Full text of “The Adobe Photoshop Lightroom 3 book for digital photographers”

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Michael Freeman. Amazon Business: Make the most of your Amazon Business account with exclusive tools and savings. Login now. His book, The Digital Photography Book, part 1, is now the best-selling book on digital photography in history. Customer reviews. How are ratings calculated? Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness. Reviews with images.

See all customer images. Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering reviews right now. Please try again later. Verified Purchase. I’ve learned a lot from Scott Kelby, so when I finally decided to purchase Lightroom 6 DVD–I’m not pleased with all of these software subscription plans , this book was an easy choice.

Kelby does an excellent job of explaining the “how-to’s” and getting you started without feeling overwhelmed. I appreciate that he recommends certain settings, so you don’t have to guess.

You can always change them, if you find a need for something different. That said, LR is a complex program, so plan to take your time. Read a chapter and try it out before going on to the next one. There are files you can download to practice with if you don’t want to use your own pics. The Kelby One website is also a fantastic resource for photographers, if you want to learn more about photography and photo editing, and gives you unlimited access to world class instruction.

The explanations are simple and straight to the point. Areas of improvement: 1. Too much waste of empty space between the illustrative pictures. The empty spaces could have been minimized and the illustrative pictures larger so one can read the labels easily.

I find myself squinting my eyes to read the small labels he was highlighting. The writer assumes you must have your laptop or computer by your side with lightroom opened while reading this book. Sometimes you do not have your laptop and want to read this book e. This would have been a fun book to read if you do not have to squint at those tiny labels. It should not take much effort by the author to make those illustrative pictures larger and minimize those empty wasted spaces in between the pictures.

Some areas he will ask you to skip to some pages ahead and read up an item and then come back to where you were. I found this interruptive and very disruptive.

I tried to ignore some but found it difficult to do so since he had already mentioned it. It Is better to describe the subject now and now, and then add a comment that the reader will come across that point again later. I do read Scott Kelby articles on shutterbug. I have a number of his books and they are really very good. You can start from beginning and work your way through or if you know a little bit about Lightroom already you can dip into the various sections.

There are lots of practical tips and suggestions. If you have Lightroom I would say this is the one and only book you need to get to get you up and running. So much content! But written in a way to take you from complete beginner to expert in no time.

I started working through the book methodically and really appreciated getting to know the basics of file management and editing. Now I use more as a reference tool. A fully comprehensive guide to Lightroom Classic.

If it’s not in this book you don’t need to know. One person found this helpful. This is the ideal compliment, to Lightroom classic. It is very well structured, informative and takes you from beginner to comptent. A must have, if you are starting your journey with Lightroom. Fabulous clear step by step. Only downside found the bit on masking and dodging and burning very confusing.

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Deals and Shenanigans. Both text and illustrations will zoom to a large size without losing any readability. As a result I found the book easy and enjoyable to use.

As to the content, the book is dense with information but not dense in style. Kelby’s conversational tone makes the lessons easy to digest, and there is not the slightest step that goes without an accompanying screen shot or illustration.

As a beginner and only-occasional user of Lightroom, I appreciate this approach. I often go weeks without opening Lightroom, and sometimes forget techniques and key-combinations. Kelby’s book makes it easy to find the stuff I’ve forgotten. Michael Farber Top Contributor: Photography. All the books by Scott Kelby are very informative and useful if you really want to know ins and outs of digital photography.

I am actually going through this book again and even making some notes about the most useful and important knowledge information related to Lightroom 5. After studding this book and practicing while doing the study on photos, you can feel confident and comfortable using Adobe Photoshop Lightroom 5. This book actually is designed for professional digital photographers, however, advanced hobbyists like I can pick up a lot of useful knowledge in postprocessing faze of your digital photography art.

I liked most of the chapters and really appreciated the chapter on Slideshow. You actually can burn your Collection of photos on DVD as a slide show including background music and add any type of titles and so on or just convert to PDF format and send to your friends via email. I guess you have to get use to new environment of Lightroom software.

However, I can say another thing for sure that do not forget your Adobe Photoshop CS5 or CS6 as you still need it as the ultimate finishing tool.

