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Workflows with Lightroom 5

Lesson 21 of 21

3:15 pm - The Crunch Bits Pt 2

 

Workflows with Lightroom 5

Lesson 21 of 21

3:15 pm - The Crunch Bits Pt 2

 

Lesson Info

3:15 pm - The Crunch Bits Pt 2

All right, so let's talk a little bit. I'm gonna go back to grid view here for a minute. How do you get these backups? Where do you set these backups? What are you talking about? With a backup of the catalogue. So if we go to our catalog settings, you'll notice here, under General, this is where you determine how often you're going to back up your catalog. So that's when every time you quit, if you've got this said to every time light room exits, it brings up a dialog box and says, Hey, you want to back up And that's when I know. Because I watch you people. You go? Well, I'd like to, and I think it's probably a good idea, but I think I'm just gonna skip this time. Well, then why did you set it up like that? All right, if you're just gonna skip it, I recommend that you do. Well, it depends on how often you work in light room. That's why we give you all the options. So when light room next exits every time once a day, once a week, once a month. How often do you want these incremental bac...

kups. So again, this is if something happens to your catalog. If it gets corrupted, it is an incremental backup. It is not a catastrophic backup if you lose your drive. This is why I have my backups on a secondary drive. If you keep your backups on, the same drive is your current catalogue and you lose that drive, you're gonna lose in both. So you see if we go back here? Well, yeah, sure. If we go back here, you can see Here's where my current catalogue is. Here's where my backups are. So I've got a backup of both of them. All right, let's go back to catalog settings for a minute because I've only kind of told you about half the puzzle. This says how often you want it to save a catalogue. All right, so let's quit light room again, because this is what I wanted to. I didn't mean to choose back up. I meant to select. Choose when you click, choose, then you can navigate to where you want these incremental backups to be all right, which also is something I don't really mention about the fact when I'm on the road when I am on the road and I download all my files to this laptop and I create my new catalogue and I'm working along. I also always have my images backed up a secondary time, Teoh another drive while I'm on the road. And then if I'm actually on the road with someone, I will ask them to carry my drive. And I carry their drive so that if I leave my camera bag or my photo bag in the back of a car and they steal my bag with my computer and my drive in it Oh, I would lose everything. But if they steal my stuff and I've got someone else's back up and that person has my back up first a. Probably it was all in one car, and they probably stole the camera bags and computer bags. But you see my point. It's just one thing. It's like when I got here. I got here on Friday and I left. This is a boot herbal drive of all of my demos and everything that I have cause this drive's partition. And so I left that here, just in case, you know, walking back to the hotel or something. Something happened to my computer. I could come back the next day, and you just can't tell you how. How I cannot stress how important it is to have backups of all of your material. Okay. All right. So that's where I would choose the folder. I would choose a folder on an external drive, back it up to external drives, so you can see where is my light room? Back up. I think I threw it away, actually, because this was just my demo. Yeah, I think I threw it away. All right, so But I would choose that. And then that way, every time I quit, I've got my current database on this machine, and I've got my backups on my external drive. You do want to optimize your catalog after backing up? Well, okay. And now I'm gonna do exactly what I told you not to do. And I'm gonna skip it for now because we don't have to wait to do that. All right, And then we'll relaunch light room. All right. Any questions? We have questions here. Questions online about the backing up and archiving images. Do you have any questions from our audience. Diana One quick one. I've always just hit the backup. I never really thought of our We read it the choose button when that happened. OK, but the choose button. So if you choose, you can choose Teoh any of your external hard drives that you want anywhere, right? Okay. Just I know. And thank you for bringing that up, because the's backups, they just keep adding up, right? Ever. That could be really nice If there was some option that said, Hey, after five, could you throw away the oldest and just keep the latest, but there isn't. So you want to go to your backups every once in a while? Let me see if I can find some backups here. Like, if I go to the desktop here and we make a new one, and I go to my demo files and we go to my image vault? No, sorry. Image Demo catalogue. So here's the backups. Okay, So now many, of course, I don't have any because they must all be backed up to my external drive where the