Skip to main content

Workflows with Lightroom 5

Lesson 13 of 21

9:00 am - Q's from Day 1

Julieanne Kost

Workflows with Lightroom 5

Julieanne Kost

Starting under


Get access to this class +2000 more taught by the world's top experts

  • 24/7 access via desktop, mobile, or TV
  • New classes added every month
  • Download lessons for offline viewing
  • Exclusive content for subscribers

Lesson Info

13. 9:00 am - Q's from Day 1

Lesson Info

9:00 am - Q's from Day 1

Yes, so I really thought that the questions we got yesterday were excellent, and there were a lot of them that we didn't get to, and they were all primarily about the develop module. Now, some of the questions were about other things that I haven't talked about yet. So those questions we're just gonna wait, and I'm gonna answer later, but there were a lot of questions about the developed module, so let's, go there. I'm going to go ahead and just select one of my collections here. The first question that was asked is how do you save the metadata to the files, which I think I touched upon yesterday, but it's it's so important that I really wanted to reiterate how you would do this because there's two different ways the first way would just be, once you're finished making all of your corrections, you could just save the meditated to the file. Now we should know that because light room is a catalogue program catalog being the nice word for database, right? We know it's a database program, ...

all the changes that you make, whether they're key words, whether their metadata, copyright information, whether they're changes you make in the developed module, all of that is saved in the catalog, but the majority of those changes can also be pushed into each individual files, so most people think of this is kind of like a little insurance policy, so I guess the information's in the database but if the dog eats your database, you would still have all the information in the files. So how would we do that? Well, you would just select the images that you want to save the information to and then you go into the metadata menu here and you would just save the metadata to files or you guys probably don't know the keyboard shortcut to save which is command s or control as to save all right, so that's the way to kind of manually do it there's another way that you can do this, which is more globally and that is with a preference now I said preference but it's actually a catalog setting. So we talked a little bit yesterday about the fact that there are preferences preferences treat the entire application, so if you set a preference, its application based if you go into the catalog settings its catalog based, so that means that if you have multiple catalogs, you'll want to go into the cavalli it's a means for each different catalog, so in the catalog settings yesterday, I think we talked a little bit about the final handling about the standard preview sizes when you're importing but as faras saving meta data to a file you actually want to go into the meta data area and you can automatically right changes to ex mp so why is this off by default because this seems like a really good thing like why wouldn't we just turn this on so if you turn it on let's say that your images are on a shared network somewhere and let's say you're editing a wedding of two thousand images well you select the first hundred images they all need to have the same white balance adjustment made so you go ahead and make that and then you start making a lot of changes well instead of just writing that data every single change that you make every time you move a slider left and right and left and right decisive indecisive better worse more less every time you do that we have to write that information now two, two places to the database and then we push it to each individual file so if your files were remote somewhere on a slow server you could notice a performance decrease so we don't turn this on my default but what I would suggest is you go home you turn it on if you notice a difference you know oh yeah I better turn that off but if you don't notice the different just leave it on if you don't notice a difference just leave it on because then you don't ever have to worry about selecting your files and saving them. We're always going to push the information into the database, but this will allow us to push the information also to the files, right? So hopefully that that clarifies that question ok, the next one so I'm really sorry I wasn't clear about this one. If we go over to the developed monjural, the question was, can you save both like a lens correction as well as a profile as part of the default settings? So I just want to say, ok, you know, photo light room comes with all these default settings if we go over the develop modules, for example, the lens correction when we go to basic, this is actually off by default, and likewise, we have a default setting for for camera calibration it's set for profile to adobe standard, but if you want to change that, in fact, if you want to change anything, you could change any of these sliders in any of the panels you could go to the tone curve panel, and you could say, you know what? Every single image that I bring in, I want to add a wee bit of contrast, so I'm going to add an s curve to every single image. My point here is just whatever you do in every single one of those panels if you decide to go under the development you and set, these is your default settings from that moment on, every file that you import will then have those settings applied by default. All right, so I actually personally wouldn't suggest that you at a tone curve that to me would be more something of a of a preset that you might want to add when you import. But again, if you're doing it to every single file, sure, this can really help. So let me show you if I was starting over and I just wanted to do this, I would say, ok, here's, my image, I'm going to well, first let's, make sure that I'm at the presets because I was messing around with this yesterday, so I'm going to come in here and say, restore the adobe default settings great. So then I'm going to reset my file because I don't want any changes made to this file. And don't worry when you reset your file in the developmental, you're not like stripping out your key words