box copy with new features. Now when I say that, you can still add, like we always add camera support as soon as we can. So I think light room is always been on like this every quarter it adds more camera support, weaken do bug fixes and stuff like that. But we can't necessarily add new features, so it'll be interesting to see what's gonna happen going forward. If I had a crystal ball, I would buy lottery tickets, all right, so I don't have a crystal ball So what? What just happened? I said, finish editing in camera raw, and I've got the camera raw dialog box and I'm in 32 bit. But I've got all the tools that I'm familiar with. So if I want to come in here and I want to change my shadows certainly weaken, see into those shadows. Now, if I want to bring down my highlights, we can do that. I want ads and clarity. If I want to go to the tone curve, If I want to go here and change to gray scale, I could do that or change. And they say, You know what? Maybe this blue was a little bit too much. Then I can come over here. We've got all of our targeted adjustment tools here, So I've got my saturation targeted adjustment tool. They say, Yeah, let's bring that saturation down to bring the saturation of the whole point here. People are thinking, Well, why wouldn't you have just made that change in light room? Because in light room, I was only working with one file. Remember if I made this drastic change in light room and then light room I went in and I brought up my shadows like this. I beginning noise in my shadows because I actually started with three exposures here. One of them actually had a really decent exposure of my shadows, right? One of them had a decent exposure of my mid tones, and one of them had a good exposure of my highlights and white areas. So I'm building. I've got so much more information than putting into this 32 bit file, but I can make much more drastic changes in the camera raw dialog box because it's in 32 bit now. So when I click OK, just so that you know what's going on? What's happened here is you can see. First of all, I'm in a 32 bit file, right, So it says 32 bit right up here. I've got a layer here. This layer has a little icon right here. This is my smart object thumbnail. So this tells me this is a smart object. What is a smaller object? We'll talk about that in a little bit. So this is a smart object. And when you add a filter to a smart object, you automatically get a smart filter which means I can go in and I can re edit this at any time. So if I come down here, we can see without the camera. Raw filter. That's what it looks like with the camera raw filter. It's gonna have to build the preview right now, and it's rendering it there. It is with the changes that I made the camera raw. So without it, this is just your basic 32 bit image. With this are the modifications that I've made to the 32 bit image. I mean, I have a mask here. If we double click here, I can go in, and I can actually change the opacity settings and the blend modes for the actual filter itself. I can go in here and double click where it says camera raw, filter and say, No, that was crazy. I don't know what you're thinking. I want to change the color temperature of this or I want to change this to a converted to grayscale click. OK, and when you come back, it's gonna re render that. But it's a raw file. It's ah, it's ah, it's three raw files that have been put into a single bit image. That 32 bit image that color 32 bit image has been changed into a smart object. So even though I just said yes, I want that to be displayed in Grayscale, you go back in there again and it's all non destructive. So I say, No, you know what? I like it better in color. Come back and it will re render it. And I'm not losing any quality the whole time we do this. So smart objects air Absolutely fantastic. We should talk more about smart objects so that if I wanted this Oh, here's an important safety tip. If I save this right now, it's going to save it as a PSD file because that's my preference. But some people prefer to save by default as tiff files, which in this case, would be a good thing. Let me show you why it's saving. At 77% 81% maybe 3% people are watching. Are you tired? You get 83% and you just stopped because I was mocking you, he said. Really? Really. Julianne, you want to mock me? I'll stop in 83% now I come back here. Uh oh. What's going on? Iran doesn't like 32 bit psd files. It just gives me that The files there, it just doesn't preview it. Is that the whole process? You just did only in Creative Cloud the whole process that I just did the fact that I can take my images in light room I can go in and correct the lens correction on them. I can take them into Photoshop emerged to a 32 bit image that is all available in photo shop CS six. It wasn't until Photoshopped CC the creative cloud version that we added the adobe camera raw as a smart filter. So that part is the part that's new eso What would I do? Well, I still have that file open, but I could also double click and open it, and I could just say I am sorry. Whoops. Oh, whoa! Hey. All right, Well, not quite sure what? I think I just picked clothes. Maybe. I think that's what I did. Just to show you that maybe we should go here and say edit in. So if you've closed the file, let's edit the original. I'll click at it. So even though light room isn't giving me the preview light room still can, like, handle the file. But, you know, we could say, Well, here, a photo shop. I don't understand what to do with this, but you do something with it. So in photo shop, I would do a save as and then we'll just save this as a tiff file instead, click, save, Just click. OK, use the default settings there. And once it's done saving that, then I can come back over the light room, see, like, oh, I was going to say I didn't market and it didn't stop at the very end. But it's like 94 95 96. Come on, give it back to light room. Light rooms waiting. Come on. Photo shop. It's only like a 200 something meg file. So it's a little big. I mean, I'm I'm going over there anyway. No, I can't yet handed off. Okay. Where is it? Oh, did I just mess it up? Because I went over here too soon? Sometimes I've had that