proper location is. I was hoping maybe one of these, um, maybe multiple catalogs. There's no backups no backups, no backups. There is my back up some of these. Okay, so here I have one. But my point is, is that every time you quit and you save a backup, it will date it, and you'll just get this sequence of backup. Backup, backup, backup, backup. So then you have to figure out how comfortable you are with how many backups. Now, the nice thing is, when you actually look inside the backup, it's only the l our catalogue that is backed up. You're previews. They're not backed up because the figures you can afford to lose your previous we can regenerate your previous. It'll take a little time, but it's not worth mean. Your preview files can get huge. They could be gigabytes. And so we don't want to back up the catalogue and the gigabytes where the previews. So we just back up the catalog, but you'll want to go in there every once in a while and just make sure that you don't have, like, 50 of them there because they will be taking up space. So would you want to back up to, like, external drive a one time and then extra be Well, I'm good the way I have it set up here. No, I just go ahead and I will always I will always have my main catalog right here, Right. This is my current catalogue. And then I'll always have my back up on my external drive, and it's always Oh, yes. So it's always on the same dry because I have those five drive now, I just put it on your drives. Yeah, I just And you know what? I used to have a ton of separate little drives and stuff, and I was always shuffling them around, and I never had enough ports to plug him in, and I'm doing is that I know it's like the drive shuffle, right? And then I just said one day I was like, You know what? This is crazy. It's worth 500 bucks for me to go by the re what I need. And you know what? All those miscellaneous drives are now just sitting in the closet and there another backup just in case something goes wrong. But for me, it's totally worth it. I know that everything, everything has a price. But it was just the trade off for a man like No, I just want them secure. I want them all in one place. I want to be able to pick up my one set of drives and carry them off to adobe and store them there when I'm traveling and stuff. Hi. What do you mean by or what is light room mean by incremental? Because when I hear that, I hear everything that's changed since the last backup. Meaning if you'd restore that most current back up, you're missing data. That was in the other days back. Okay, Sorry. So they know that's not what I mean. When I say that incremental just yeah, that could be very misleading. So I appreciate you pointing that out. I'm saying it's your most current one. We always when you say backup, it backs up your most current at that moment database totally in total. It's not just saying whatever changed its everything. I just mean incremental in that it's got Mondays and then there's Tuesday's is is the state. It's almost like a snapshot. Tuesdays is Tuesdays. Catalogue Wednesday is full. Wednesday's catalogue Thursday is full Thursday. We make incremental changes day to day, so that's what I was. That's where I get incremental, but I think I might need to turn. I need I think I need to change my terminology. I don't think incremental is is working for me. Okay, alright. Online. Do we have passion? You've got a couple more. Will, 61 wants to know. Are you able to access a light room drive from a PC or Mac over a home network? I know you mentioned some of the data being in the network. How much should be attached physically to your computer? How much should be on the local network? Um, so you can't. You can put your photographs anywhere you want them. You just can't put your database. We adobe does not support putting your light room catalogue on a network server. Yeah, I guess another follow up question is how much space does light room need on the drive that it sits on? How much should be allocated to that? I know you said one terabyte, two terabytes on those main drives. Oh, but that was OK, so that was just for photo shop. So assed faras light room goes. Let's actually talk about that. Let's get out of here, we'll tap the F key and will come down to optimizing so it doesn't need. Basically, it doesn't need its own amount of space. I mean, you always need to have space free on a hard drive, but light room isn't like photo Shop where it's gonna be writing all of these scratched discs that files that were really, really big. But it does have a few things. There's a few things we could do to make light room faster. So let's take a look at these. So because people always ask, how do you optimize it? And this is kind of also answering the question. How many images can I have in my life room catalogue, which the answer to that is, it depends. So the engineering team does not have, like, a cap. They didn't say, like, all right, a X number of images you can't import anymore. They did not do that. You can import as many files you want because some people are importing really, really small files like just camera phone files so they could have a huge number of those