or your copyright or any of that that's all safe and sound. When you say reset in the in the developed module, you're only resetting the develop module changes, so there's been nothing done to this image? I'm at my default settings in light room. If now I choose to go and change my profile, I could do that. So let's just say, I'm going to go to camera faithful, and then I choose to come appeared a lens corrections, and I'm gonna enable the profile corrections, and I'm gonna remove chromatic aberration. Now, if I want to set those as my default settings that's, when I would go to the development you and set those default settings, does that make sense? You can put whatever you want as your default settings just know that from now on, whatever you have, there will become the default. Basically, the baseline processing for your files. You can always go in and change in the right. That's the great thing about might room it's, parametric editing and it's all non destructive. Okay, all right, so I'm not going to do that. I'm going to make sure we're back to where we are. So we restore those. And then we learned the shortcut as well. Yesterday where we could just hold on the option of the old kate and then write down here, it turns to set default so we could change it that way as well. Okay, all right, uh, somebody ask if you wanted to create your own lens profile? How would you do that or your own camera calibration? How would you do that? And I said I would give you the girls for that yesterday and I forgot to so I'm just on my own blogged right here just to show you that up in the upper right hand corner you can actually search my blog's so if I wanted to know how to do this, I would probably search for lens profile lens profile creator that will work tap the return key and a lot of times the block will return a lot of different like if you're really general with your search like if you just search for layers or something, then you get a ton of block entries but here it's like, oh how to create your own lens profile here's the information you need here's the link for the download if you want to go directly there here's the adobe lens profile creator tool this talks more about lens profile so it's a great wealth of information and so if you just go to my blogging and search for that in fact, yesterday someone was also asking, how do you find the presets that I said that we're on my block if you want to use those precepts in the developmental? And so I did a lot of searching last night and the easiest way is to just enter dot z I p why dot zip? Because I've zipped the files, right? I've compressed the files, so if you just do it, dot zip and then tap the return key and let the page search, then you'll see ok, so here's a little video tutorial and right down here, jay cost toning zips all right? And they're actually I've got them for you both photo shop as well as light room if you want these and it tells you how to install them and where to place them. In fact, people were asking, where are the default, um locations for your presets and they're actually right here. So again, you could just do a search on my block and there's tons of information of their okay, and then how are we doing? We're doing ok, this is good information, we're okay it's kind of a review, I kind of like that idea that we're doing a little bit of a review because these are questions that I get all the time. So then the next question was how do preset stack? And we talked about this yesterday, and I talked about the two ways that we could make presets we could either we could either make presets that were like individual parts just like that just held one thing like just toned the image or just did the vignette and then we made another pre set that did all three things that, like turned it to black and white plus it made it cbo tone plus it made a vignette just with one click so I think what the question really is is if I go and select an image and I say ok, so on this image let's go up to my pre sense if I add like a black and white conversion here not a problem if we come down to the the single toning if I change the tony and I add a blue tone let's see what happened with split tony so here we go. I've got a tone in my shadow areas if I click on the mustard one it's changing out the settings on lee in the split toning panel so I could add another preset like a vignette preset and so people say, well, ok, so they're additive I don't know if I want to call them additive what I want to call them is if you add a preset that changes the sliders in a different panel it's just going to change those sliders in a different panel, so certainly I can come over here and say, all right, well, I want to do that I want to go to my vignettes here my post crop vigna inning and I want to add like a little dark vignette so it didn't change the split, toning it on lee came and changed under the effects my post cropping in right now if I make that light, so now I've got a light vignette. Now if I decide to use the pre set that we made yesterday, we made that all in one right we did a complete cp porter, so instead of saving out individually, the black and white conversion, the cpi, a tone of the cross process, the split toning and the effects instead of saving those out individually we save this altogether. So in this case I don't this is where it gets confusing if you start calling an additive because it's not if there were setting saved in this pre set, they will override the presets that were already applied. So if we remember from yesterday this was a it was a dark vignette and I can see that up at the top there the little previous what's, a dark vignette cpi, a color black and white conversion when I clicked on that the black and white conversion changed because I had set the numeric values in there, the post crop than getting changed and even the cpi a changed as well, so really, if you want to think of them, they're really only additive if you don't have change is saved in that panel with the new pre set that you add on top otherwise it's going to wipe them out, it would never say like, oh, you added twenty percent of your highlights and then you want to add another four percent would never do that. It would just say, oh, sorry, I'm gonna set it to four percent now. Okay. All right. Um, what else was I