Workflows with Lightroom 5

Lesson 6 of 21

Q&A and The Develop Module

 

Workflows with Lightroom 5

Lesson 6 of 21

Q&A and The Develop Module

 

Lesson Info

Q&A and The Develop Module

For sam cox is asking if I make a virtual copy and then delete the original does the virtual copy get deleted to or does it get promoted to be the original you know let's not do that okay so when you make a virtual copy so I think I understand let's say I have the image that I'm looking at right now and I decide what I want to make a virtual copy of that so I do my little command apostrophe and now what people will do is they will they will manipulate this version and that becomes the best version right there like oh well that's much better than the original so if that happens you can always go underneath let's say it's under photo yeah and then you choose set copy as master so now the settings that were applied to the virtual copy will be lifted from that and that will become your master so that then they could delete the virtual copy and still have all the good settings I'm hoping that's what they were after with the you know because otherwise you don't want to leave but we have to w...

e're actually going to start this session with deleting files because I forgot to talk about deleting files so maybe not to get segway unless you have another question before we can do is entirely up to you but I have a few years go ahead sure so andre asked is it true that on ly star ratings and not pick no pick or color ratings are saved in the sidecar file? Therefore only star ratings are backed up yeah so, uh that used to be the case with well, there was there was an issue with flags in and previous version with working with bridge so there was a disconnect between the way bridge was doing flagging and lightman was doing flagging but right now your color labels your flags and your stars they're all going to be saved as part of the ex mp files or they will be saved to the well ok, this gets into there's no why can I just not say yes or no questions? So by default every time you make a change whether to flag a star, anything, anything in the metadata at a key word whenever that is all being stored in the light room database by default and that's the only place that it's being stored so one of the things that we need to talk about and I was gonna talk about tomorrow is just the fact that as a an insurance policy what a lot of people do is even though the data's in the changes we're all saved in the library at the end of the photo shoot they'll just do a quick select all to select all their images with all of their edits and all of the changes and then they'll do a command s which is the same for metadata save metadata to files what this does is it tells light room. Okay, all the information is still in the light room cataloger in the light from database. But I want you to push each individual files information into the file, which is great. If you've got a j peg final, a psd file, we can push your keywords, your copyright, all that data into all the file formats except the proprietary raw file format. So if you want to convert your files and you're converting them to dmg and you say, save the metadata, the files information is still in the database, but also gets pushed into each tng file, which is why dmg files do not have sidecar files. If it's a proprietary nighttime, any f cannons here w we will create what's called a secondary sidecar file, so you will look, if you look in the finder, you can see all of your c r two's, and then they'll be an ex mp file right next to it don't ever throw those away those air, all the settings that you've changed in the file, and the reason that we don't save them back to the original file is because if we did and we happen to save them in the wrong spot we could in theory, break the file, right? So since their proprietary meaning that the camera manufacturers don't open up those final four minutes, we're not going to say it back to them because we might break them so that's. Why we created the png file format it's openly documented, everyone knows where they need to save things. So so so that was the question about saving two files. So, yes, the stars, the flags and the color labels are all saved into the metadata of the file longwinded a very long way that sorry that's, great, great answers except for one more question that way will move on with self communes content. But this is a jewel question, one from marrying one from photo legs on the same subject, marion saying, do you think it would be a problem to use separate catalogs for individual projects for speed and then have one big master catalog that includes all of the photos in the individual catalogs for searching through the files would be a problem of multiple catalogs are referencing the same files and the photo lexus saying, can you combine catalogs if you've created several? Okay, so we'll definitely talk about combining catalogs and that kind of work flow a t end of day tomorrow, I will briefly say that that might work out really well. If someone let's say they just they're going to do a, we'll take the wedding example again, so I'm going to do a catalog per wedding, and then when I'm finished editing the wedding, I'm then going tio take my master catalog and I'm going to import those little catalogs basically it's doing the database merge, but we're importing the little catalogs into the big catalog, and then at that point, what I would do is I'd kind of make it a one way street. I'd say great, and when I'm done with that wedding, I'm going to do the database merge, and I'm just gonna throw away that another catalog, because once the databases have emerged, you don't need that other catalog. What I would hesitate to give advice to is saying, well, yeah, and then go ahead and keep that