on a terabyte drive. Whereas if you're shooting with a larger camera, you're gonna fewer file. So it's not just total image count. All right, it's. Here's some things you can do the opera demise. So hardware and software, um, you need the most current versions. So how do you do that? Well, if you're in light room or if you're in photo shop or whatever application. If you go underneath the help menu, you can always check for updates. If you're a member of Creative Cloud, then it should notify you here, and you would see under the APP area whether or not you have something to update. But you can always manually check this. We go back to light room. You can go underneath the help menu and come down here. Check for updates. But it's not just it's not just light room. It's also your operating system, right? So I really encourage people to keep current on their operating system. It's your video card drivers, so you really want to update your video card driver's whenever you can. Um, what else will help? CPU Speed will help. How fast is your CPU of your computer? What else helps your drive speed. That's why I keep the light room catalog on my fastest Dr O, Which brings up another good point. So maybe if you're a professional photographer and you have like, uh, let's just say 10 clients per month or, let's say, 10. It's just a 10 active clients at one time. They're always rotating through. You might want to put all those photographs on your internal drive if you have space, and then when you're done with those active clients, just drag that folder to your external drive. Because if your internal drive is a lot faster than that external drive, why not keep just what you're actively working on and then write? It would be super easy, right? Cause you would just say Okay, well on, you know, on my internal drive, maybe I've got this number of images and then when I'm done all right, let's go ahead and just, uh, when I'm finished with, like editing this Portland shoot, what I'll do is I'll just drag it to my second drive. So while it's actively being processed and you're working on it, you're going to the develop module on your changing all those settings. You might want to keep it here, and when you're done, you would just drag the Portland folder to your other drive in order to kind of archive it there. Right, cause it moves it. Remember, we talked about that yesterday. It actually moves all of those files. All right, let's get back to that optimize, Right? Also, ram. So Ram is not as important as faras like a zit. I shouldn't say that. Don't get me wrong. It's just Photoshopped loves Ram. Like if you ask me, I'm I want to know how much ram I made for a photo shop as much as you can afford. Okay. In light room. Not less than four gigs, please. I know our system requirements are less than that, but if you can get more, you'll have a happier, more pleasant experience. And that's what I'm all about having. So if you've got multiple files open to our multiple applications open. If you got photo shop open and you've got your browser open, you got your email program open and you've got light room open. You'll want more than four gigs of Ram. All right. Optimizing the catalogue. The location we talked about that put it on your fastest drive. Standard size previews. I like to render those. I like to render those on purpose. I like to render them at the size that I need. Remember how we went underneath the catalog settings right here? And we went Teoh our file handling, and we said we're gonna create standard previous size based on our monitor. So in this case, because I have a large monitor at home High resolution, I keep this a 28 80. But if I was on Lee ever on a laptop, that maybe only needed 22,048 as its largest dimension left to right, I could go ahead and reduce this and it would make each preview smaller. And if I had 10,000 images, that actually does make a significant difference. Okay? Also, the one toe one I don't I make those conscientiously like when I zoom in, I make those and then you can tell it to discard those after a certain amount of time. So let's say you usually get your clients their work within 30 days. Great. After 30 days, just discard the one. The one we'll still have. The standard preview will still create a preview. If you zoom in but you don't need it just sitting around, hanging around. Okay. All right. Let's close that, um and then optimize. That was just the little button when I said back up and there was a little optimized right there. Just keep that checked on. It's on by default. Individual files we talked about size depends on the size of your image, location of the files. You want to put him on the fastest drive, but a lot of us have so many of them that were ending up putting them on on external drives. That may not be as fast when you create your previews. We talked about this the first day. If you're trying to edit a shooting you're going through in your rating and ranking, I would recommend that you probably want to do that in the library module because in the develop module will have to read each file from scratch because they're really concerned about the quality. We want to make sure