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Tethering to Lightroom: Simultaneous Shooting and Editing

Lesson 11 of 13

Testing and Locking in the Style for the Photo Booth

Jared Platt

Tethering to Lightroom: Simultaneous Shooting and Editing

Jared Platt

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Lesson Info

11. Testing and Locking in the Style for the Photo Booth

Lesson Info

Testing and Locking in the Style for the Photo Booth

So, John, come back over here and let's take another shot of you. Very nice. OK, so we just have this photo of John. It's coming in. Let's wait for it. I think maybe we went to sleep or something again. That ever happens. If you're not shooting for a long time, sometimes just forgets that you want to shoot. So just go back, file open, start to other capture all the settings of the same. So just hit. Okay. Okay. And then you ready? John? Notice I didn't even go to the camera. Was shooting from the little button, so you don't necessarily camera. Could just be locked down and ready to go. And here's the deal. When you do a photo booth like this when it's this kind of a situation and what I'm gonna teach you today, you want to keep the camera locked down? You don't want any movement on the camera. So, in fact, I would put a sandbag on the camera. You know, just hang a sandbag from it so that it stays really sturdy. Make sure this doesn't move. Make it locked down as much as you can. You se...

t up promotes or things like that. Yeah, absolutely. In fact, if you take a pocket wizard, plug the pocket wizard into the camera remote operator thing here and just let it dangle and then take your pocket wizard and just fire. Then you could be anywhere you could be walking around you like, Hey, you guys go over here and but little of one. Bam! Oh, come on in. And then one photographer can become the pusher in the polar and snapping the photo and going over and hitting Publish everyone somewhat like you could do all of that by yourself if you have a pocket wizard doing that, So that's a good point. OK, so here's the photo of John. Now, remember when we first started working on this tethered capture idea? We talked about the idea of doing some stylistic work on the image, right. We're going to do the same thing. So the first shot that we take with our assistant when we're setting it up, we're gonna go in and adjust the photos. So in this case, I'm gonna bring the shadows up just a little bit. So I Seymour of any any Blackshirts. I'm gonna take the highlight down just a little bit and the white down just a little bit so that I really want to look right in here. See that? I want to make sure that any kind of highlight. And I know that John has silver and his beard, So if someone has blonde hair, it's gonna be darker than Silver. So I'm just making sure that I don't have any surprises when I have someone with black hair come in or when I have someone with blond hair come in. I just don't want those to be surprises. And I have to change anything, so I think that looks pretty good. Now I'm gonna add a style to it. And in order to add style, I'm just gonna go into one of my curve presets again. And when I'm gonna I'm gonna do a thin film with kind of a warm shift to it. So that's that's what I'm gonna do. So that's my That's my shot. I like that. And now I'm going to go in and crop it. So I'm gonna go and crop this thing so that it's kind of Maura around gonna turn off the, uh if in the crop tool. If you go over here to this little padlock and unlock it, it will give you any aspect ratio. So I just want it to be about the size of that frame. Actually, let's go for an eight by 10 and see what kind of ah, that's good. So everything's gonna be an eight by 10 size. I'm just gonna set it up so that it's perfectly straight. Now, notice that that frame is a little skewed because I'm either shooting up or down on it or whatever. So I'm also gonna come down to the lens correction area, and I'm going to click on auto. Actually, let's do vertical. So watch the difference between off and watch. Watch. Watch closely been hit. Vertical straightens the frame, so that's off. That's vertical. So just straightened the frame to make sure the stream is put. The frame is perfectly straight on, and then I'm gonna come back up here. Now I'm going to do a crop. Let me let me dio eight by 10 crop kind of size this down a little bit there. What do you think of that? That looks pretty good, right? I like the fact that the frame is there. I like the fact that we see his body under the frame, so I'm really happy with that. But I'm not happy with one thing. The the pipes, the model, the pipes. I don't like the pipes. Okay, so now I'm gonna fix the pipes, so I'm gonna turn off the crop for right now. Just leave the crop off for a second and let's go into the spot or healing tool. Click on that, and I'm just going to go in. I gotta make it about that big, and I'm gonna go like this, and I'm gonna take the capacity up to 100% now that zoom in here so that you can see what's going on. Go Hope. Shoot. That's not a good idea. Well, then let me get in the navigator over. Okay. See what's happening to that frame right there. So what we have to do is we have to take this little pin and we have to move it just a little bit. See that? We're just moving it until that matches there. Sen. Alan, zoom out. See that? So we've just gotten rid of one of the posts Now we got to go and get the other one. So we're just gonna do the same thing. Click on doing this all with my finger. By the way, I don't have any kind of a mills with me. Okay, Now, notice it Tried to apply it from over here. It really made the wrong decision. So I'm gonna grab that, and I'm gonna bring it over here, and I'm gonna try and find a spot where it looks correct. Go up a little bit. That's all right. Good. Now let's zoom into that part and just make sure that that's correct. See how it's a little bit off there. So we wanna grab this and move it so that it matches there. See how that I was looking at just the detail work inside of the frame, So just had to make sure that it matched and then zoom out. Okay, so now that we've done that, we're gonna crop it back in. So let's go back to our eight by 10 crop and bring it down. It's the right size, and there we go. Is everybody happy with that? Just looks like the frame is floating. Right. OK, John. I get you another time. All right? Here we go. So again, I'm just operating from the computer, and