For example, you cannot do complex manipulation with your photo involving Layers and Masks in Lightroom 5. It means you cannot replace a background without going to Photoshop or even portrait retouching is not as powerful as in Photoshop and I rather do that in Photoshop using Layers and Masks with the Brush tools applied on a mask and controlling the opacity. Yes you do have the Adjusting Brush tool in Lightroom, but it still cannot give you that precise control over the color shifts when you use it because there is no Blend Mode adjustments.

It goes for the Tone Curve adjustment also. Otherwise as a book describing all the necessary skills you need to use Adobe Lightroom 5, it’s very good and I would definitely recommend it to anyone who wants to get the most out of Lightroom 5. One person found this helpful. Lightroom is a big and complicated program and learning it is a major accomplishment. Kelby’s book will give you a good assist. Kelby is one of the most popular tech writers and he explains why things work as they do, and he knows how to present the material in a friendly, comfortable way.

It is not a book, however, that you can curl up with and read like a novel. That’s no way to learn Lightroom. Instead, skim a book section to get the idea, then go back and read it carefully, memorizing the steps yes, he writes in steps , then fire up Lightroom and try the steps on copies of some of your pictures, following in the book open beside your computer.

Now you need another viewpoint, so click Help in the menu bar and read an Adobe tutorial on the subject. In my experience, none of these sources is complete in itself, each adds something. The printed book, with its index is a great and comforting way to look something up, much easier than re-viewing a video. And the book is accurate: Kelby paid an assistant to verify all the steps. The index could be better; there are no entries for “move,” “copy” or “scanner,” for example.

It took me some effort to discover than Lightroom has no support for scanners, that you can move drag and drop files within Lightroom–that’s in the Chapter “Folders and Why I Don’t Mess with Them,” and you can copy both files and metadata. After I ordered the paper book, Amazon told me I could begin reading it immediately; they sent me a Kindle edition also.

I thought it might be temporary, but it is still on my Paperwhite. Lightroom panels are grey on white, so I need a magnifying glass to see the screen grabs. There was a problem filtering reviews right now.

Please try again later. Verified Purchase. I’ve learned a lot from Scott Kelby, so when I finally decided to purchase Lightroom 6 DVD–I’m not pleased with all of these software subscription plans , this book was an easy choice. Kelby does an excellent job of explaining the “how-to’s” and getting you started without feeling overwhelmed.

I appreciate that he recommends certain settings, so you don’t have to guess. You can always change them, if you find a need for something different. That said, LR is a complex program, so plan to take your time. Read a chapter and try it out before going on to the next one. There are files you can download to practice with if you don’t want to use your own pics. The Kelby One website is also a fantastic resource for photographers, if you want to learn more about photography and photo editing, and gives you unlimited access to world class instruction.

The explanations are simple and straight to the point. Areas of improvement: 1. Too much waste of empty space between the illustrative pictures. The empty spaces could have been minimized and the illustrative pictures larger so one can read the labels easily. I find myself squinting my eyes to read the small labels he was highlighting. The writer assumes you must have your laptop or computer by your side with lightroom opened while reading this book.

Sometimes you do not have your laptop and want to read this book e. This would have been a fun book to read if you do not have to squint at those tiny labels.

It should not take much effort by the author to make those illustrative pictures larger and minimize those empty wasted spaces in between the pictures. Some areas he will ask you to skip to some pages ahead and read up an item and then come back to where you were. I found this interruptive and very disruptive.

I tried to ignore some but found it difficult to do so since he had already mentioned it. It Is better to describe the subject now and now, and then add a comment that the reader will come across that point again later. I do read Scott Kelby articles on shutterbug. I hope he will address these points in a later edition,if there will be one. I will gladly pay again to buy an improved edition.

This book by Scott Kelby I recommend to the lightroom dummies like myself. That could be a fitting preamble to this book. Scott Kelby’s Lightroom CC book for digital photographers is top notch. His writing style of keeping things simple continues in this book. It is well organized and indexed well. He gives different ways of doing the same task but usually with good reasons to do it one way. His humor is a good break from tedious reading and his book is not tedious. His pictures are great in the book and compliment the text.

I am trying to transition from Aperture to Lightroom and Mr Kelby has made the transition much easier. But where Mr Kelby really shines is helping to make your photos even better.