talking about in the radio? I got the question. If you add the radio filter here and we click and drag out and we re position, that is a great way to get kind of an off center then yet right? Because the post crop in yet is it's brilliant because it will always reset after ukrop something. As you know, maybe I didn't talk about that yesterday. Let's delete this for one second and just let me just show you that the great thing about the post crop vignette ing is when I add this vignette and all that it really strong so we can see what happens if I go in with the crop tool. And that shortcut is are because it's great on alright, so all of a sudden you're like, I mean the craft to what happened my vignette as ukrop. The vignette goes away because remember, this is a post crop in yet so it's like I'm going to remove that you look at your image, you decide how you want to crop it. In fact, let's, go ahead and crop this one to one well scooted over, and then we'll hit return and light. When will we do the crop? So it doesn't matter what aspect ratio you crop to, it will always redo the crop while we're there. That reminds me so there were three different kinds here of crops, there's, three different styles, and I told you to stay away from the paint overly. So the highlight priority. I'm gonna make sure I get it right by reading. This highlight priority enables highlight recovery, but it can lead the color shifts in darken areas of a photo. Okay it's suitable for photos with bright image areas such as clipped, speculate highlights and behaves more like a traditional exposure burn so more like the dark room, but because it's more like the dark room as we burn things down, those colors might shift a little that's why it's the highlight priority? It's keeping the highlights intact by burning them down, but it's like, well, if I got a shift, the colors I got a shift, the colors the other one is color priority so it's going to do the opposite it's going to make sure that as you darken down the blues of your sky those blue state blue but the trade office is it can't do the highlight recovery well which one should I used really in the one that looks better on your image ok that's what I always say when there's two choices what do you do? Yeah tryem both because when there's two choices and software that means that the group that does the alfa in beta testing couldn't agree right if they all agreed then we'd only have one choice and we like all of this is the best choice but they couldn't agree so we're like oh well for some images it looks better like this and for some images it's gonna look better with option number two all right, so that is a very strong than yet I'm going to take that off by just double clicking the word style that didn't work double click the word style that must set this default public doubleclick amount huh? That's interesting. I never really thought about that before when you've got multiple sliders sent here in post crowd vignette ing it kind of makes sense if you want to reset them all you could basically double click the word amount that resets the amount to zero therefore none of the other ones are visible but I did kind of think that if I two double click style let's double click that ok so if you double click post crop than getting see how like that's my just double click whatever that's the best thing like that's why kids are so great it software because they're not afraid they'll just double click anything so I just double click the word post crop netting and it said all my sliders back to their default it looks like he did he sent the bottom one oh the bottom when the highlights the default is all the way to the left but that's a good question the s o the default there is zero because you can't go the other direction so when there's a negative and positive way on the slider we started in the center of this lighter ok and let's take off that crop because I don't like that we're just going toe reset that crop okay gosh I got in a little tangent there but those were all questions yes so we were on the the radio filter here so I'm gonna grab that and we're going to click and drag out with a radio filter that darkens down the outsides I believe yep it's the apostrophe key someone asked if there was a keyboard shortcut that would switch basically if we scroll down here we're inverting the mask that's just the apostrophe key right there um I think that was it with oh, no, they wanted to know how to duplicate it so option command and dragging will go ahead and duplicate it. Basically, I've just made a second copy of it with the exact same settings, and of course, we could just have the delete can get rid of that if we want to. If I wanted to add this same radio filter across multiple images, then obviously I would just select those images, click sink and you can see here that these air all of the different options I didn't really spend very much time here pointing out exactly what you can crop and I'm sorry exactly what you can sink and what you can't. But here are all of your local adjustments, so your brush your graduated filters in your radio filters all right? Oh, this was a great question. This is a great question. So in the basic panel, right? If I put this tool back in, the basic panel is there? Is there a way that we should be going down through the basic panel? So I think everybody has their own way. Um, I have my way and it is totally opposite of our product managers way, so I don't know why I don't know if it's because I come from a print background, but I like to set my black and whites first other people my, my product manager he's like, no, I sent my men tones first, I always sent my men tones, and then I refined my black and white points. I'm like, no, you got to set your black and white points and then refine your mid points and he's like no, and we're like, no, no. So does it matter? No, the great thing is that all of this math gets applied at one time. You can do as many things as you want as many times as you want and it's, not until you actually export the file or you go and edit and photoshopped that that we're actually going to build or render. Or you hear people say, bake the file where we actually turn this parametric image imaging model into pixels so it really it really doesn't matter whatever order you want, it's kind