that we're getting the highest quality and develop module. So we will read each file from scratch. Now there is a camera raw cash back out of here for a minute. We'll go back into. Oh, gosh. I believe that is our Yes. Okay, so it's our preferences file handling this cash. What is this for? You may or may not ever need to increase this. I've increased it to 20 gigs. What that allows me to do is when I'm in the develop module. If I move from one image to the next and then come back and then go back and back and back and forth, it allows light room to store those large previews in a cash. Now, if you never do that, if you go the develop module you like, I fixed the 1st 1 I go to the 2nd 1 I go to the 3rd 1 I go to the 4th 1 Then you might be OK with the default setting. But if you're like, ooh, I fix the 4th 1 now, I think I want to change the 3rd 1 and you go back instead of having to read it from disk. It'll just grab it from the cash, which will be faster so that this is where you would set that up here. All right. And then finally what else do we have? So whether you're making global or selective changes. So we talked a little bit about that. Um, if you notice things were getting really slow in the develop module, it could be because you've gone in there and you've added your lens profile correction. So we're correcting the distortion. Maybe you added up right. We've got another layer of correction. On top of that, you've added all of your global changes, and now all of a sudden you're also adding local changes. You've added a nice little graduated filter and you went to your adjustment brush and you dodged and you burned your image. The more changes you make, obviously, the heavier the editing is going to be, and it's gonna cost you a little something, right, So So get it right in camera and save light room for your creative edits. Not your fix edits, because that might slow it down. If you've got, you know, 800 images that are all really, really heavily retouched. That folder would probably be a little slower. And then the writing the files to Ex MP, which we talked about you old you'll go to your catalog settings. You'll turn that on. You'll see if it slows things down. If you don't notice the performance decrease than just leave that on. If you do notice the performance decrease, you just do a quick select all and then you save. And that pushes the information from the database into the file at the end of your editing session. All right, Any questions, Really, really quick ones. Really good, John. For Jackie, About storage of space, John for Jackie Saying so do you recommend only 20 gigabytes for your cash? I know you can raise it up higher. Okay, You can Onda Nucleus saying Is it true that one catalogue should not exceed 10,000 files? That's not true. I think that's just an evil rumor from the light room, Like, 10 days into, oh, days we know people that have hundreds of thousands of images in a single catalogue. Yeah, relax. Now from Pittsburgh Says if you use smart previews, will light room use them instead of the standard previous. Okay, so the way I understand this was smart Previous. Um, I'm gonna do a blawg post on this, and there's a reason for this. So I thought one thing and I asked product manager he sent me something else, but I don't. I think that I'm something that transposed in my questions. So I need to research a little bit more. Basically, we will use the standard. From what I understand, we always use your standard previews while you're in the library module. It is Onley. When you go to the develop module that we will use thes smart previews and we will Onley use your smart previews in the develop module if your files are offline. But I want to reconfirm that. Okay, Okay. All right. Do you have any questions here? So it's either all perfectly clear or I've lost you all because it's this time on the second day on. I would understand that. All right. Someone asked online yesterday if I could go back and rename my photos in large batches. Absolutely. So you can rename as many files as you want at one time. I could go back to 2013 right? Because I am viewing all of the images in the sub folder. I could actually come down here and say, Let's just sort these by capture time, do a select all and I could rename all 3256 images at one time, I could rename my whole catalogue at one time. I wouldn't do that personally because I have too many derivatives out there already. So I'm cautious about going back and just renaming my old stuff. Typically, when I get it And when I'm at the point where I'm like, Wow, I think I want to change my workflow. I just start moving forward like I say, Oh, you know what? From now on, I want to apply lens correction. Every single image and what happens is I see a lot of people go. Yeah, but what about my legacy files? What am I going to do about the old? Don't worry about the old stuff or the one in here All the time is Well, I can't start key wording now because I haven't keyword it. All my other images just start today and just move forward next time there's a commercial on or something go back in like he were just one other little folder full of images or something