 
 

 

The Adobe Photoshop Lightroom Classic CC Book for Digital Photographers | Peachpit.The Adobe Photoshop Lightroom 3 Book for Digital Photographers – replace.me

 

Scott includes a special chapter with his own workflow, from start to finish, plus, each chapter ends with a Photoshop Killer Tips section, packed with time-saving, job-saving tips that make all the difference.

He also provides four bonus chapters, along with the images used in the book for download so you can follow right along. Enter your mobile number or email address below and we’ll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer – no Kindle device required.

To get the free app, enter your mobile phone number. Scott Kelby is Editor, Publisher, and co-founder of Photoshop User magazine, and is co-host of The Grid, the weekly, live talk show for photographers. For the past six years, Scott has been honored with the distinction of being the 1 best-selling author of photography technique books. His book, The Digital Photography Book, part 1, is now the best-selling book on digital photography in history.

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Scott Kelby. Adobe Photoshop Classroom in a Book release. Conrad Chavez. Andrew Faulkner. Next page. Get everything you need. David Amdur. The Natural Light Portrait Book: The step-by-step techniques you need to capture amazing photographs like the pros. Chris Gatcum. Jon Duckett. Fil Hunter. Special offers and product promotions Amazon Business: Make the most of your Amazon Business account with exclusive tools and savings.

Login now. Don’t have a Kindle? Customer reviews. How are ratings calculated? Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness. Reviews with images. See all customer images. Top reviews Most recent Top reviews.

Top reviews from the United States. There was a problem filtering reviews right now. Please try again later. Verified Purchase. I learned Elements using Scott Kelby’s then-current book and have used his books to learn each subsequent PSE release. If you’re just starting with Photoshop, Scott’s books are a great way to learn. When upgrading from prior PSE releases, I’ve used Scott’s books as not just a way to learn new features, but as a complete refresher course on everything Photoshop can do.

That said, the one improvement I can suggest is a summary or index of new features. I especially like the way Scott not just explains each feature, but tells the reader how HE uses it or doesn’t use it, but rather uses some other feature or technique instead.

He also does a great job of teach workflow: which Photoshop tools to use in what sequence; and you get to practice what he’s showing you using the exact same images he’s using in the book Scott provides link to download site.

Scott has the gift of being a really good teacher, I love all his books, will buy more in the future, gladly recommend to others. Jordan Top Contributor: Fountain Pens.

Not his usual quality. I expected a book that explained how to do detailed photo retouching in Photoshop. I first purchased a Scott Kelby book around Been used PS since v4. I have learned most everything that I know from Mr. I am a 30 yr professional photographer and have taught numerous workshops collegiate level and High School art Teachers and I usually taught right out of his material.

I hadn’t purchased the newest and greatest for a couple years and thought that perhaps I am not leveraging all that could from PS CC I have not been disappointed. I’m an advanced amateur and have used Photoshop from very early days. I’ve learned a lot from this book. For example, one frequent problem in landscape photography is the brightness range from the sky to the land. I just lived with this issue, but Kelby suggests using the graduated filer which acts like a neutral density gradient filter.

One problem of Photoshop is that there are many features that you just have to know about, that the menu system does not show them in obvious ways. This book doesn’t show you them all see Adobe’s reference manual , but it shows you how to do lots of useful things efficiently.

For a better understanding, take a look at the Table of Contents here on the Amazon web page. Which is only good if this is your first Kelby book.

Scott Kelby is the man. I have read maybe 5 books of his? Idk, lost count. He’s never let me down I’m sure for the ultra new user there’s a surprise in here, I just couldn’t find it. I’m still giving him 3 stars out of loyalty- I haven’t read the RAW section.

I’m really counting on his promise to deliver hidden CC secrets. But I’ve shot RAW exclusively for years now Oh, and dude. The cover models’ skin looks plastic. Not the look you were going for, surely? Moreno Tagliapietra Top Contributor: Photography. I am a part-time pro photographer and have been using Scott’s Photoshop books since he began writing them together with the encyclopedic books by Martin Evening. Some people don’t like his style but what is relevant to me is the high quality of information he offers.

Other commenters complain that a large part of the book is dedicated to Camera Raw but Scott years ago began rightfully stressing the fact that most of the picture-wide processing should be done in Camera Raw before moving to Photoshop for selective adjustments.