here we go. So now watch what happens. Oh, I messed up. Look at this one. Back to normal. Right? So I don't want that one. I want this one. So let's just go again. Remember, we got to go to this develop settings here. We did all these developed settings, and now we want to go same as previous. And now let's do it again. So now the next one that comes in is going to be an eight by 10 crop watch. It's gonna go through the hold on. Actually, I think it didn't because hold on, let's just delete these. There we go. OK, Ready? Here we go. Samos previous and go. All right, so now it's going to come in and give us those settings. Come on, baby. Bring it in. Well, that's interesting. Yeah, let's just so I think what's happening is it's probably I shot something, and so it's not getting it. So let's just let's take these settings. So we're going to go like this and highlight those Go to the develop module and I'm just gonna synchronize. So I'm just going to the sync button. Oh, maybe that's why. Look, none of these were checked, so I'm gonna check all and hit Synchronized. It's probably why it wasn't doing so. Now See how it's synchronized over here and look at that. See how the our pipes air gone in both shots. See that pipes gone. Bull shots, even with a little change in the light, is still did fine. Okay, so now I'm gonna be here, and we're going to Samos previous. That is really not making me happy. Go back one. Come and see you copy. Over. He tried again. Ready? Generally speaking, this is not quite a problem, but but never, never you fear. If we have that problem, I have another way of doing it. So we have a work around that that's just Azizi, but we have toe set it up, so it actually be good. Good lesson for you, anyway. So if this isn't working, which for some reason it's not, it should, because the same is previous is supposed to take those settings and move them over. You saw it happening in our last photo shoot it's just not happening in this photo shoot for some reason. So what we're gonna dio is and maybe it's still coming in from the camera. So So instead, let's try a different solution. Just so you have a different solution. If it works for your work done in the last set, just fine. But if it doesn't work for you on that set, let's let's do a different solution. So if I had a situation hypothetically speaking where my computer was not working correctly, I would go to the last image that I knew. I had the right shot for, and I love the way it looked and I would go into the develop module, and I would go up to the top of the preset area and hit plus at a preset, and I would just add it to the user presets. And I would say, photo booth, Joans Wedding 2016 Whatever. Just a very unique. So this preset is a preset that you only use for this one photo shoot. Then you're just going to delete it. Then you're going to take everything that you created in here. Now you could you could sit down and, like, specifically, decide which parts of this preset you needed. But I'm just gonna say check all because all of it is going to be the same in every photograph. So I'm gonna hit, create. And now I've got a preset inside of my users Precept folder that says photo booth Joans Wedding 2016. So then I just go to this developed settings, click on it, go to user presets and choose the photo booth. Joans Wedding 2016. So now it has to apply that specific preset to your photo every time it comes in. So now let's try this again. This time we're gonna fire again and go. And if it doesn't work this time, I'm restarting. But notice here. This is a good indicator that it's working. You see how this has a plus minus on it and a crop on it. See those two tags? This one didn't some reason it wasn't bringing those in, but this one has are setting changes on it, but it doesn't have the crop changes on it for some reason, which is a little strange. But if you notice that it does have these two settings on it, but it doesn't. Something's going on here where we're not getting all of our settings changing. And I think maybe I need to restart. So do you have any questions out there? Well, I restart. Try and get this thing toe operate. Alright, let's do it. So we had a question from Helga. Who says, Do you lock the focus in camera so that you could be walking around and shooting with a pocket wizard? Or how can you be sure your subject is in focus? This is when you're talking about this set up of the booth. Well, the key is, if you think that you have a focus issue first off F eight, then you don't focus, issue. Um, And if something someone's a little out of focus or wider lens wider lens further back, FAA is going to give you a lot more focused than close up longer lens F 2.8. So you you gotta figure out what you're not. What I would do is I would have someone, you know, stand here and shoot and make sure that if they were here, they're in focus, and then I would have someone stand where John is right now and make sure they're in focus and then have someone stand in the middle, make sure they're in focus. And then as long as you have all those focus points, then it never has to change for the question. Would you lock the focus so that when it refocuses, it doesn't change the size of the frame? Why wouldn't I Wouldn't allow it. Toe auto focus. Yeah, that's manual only locked out. Focus down. Yeah, because you're not moving your camera. Now, if you were doing the same photo shoot set up and you were you know, we had someone doing this, you know? And they had a white psych or something, and you were doing, like, cool, fashioning shoot, then. Obviously, he's just going to shooting. The tether is gonna be taking it into the computer, and then you can't do any of this kind of stuff because your clones would be in different places. Bombs would be a different places. Okay. All right. Other questions. Yep. Another question. So we have been tethering to your laptop. Do have any experience with tethering toe an IPad in any considerations. Recommendations you can tether to an IPad through. I think there's a lot of different ones, But, um, if you tell her to an IPad, one of the problems you have is you don't have the ability to show is many people. You're just showing one person now. We were tethering kind of to an IPad in our last photo shoot because it was going to the Web and then coming down much more useful, having an IPad in the hands of an art director, making some decisions, then having an IPad that maybe you have to show around. So