like that. So just from now, moving forward, okay? Someone else asked yesterday if they could move the panels You cannot move your panels like you can in photo shots, but you can use to monitors in light room. And not many people have found that, you know. Go ahead. You have a question? Yeah. Speaking the panels, Will you be breaking toe light room? That new panel creator that you've got going in the photo shop? Oh, no. Because maybe, you know, take 7000 pictures headed off to your intern with that customized panel. Yeah. So in photo shop, for those people who don't know, you can actually create your own custom panels. It's quite cool. We've got something called configuration er, and it will make custom flash panels. There is no such thing in in light room light rooms, panels or not flash panels. I don't believe 99% sure, but I could be wrong, but they're not. You cannot move them. You also can't like I can't just move the quick develop panel somewhere else. So I can use to monitors, however, but most people never find it, cause it's just this little one and two option right down here. So when I click on the two option, I actually get kind of a secondary display window. Now, this secondary display window, Aiken, drag either one of these windows. I can move this to my secondary display, or I can move this to my secondary display. It doesn't matter. It's however you're comfortable. You can also change your secondary display. If we just show this, you'll notice. I can go now. Right now. I'm in. Loop it. Put me in, Luke, because I was in grid on my primary display. If I choose grid, guess what it goes toe loop over here. If I choose, compare or survey that it will leave this one alone. But I can go ahead and we select a number of images. We could go ahead and compare them over here. So this is really nice. When you've got two monitors, you also have the survey mode. All right, but let's go back Teoh grid for a minute, because I do want to show you there are additional options. Great is in loop. It's only in loop. Okay, So what was this designed for? When you go toe loop, you've got three different options over here. The normal, the lives and locked. So what is this for? It's really for? Well, I found that super convenient. If you've got an art director of here in a sales room and you want to show them something else on another monitor, maybe it's facing away from you. Right? So you're on your computer, you've got this other monitor that they're looking at. Well, in normal mode, if we come over here wherever I place my curse or whatever I click on, I should say that is going to push whatever file to that other monitor. If I change this toe live now, no matter where I go, they can see everything I'm doing. That may be what you want. It may not be what you want. What most people want is they want to goto locked in this way, they can say I can dio whatever I want on this monitor, I can go look through images and then when I get to an image that I want to show you, control, shift, enter on windows or command shift return. All right, so sorry. Command shift. Return on. Mac control shift return on windows. That basically takes whatever you're looking at on on your monitor. Whatever's on the primary monitor here and it throws it over to the other monitor. So that way you can kind of be going through and doing an edit and say, No, you don't really want to see this picture and I don't You know, this one's bad and oh, please, I really hope we don't go in this direction. I just want to go in this direction so you could be looking through things. And when you're done, command shift return will push that so that your client can see it. So I would. I mean, I think it's definitely worth checking out the dual monitor solution here because I think it's great. I think it's fabulous. And by the way, all the on the secondary monitor. It's all the same keyboard shortcuts like if I If I tap the geeky, you know that that goes to grid here. But if I add the shift key shift G goes to grid on my secondary monitor shift E goes toe loop on the secondary monitor. Shift in goes to survey mode. So if I had more images selected, we'd see them all and then shift see will go to compare. So they're the same keyboard shortcuts you just add the shift key if you want to drive it to that secondary monitor. All right. Oh, so this is a good one, too. Let's close this. So then I had another question, which was actually, this wasn't a question. This is just one that I'm gonna answer. Crea Blake. All right, we're going to go to the cactus folder. Um, Yep. Here's the cactus folder. I've got the first image selected, and now I decide that I'm going to go over the bridge. What? Yeah, because I still use bridge. So let's go. And I'm gonna just say, where is this? I'm going to say, Can you please show me that in the finder? And then I'm gonna drag the cactus folder on top of bridge because I do sometimes still use bridge. I use bridge, especially when people send me files and say, Hey, could you look at this and I don't really want to bring it into my light room database in my catalogue. I don't want to import him, so I'll just go over the bridge and I'll