For people who agree on this image processing strategy the book is very valuable. The 4 stars are due to the microscopic size of text. Kelby is the best. If you really want to learn about Photoshop buy his books. This new edition is very user friendly like all of his other books. He makes complicated aspects of the program seem easy.

This is a fine book and one worth buying. For example, one of the essential features of Photoshop is layers. Layers is what makes editing in Photoshop nondestructive. Yet the book gives relatively scant coverage of layers. Don’t get me wrong. This book will teach you plenty about editing. Just don’t expect a thorough Photoshop manual. See all reviews. Top reviews from other countries.

I am a fan of Scot Kelby’s books, they are great to follow or to use when in trouble. I bought this soon after the release of Photoshop CC version, which seemed to have released lots of modified approaches to editing issues that I used a lot. I have found this book very useful indeed – for me it’s much better that the myriad of videos available online.

 
 

The adobe photoshop lightroom cc book for digital photographers (voices that matter) pdf free downlo.Buy for others

 
 

At the top of the dialog, turn on the Show Info Overlay checkbox. The pop-up menu to the right lets you choose from two different info overlays: Info 1 overlays the filename of your photo in larger letters in the upperleft corner of the Preview area as seen here. Info 2 also displays the filename, but underneath, it displays the exposure, ISO, and lens settings.

So, for example, instead of having the filename show up in huge letters, here for Loupe Info 2, you could choose something like Common Photo Settings from the popup menu as shown here.

You can customize both info overlays separately by simply making choices from these popup menus. Remember: The top pop-up menu in each section is the one that will appear in really large letters.

Step Four: Any time you want to start over, just click the Use Defaults button to the right and the default Loupe Info settings will appear. Personally, I find this text appearing over my photos really, really distracting most of the time.

Or, you can do what I do: b leave those off, and when you want to see that overlay info, press the letter I to toggle through Info 1, Info 2, and Show Info Overlay off. The difference between the two is that you can view more info in the Expanded Cells view.

Thumbnail badges appear in the bottom-right corner of a thumbnail itself to let you see if: a the photo has had keywords added, b the photo has been cropped, c the photo has been added to a collection, or d the photo has been edited in Lightroom color correction, sharpening, etc.

These tiny badges are actually clickable shortcuts, so for example, if you wanted to add a keyword, you could click the Keyword badge whose icon looks like a tag , and it opens the Keywording panel and highlights the keyword field, so you can just type in a new keyword. The other option on the thumbnail, Quick Collection Markers, adds a gray circle-shaped button to the top-right corner of your photo when you mouse over the cell.

Click on this dot to add the photo to or remove it from your Quick Collection. When you turn on the Flags checkbox, it adds a Picks flag to the top-left side of the cell, and you can then click on this flag to mark this photo as a Pick shown here on the left.

If you see this icon, you can click on it to bring up a dialog that asks if you want to save the changes to the file as shown here.

To change any one of these info labels, just click on the label pop-up menu you want to change and a long list of info to choose from appears as seen in the next step. Step Six: Although you can use the pop-up menus here in the Library View Options dialog to choose which type of information gets displayed, check this out: you can actually do the same thing from right within the cell itself.

Just click on any one of those existing info labels, right in the cell itself, and the same exact pop-up menu that appears in the dialog appears here. Just choose the label you want from the list I chose ISO Speed Rating here , and from then on it will be displayed in that spot as shown here on the right, where you can see this shot was taken at an ISO of The reason I skipped over these options is that they work pretty much like the Expanded Cell Extras, but with the Compact Cell Extras, you have only two fields you can customize rather than four, like in the Expanded Cell Extras : the filename which appears on the top left of the thumbnail , and the rating which appears beneath the bottom left of the thumbnail.

To change the info displayed there, click on the label pop-up menus and make your choices. One last thing: you can turn all these extras off permanently by turning off the Show Grid Extras checkbox at the top of the dialog.

Each panel with a checkmark beside it is visible, so if you want to hide a panel from view, just choose it from this list and it unchecks. Next, as I mentioned in the intro above, I always recommend turning on Solo mode you choose it from this same menu, as seen here. However, look at the same set of panels on the right when Solo mode is turned on—all the other panels are collapsed out of the way, so I can just focus on the Split Toning panel.