happen. All right, let's go to sort order. I'm gonna change this to file name instead. Tng psd file. There's my tiff file. Oh, okay. Let's get to know. So, um so what happened? Why? Doesn't like room see that to file? I think light room says that final looks a lot like this PSD file already have. I don't know why you'd want to finals. That are exactly the same. Let's see if that is the case. That might be the case. I'm gonna right mouse click, And I'm gonna say Go to the folder in the finder. Here's my PST file. I'm gonna delete that PSD file. The reason that I went t o the folder is because I want to synchronize this folder. So this is this is actually a great little troubleshooting thing. So I'm gonna delete this file. I'm gonna delete it from disk. I don't want it. I don't want the psd file. I want that tiff file. I save the tiff files. A light room could see the tiff file, so I'm gonna say delete from disk. Okay, so it's gone. So I said light room, pretend like that never even existed. You don't know about it. You know nothing about the PSD file. The right mouse click where it says Mexico because I know this is the folder that that tiff file was saved. Teoh because a tiff file was saved in the same folder is the PSD file. I'm gonna say Synchronized folder. Evidently there's 18 pictures in they're not really sure with those. Other 17 are, but I'm thinking one of them and I don't need to show the import dialog box. I'm thinking one of them is that HDR the 32 bit tiff file? And sure enough, there it is who this is no longer a beginner's class. But I actually like it when things like this happen, because then I can show you what you have to do, because that's a little bit. That's not something I would choose to demo. Let's put it that way. So just to recap, what happened? I took my three images. I handed him off to light room as a 30 I said, Would you please make this into a HDR image? So emerged into a 32 bit file? I saved that 32 bit file as a PSD file. I came back to light room light room, saw the PST file. I said, Yeah, I can see it, But I'm not going to show you a preview because I don't know how he said, All right, well, I want a preview. So we opened the PSD file, and we saved is a tiff because light rooms good with tips back to light room. We waited were like waiting. Waiting scene where? Why doesn't that file drop in? Ah, light room saying, how do you know about that file? I've got the exact same file attributes for a PSD file. So why would you want a duplicate copy of that file is a tip? Because light arms all about You gotta have your master file and then you're derivatives. We're not making a bunch of copies of your files here because you're just gonna get confused. Light room is trying to help you. It is. So it's saying All right, well, I'm not just gonna ignore the tip because it looks a lot like this other one. So I said, Well, if I could only have one. I'm going to leave the PSD file light room. I could have just removed it. I could have just said Just pretend like it doesn't exist. Just remove it from the catalogue, but I didn't actually want It's so I throw in the trash and then I went ahead and said, OK, let's synchronize the folder and bring in any files, and I wasn't aware of. All right. Okay. So, um, we should also talk about opening as layers because that could be super helpful in a super big timesaver. So let's go here too. Where in my hime And, uh, I'm here. I'm an export and edit in. So what were all these thumbnails for? This was a really fun project where I just took a bunch of slivers of images like really colorful images, and, um, I cropped them. All right, so this is just like I thought, Well, I was in Mexico. The colors there are just so fantastic. But I just thought, you know what? I'm just going to be a sliver of all of the images that I photographed, and I was I was adding blurred to him. So slow shutter speed just to get this blurs. So then, in in light room, you can see that I just cropped them all right to this aspect ratio where they're slivers and then I just selected all of the images. I right, mouse click. I say at it and I say, could you just open them as layers? So what that does is it opens all of these in the single layered Photoshopped document. So if you've got, like, five images that you want toe put into the same document instead of opening each one separately and in dragging and dropping each of those into your document, you can always use open his layers. So I did that and then I just I'll make it sound like it was really easy, but oh, my gosh. I mean, it was it was easy. And the fact that what I did is I just said Okay, make a I said, open his layers. I've got all these layers I said, make my canvas eyes really wide. I put the first layer over here. I put the second layer over here. I selected all the layers in between and I said, Distribute just distributed mall like tick, tick, tick, tick, tick, tick, tick. But then the colors weren't in the right order. Of course, of course. Then I spent, like, two days like me think this color and that color is killing that color. But anyway, I love it. So So that's a good example of just saying, You know what? I've got all these files. I don't want to drag and drop them separately. Just put em all in same layers. But when we get to something like like my composite images think if we look at this image in this image, I'm going to use smart objects. I want to spend maybe 15 minutes and show you the benefits of smart objects. Bring the file in and we can just build that What I would really love if any of the engineers air watching this. I would love an option that opens multiple files as smart objects into a single layer document. That would be cool, but we don't have it. Yeah, I know. I am. Every time I give this down, like on somebody, I just like when I checked my email, like anybody listening. Darn right. So how about exporting though? So, um, we do need to talk about exporting. Will go back to grid view. When do you export? Well, I export when I have a ton of different images. So here we'll just pick another folder full of images. Let's go to Let's go to New Mexico. All right, so I have a ton of different images in here. If