other catalogue, and you could you could open that catalog and make changes within depending on your settings. If you opened your master catalog, you may not see those changes, and so there are ways to do it. You just need to be really sophisticated and super diligent about your catalogs like you were asking earlier about, you know, can I put my catalog on this drive here because I'm assuming all your photos are on networkers? Something like a server something you know, you're gonna put all your photos and your catalog on an external drive, and then that way you could move that from one computer to the next, which you can definitely d'oh. And I think it's like you were saying it's better than the dropbox scenario that you had asked about and and the only thing you know, and I might repeat this tomorrow a little bit, just just the one thing you want to be careful about is all of your presense and stuff. So this this actually happens a lot. So if you think about education, aa lot of students, there's the lab where all the computers are, but they take around up their own hard drive because they can't be assured that they're going to get on the same computer every time. So this is the same with you. You want to work on multiple different computers, what they'll do is they'll go under the light room and you hear or underneath the edit menu, if you're on windows and they'll come down to preferences and they'll go to pre set and they'll they'll check this store presets with this catalog. But here's the thing, don't do this unless you're going tio. You do this kind of work flow so anyone who's just doing a normal workflow who's like no I've got my computer and all my images and everything you do not want to store your precepts of the catalogue because what that right now light room has a just a generic standard place in the operating system where it stores presets so if I make three catalogs every catalog and point to that pre set location because it sits in a designated area and every catalog can see it so that means if I'm in this catalogue and I decided that I want tio add a new final naming preset my two other catalogs will see it the second you check this button it's going to take that default locations go say ok I'm not gonna have my presets there and I have my presets with my catalog so now I'm gonna make a bunch of changes to my presets well all these other catalogs are going to be looking at that other location creative cloud so that you can share preferences it's across machines through the clouds know that only works with light I'm sorry that only works with photo shop right now right now there is not a way within light room that's great question to synchronize your presets although you I will show you where your presets live and then it's really easy actually right here show light room presets folder this is I will call it a shared folder right because inside your applicator so let's make this a little bit bigger so inside the library on windows and I don't know where it is I'm sorry on mac I don't know where it is on windows but you can use that same keyboard shortcut it takes you to the path applications for adobe light room so any catalog will look at this folder so when you make changes everything gets changed whether it's in export preset an email address book anything gets saved here if you turn this on your presets will get saved in the same folder is your catalog so that you can take your catalog your pictures and your presense and plug it into any machine and have access to it the drawback if you make updates and add more presense you have to manually manage that and say ok well if I want these other catalogs to see them I've got to go then on my external drive grab that preset file and coffee it over into this folder one other excellent questions would you mind if I answer that? Ok so and that would be a good segue way and that is about deleting files because I totally spaced on deleting files so let's go to a folder here where I want to delete some images will just look maybe two thousand thirteen will look at that cactus folder oh, ok, this is all right, so let's say you have some images that you know that you don't want, so if you select the images that you know that you don't want and you tap the delete key, you basically get one of two options. Well, you can cancel there's a third option, but you're either going to remove them or delete them, so removing them simply says light room ignore these, forget they ever existed. Leave him on the hard drive, leave them in the folder. I just don't want you to show them to me as part of the catalogue. Just forget, forget about him. So when might you do this? I have one j catalog. I'm a commercial shooter. I've got some clients that come in and maybe they're prototypes, and I don't want other people to see those images personally, I'd probably have a separate catalog, but if all of a sudden you're like, uh, don't throw away the images but remove them. I don't want anyone to see them that's what you would dio delete from disc puts him in the trash can of the recycle bin, so it doesn't empty the trash so you could go fish him out of your trash if you wanted to, but that's, the difference between removing versus deleting makes sense. Yeah, you may get you over to the developmental so I actually ended the develop module and I realized I didn't pick the right image is so very conveniently over here under my collections area even though I'm in the developed module I can choose a different collection and that's really interesting I never noticed that before so I was photographing tethered the other day and it actually puts the history state it makes the history state different it doesn't just say import it says tethered so they learned something else alright, so under the collection area I'm going to go