To work in a different panel, I just click on its name, and the Split Toning panel tucks itself away automatically. For example, you could have Survey view showing on the second display, and then you could be zoomed in tight, looking at one of those survey images in Loupe view on your main display as shown at bottom. By the way, just add the Shift key and the Survey view, Compare view, Grid view, and Loupe view shortcuts are all the same so, Shift-N puts your second display into Survey view, etc.

Now just drag-and-drop that title bar over to the right, right off the main display and onto the second display, and the two automatically swap positions. For example, click on the Second Window button and choose Loupe — Live from the Secondary Window pop-up menu, then just hover your cursor over the thumbnails in the Grid view or Filmstrip on your main display, and watch how the second display shows an instant Loupe view of any photo you pass over here, you can see on my main display the first photo is selected, but the image you see on my second display is the one my cursor is hovering over—the fifth image.

If you want those hidden, click on the little gray arrows at the top and bottom of the screen to tuck them out of sight, and give you just the image onscreen. At the bottom of this menu are the View Options for the Filmstrip. There are four options: Show Ratings and Picks will add tiny flags and star ratings to your Filmstrip cells.

If you choose Show Badges, it adds mini-versions of the same thumbnail badges you can see in the Grid view which show if the photo is in a collection, whether keywords have been applied, whether the photo has been cropped, or if the image has been adjusted in Lightroom. Show Stack Counts will add a stack icon with the number of images inside the stack.

You can see Picks flags, star ratings, and thumbnail badges with unsaved metadata warnings , and I hovered my cursor over one of the thumbnails, so you can see the little popup window appear giving me info about the photo.

The choice is yours—clean or cluttered. To have your name replace the Adobe Photoshop Lightroom 3 logo seen above, turn on the Enable Identity Plate checkbox at the top left of the dialog. Aw, what the heck— go ahead and freak out! Just choose the color you want your selected text to be, then close the Colors panel.

Step Four: If you like the way your custom Identity Plate looks, you definitely should save it, because creating an Identity Plate does more than just replace the current Adobe Photoshop Lightroom 3 logo—you can add your new custom Identity Plate text or logo to any slide show, Web gallery, or final print by choosing it from the Identity Plate pop-up menu in all three modules see, you were dismissing it when you just thought it was a taskbar, feel good feature.

From here on out, it will appear in the handy Identity Plate pop-up menu, where you can get that same custom text, font, and color with just one click. You can put your logo on a black background so it blends in with the Lightroom background, or you can make your background transparent in Photoshop, and save the file in PNG format which keeps the transparency intact.

Now click the Choose button to make that graphic your Identity Plate. Once zoomed in, you can move around your image by just clickingand-dragging on it. Now, just type in your new names right over the old names. To do this, Right-click on one of those little gray triangles, and from the pop-up menu that appears, choose Sync With Opposite Panel.

To pick a different end mark, just Right-click on the current end mark, and then from the pop-up menu, under Panel End Mark, pick any one of the other choices I like Tattoo, Atom, and Yin Yang. So, go to your Lightroom folder from time to time and delete those outdated backups. Then come back to the Identity Plate Editor and paste that already formatted text right into it, and it will maintain your font and layout attributes.

Besides creating your own custom end marks, you can download some pretty cool, free, custom Lightroom end marks from the folks at Lightroom Extra at www.

In Lightroom 3, Adobe added a new thumbnail badge it looks like two overlapping rectangles , which if you see it at the bottom right corner of a thumbnail, it lets you know the image is in a collection.

Click on it, and a list of collections that photo appears within shows up, and you can click on any one to jump directly to that collection. Anyway, it seemed like a pretty good idea at the time, but then my darkroom buddy Frank got this huge goiter in the shape of the Transamerica building, so we backed off on the Hypo Clear, and just stuck to chugging the Indicator Stop Bath we loved those little salmon-colored bottles.

Anyway, that was a different time. Now we know better, and so we stick to chain smoking and strutting around in our asbestos photo vests. Up until Lightroom 3, Lightroom and Adobe Camera Raw for that matter has been using a processing technology developed back in In Lightroom 3, Adobe did a pretty sweeping update to how it processes your images, which is great in and of itself. No problems, no decisions to make, and you get to take advantage of the latest processing technology automatically.