just take a look at him. But what I want to show you is what happens when you make changes to your files in a different application, it could be Bridget could be some other kind of metadata editor that you're using. Let me just show you what happens. So let's see if we've got this is ah, number 11. So I just want to make sure in light room we're looking at No, we're looking at number 13 So let's go back to bridge and we'll find number 13. So here's number 13 and I happen to know that I want to make some changes in that. So let's say we do Command R Command are will take me to edit this in camera raw. And the reason that I use command are from Bridge is because that opened camera raw Enbridge. I don't have to have Photoshopped open if I don't want Teoh. So anyway, we'll just make a, um will make a big change to this. Let's go ahead and we'll click Auto that made in OK, change. Let's look into the shadows a little bit. Let's go ahead and add a little bit of clarity and we'll add a little bit of vibrance. Alright, so I've made these changes. I'm not sure If that's it, that should be enough. Right? We'll be able to see those differences. Maybe also come in here and we'll just add a little radio radiant, and I will darken down. There we go. The outside. Well, forget about saturation, but will also decrease the sharpness. Okay, so I made these changes, and I click done. And then when we come back to bridge, Okay, So, bridge, how's it going? Are you mad? I'm sorry. I know I've been doing a lot of stuff in light room lately, so I do apologize, and they do want to be sincere. Let's just grab that cactus folder. You notice that if you drag a folder So when bridge opened that open the sum of their folder and I didn't feel like navigating, So I just went to the finder and I dragged the cactus folder over the preview area. All right, let's see if it actually made that change. I don't see that change here. Do you? Now? All right. So let me I'm gonna double click on it this time. That actually took me to Kameron Photoshopped. I'm just going to see if it makes a difference and we'll just come in here and I'll just try that one more time. We'll add our little radio. Well, decrease the exposure out there, and, um all right, that's fine. We'll come back here and we'll just say, let's also just raise up the exposure everywhere and also make it really saturate. All right, click done. Okay, there we go. So it made the change. So when you click done when you started your bridge and you double click it, it takes it to Cameron Photo shops. When you click down, you're in Photoshopped. So then I had to come back to bridge. So we've made this change, right? We've made this change to bridge. We've made the change to the file, but when we come back to light room, we're not going to see that change, right, Because light room says, Hey, I'm looking at my database on I'm only looking at my database. You didn't make this change in light room, so I'm not gonna automatically accept changes from other applications. But you can always go into the metadata and say, Hey, my bad. Sorry, I change something. Enbridge, could you please read the metadata from the file? Because bridge went ahead and made those changes and passed off those changes to the file. It passed off the file. I shouldn't say it gave it to the file because this is actually a raw file. So it made a secondary file that sidecar file that ex MP sidecar found. But now, if I choose read metadata from file and I say read it will say Okay, I understand what bridge and photo shop are doing to the files. I just didn't know which one was more important to you, so I just said, Well, last time you were in light room, I'm gonna keep it like that. But you can always go and make changes and an important But you have to remember which is more important. That's the problem that people run into. They go when they make some changes in bridge, and then they kind of forget about it. And then the next time they're in light like, Oh, I thought I made changes. I guess I didn't. Maybe I should make changes to these, and now you're like, Oh, no, you make changes and bridge made changes in light room. Which one's the most current change which change do you want, so just try to keep it straight. If you're in light room, you're You go over to bridge or you go over to some other editor and you're editing like keywords or something. Just make sure that you then remember in light room Hey, go. Let's go grab the information from the file so that we can update my database with that new information that you created in a different application. Okay, so then so then. So then we talked about how to merge catalog. We talked about optimization. We talked about archival strategies. We talked about making changes to files. Oh, the one thing that I didn't do if you wanted that in written form, the whole optimized thing, because I know it's it's I'm using all these words and for people who aren't like, Well, I'm not really super computer savvy, either. I'm really not. So I always have to go and rely on the engineers. But if you don't sit next to the photo shop in light room engineers, what you can do is you can just type and