Setting Up Lightroom to Receive Images
So let's plug this thing back in. All right? So once we've plugged our camera in, then we need to set up light room, so we're all plugged in. So this is communicating with the camera, and we're going to. And by the way, if you're working on a Mac, especially if you're in l. Cappy the photos program, which is a really annoying program that pops up every time you plug in a card. Every time you plug in a camera, it just pops up on you and it keeps doing it, and it keeps doing it and keeps doing it. And you can't stop it. Um, the only way you can stop is if it's if the same cameras plugged in. There's a little check box in the top left hand corner, and it says open photos when this device is plugged in. If you unclip that, then when you quit it, it shouldn't open up, over and over again. However, every time you format a card and then plug it into your camera, it's seen as a brand new device, and so it will always pop up and there's no way to get rid of it. And I've dealt with Apple on it ...
many times, and they're just like, Well, that's the way it is. So anywhere the photos program, the only way to stop it is to actually like go in and and remove it from your system, which is very difficult. So it's just always gonna be annoyance for you before we move forward a little bit, Um, had a question come in from HMR 638 which is would doing the USB three to Thunderbolt help the speed of the transfer USB three to Thunderball? No, because if you go USB three to Thunderball, you've got this amazingly fast transfer and then you've got USB three. So it's always the weakest link, and USB three is from Here is the fastest thing you have, so you might as well go USB three all the way. Just make sure that you're plugging it into a USB three port. You're using an older computer, and it's just USB two. Nothing's going to get it in faster because the weak link is that USB two ports. OK, yeah, So USB three is the fastest transfer. The five ds R has USB three, the five DEA. The five d mark three only has USB two. So it's very important when you're in U. S. B two to go to that small raw as well that smaller all will help to transfer. We're gonna start to set up light room. First thing we do is we open up light room and we're going to create a job. And you can see that I've created a job here inside of light room. There it is. It's the creative live 2016 February job. And inside of that job, we have a raw folder and that folder is gonna be where we send our images. So when I start, I'm just going to right. Click this right now, right? Click it and I'm going to go in and show it in the finder so you can see that I've created a folder inside of my computer. Before I ever worried about opening light room, I created a job inside of the computer called Creative Live, and I put a raw folder in it. That's where everything's going to go, then. Once I started tethered capture situation. That's when I can tell it. I want to put my tethered images. The things that are coming from this camera. I want to put them inside this raw folder in a specific folder. So that folder is gonna be the Joans wedding or the model photo shoot or whatever that tethered situation is gonna be. So today we're gonna actually do a model photo shoot, and we're gonna pretend to be the Jones family at the Joans wedding. So those are the two chutes that were going to do. So let me show you how that's done then. So once you've created that folder, then when you're inside of light room, you're going to go up to the file menu and go to the tethered capture option. So the tethered capture option has a start tethered capture button. Everything else is great Out until you start the tethered capture gotta be plugged in. To do this, I'm gonna hit start the tethered capture. And then once I start the cat tether capture, I'm gonna name the session. So let's name this test because we already have one set up that we're gonna use. Um, and we're going to go to the second. Okay, The first area here, This part. So you can have it changed the name. So right now it's saying test dash 008 and I don't really want that cause I want the names to be exactly the same. I want the names of the file that's on my SD card that's sitting over here on the computer to be the same names as the ones that came in from the computer. Small, raw on the big raw need to be the same names. All right, so in order to do that, I have to change one of these settings. So I'm gonna edit at the bottom of this menu, And now I can change the name structure of the files. That air coming in and what I'm gonna do is I'm gonna delete all of that. Okay? So I just highlighted it and deleted it. And now I can choose all sorts of stuff. See that I can choose numbering systems. I can choose dates. I can choose file names, etcetera, and then I just insert. So I've chosen file name and I'm gonna insert That's it. That's my naming structure. When I'm done with that, I need to go in and save it as a new preset and just call it file name. They're simple enough, right? So my naming structure is file name. So that means that the small, raw and the large raw going to different cards will be the same name on the camera. When the small, raw leaves the Cameron comes in here light rooms not gonna change the name, it's just going to simply take the same name and put it on the file. So now we have the same name. Interestingly enough, if you were to take the old small rahs and throw them away and put the big draws in the same folder, guess what light room sees. The same file that makes sense. So now you have the same file to raw file. It's a CR two file number four. Number four. The same thing. If you want to keep the two of them, then it's just a matter of copying and pasting the setting so that you have both of them the same either ways. Fine, yes, so Jared, it's because they you have named them the same thing and because light Room just points to a particular folder and recognizes that name that it doesn't know the difference because because light room sees light room looked at your file and it looks for the shoot time. So, like 12 57 and 38 seconds on november 5th, 2008. That's one thing it sees. It also sees the file name and it seems the file type if those are all the same, they're the same file and these were shot at the same time. They're recorded at the same time to two different cards. So really, essentially, that the same file once just happens to be bigger than the other. Okay? And just to clarify for people s a lesson here for people who don't have the ability to shoot 22 cards when d. D. So people who can't shoot on two different cards, they're just gonna have to transfer the same file over unless there camera, which I don't know of any cameras that do. But I'm a can and shooter. Eso forgive me that I don't know the Nikon well enough for Sony or whatever, but, um, if your camera had the ability to Onley send over the J pegs or the Onley send over that you know, like it could say, OK, I'm gonna shoot a raw and a small wrong