Workflows with Lightroom 5

Lesson 13 of 25

Snapshots, Smart Objects & Soft Proofing

 

Workflows with Lightroom 5

Lesson 13 of 25

Snapshots, Smart Objects & Soft Proofing

 

Lesson Info

Snapshots, Smart Objects & Soft Proofing

Is you can save what are called snapshots so snapshots to me a very interesting I'm going toe tap the tab kagan and we're gonna bring back our snapshot so let's come right up here close up our presets we're going to come back to snapshots so here oh this one already has one okay so I have two snapshots I have one version of this file or one version of how all of my settings are saved is one snapshot and then I've got another version saved is another snapshot so how did I do this well I just made some changes so let's come down and say all right maybe in one of these I want it to be in color and let's make another drastic change um let's see if we've got some split tony and on here no let's add some split toning all right for sake of argument we've got the okay this is even better I will give myself a right the art director wants it like this we know he's going to change his mind do you like how the art director's a guy you know what an art director sounds like right over your shoulder ...

right more bloom or bloom or blue more yellow for yellow loreal are that's where I started ok so that's a definition and art directors one who changes his mind so that's what they get to dio so they decide whoever they is the they're going to want this image put in photo shop just like this so great, so we say, ok, I'm going to take a snapshot and this is going to be kind of your science or your blue snapshot, all right? And we hit create because I think that after I go to photo shop and I do all this work, they're going to change their mind and they're going to say, no, no, no, I want that and you know, this or in color or in black and white, so what I'm doing is I'm kind of hedging my bets here, like, now I think you're going to like it like this. So instead of saving a virtual con ap, I'm actually saving different sets of settings within the same image, so when we go back to the grid view, I don't have three uh, um thumbnails, thank you. I don't have three thumbnails here with three different sets of instructions. I only have one file with the sets of instructions inside that one file. Some people don't like virtual copies because if it gets too messy there, like I remember what versions what some people don't like snapshots because, like I could never remember that I actually have more than one set of setting saved so it's just it's it's sort of a workflow choice but I will say, you know, if I wanted to print these both out next to each other I can't do it like I could do with virtual copies when I'm using snapshots they're all in the same file and so I can't just say ok print two up next to each other like I could if there were virtual copies and I could select both of them right? So this image if I make a virtual copy and one of them is in gray scale and one of them is in color reset that alright ones and grey scale ones and color I can take both of these and I can print them next to each other or I can export them both his separate files if I come over here to this image there's not another thumbnail with those other snapshots in it so I can't just print them next to each other but what I can do is this and this is really cool we'll talk more about this when we talk about ed it in, but if I say at it in and I want to open this as a smart object in the photo show if I open it as a smart object because light room and photoshopped have the same technology built in meaning the the toby camera raw if I open this is a smart object basically what what's happening as light room is handing off the entire raw document and it's embedding it into a psd file. Let me change my screen. Okay? I know my screens a little weird. I set up photo shop a little different than most people. I have all my tools and everything over here. Don't let it freak you out. It just I got so tired of being like pick a tool, pickle air hoops set the options go back to the layer, right? It was like so much mousing when I got, like, a cinema display was like, I've got to stop going back and forth it's like playing pong all day and like back and forth and up and down. So what? I did it, I just at first I put all my tools over there, but then the options, they're still in the upper left hand corner and mostly menus if I need them are gonna be up here. So why not just put everything over there? It seemed to make more sense to me. Anyway, I digress. I opened this as a smart object. So now maybe I've done a bunch of stuff so let's, just imagine, without wasting too much time. Let's say every size this file that's one of the huge benefits with smart objects is you can actually resize your images. And you can do this as many times as you want and you don't lose inequality so I could make it bigger I could make it smaller we could add a mask to this right so here's my mask I'll grab my great aunt tool will just draw mass that kind of fades this out let's say I added type and and I did all this complex so we could add a free transform and then I could go here and we could work this right and did you notice what I did? I read this I've seen people they don't take the time to read it it's trying to help and it's going to help but I have to read it first okay I will unlinked that I can't link it I have to back out now I could un link it now I can transform it now I can wear bit this was supposed to be just something simple my point was was that I was going to go through all this work and do all of this and then when that looks really lame we're gonna do that. But anyway then the the art director would say, oh, I want that black and white version maybe like uh now I gotta go backto light room I've got to get the black and white version I've got to come back in here, I've got to resize it I've got to add my text again maybe have to add my layer mask I have to do all these things but now because this is a smart object because it came from photos if I just double click on this it opens it up in the same camera around technology but in photo shop and guess what we have snapshots so I come over here and say oh yeah I'll get that to you after lunch go to color go to black and white click ok it updates it from the from the smart object that is