Updating Client Revisions through Lightroom Mobile
So this is how useful this Converium, right? Not only that, but once it's on the web now it's coming down. And let's talk about the light room mobile component, So Oh, take a peek. Okay? Take a peek away. You've done. I'm gonna refresh. Have you done something to it yet? Yeah. Make sure that it's I made a black and white, but you're gonna force, so I'm gonna force the sink. Okay, hold on. So Jim just decided he is the client so he could do whatever he wants. He just decided that he wants us to be a black and white. He changed it. I didn't. So he just changed this to a black and white so that you could see, see as a black and white. So now everybody can comment on whether or not they like the black and white or not. Now, remember, Jim has clients out there on the web. And so if you don't like the black and white, then he can, of course, change it back. But I want to show you something. You don't change back yet, have you? No. Okay, so I'm gonna go to light room, and I want you to notice...
that my light room also has his changes in black and white. So it has communicated back toe light room to tell my light room that that image needs to be a black and white. Okay, now let's assume that we've done a bunch of shooting and it's gone up to the Web and the clients have said, Hey, we thought we were getting a black and white out of this. What's going on? So Jim changed it to Black and White because he was He was watching his comments and he was, you know, figuring out what his clients wanted, and he changed it to black and white. I'm just shooting, shooting, shooting, right. I could just keep shooting and he says, Hey, Jared, I gave you like the shot. This is the way it should look. So if that's the case, then I can come back up to this to our little control panel here. I'm gonna open it up like this and notice that there's an area up here called develop settings in the developed settings. If I click on this, I could choose any of my presets that I want to add to this before the client sees it right? And so I can just hit. Same is previous, and now we're gonna shoot. So you ready, Carmen? We go. So we gotta love direction from our client. Our client's said it needs to be black and white showed us what black and white he wanted. And now give me a lot more. Yeah. There we go. That's good. Okay, 10 down just a little bit. Uh, not that much right there. Good. And turn your body and more to your right. A good turn your head back to me Now. There you go. And get cold. It's cold. Yeah. Can we have some? Can we have some cold mist? All right, here we go. And, yeah, nice and cold. Keep it up. Awesome. Okay, so we have that missed. So Well, hold on one second. We are not seeing those come in for some reason. Okay? So sometimes this will happen. Sometimes you won't know what happened, and so we're going to investigate it, and that's fine. It's not a big deal. Let's investigate it. So the easiest way to deal with this is to just go back to your file menu, your tether capture. And you can stop the tethered capture and then starter back up and see what we see. What was going on? Because sometimes it's just the tethered capture. I don't know. It was clearly attached to the camera, but the camera was not sending for some reason. Okay, so we're choosing all the same stuff we're gonna hit OK, magazine cover. So it's putting it in the same place. So we're all set here, but we want Samos previous. So this is the previous image, so same as previous. And I'm going to just take another picture and let's make sure our when I showed you my menu options, I was not screwing up those two. Okay, that should be good, right? Here we go. And so the next one comes in, I don't know what was going on. Just had to reset it, but the next one comes in and notice that that one has the black and white settings that you apply. Jim, um, on it because I said same as previous. Now I can also choose a preset. So if I already developed a preset of some kind and it doesn't matter what I've done to it. So if I go to the develop module and I want to work on this image specifically, I could go in and say, Okay, I know I'm going to keep this same general set up, right? I know I'm gonna work on that. So I'm in a I'm going to do, like, a radial filter, and I'm gonna keep everything fairly similar. So I'm gonna do a radio filter, and that radio filter is going to be kind of a light burn. I'm gonna do it around her face like that, just like that. So it gets darker up there in that area, and I'm going to go over here to a curve preset, and I'm gonna use a classic. Ah, rough grain type, black and white. So here's I'm gonna do this one. See that? So it's kind of limited. Blacks kind of looks like an older black and white and then add some green to it. Let's do that. So me zoom in and show you see the grain that's on there, or let's say I want to do Let's let's go back to color spoken. Everyone's asking for color. So I just look I just turned it back to color by