if you're really my only solution for tethering to an IPad through cam rangers is an option. So tether tool sounds cells what's called a can ranger and that has a little thing that's attached to your computer, your camera. And then it sends a photo over to your IPad. Great, but it's good for like teaching. It's good for showing people immediately what you're doing, but it's not nearly as impressive and complexes what light room mobile can do. But let's just say we're out on location and we don't have any kind of ah cell signal. Then it would be very difficult for us to do that. But if I have a cell signal, I can use Light Ra Mobile to do just exactly the same thing. If my if my ipad has a cell signal, my IPhone has a cell signal. I can simply tether it to here, up to the web, down to the Web with same functionality that I just showed you here just a little slower and much more useful. So Cam Ranger is a good way to go. But it's, you know, So let me try this one more time because I think I got it solved. You ready? I hope I've got assault. Well, everything except for my crop and my my settings air coming in. But watch what happens if I hit the previous button. All those change. So all of the same things air pulling in and I'll see if I can't figure out why it's not bringing it in. But this is that's the concept is that you have at a set of circumstances put together, and then once you've got that set of circumstances put together and you like what you see, then it's just a matter of shooting and applying all of those settings to the new image that's coming in. I'm any other questions studio. We do have another great question that has a series of votes on it. How can you add a watermark to the images so it can have a logo frame or similar? Okay, Um, inside of light room in the export dialog box is the option to add a watermark to anything. So if I were exporting this, then at the very bottom, there's a water marking area, so I can add a watermark to anything. Now, if I'm in SmugMug in the preset are mean in the, uh in the SmugMug published service. When I create the published service, I can tell it toe add a watermark on the way out because essentially a public services just using an automatic export to send to the web. So when you create the published service, that same option to put a watermark on it is going to be inside of that export area so you could say, add a watermark. But SmugMug also allows you just uploaded watermark, and they'll put your watermark on every photo, even though it's not on the photo. That way, if someone prints it. The watermark doesn't come on the print, all right, so it's better to do it through the Web service more than it is to do it through. But if you're going to Facebook than in your face book published service in the export area as you're creating it, just make sure you add that watermark and it looks exactly the same as an export dialog box. It's just that second to the last option, add the watermark, choose your watermark, place it and then everything that goes to Facebook will always have your watermark on it. Thank you. Any other questions? I think. Let's keep trucking. Okay. Remember, we still have to bring in the photos and show them the people on the web. So there are people waiting for these amazing shots of John on the Web. And so what we're gonna do is we're going to go to the, um, we're going to go to the published service, which is down at the bottom of the library menu, go down into the published service and click on Joans Wedding and then inside the Joans Wedding. You just hit this publish and when I hit publish. It's sending those images up to the Web, so it's unfortunate that light room, it's unfortunate that SmugMug can't allow you to auto publish, because then it would just constantly be feeding up to the Web. But as a result of that, you just have to go in and push publish every once in a while. So you have to get to go in and just have someone come over and hit. Publish every five or you know, shots or whatever. Just go over and hit publish, and then we'll start publishing and you can see them happening right now. So these air all published photos. This one still has yet to be published. Now it's published, and now they're all reporting is published. So now everybody can go and refresh their, uh, browsers on line, and they conceal all those photos if they comment on him. If anybody logs into SmugMug and the comment than those comments will come back to us right here inside of common area, just like they did inside of light or a mobile. So, um, have anyone felt inclined to log in? They could certainly do that, but it's the same concept. Now the beauty of SmugMug also is that when you have, um, when you create on SmugMug, which called on event, if you have people log into the event, you can actually see who was favorite ng what and then their favorites come back to you in a collection called Clients are Not Clients. Yeah, it's in the client's area, but it's called Oh, it's events. Favorites is where it is. So if you look right here, click on that. You can see all of the events, and if I open that, it says, Oh, that's the Cutler family vacation favorites. And this is Loretta's favorites Minis, favorites, Robbins favorites. And if you click on them, it'll actually show you your raw images that they were favorite ing so that you could make their prince or their books or whatever from those. So SmugMug has a lot of good connectivity between the two things

Class Description

Participate in a full tethered photoshoot, and discover the powerful efficiency of simultaneous shooting and editing. Follow Jared Platt from start to finish in this step-by-step lesson for both beginners and advanced users. You'll gain new insights in lighting, camera settings, tethering tips and Lightroom instruction, and learn Jared's advanced techniques for streamlining a tethering workflow.  

Software Used: Adobe Lightroom CC 2015.2 - 2015.3


Donna Michele Designs

Mind blow! This was a great course and Jared explained in detail and with great clarity a comprehensive approach to using a Lightroom workflow that collaborates with multiple software platforms. Lots of "A Ha" moments. I think I can actually do this now where I didn't have a clue how to make this all work before.

Renata Caughlin

Awesome class... So glad I got it.... Who knew I could do so much with a cord and my Lightroom... Totally hooked!


Absolutely great class. Lots of useful information. Thank you!