I needed to export all of these images, I certainly, you know, if I had 500 images, I'm not gonna do an edit, and I don't want them all opening and photo shop. I just want to export them off. So we select all of the images that we want to export, and we just click on export. Now you can see I have a ton of export presets because once I set this up, if I need to export to be hands, I don't want to even have to come in here and look at this dialog box. I want a preset that I could just apply and say, OK, here's my six images export or here's my images. Tears for my blawg. Here's the banner. Here's my demo. Here's my watermark. Here's when I am Go to Premier Pro. If I'm making a slideshow, here's email. Here's my time lapse images. So you set this up once, and then you just add a presets with a little bit weird. You know, all the other places in light room, you have a drop down menu and you say, save the preset and stuff Here. It's a little bit on. You have to add the preset, but it's it's no big deal. So if I was going to what do we want to save these for? We won. Give me a good a good example when you export all your files at once, send to a client. Okay, So what do you want to send a client? JPEG files or two files? PSD files to tiff files. OK, so this is a good client. These air final images, you're probably sending them. Okay, Um and you have a very fast ftp or you're going to give them a DVD or something. Don't give me a DVD. I don't even have a DVD. I don't even have a way to kind of crazy these this world today. I don't even have a place to put in a DVD. Yeah, I know, but I'm telling you, I don't I don't even save my files a DVD anymore. I put them all on hard drives or I, you know, somehow ftp m t my clients. And I know that there's gonna be angry optical media customers coming after me with pitchforks and torches, but they're going away people. Okay? All right, so we're gonna save these as tiff files were going to save them. Maybe like four by six tiff files or something. So where do I want to save them? Do I wanted Teoh designate to a specific folder or do I want to save him? And Aziz? The in the same folder is the original folder. Be careful with this one. The same folders. Original photo. Because if you think about it, if you've just made like, your portfolio and you've made a collection so your portfolio images or in your collection and you say, Oh, yeah, when export those and I want to save them to the original folder, they could be all over the place. Right, Because you've got an image from your Alaska and you've got an image from San Francisco. OK, so we're going to say a specific folder and we're gonna go and choose. I don't have it set to the Creative Cloud folder. There's a good way for me to Teoh have images that they're accessible from any device. But we will just go to the desktop and we'll make a new folder and we'll call this client. We'll try to spell it correctly. Client A. All right, So there's my client folder and I'll select shoes. And then if we want to, we can put it in the sub folder if you want. Teoh, this is kind of nice. Like if you have a bunch of clients and you can come in here and you can fill this in Um okay, then you have to decide whether or not you want to add it to the catalogue. Most of the time, I don't want all of these copies or derivatives of my files. If I'm gonna export these and send it in my client, I have the originals, so I usually don't. Why do I need to see this copy of them to I usually don't. So I usually wouldn't add them to the Catalan If I was exporting 20 images that I then I'm going to retouch then? Yes, Absolutely. I'm just using export to build the files. All 20 of them. I get a cup of coffee, I come back and now I could just say edit in and it's very quickly. All right, so we're not gonna add it here. I love this existing files. Asked what to dio. Just ask what to dio. Don't choose a new name for the exported file. I want I want control. I love that we put this in all caps like overwrite without warning Were yelling at you or Skip. No, we're gonna ask what to do. Final naming. Here's where you determine how you want to name your files again. If if these air files your hand him off the client don't give him some crazy new name or when they say, Hey, I really like file ABC. You're like, Oh, what does ABC is that 42 of seven, right? Leave it the same name. Just add something, like maybe their initials for their client. How would you do that? You go in here to add it, just like we did a minute ago. Original file name plus client A just a pendant. Just put something on the end. So you know you have is the oneness into the client. We just can get rid of that. Go ahead and save this saving is your preset client A is wrong with me. Client. A hit. Create click Done there. We've got him. What about video? Are you including video? You certainly can if you if you have some. What about your file setting? So we decided we were gonna go to Tiff. Probably no compression here. You can if you want to. It's just gonna take them a little bit longer to open and close the file. It makes it depending on the image. It will make it a little bit smaller, but it is loss less compression, so it doesn't make it that much smaller. It's not like J Peg. That's throwing away a ton of information and could make really small files color space. What do you think they're gonna view them on? Maybe they're not very savvy. You want to go down the lowest common denominator s RGB? If you're doing anything for for the web, you definitely want to do the SRG be and you'd want to do J. Peg is your image format. What about bit depth? Probably. You don't want to give them the 16 bit. Maybe you dio It depends on if that's the final or if there you're just looking for approval. If you're actually just looking for approval on the images, then I would just send it this JPEG because a J peg it like 80% compression visually is very very. There's very little difference. So I think a client could approve and say, Yes, we're gonna go with photo be if it's a J peg. But if you want to send him a tip, that's fine, too. Long edge. So how do you want to resize it? I always say, Just give me the long edge because I might have some verticals and some horizontal right? And I'll come in here and say, All right, well, let's see in us, we'll talk inches and we just want this to be six inches long. Edge. So now it'll be six inches of the longer dimension on a horizontal or on a vertical. So it's nice. You don't have to just really easy, all right? And how many pixels per inch this will matter, right? 