Step Four: If you decide to wait and make your Process Version decision later, you can always just update your photo by going under the Settings menu and choosing Update to Current Process , as shown here. This keeps you from having to jump back and forth between the Develop module and the Library module when you want to work on a different collection, and this now makes the Collections panel available in every module.

The default profile is Adobe Standard, which looks pretty average well, if you ask me. Step Two: Now all you have to do is try out each of the different profiles, and see which one looks good to you which to me is, which one looks the most like a JPEG—a profile that looks more contrasty, with richer looking colors. I usually start by looking at the one called Camera Standard rather than the default Adobe Standard.

I use these profiles anytime I want my starting point to be closer to the JPEG-like image I saw on the back of my camera. For more on creating presets, see page You adjust the white balance in the Basic panel, which is the most misnamed panel in Lightroom. Sadly, no—that would make things too easy. The next three White Balance presets down will all be warmer more yellow , with Daylight being a bit warmer, Cloudy being warmer still, and Shade being a lot warmer.

Go ahead and choose Cloudy, and you can see the whole photo is much too warm. I zoomed in here on the Basic panel so you can get a nice close-up of the Temp and Tint sliders, because Adobe did something really great to help you out here—they colorized the slider bars, so you can see what will happen if you drag in a particular direction. See how the left side of the Temp slider is blue, and the right side graduates over to yellow?

That tells you exactly what the slider does. So, without any further explanation, which way would you drag the Temp slider to make the photo more blue? To the left, of course. Which way would you drag the Tint slider to make the image more magenta? In the example you see here, I dragged to the left until it looked right I started with the temperature at When I was done, the Temp reading was , as seen in Step Five. Video cameras white balance on solid white, but digital still cameras need to white balance on a light gray instead.

In the example shown here, I clicked on the background, and just clicking once with this tool set the right white balance for me you can see the Temp is now set to , and the Tint to —4, which added a tiny bit of green to balance things out. This is huge, and saves you lots of clicks, and lots of time, when finding a white balance that looks good to you. For example, set the White Balance to Auto, then hover the White Balance Selector tool over the background area as shown here , and then look at the Navigator panel to see how the white balance would look if you clicked there.

Pretty sweet, eh? If you turn this on, it means that after you click the tool once, it automatically returns to its home in the Basic panel.

I leave this turned off, so I can easily just click in a different area without having to retrieve the tool each time. A big thanks to my publisher, Peachpit Press, for letting me include this.

You are going to love this! Now take your test shot with the gray card clearly visible in the shot as shown here. As the next photos you shoot come into Lightroom, they will have that custom white balance you set to the first image applied to the rest of them automatically.

Again, a big thanks to my publisher, Peachpit Press, for allowing me to include this gray card in the book for you. I love the way Lightroom handles the whole before and after process because it gives you a lot of flexibility to see these the way you want to see them.

This is probably the Before view I use the most in my own workflow. Step Two: To see a side-by-side Before and After view shown here on top , press the letter Y on your keyboard. If you prefer a split screen view, then click the little Before and After Views button in the bottom-left corner of the toolbar under your preview as shown here on the bottom.

To return to Loupe view, just press the letter D on your keyboard. Note: Just so you know, our model here, Orsolya, is wearing an off-the-shoulder top, so we could shoot this beauty-style headshot.

Come on, you know you were thinking it! For example, in that last project, we fixed the white balance for that one photo. But what if you shot photos during one shoot? Step Two: Now click the Copy button at the bottom of the left side Panels area. This brings up the Copy Settings dialog shown here , which lets you choose which settings you want to copy from the photo you just edited.

By default, it wants to copy a bunch of settings several checkboxes are turned on , but since we only want to copy the white balance adjustment, click on the Check None button at the bottom of the dialog, then turn on just the checkbox for White Balance, and click the Copy button.

By the way, if you want to apply the correction to all your photos from the shoot at once, you can just press Command-A PC: Ctrl-A to Select All your photos. It just saves time. Step Four: Now go under the Photo menu, under Develop Settings, and choose Paste Settings as shown here , or use the keyboard shortcut Command-Shift-V PC: Ctrl-Shift-V , and the White Balance setting you copied earlier will be applied to all your selected photos as seen here, where the white balance has been corrected on all those selected photos.

Although there is an Exposure slider, it takes three sliders and sometimes four to set the overall exposure. Luckily, not only is this much easier than it sounds, Lightroom has all kinds of tools to help make your job easier.