to the same card, and you could somehow get it toe Onley Send that small, Rob. But that's not gonna happen. What's gonna happen is going to send every file you shoot. And so what you want to do. Yeah, Yeah, I think the Eos utility, we'll do that. Okay. And then you can do it where you go. OK, so that would be the way to do it. So if you if you involve the Eos utility, which is another program behind the scenes and tell it, just bring over the small raws. Those would transfer over. But then what you do instead of doing a tethered shoot, is you would do a watched folder and I'll show you that in a second. Actually, remind me to show you that soon as we finish this. So we would just make a watched folder. So if you only have one card, then that's the way we do it. Thank you, John. That's a great point. Okay, so, um, in the destination area, right below the file name, we get to choose the location for those photos. So we're going to go to the destination and hit choose. And when we choose that, we're going to choose the folder where we want something to go right now, we're doing the model photo shoot, so I'm gonna click on model photo shoot. That's where you want to do. If you wanted to add a new folder, you click on new folder, name it, test create. And now you could choose that folder instead. But we're gonna choose the model photo shoot, and we're gonna hit Choose. So now we have that all set up and notice at the very top. We have it set up so that it segments it by shots. That's very useful. If you're doing some say, you're doing 15 or 20 different shoots all in your studio with different outfits on. So you're going to do the suit and then you're gonna do the dress and then you're going to do the checkered blazer, and then whatever. So you would just every time you're gonna you don't have to go into this. You can just rename the shoot. So you say, OK, we're on to shoot number two, and it will put it in a new folder with that name on it. So it organizes all the photo shoots. All right, so we're going to do it so you can see what we're doing. But you can segment by shoot, or you can turn that off, and it will just put it all into the same folder. Okay? And so we're going to call this our model shoot. We're going to segmented by shots. We're gonna shoot. We chose that location. We can also then click on add to a location, our collection. So every time a photo comes in, it can also be added to a specific collection. Now, in our case, we're actually not going Teoh worry about this, But we could add it directly to this collection called Client Review. And I'm going to tell you I'm gonna show you in a minute. The reason that we don't want to add it to a collection, but we could add it to a collection. All right, So the collection we're gonna use in this photo shoot is called client Review Collection because we have a client in studio. So Casey is our client. Where's case? Oh, Jim is our client. Hi, Jim. Your art director today, So they swapped the art director on. Okay, So Jim is our art director, and so he needs to be able to see these images as we're working. So he has an IPad pro over there and that IPad Pro is going to be receiving files. However, I don't want Jim to see stuff that I don't want him to see. And he's gonna be He could be at his office in Arizona right now for all I care about. So he could be he could be somewhere else. It doesn't matter where is he could be in studio. You could be out of studio, but he's on his IPad pro, and he's receiving files from me. All right, so I want him to see those files. But I only want him to see what I want him to see. And not only that, but Jim, you also have some really annoying clients that are all over the web. Yep. Right. Sure do. And that's you guys out there on the web. So if you've signed in to the first link at Jared platt dot com, so let me go there again. Right below the information about my curves. Presets is a button. That first gray line is our first shoot. And if you log in there you get to be are annoying clients who are constantly making comments on things. And poor Jim is the art director has to satisfy all of you at the same time. And that's live on Lee right now while we're live. Um, so and just so you know, our clients are already charming in because they have already signed up from that earlier link. Awesome. And their their love in this photo of John. Oh, they've already Oh, yeah, we got a lot of likes. Okay, Great. They're already commenting on the test shots that we did of John s. So they are quite nice, and he is quite sexy. I really thought that, Carmen, we should have just put the coat on you. But Carmen's little prettier than you are. Okay, so the client review collection, I could automatically send everything to their That's what this button is. If you click on add to collection and you point at the client review collection, every image that you shoot is going to go to light room. Then it's gonna go to the client collection, but I don't want everybody to see an out of focus shot or whatever. If I'm just testing client doesn't need to see it. So I'm going to turn this off, and then I must show you an easy way to make that happen when you're like, Yet that's worth letting the client see. Okay, Now, the other thing that I'm gonna do is I'm gonna set up keywords. So the first key words that I'm gonna dio is I'm gonna do Studio backdrop, coat, woman model, female. All of those things are gonna happen all the way across every image. I shoot here because those are the things that are in the shop. All right, so that's it. I'm ready. I'm set. I'm gonna hit. Okay, This is the first shot name that I'm gonna It's gonna ask me for this shop name, So test shot. I'm gonna call this magazine cover and hit. OK, so notice what it did is it created a folder inside of the model photo shoot. So remember, we told it to put these images in raw, told it to put him in the model photo shoot, and then I created a shot, and that shot was called magazine covers. So it put a folder called Magazine Cover. Once I've done that, you can see right here I have my camera. It's not detected right now, probably because it's asleep. So let's just wake her up. There we go. So with waking up my camera, you can see that my Canon five ds R is all set set up there. And by the way, if you're wanting what the R stands for, it means really sharp, so it doesn't have the same alias filtering on it. So five D s is a 50 megapixel camera, and then it has an anti a leasing filter on it. The five DS R doesn't have that or has some limited version of it. And so it's super uber sharp, so it's just like awesome texture. But you have to be careful, because without the anti alias ing filter on it. If you get weird patterns, sometimes you'll get some of those moray patterns. So those were more likely to happen on a five D s are than they are on a five D s. So just so you understand the difference between those two cameras. I personally like the five ds R. So if I do, if I'm worried about Alias ing, I'll use my five d mark three.