off uh, Mayes, and you can either do you just do optimize, optimize this fine or optimize light room. Actually, let's just to optimize all right and do a search for that and do a search for that. There we go. And what will happen is I've got to block posts and you can see here's how to optimize light rooms performance and how to optimize photo shops performance. And the great thing about this is there white papers and they were written by our engineering team. So they have way more information than when I was able to cover today. And really, really specific stuff is well, so those air to great resource is. Do we have questions? Yeah, there's a question here. Mike M ask this question than Penny also wanted to know the answer. And Mike says, Do you leave your very large composite pictures in your light room catalogue? I do. I do have all of my composite. I don't think they're in my demo catalogue. No, because I create them on my other computer. So they're not They're not in here, but yes, I you know, I've really narrowed it down. I used to have a bunch of different catalogs, and it just wasn't worth it for me. So I do have them remember I don't want to deal with. Like, I just want my master. And sometimes I'll have, like, one derivative, which is the flattened file. But I don't keep a bunch of derivatives of my file If I got that master, and I've got that flatten as people need things, I could just send them off based on those master files. Yeah, we have more. Okay. Okay. His question from Thomas Thomas is asking, how do I keep my hierarchical keyword systems when merging catalogs? No, that's not a good It's a really good question. Um, uh, you're gonna want I think you're gonna want to import and export your keywords. So I've gotten myself into a mess with my key words, because I had them all hierarchical. And then I didn't realize that when I was importing my files and I was adding keywords because I wasn't using the little carrots to say that this is a sub keyword. I have now basically almost my entire key wording set, duplicated once as flat and once is hierarchical, and I just haven't corrected it yet. So what would I recommend? I would recommend that he actually take a look at Seth Resnick's D 65. I bet Or or he could post something. Oh, that's actually good. I don't know if you guys, I'm sure, probably already put it out there. But if you want to request a feature, you want to post a problem, you can do that to the light room or Photoshopped forums. So I would I would say he should do that because, honestly, I'm just a big mess. You can look at my keywords and some of them, like Look, some of them are hierarchical, like animals. And then you can see that I just gave up because I also have, like, I can tell you like barren bird and dog and eagle and shape their flat keywords somewhere else as well. So I'm terrible. I shouldn't Okay, I will improve my key wording in the next two years. Someone writes a script. Here's here's why I haven't It's not because I'm lazy or anything, but because right now they're like Google or any search mechanisms. They don't look at hierarchies. They always look at a flat key, wordless so they don't ever look and go. Oh, I see this was This was a flower. This was a rose. This was a specific sub set of roses. They just look at all those keywords. So until they actually put a preference on Oh, I see that this is, you know, going down the hierarchy. Then I don't think I will fix mine. I will just continue to add flat keywords for now. But if you were key wording, like 30 40 50 key words per image, the hierarchical keywords really come in handy here from Nadia. Not sure if we have time for this or not, but she said that this morning you said to sharp causes halo and that you would show it later. Okay, Time to get to Yes. Really quickly. I'm gonna go to the develop module shoot. That was on my list. How'd I miss this? Okay. In the develop module, I need to talk to you guys about the detail panel, which I totally forgot. Detail is your sharpening and your noise reduction. There's a little warning icon right here. The first thing you want to do when you come into sharpening is you want to click on that warning icon so that you're looking at your image at 100% right? Because if you're not viewing your image 100% it's not gonna be super accurate. This was also where we came in and we mentioned with the smart previews because you're smart Previews air smaller. The one toe one viewing of your smart previews in here is not as accurate as your actual riel images being online. Okay, so in this case, um, with the sharpening so there's there's really there's the amount in the radius. The amount is how much contrast you're adding. So you could see right there when I moved to 250. We've got a lot more contrast right between that and that. So the amount is the contrast. The radius says, Hey, when you find an edge, how many pixels air affected? Right, So the amount is when you find an edge, how maney pick how much contrast is added. How much darker is the once I get how much lighters and the other side get. So if you look when when I change this amount, like look along the edge right here As this