of like those star ratings, so I personally think my way is the best way, but of course, there's a reason he's, a product manager so he knows a lot. Okay, alright, other questions, somebody asking how to make kind of a like an old fashioned looking image so we can do that, we can definitely do that. But I also just want to show you if we go back to the grid view which takes me back to the library module there's two different ways that you can go and you can look at all these different presets. I mean, there are hundreds and hundreds of three sets out there. Some of them are free. Some of them are for sale. But if you go to the published service areas, you confined more services online. So that's a nice button that will take you online to find more. You could also just go into the file menu and you come down here to plug in manager if you select plug in manager no, sorry done, okay, if you'll all just look into the light for one moment, then okay, then you'll forget that I just said that if you want to go instead maybe tio, what do we want to go? We don't want to go to plug in manager all right, this is why I said, just go to publish services and click on the button because it's easier because if you go to plug in manager, then you have to go down here to plug in exchange, then when you click on plug in exchange it takes you to the exchange site on adobe dot com so there we dot com exchange you could also just use the google or whatever you prefer to use in order to do that search but then over here on the right hand side look you can browse by category so if you're looking for develop presets you go ahead and click on those and it will show you all of these great developed pre cents that you can either buy or you can just download looks like most of these air to buy the here's one right here the free low mow preset that you can just download. So the great thing about presets in light room is that once you purchase this you know if you click on it it shows you all the settings so you could say, oh that's great like I like this but I want to modify it just a little bit because my look or my style's a little less red and the shadows or whatever the option is all right, so if we go back to light room though I didn't want to just say, well, go buy other things so let's just take a look at a few images so for example, this image I think this image works if you want to make it look like kind of that sixties look or you want to kind of do a look like this or if we come into this image right here like I think this image works with kind of this like older looking look to it in fact, if I tap the y que we can see the oh no we can't we have to go the develop module so tap d and then tap why you can see so there's the before image and there's the after image so why does it work? It works because of the content, right? So you do you have to be really careful like, you know you don't want some grunge horror look with a newborn baby, right? Because just the content and the effects aren't going to be matching. Well, maybe you d'oh I don't know who am I to judge all right, but let's just walk through like an image like this. What makes it kind of looks like more like a little bit more aged? Well, let's just reset it so I'll click reset and then we don't need to see the before and after or maybe it would help I'll leave before and after up there. All right, so what would I do? Well, I would probably go in and click auto right? Because we can see look at how under exposed this is so I'm gonna click auto, so that makes us sure that we're using the entire dynamic range you can see now on the history graham I have everything from pure black to pure white but if it's an aged photo it's probably not going to have as much contrast in there, so I want to bring that down and I can bring down the contrast either by using the contrast option right here, this little slider or we can go down and we can have a little bit more control and that I can bring my highlights down and I can bring my shadows up to get rid of contrast that way as well. So you're thinking, yeah, but that's two sliders instead of just one right? But you might have an image that on lee needs your shadows up our only needs the highlights down so I'm just there's just multiple different ways that you can do the same thing and it just depends on the images to which sliders you're going to use then you might want to come down to clarity and just kind of remove a little bit of sharpness, right? Because if you think about it, everything today isthe so super sharp right everybody's adding clarity there doing hdr images there really sharpening things they want stuff to be just tax sharp, which is ok, you want to be careful if you if you think you might be on the verge of over sharp main what you need to look for our little halos let's see if we can find any here so a halo if I click this alright clarity, and we added the clarity sliders gotten really good in light room five, so it really doesn't add those halos, but I'll show you later within sharp mask you'll just get because remember how we talked about yesterday when you when you use clarity or you use sharp name it light room looks for an edge and it makes one side of the edge darker on the other side of the hedge lighter, and by doing that, it pulls your eye into thinking that it has more contrast and therefore it's sharper, but that contrast can sometimes lead to these little halo, so remind me to show you an example of that, but basically I want to make sure that if I'm trying to make this look kind of old fashioned that I don't want it super, super sharp, I wanted to be a little age I don't want to go too far, because then it starts looking all soft and weird, but just, you know, maybe minus ten or fifteen somewhere around there, all right? And then it's too vibrant as well, right? Like all those colors wouldn't have such vibrance if it was an older image so we might go to h s l course I'm lazy are you guys in the audience lazy? Just out of curiosity? I guess so. Uh one person admitted it in the audience but here's the thing here's the real secret it's really the rest of the people because they were too lazy to even raise their hands okay all right I'm kidding I'm not calling you crazy all right but I don't want to go and remember yesterday was like ok we'll go to h s