to the develop module we have a number of different images here I can show my film strip if we want to see those and course, you know that you can change the size of the film strip right by dragging this up or down so that might be helpful all right, so the develop module this is where all the funds stuff can happen. Um let's look at the interface I leave the navigator panel open because if I'm using any presets as you position your cursor over the presets so let's look at some of these black and white presents you concern see in the navigator panel what they'll look like without actually clicking the preset so it just gives you this nice little previous so if you're using presets navigator panel is lovely this area behind the image right here you should know that you can write mouse click there and you can actually change the background so if you wanted to see what this was going to look like against black you could do that actually if you wanted to see what it would look like against black I would just tap the f key the key takes you to a full screen mode at any point in time it just hides all your panels all your tools everything and dims back the interface tap the f k again to come back so I will write mouse click and I'm going to set this to light gray because that seems to be the best kind of background around the image so that I so that I actually process it correctly and it it turns out the way I want it to be all right so we talked about the tab key hides and shows the panel we did the shift tab to hiding show the panel in the module picker in the film strip we went to solo mode super helpful here right? Just a right mouse click and then we can go to solo mode so we only see one panel at the time all right let's go ahead and just close the left hand side for a minute and I hate to start with this but I think we need tio theirs too there's two things I want to talk about that aren't the most exciting things one is camera calibration this little panel so one of the questions I get all the time is why when I import my file in the light room at first it looks really good like it's. Really? It's got high contrast. It's got high saturation and I import him in and then all of a sudden it starts filling in the image and they look de saturated and they're not his client trance tea and they don't look like they did on the back of my camera and that is the most common question. So here's what's going on, right? We mentioned when we imported the files when we did that import when we use that minimal preview that was the j peg from the actual final. So who created that j p file the cameraman you right? Well, camera manufacturers are smart. They want your images to look good so usually typically there's a little bit of added saturation a little bit of added contrast to those images to make them look good because if you go outside and you are visiting, you know yosemite, you want nice blue sky or if your kids in a yellow soccer uniform you want those vibrant colors in that saturation, so that is added by default but you're asking light room toe actually run to the file so that means light room is going to take that raw file which we know is just a single channel it's a grey scale capture something has to take that grace kill capture breaking into rgb can you have the sensors work in the back of your camera, right? Like there's all those little teeny tiny sensors, but each sensor gets a sign to either be a sensor for red, green or blue and because our eyes are more sensitive to green, it goes red, green, red, green, red, green, red, green and then it goes green, blue, green, blue, green, blue, green, blue for the next strip. All right, so keep that in mind because you've got this look mosaic of sensors that have to build your image so light rooms, taking that information, we're using our processing, the camera, raw technology in light room to process that so it was going to look different because, of course I will say ours will look better, right it's going to look different. So if you're one of those people who on the back of your camera, you're back in your camera, has some presets, right? Like, uh, and I can look right here with the camera that I was using we have these presets we have a faithful priest at a landscape neutral portrait and standard so this would be on the back of the camera that I'm talking about I would go in and change and say, you know what? I really like the look of camera faithful or camera landscape and if we go through them we can see like is that the right color or is that accurate color? Is that the right one? Is that the right one or is that the right one? So color is very subjective so what adobe tries to dio and what this adobe standard is is is it's our attempt to do a scene accurate rendition of the color so if you are a product photographer and you're photographing shirts or or blouses, usually you need to make sure that the red shirt that you photograph looks like the same red shirt on screen on the web in the brochure otherwise people are going to order it and they're gonna return it right so that's what we're trying to dio if you've set your the options on the back of your camera to one of those other settings and depending on the camera manufacturer, you will have a different list of settings here but you can set this to be the default profile for your camera what does that mean? That means that instead of using our technology like to build a scene neutral or seen accurate rendition will say no we can mimic the way that the camera makes this look with landscape neutral or portrait basically the reason that says camera faithful and not cannon or nikon or fuji or anything is because adobe makes these profiles we make them their camera matching profiles we made profiles to match or emulate the look that you would get if you set in