turning to a muted color. That's great. And they're asking for C P. A little muted color. Well, let's do this. Okay, now watch. Watch this. So we just shot a shot. I just changed it back for the client's instructions, but I added a curve. Let me show you the curve, added really quickly. So in the tone curve, I added a curve that removes black a little bit. But I also did some red. So does some green, some blue shifts and things. So all of that's been added with a tone curve. So this is a thin basic film curve on Deacon. See that it's got this kind of muted color to it, so it's perfect. I like it, but I want the client to see it. So I hit the Beaky once. I had to be key. What happens goes up to the Web. So now the clients on the Web are going to see it. In just a few short moments, you'll be able to refresh your browser out there, and then you can approve that shot. And if that's the case, if you like it, then we're gonna roll with it. So everybody tell Jim whether or not you like the photograph that we're taking. And if that's the case, I'm gonna do same as previous. And then once I've done Samos previous, as I start shooting, it's gonna apply not only the curve, the adjustments on the color, but it's also going to apply that vignette that I added time. So, do I have approval? Yes. You do have approval and toe let you know when you made your first original shot. And I had done some adjustments, including some cropping and also some a little bit contrast. And all those have stayed with it through all the way through because you said Samos previous, including my cropping. There you go. So here we go. Give me some more fog, more fog, more cold. You gotta be cold. I know you're hot in that thing, but you gotta be cold. It's cold. That's good. Move the hair a little bit out of your eye there. Oh, that was good. If you can keep it there. There we go. Right there. That's it. Give me more fog on that. Keep your body right there and let her go. Okay, Now, I'm gonna look through these, and I'm just gonna kind of scan and go, Okay? Which ones do want the clients? I love that one. So I hit b and then don't like that one. That's good right there. Now notice that as these come in, they keep auto advancing. And I had John, I think it was brought up. The point says, how do you get it to not auto advance. So if I go up here to the file menu into the tethered capture area, see houses auto advanced selection, that means that every single time a photo comes in, it's gonna auto advance to new photo. But if you're looking at a photo that you shot a minute ago, it'll go off of that photo and go to the new photo. So if you uncheck that now, when you shoot, you can move around and you could be looking at photos like this. Now that one's awesome. So I love this photo. Great. So we're gonna we're gonna play with that photo, but I'm gonna add a couple more folks are asking what the spray waas I just wanted to show it's called atmosphere. Arisa let you get some water as well. Atmosphere. Aerosol with a gets atmosphere. Marisol dot com We've used this in some other classes here. Incredible. I've as well so that if you want atmosphere, no, but you also have a cough. Think twice. So we now have our clients seeing things. But I want to show you what Jim's doing on his end. Um, so Jim has a IPad pro, but this will work on a bone. This will work on a IPad regular IPad or any mobile device that has light RA Mobile on it. So, as I said before, light Ra Mobile is what's we're sinking upto light ra mobile. Lighter Mobile is sending it to you on the web so that you can see it. And then in addition to that, it's sending it down toe all of my devices, my phone, my IPad, etcetera so that the client can see him or I can see him. Now. Keep in mind that you don't necessarily have toe have, um, this as a tethered shoot. I use this all the time simply like I put a bunch images into a collection. Sink it. The light room mobile so that I can go to my son's baseball game. And when he's in the dugout and I'm not interested in the game, I can swipe through an entire wedding and select and adjust images while I'm at a baseball game with an IPad. So it's It's a very useful circumstance. If you understand all the moving parts here, you can put them together in any way you like, not just for tethered shooting. Okay, so look at this. So this is Can we see that? Tell me if we're Ah, yeah, that looks good. Okay, so this is what we're seeing here on the IPad, and I'm actually going to take the brightness up so that we can really see it. Okay, so in the IPad interface, here you have a grid view. So these are all the different collections, but we're going to use the creative Live a client review. And here you just click on an image and the client can swipe through the images just like this. But he's looking at this particular image. He can also, if he clicks on these, there's three little buttons on the bottom left hand side. If it clicks on him. He can use them to select so I can add three stars there. He's