embedded in the photo shop file not the light room one that one still on the drive the same place that you put it but it would update this one so for people this is what someone call it this is perfect for that in decisive moment right so we know for doctors believe that decisive moment this is for the end decisive moment where you know that you're going to be changing stuff and it works great I use this all the time when I'm making my composite images I will create multiple snapshots if I'm unsure I always use smart objects we can talk more about that tomorrow but that's just the difference you know when people say oh did you did you use a snapshot or did you use virtual company so now you know the difference and when you'd use each one of them okay one other thing with snapshots that you can do that's quite cool just before we move on is if we are in that before and after view so if I attempt the y key so we had before and after again before always seems to go back to when you first imported the document so what you'll do is you'll be like, oh, julian showed us this great trick member in the history if I want to go and compare to different, uh, places in time I could just move down here and in st louis drag and drop it and now I can compare those two versions yeah, well, so you're going to try that with snapshots though and it's not gonna work because you can't drag and drop it, but what you can do is you can write mouse, click and you can copy the snapshot settings to before so now I'm basically copying that snapshot to the before states that I compare different states you just know you can't drag and drop but at least you go can I can right mouse click and do that all right? So soft proofing this is going to be kind of the abbreviated version will see how many questions we get, but basically what soft proofing is going to allow me to dio is it's going to allow me to? I'm looking for an image here all right? So with on and I'm actually going to add some saturation just to make sure that waken see what's going on here so commune plus all right, so this image uh I think we all know that there's more colors in nature then are able to print on most of our printers so soft proving I can print I'm sorry I can solve proof not only a printer in light room I can also soft proof a color space. So this is handy if you are working in this big color space which is what we are doing in light room but we know that we're going to take this image to srg because we want to place it on the web we want to see what that's going to look like. So down here at the bottom, we've got this soft briefing option if you want to toggle it on you just tap the ex the s t so the s ky toggles on soft proofing and then we get to come over here and you'll notice that the history graham changed. So with the s key off it is the history graham tap the s ky and it becomes soft proofing I get to choose I can soft prove here and I can preview we can see here let's, get that little guy come up, come on, this is my monitor right over here is going to be my printer. So what does that mean? There are some colors that you can photograph that you can't see on your monitor, so if you want to see what those are, you can always toggle over the left hand side and see what those colors are so that's telling me, wow, the actual numeric values in my image cannot be displayed on this monitor, and if we do this a few times will notice that it's really kind of those really saturated values. We've got the oranges there, we've got some greens, and we've got some blues, right? If we want to see what cannot be seen on the I will say printer right now, because the profile I have selected is printer, but you'll notice that aiken soft proof not only to a printer, but to a different color space. That's what I was mentioning with s rgb. Now the red overlay says, yeah, those colors are not in canada. So what that means is there is this many colors in my image. Well, there's this many colors in the world, there's this many images in my and this many colors of my image, the monitor can kind of display this, and my printer came kind of print this. And it's it would be so nice if they were like the dolls that stacked and it just got smaller and smaller but of course it's not it's like you're trying to stuff like a rabbit into godzilla into something else and you've got an arm coming out in a tale in an ear so color spaces and those people I'm sorry who are really sophisticated color spaces they're just shaking their head right now going like no, no, I know I'm oversimplifying it but basically it's going to warn us of these colors that can't be printed so it warns you how do you how do you select it? Sorry, I don't really go over that very well the profile right over here if I select this, you'll notice that I can go ahead and choose well, I've got a very short list right now, but if I click other here are all the different profiles for the printers that I have I don't use all of these different paper and in combinations, so I've just checked on the ones that I use so there's the eighty eight, forty eight hundred the eppes in with that I used with velvet fine art paper with matt blank, so if I want to prove to that I just click it on like ok, and then right here I would select that from the list all right? And it actually just change those colors and if you saw that or not let's go back from adobe rgb that's a much larger color space, right? So I'm seeing a lot more color there now if we change this go away right there and we go to my velvet fine art paper all right? We're not getting in his rich of colors and that's totally to be expected, right? That is nothing. I mean, it has everything to do with the printer, but it's not absence fault. I'm going from this backlit monitor that's got great values and then I'm gonna go and I'm gonna print this on a matte paper which is going to absorb the ink and it's going to get a little bit less bright so great so I can preview it here. Well, what can I do about it? You can choose to do nothing and say, huh? Interesting. Well, when I print the profile for my printer is going to take all the color from one space and it's going to move it down into the other color space and this is about what it's going to look like you could say, ok, I am self proving I'm getting a nice preview of what that's going to look like or you can go in and you can