the back of your camera your camera to one of these settings so if you like one of these better feel free to select it you can even use do we make some free tools where you can make your own camera profiles if you want to and all that information is online if they just did a search for adobe lens profile creator or the d n j yeah, you can do a search on my on my website or I could get you the girl during our break okay so you can create your own all right so if that is the case if you like one of these other looks better here's what you d'oh it would import your file and you would make sure that no changes have been applied to it as faras develop module goes, it doesn't matter if they're star ratings or key words or anything but you don't want anything applied in the developed module or in the quick developing the library module so you would click reese so now it's it is it's at its baseline and you would say you know what? I prefer my images to start using this landscape profile I can always going to make changes to him later it's just this is my new starting point I want everything that looks like this that would be the only thing you would change and then he would come up here underneath the development you and you would say let's set this as my default settings so from now on every time I imported file instead of using the adobe baseline for what it's going to show you it would use this profile and it would show you show it to you like it looks on the back of the camera if you want to do that that would be how you would do it don't forget you can always start well ok this the dialogues a little scary so it says if you say set these is your default it's like ok change the default settings that that that that please know these changes are not undoable so that freaks people out watch this update to current settings okay, I'm going to change my profile back to camera standard I'm going to come back to develop I'm going to go back to set default settings and I just undid it right? So all that dialog box means is you can't use command z or said all right, so that's all that means you can always change it. Ninety five percent of people will never, ever, ever touch this so good. All the beginners are like, uh, okay, just cross out that little section but it's kind of the warm up because there might be something that you do want to set as your default that's under lens correction. So let's talk about there's a difference, obviously between your len's correction and your perspective correction. Right? So aa lot of folks who are new to photography, they come in here, the lens correction there in the basic panel right here, and they say, all right, I want to enable profile corrections they do and they say, ok, well, it it did it, but it didn't correct the perspective. So those are two different things enabling a profile correction says hey, your lens has some distortion I want to correct the distortion in your lens it doesn't say hey, we're standing in an angle off center and you took a picture I want you to correct that that's what upright is for but before we get too upright let's go over here to the to the profile area so here we go with enabling the profile correction you can see that light room knows from the ex if data in the camera it knows I mean sorry in the exit data in the file that we got from the camera, the make the model and then knowing that it said, well, we're going to apply this profile, so this is a profile that we've made we've I think there's atleast five hundred different profiles that we've created there, but we will actually pair those for you automatically. So if you want this to be your default setting, like from now on, I just want light room to correct all of my my lens distortions you could again, you would make sure that this is the onley thing you would change so you'd reset your file, you'd go to enable profile correction and you would come up here to develop and you would set your default settings the other way you can do this is with a shortcut key. If you hold down the option key or the old kate, you can see that it says set default still brings up the same dialogue box you could say update to current settings. So from now on any files and I import in the light room, it will look at the exit data and say, oh, I know the make and the model and I have a profile for that, so I'm going to apply it and get rid of the distortion in your lens ah, but julian, I changed my lenses it's okay? Because we're just looking at every file we're looking at the make and the model, and then we say, oh, you change lenses? Well, you're going to need a different profile, and we will assign that profile wild, and if we can't find a profile, if you've got something like crazy, I'm shooting a hold of that with a lens baby attachment, we don't have one for that, and you could make your own, and we will give you that you are all right. So that's, how you would just correct the lens correction now used to be that I would tell people to not take off the vineyard ing because I like my wider angle lenses. I kind of like that nice little been getting on the on the sides, but here's, the problem with that? If you don't remove the lens distortion that then you get in here and then you crop the file, you're going to have an uneven vignette, so you'll have a vignette like on one side, but not the other, right? So if I tap the archy and we get the crop tool, if I just scoot this over now, or maybe come down here now, this would have a van yet, but nowhere else would right, so what I would just recommend is you just leave these set at their default and by the way you guys know that you can reset a slider by just double clicking on the word that just resets it to its starting point in fact, if you've changed more than one slider then each one of these sliders has kind