already done a flag. I could also comment here and and he can see comments that are coming in. Um and then if it clicks on the little three buttons that we're on the right hand side are now on the left hand side when he clicks on him. Now it comes over here and I can do cropping right so I can choose an aspect ratio of four by five. And then I, as the client could come in and just kind of crop it up like like that, and then move her around in the crop. Now I'll show you why we're doing this crop in a second, but the crop is very important. So the client is doing this instead of hoarding in on my computer and getting you know, in my way, the clients doing it on their IPad or my IPod act. My IPad, actually. But they're doing on my IPad, so they get to kind of maneuver around and work on something, and then when they lock it down and they say that's what I want, That's the shot I want they're going to hit the check box over here. And then they could do a little adjustment there. Like I like your settings. But I really think that, um I want to do just a little bit more in the blacks, so I'm gonna take the blacks down just a little bit more, and I'm gonna take the whites up just a little bit more, so we have just a little bit more contrast to it. So they get to choose that kind of stuff once it's all done and they like the way they look at it. Then they can push this right up here in the top left hand corner. There's a cloud. And that cloud shows you if it's sinking toe light room mobile. If I'm busy working on a photo, it won't send it to light Ra Mobile until I'm done. But once I'm done, if I swipe away from the photo, it'll know Okay is done with that photo. Send that photos changes back toe, light room, web. But if it if I'm still on the photo, but I want to synchronize it, the cloud has a little plus. And that plus means it hasn't sync up because you're not done yet. So what I do is I push that little cloud and then it says, Do you want to force sink? If I click for sink, then it updates it and you can see, like these little dots rolling around in the cloud. And then once it's done, it says all up to date. So now that is the shot. That's what Jim has been doing over here while I've been shooting. So now if I go to that shot, I can see that it's already cropped. So take a look, this shot. And if I click on the crop tool, you can see there's the crop that Jim was working on on his IPad so is already in here. So then all I have to do so I want to say, Okay, Jim, are we ready? We like that shot, right? Love that shot. So I'm going toe. Add an overlay for the magazine to see if we got it just right. So I'm going to go up to the View menu and inside the view menu. First off, let me show you what you have to create. So in order to do this, you have to create a PNG. A PNG is like a J peg, but it has transparency. So you would go into photo shop and you would create the magazine cover or just send you, have your client send you the magazine cover in a transparent so that all you see is the, you know, whatever magazine on the heading and whatever areas they're gonna put stuff in. All that text could be an advertisement, whatever it is, so that you can see all the text and then you're gonna place your model within it. So what I'm gonna do is I'm gonna create that p and G. Then I'm gonna go in tow light room. I'm gonna go to the view menu and go to the loop overlay and inside of the loop overlay, I'm gonna go down to choose a layout image. Click on that, going to choose that magazine cover and hit. Choose now it says tundra cold as hell and loving it. Thank you very much. Everybody give Carmen a hand, please. So Carmen is cold as hell in loving it. And so that's our magazine shoot. And it was That was awesome, right? So do we have questions? We have a lot of questions coming in Jared, And so can you remind us again when you're when you're putting that file up out into the cloud that's going to the clients? You're not putting out that 12 megabyte, 20 megabyte file, right? It's what is it? Creating two so around? That's a good question. So you have the full raw here inside of the camera, then you have a small raw, which is 12 megapixels inside your computer. Currently, once you're done once you're sending it up to the Web, what it's doing is it's making an even smaller raw, which is called a smart preview. And many of you may have already learned about smart, smart previews in some other class. And if you haven't, there's plenty of classes on Creativelive. I have 12 days, I think, on creativelive about those subjects. And so a smart preview is just an incredibly small raw file. That's what's going to the Web. That's what people are looking at on the Web. That's what Jim is looking at on his IPad. So all of those things are a raw image, but very small and compressed so that it can be utilized. Um, and by the way, those of those of you who use shootout at it, um, who is a post production service shoot dot edit is also using those small raws when they adjust all