l will go to saturation and well movie to the red down and then we'll move the orange down that one with the l a down a well yesterday we created a preset to do that right so let's just scroll up here and find our preset we say all right what does it look like with everything reduced thirty percent how about fifty percent how about seventy five percent I think that's a little bit too much let's go back up to fifty percent or maybe you like thirty percent except for the sky okay well I'm gonna start at thirty percent and then let's just grab my targeted adjustment tool I'm on saturation well click in the sky and just drag down and now the reds and oranges stay a little bit more saturated but aiken selectively just decrease those blues all right and then of course we could go toe luminant if we want to darken it down but I'm ok with that I want to add a little bit of a color shift now this is where some people are going toe cringe but you can actually you know you can use the split tony they tell me for good or evil so you can either use it to like correct things and make effects but you can also add a color tent so in a case like this, I might add something oh, what did I do? So if I'm trying to recreate what I had before, I think my shadows because I don't know why, but I always do my shadows first, so I'm just gonna hold down the option king and I'm just going to click here and we're going to drag and I'm gonna drag maybe write about they're so I'm adding that read in my shadows maybe twenty five, twenty seven somewhere around there now I hold on the option case, so I see it like I'm one hundred percent and then I go into saturation and I could just dialled in the amount that I want, so I'm adding kind of that red look, now I know for a purist I'm sorry, you know, you're just you're hating me right now, but it's ok? All right? And in my my highlights, I'm also going to select a color here maybe a little bit yellow all right? So I'm again I'm just holding on the option key and clicking on the huge so that I really get a a very strong preview of what that would look like I let go of the option key and then we just drag in the saturation a little bit so you know, I am totally adding false color and but it's ok, because it's giving an effective a feeling that I want and then I might go down just as the last thing right down here to my effects, we might add a post crop vignette in this case I wanted to go toe white and I don't want it to have a feather and I want the midpoint in a little bit because I'm going tio take away the roundness and just do kind of an older vintage looking solid white around there and softening up a little bit more we might want to just go in and add a little bit of grain make that kind of large now we can see if we zoom in there we can see the grains been added there and so that also is going to emulate right your traditional photographic process. So all right, so that's kind of just you know, you can see the great thing is you're going by the presets they give you such a great starting point, but I think you'll probably need to finesse each one but then as soon as you go in and you start something that there aren't that many sliders, you can change right, but the one place you might not look you might not remember look, if there's some subtle color shift going on and you're looking and you're going cash, I go to split tone and I don't see any changes or I go to h s l and I don't see any changes I don't know where these color changes air coming from don't forget the point curve a tone curve that has the point curve you go into each channel individually so I see people make changes there and you can also go into a camera calibration you can make changes here to the reds to the greens into the blue so lots of different ways you can make changes to your color so just it's a great way of just learning, experiment and play around just make sure that the effect that you're after matches the content of the image ok, all right, well, this fantastic really appreciate julian answering all these questions we have so many questions in the chat room yesterday was very kind of her to take time out from today. We also are going toe print all the questions at the end of the day and part time to do the answer if she has time to get them in her blog's in the next few weeks, I'm sure she will but chris how the chat rooms looking today chat rooms looking gray a lot of people coming back return customers from yesterday also some new faces from all over the world we have steph and daniel schwartz from germany falcon san from santiago, chile a place that I visited not too long ago don walker from toronto canada mary and returning from romania the uk well represented with wall in york share skelos in london and malcolm and nottingham jeff from the netherlands and alan all is joining from copenhagen so welcome everyone from all around the world this morning really international crew and I think we also someone from elstree which is the home of british film making so welcome to everybody but I think we're ready to go to julianne what we got total of forty this morning ok? The answer I'm sorry it wasn't it wasn't your father is my fault I forgot about this so somebody asked if when you're in the lens correction panel and you do enable your profile correction and you'll notice with the old fashion image I didn't he didn't enable the lens profile correction because you wouldn't have had that right so if you see a little bit of distortion your minds actually going on you know it's an older photo because we couldn't just click a button and remove it so you might want to just think about that and you might want to come in here to manual and you could even add your own distortion all right, you can actually add a little pin cushioning, cushioning or a little barrel distortion. If you wanted to sow again those paris, I think they just signed off. They're like no more of her, all right. But remember, I don't make, like, really looking thing, okay, so that and somebody else asked, when you use the upright corrections, you know, do we have to interpret late? Could that potentially be making your image a little bit softer? Absolutely, yeah, absolutely, because we're having to distort it and change the pixels. So, yes.

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!