gets changed, you can start to see a halo there or you can start to see a halo right along here. See where this site is. Just way too black, and this side is way too white. So you know that you have two months sharpening when you go up that high. Something to keep in mind. Though The default amounts here of 25 1 and 25 those are actually really decent defaults. Remember, this is capture sharpening. This is not sharpening for output. This is Onley to make up for any loss of quality that either you got a little bit of ah unsure pinning when you with your lens or you went in there with your lens correction and you had to distort it. We're correcting for that. Remember how I explain it? Every single sensor it goes red, green, red, green, red, green and in green, blue, green, blue, green, blue. So you've got four pixel or you've got multiple sensors that need to be used in order to create one pixel. So there's a little bit of softening there as well. If every single sensor could sense red, green and blue, then it wouldn't have to interpret late between sensors. All right, but it does. That's just the way digital imaging works. For most cameras, there are exceptions, but that is what you are correcting for here is you're correcting for for the sharp name that you're losing in capture. Then when you output, whether you're exporting, you're going to the print module, your in the book model. That's why you can always determine how much Sharpton you want there that is sharpening for your output device. All right. And the noise reduction. I'll just point out that there is a new slider. It's the smooth, smooth in this slider. And if we come down here, I might just be able to really quickly go Teoh, What would that be under? No, I better go to the grid, and they better look here for a second. We're gonna come here to special effects. Now we're gonna go to the develop module, go all the way down to the end. Here is an image with a lot of noise. We go to the develop module, see this splotchy nous. I know it's gonna be hard, some for some of you guys to see, but there's the splotchy nous where you get like this Red area here, magenta area, and then you get these green areas down here. All right? It's different from this. This artifact ing is taking care of. This is more like Christmas tree artifact ing by the defaults. We get rid of a lot of that artifact in, but we have a new smooth in the slider, which you can bring over here, and it gets rid of the splotchy nous. That's like your splotchy nous removal slider. So be sure to play around with that, and I do have a block post on that. But I also know that we are running out of time. Do we have to have time for one more question? Yes. Ah yes. One more question related to when you had the sharpening. Yes, uh, panel open. There are two more sliders under detail unmasking, which I've played with. OK, let's look at what the difference is. Let's go to an area here that let's go. Let's just go right about here. So detail unmasking if you don't know which one to use. If you come down to the presets over here, there's actually some presets for sharpening. So let's just scroll down girls, girls scroll Doesn't the sharpening toning filter Home video. Oh, come on. Where are they? Maybe there, General. Yes, sharpened faces. And you'll notice that it always uses the masking slider for the sharpened faces for the scenic. You can see that it's using the detail slider. Now, I'm gonna hold down the option key, and I'm gonna drag the detail slider. Uh, we're not seeing anything there cause this isn't a high frequency enough image. So let's go pick this image right here of the trees, all right? And we're going to go over and we're gonna hold down the option key, and I'm gonna add allowed a lot of, ah, of the amount in a lot of the radius just to overdo it a little bit. But when I hold down the option key, you can see that the mask, that's the mask that were sharpening through. So if you compare the mask with the detail panel versus the mask that we get with the masking panel, the masking panel is much more or masking slider is much more organic. And therefore, that's why we're saying you should use the masking when you're doing faces and stuff because it's gonna be more organic. There's gonna be a subtler ah range of fade range between what is sharpened and what is not sharpened. But those two sliders are there to suppress the sharpening in the areas that aren't edges so that you're sharpening really effects. It's biased, and it's affecting mawr, the areas that have the edges and not just like the sky area. Here. You can see, for example, the detail slider see all the way to the right. It's sharpening everything equally as I start bringing over to the left, you can see I'm still getting the sharpening around the trees, but I'm not getting the sharp name in the sky, So there are your suppression sliders.

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

Reviews

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.

Jonathan
 

She is the one of the best instructors I've seen on creativeLive. Bright, describes the steps clearly and very funny. A really entertaining and informative course.