of a grouping area, so if you double click on the word amount it would reset everything within their so that's how you quickly khun double can reset stuff all right, so now I've got my enable profile correction so for me it seems like I would want to set this as my default setting so that all my files have the lens distortion corrected now if I shot ninety percent of the time with a wide angle lens like a fish islands and I wouldn't want this but for me I shoot with a fish islands once in a blue moon so ninety five percent of my images I want this corrected so I just turn this on. Well, then why isn't it on my default? Because it could potentially slow you down if you think about I remember we were taking that file that single channel converting it to rgb we're applying that calibration you know, we're applying this this camera calibration profile and now you're adding on top of that you're basically distorting the whole image because if we look at what's going on see how the distortion it's either the barrel of the pin cushion right? So by correcting the distortion you're actually adding a layer of distortion on top of your image so that's just a little heavier so if you were only going to use you know one out of fifty images you might not want to apply the automatic lens correction on your other forty nine images just because it makes the database heavier which might potentially make it slower I set mine to automatically correct it I don't care it's just one more thing that I don't have to do to every single image so I just say auto correct it every time yes so you're saying at at import to go ahead and and have this set is a deep all right so by setting it here in the developed module by saying these are my default settings from now on everything that I important a light room will automatically have this correction applied to it and that's through the two of our the that's correct exactly that's by saying ok I'm going to reset my file because if you crop it or change the white balance you don't want to save any of that is part of your default setting you only want to make the change to this image that you want to have applied to everything so we come up here we say yes enable the profile correction and then we come up here to develop and we say set, that is my default setting. Now, every time update to the current settings every time I bring something in from now on, it will have the lens correction profile automatically turned on, right. I was sinking that. Yeah, at the beginning of it for you. You don't have to there you see three clicks, three clicks with every step that's all that that's what we want, yes. So one of the perpetual confusions for may uh, in the camera calibration, we see adobe color, space or rgb color space, but there's also pro photo rgb space. Okay, in the cameron calibration area. Yeah, but under adobe standard on their daily sanders, I think when I open the initial software distribution, you have the option of rgb or adobe. Rgb couldn't be that maybe we're looking at a j peg file because otherwise, these air just the profile. Let me and let me go look entirely enough. So you d'oh, so it wouldn't be a j peg. I know you have a very similar question from the internet you'd be doing saying, why does it just say embedded under my camera calibration setting and doesn't offer any options? I bet that is I bet in this case it's a jpeg files so I'm gonna go toe all photographs I'm gonna go and I'm going to go to my not my attributes sorry to my metadata and I'm gonna look for um my file type here we're just going to look I'm just trying to find a oh come on I don't need it just from that day I'm gonna look for a j peg here's a j peg we go over to the develop module and sure enough that's why it just says embedded but I don't know why where it would have ever gotten this so one of the great things and light room is that you don't actually have to tell it the color space that you want from the file until so the color and working space is going to be a little different from the profile that you apply to it as it comes in but you don't have to save the working space. You don't have to really tell it that until you go off to photo shop until you export those files. Okay, okay and that's where it's it's getting applied ok, so let's chat about that when we do the three edit in and the export perfect, okay, ok, so we're going back to the developed module, so I moved back using my accustomed picker down here to the collection. But there's no images. And this is there's no photos elected, but I know there are but that's because I have that custom filter turned on so here's. Another use of when you might need the filter to actually say no, no, no, I don't want anything, so no filter, no filter filters off. All right, so now we can see all over our images again. Okay, so lens correction up to you whether or not you want to set that is your default setting. I actually set that plus another option which is under the color area and that's the ability to remove chromatic aberration. So now I don't have to do that either. It's just gonna be then by default to all of my images. Would it be done what it wouldn't happen right now? No, I have to go and save it. Right? So did I have to do with the first time in the second time? Absolutely not. You want to go in and set this all up, but I just don't want people to be afraid of that dialogue box to go in there. So this time, if we look under profile, I've enabled it under color were removing it. I'm gonna hold down the option of the old king. I'm going to say, set the default. And now it's going to save not only the lens profile correction, but also removing the color, the chromatic aberration. All right, so now I don't have to do either one of those things.

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.