actually try to make adjustments so the first thing we would probably do is we'd say, julian, get your saturation off of eighty one, right? So we would double click on this now, as soon as I make a change it's going to say, well, what? Whoa, you wouldn't change your original because the way that light room is set up is it basically is you don't have to make any decisions till you out put your file, but right now, you're making a very specific decision based on a very specific device. So how about we just make a virtual copy? Here, you make your change to the virtual copy, but you can always go back to your original, which has all the colors in it. So you say, ok, I want to create a proof copy. The only difference between a proof copy and a virtual copy is if we go back to the grid view and we come over here for metadata. The copy name has the profile that were soft proofing that's the only difference. It's a virtual copy. All right, but it's got this name here. So we go back to the developed module, and basically you have the option of either making a selective change or a global change, right, we want to make sure that this has turned on so again, it's the I thought it was the jakey but maybe it's not maybe you actually have to click on that to toggle it on so now we could come down we could say all right, well let's de saturate this until all that red warning goes away. Well, now the problem is I d saturated everything right? So probably saturation isn't the breast best bet so then I could come down here and I could go to h s l and n h s l I could come and say all right, well let's grab my target an adjustment tool and let's click on wherever this red overly is because that's telling me hey that's the color that's too saturated I'm clicking and dragging down and aiken selectively bring different color ranges into gaman so you do this with his money you know you don't have to do this. You could just say I understand that the killer gametes are different when I print I'm gonna let the profile do the best job it can or you could say I'm going to come in here and do it manually because don't forget you it's not necessarily just saturation you could come in here and say, you know what? I bet if I just change that red hue a little bit maybe I could bring it maybe this red is super hard to print but maybe a little bit more orange and it wouldn't be as hard to print or maybe if the printer can add some black if I can bring the luminant is down a little bit, then maybe I could get into the principal color gamut so you can go in here and you can finesse. This was kind of a crazy image to start with to do it, but you can do that. Of course, I've also picked the worst case scenario because I've actually picked like the hardest thing to print to matte black and a textured fine art paper. You khun bet that if we went here to srg beaks, I was going to the web or something a lot of, well, some different values air out of gamut, but if we just double click on all these guys, we can reset them, but I could go in here and I could change these values instead, all right? So that's because I was kind of your five minutes sorry overview of soft proofing and then you were going to bring up. I remember now if we go to the actual print module, we can talk about this a little bit more tomorrow, but there is an option here in the print job where if you do want to make a slight print adjustment, you go ahead and click this on, but we don't show you a live preview it is really kind of a guessing game here like all my prints or printing too dark I'm going to add plus ten brightness and try another print and then ah now it's still printing too dark I'm going to add twenty five printing too light I'm going had fourteen so this is just a really experimental way but it's really quite helpful for folks who may be having calibrating their monitor anything and just say you know what? Everything looks good here but it always just prints to dark they can come in and say oh yeah well I just added plus twelve is that the most accurate no you'd want to have your color color you want to have I mean if you want to invest in something seriously like you gotta have your monitor calibrated I've read a variety of interpretations of perceptual versus relative intense and color management is there a quick answer to this election or just experiment there's not a quick answer like I wish I had a rule of thumb like oh if you do landscape you should always use this and porch it's always that there is not a rule of thumb like that well there might be I don't know what it is in that case so I'm sorry or you're gonna be over my head very quickly with color management I don't know why I'm always really lucked out I profile I characterize and calibrate my monitor and my prince, I work with a great color lab and I am very happy. So yeah, it's so frustrating that the clock always beats us on creating, like that's one of the challenges because I think julia was so in the zone then, and she was so excited by what she was doing. I think we're all wrapped up in this. Well, but how would you like to summarize today? And you know your force on today and we have a lot more coming way, which is a good thing. I hope so. I'm actually very pleased with the amount of content that we got through. Yeah, I would. I would love to hear feedback from you guys to see if you know, if they want. Maybe tomorrow we could arrange a little bit more time for questions. I know the last segment is really going to be kind of heavy duty and catalogs and archiving and and backups and that kind of thing. So may well be more time for questions into but unfortunately right now we have come to the end of the day. Thank you all out of out there have been joining us today, it's you who makes creative life, what it is, thank you very much, indeed to our student. It's. My hope that this has bean. They have various different skill sets and different experiences. But I hope it's been wonderful for you as well. But I'd like to give a really big, creative, live global round of applause to our wonderful instructor today, dan cost.

Class Description

Ready to drastically reduce your post-production workflow? In this 2-day workshop, Julieanne Kost, the Principal Digital Imaging Evangelist for Photoshop and 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

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