300 pixels per inch is gonna give them 1800 pixels, whereas if I had it like 100 pixels, it's gonna be a much smaller file all right. And then do you want to sharpen it? So this is great. The way that we sharpen now in light room, actually is the way we've almost always sharpened is you basically pick the device. So screen, Matt Paper glossy. Since we think the client might be looking at these unscreened will choose screen, and then you just put in your your amount. You don't get a preview of this or anything, but we know how larger original file is, and we know how large you're going to export your file. So we then calculate the sharpening amount based on those kinds of values. So for all of your images, there will be different amounts of sharpening. If you start off with a camera phone image and exported four by six, we're gonna have a different amount sharpening than if you start with your 35 millimeter camera, an export that file. And if you crop your file down lower and then you export that, we even take all of that into consideration. So really, you want to pick your device and then you want a season to taste, like if you've got a bunch of picture a bunch of clouds that you take a picture of a plane. Probably put this toe low. You don't really want to be sharpening your clouds. Alright, usually standard will be just fine. Okay. And then do you want to enter any metadata? Copyright in contact. Oh, yes, Yes, please. All right. Definitely those if you do all metadata. Just little word of warning. This this is really convenient to remove the location information. Unless your client specifically wants that, I just I get a little weirded out like I don't I don't want people that know all my location information. And that actually brings up a question that someone brought up online yesterday was Why did I have in my metadata template, why do I do my P o box? I just don't want everyone to know my address. And the reason you know you can There's a 1,000,000 reasons for that. But when you submit your images in the United States to the copyright office, all of that is public record. So if you submit your address to the copyright office, then that becomes public record. I just want people to have to dig around a little bit, find all my information and you think it's weird Facebook already knows. Well, all my friends are, and Google already knows everywhere that I search for everywhere I go and all right, So how about the copyright in contact info Only you can add a watermark if you want to weaken. Talk more about that later, but that just would add like your copyright. On top of it, as texture is a graphic and then after export, this is super powerful. You could. Actually, if you run a lot of actions and Photoshopped, you can tell light room to export. You know, here's 500 images. Export those images and when you're done, launch light room and start batch processing my light room effects as well. So you do that through what's called a droplet. A droplet is just an action, plus some batch processing settings. And if you want to know more about that, that's kind of beyond the scope here because it goes to photo shot. But go ahead, and I think on my block I have ah, movie on that specific thing. It's just not something that a lot of people dio, so all right, so when you're done. You've set this all up. You click ab you call it my fab Preset. All right, be a little more descriptive. Please go ahead and select either a folder or create a new folder to put this in and then click create. There it is. But the best part about it is if I cancel this now, it doesn't matter tomorrow. If I go to Portland, I select all these images. I right, mouse click. I say, Could you please export these? Oh, with what preset would you like? Oh, how about my fabulous preset? So I don't even have to look at that dialogue box ever again Once I've created all of my templates. All right, so you can select any of these, And then if you're like me, what happens is I export all the files, and I'm like, Oh, but wait, there was that one other file. I have to include that one other file. So I go get that other file. Bless. You have to get that one other file. And I have to come back here and I go to export. And I say, could you just export that with the previous settings? Because I was really lame. And this is the image that I forgot. And you can set this up. You can say, OK, I've got 500 images, start exporting them for your client, and then you just get a little dialog box that starts going across and you say, Oh, and by the way, I've got another 500 images and I need these to be PSD files or whatever. You can set up as many as you want. You select him, you say go. It starts processing in the background. You select more you say Go, go, go, go. So you can people sit there and like Well, no, I have to wait till these air done No, no batch process. Like throw him all up there and then go get lunch or something. Thank you to Everybody is joining us from all over the world. We got some great comments to share with Julianne and to share with all of you. Stefan. Daniel Schwartz is joining us from Germany. Will common Stefan. Looking forward today to this already has been one of the most informative and hilarious workshops I've ever seen on Creativelive. And it certainly has Joan Julian is saying Julianne is so incredible. She knows. She seemed to know exactly what is confusing to me on explaining it away. I can understand that she really loved the pennies as pixels explanation that seemed to yell seem to really resonate with people on Chris Davis Chino, who's joining us on Twitter at Jkos Life saying is the best way to spend a rainy day free light room from the light room develops a new title. Now get about evangelist. It's Deaver from now on, but thank you. Thanks for coming.