of your images. So if you send something to shoot out as a post production there, taking that catalogue and just adjusting the images so that you can so that you don't have to do all of your post production that's the small raw that's being sent up to the Web as well. So that small raws useful everywhere and allows for any adjustments that Jim makes to be very accurate on his IPad as to what I'm going to see when I get back to the real raw because it's it's raw equals raw. Um, I also, uh, by the way, those of you who want to know about the the equipment that's under these this table, that's all tether tools gear on, and that's called a a tether boost. So it's very that's a very important tool when you're tethering to make sure that doesn't time out. Plus it allows you to extend the distance that you're running between the camera and the computer, so that's the tether boost system right there. So if you have any questions, go to tether tools dot com for that. All right, great. So, Jared, we have a number of questions coming through about color calibration. And since your client might be working on a different device and seeing different colors, what considerations do you have in that scenario? Okay, so it's it's important to have accurate color on your in, so I'm in a calibrate my monitor and in fact, here Photoshopped Week. We're doing an entire segment on color calibration, so tune in for that. But it's important to first calibrate your monitor. That's the first thing that you need to dio. If you've color calibrated your monitor, then you can also use. And we actually failed to do this, Um, but you can use what's called a color checker passport. Looks like this. If you just photograph this every single time, then you can absolutely be certain your colors correct, especially if you're doing like if I were doing some kind of a clothing shoot. I definitely want this in the shot because it has to be accurate color because they need to know Red is red blues blue, etcetera. Once you photographed this and we'll show during that the color discussion during that segment here on photo shop week, we'll show you how to use this will actually take this photograph will take a photograph of this in the next segment today, as we do our our wedding party, but will use the color checker to make sure that the color is accurate. Although it doesn't really matter that are color is accurate. If we're doing the limited color scheme that we were doing with with our photo, that's true. I got you. I photographed you with it. Um, but anyway, if you photograph this, then you know that your capture is gonna be accurate. But then what someone sees on the IPad or on the Web, you can't control that. You can kind of control the IPad cause they're pretty stable. But you can't control what people are seeing on the Web because they might have a horrible monitor. So you just have to assume that they're looking at it for the way someone looks stuff like that. But they're not really gonna you know, scrutinize and say what The red looks 10% off on my screen, and if they are, then just tell him will come into the studio and then you'll see the accurate color. But we will discuss all of that color stuff in our color calibration segment, and we'll talk all about that, Um, and those of you who saw the curve that I was doing if you go to my website and by the way, we have another segment where we're gonna be doing a completely different synchronization method for random strangers rather than people that know how to get to a certain place and log in and all that kind of stuff. If you want to be able to give people images immediately from a photo shoot that they can download, say, at a party or at a wedding or something like that, we're gonna show you how to do that in the next segment. So in the interim, in the 15 minute break that we have, I want everybody to go back over to my website, um, at Jared platt dot com. So it's J R. E d P. L a, t t dot com and right below the first image. There, you'll see two links. The second link is the one you're gonna click for the next segment, and that's going to actually take you to my SMUGMUG website to a very specific, uh, area in the website. And then you would be able to look at him and then if it was actually a wedding, I could turn on the download ability or the share ability of those images so you could actually share them to Facebook. Or you could download him, put him on your IPad. And if you love the the curve that I applied to that photo that curves actually inside of my curves collection, which is on my website right there and you just click on it also with this course, Anybody who signed up for this course, um, who's purchased this course or the entire Photoshopped week gets my everyday favorites presets as well as, um, another small section of curve presets, I believe, is what's in there. So So there's a whole bunch of presets for those of you who are part of this class. But if you like those curves, they're right there on that front page. So