Class Description

Ready to drastically reduce your post-production workflow? In this 2-day workshop, Julieanne Kost, the Principal Digital Imaging Evangelist for Adobe Photoshop and Adobe Lightroom at Adobe Systems, will show you how to save time every step of the way, from importing raw images to exporting expertly enhanced photographs — and everything in between.

Julieanne will teach you how to streamline the import process, create a simple organizational structure, and edit a shoot efficiently and seamlessly. You will learn the key tools to enhance your photographs, correct color and tonal values, customize your color to black and white conversion, and even add special effects such as selective coloring, split toning, and vintage looks.

Julieanne will also demonstrate how and when to move images from Lightroom into Photoshop for further enhancements, and outline how to easily create slideshows, photo books, and templates for printing. By the end of this class you’ll understand key tools and strategies for streamlining your workflow while creating stunning images.

Software Used: Adobe Lightroom 5


Valerie Pinsent

Julieanne Kost has an amazing way of sharing her knowledge on photoshop Lightroom, with humour and simplicity that keeps you wanting more. The 2 days that this workshop lasted could have seemed long but was in fact very, very short. This course gives you all the ropes to use this amazing program, with all its shortcuts and techniques that probably aren't in manuals with a few extras from photoshop which are just as amazing. She is so contagious that you want to pull an 'all-nighter' just to put in practice all the wonderfull things one has learned. Thank you very much Julieanne!!!

a Creativelive Student

I follow Julieanne on FB and on her blog, and looked forward to this event. It did not disappoint, and in fact offered a few surprises. The exactitude of her content is always there. But the free-form, informal nature of this course kept it engaging over the many hours. I admire her style of speaking seamlessly to all skill and experience levels at once. Quite a trick -- I've had the good fortune to learn from the best, and I count Julieanne among them.

Julie Coder

I started using LR about a year ago, but I hadn't yet set up my database and work flow process. This class was perfect and really helped me dive deeper into into the program. Julieanne knows her stuff, and she provides some excellent tips for both organization and editing. Love her teaching style, as well as her photography. Some of the more recent tools (such as the range mask) are not covered, but the content is still relevant and Julieanne's tips are fantastic. Highly recommend!