Step Two: To make the overall photo brighter, just click-and-drag the Exposure slider to the right, as shown here just like with the White Balance sliders, you get a visual cue of which way to drag by looking at the slider itself—white is on the right side of the slider, so dragging right [toward white] would make this adjustment lighter, and dragging left [toward black] would make things darker. That is the highlight clipping warning triangle, and ideally, this triangle should always stay solid black.

Step Four: In our example here, those jerseys definitely should have detail. If you lower the Exposure slider, the clipping will go away, but your exposure will be too dark again. If this happens to you and believe me, it will , then grab the Recovery slider—one of the most brilliant features in all of Lightroom.

This is a double-win—you get the brighter exposure the photo needs, but you avoid the clipped highlights that it would normally bring. The screen turns solid black, and any areas that are clipping will show up in white as seen here. You can also hold this same key as you click-and-drag the Recovery slider, and you just keep dragging until all the areas turn solid black again.

Step Six: We’re going to jump over to a different photo for a just a moment, to tell you about another hidden benefit of using the Recovery slider: it works wonders in adding detail and drama to skies in landscape shots especially ones with lots of clouds.

Just click-and-drag the Recovery slider all the way over to the right to , and watch what it does for your skies. Give it a try and see what you think. I love it! The Blacks slider adjusts the darkest shadow areas in your photo, and dragging to the right increases the amount of black in the shadows—dragging to the left lightens them.

I drag this slider to the right any time my photo looks washed out, because it can bring back color and depth to shadow areas the original image is shown on top here, and in the bottom, I increased the Blacks and the Recovery amount to bring back detail in the sky.

To brighten the midtones, click-and-drag to the right to darken the them, drag to the left. But beyond just giving you a readout, it can help you figure out which slider adjusts which part of the histogram. Here, my cursor is over the far-right side, and you can see that the Recovery slider is what would affect that far-right side of the histogram. Step You can actually click-and-drag anywhere right on the histogram itself, and as you drag left or right, it literally moves that part of the histogram and the accompanying slider as you drag.

You gotta try this—just move your cursor up over the histogram, click, and start dragging. I wind up using the Exposure slider the most, the Blacks second most, and the Brightness the least of the three. So, when you see an image that needs more snap or punch I use it on almost every photo , then get some clarity.

Step Two: Now, just click-and-drag the Clarity slider to the right to add more punch and midtone contrast dragging to the left actually decreases midtone contrast, so you might want to try a Clarity setting of — to soften and diffuse a portrait.

Now, return the Saturation amount back to 0. This gives a much more realistic-looking color saturation across the board, without trashing your skin tones, which makes this a much more usable tool.

We use this tone curve rather than the Contrast slider in the Basic panel, which we intentionally skipped over earlier , because this gives us much more control, plus the tone curve 1 helps keep you from blowing out your highlights, 2 actually helps you see which areas to adjust, and 3 lets you adjust the contrast interactively. Step Two: The fastest and easiest way to apply contrast is just to choose one of the presets from the Point Curve pop-up menu.

For example, choose Strong Contrast and then look at the difference in your photo I clicked the Before and After Views button in the toolbar a couple of times to get this split screen view. Look how much more contrasty the photo now looks—the shadow areas are stronger, and the highlights are brighter, and all you had to do was choose this from a pop-up menu.

You can see the contrast curve that was applied in the graph at the top of the panel. The curve is now steeper, and I have more contrast in the highlights. I can do the same thing in the bottom left of the curve—I would just nudge the curve downward instead, which would give me a much steeper curve as seen here , and a much more contrasty image, as you can see. To move in point increments, press-andhold the Shift key while using the Arrow keys.

For really precise adjustments 1-point increments , press-and-hold the Option PC: Alt key while you use the Arrow keys. The TAT is that little round target-looking icon in the top-left corner of the Tone Curve panel when you move your cursor over it, two triangles pointing up and down will show.

When you click on that little target icon, your cursor changes to the cursor seen here on the right—a precise crosshair cursor to the top left of a little target icon with triangles on the top and bottom.

This tool lets you interactively adjust the tone curve by clicking-and-dragging it right within your photo. The crosshair part is actually where the tool is located—the target with the triangles is there just to remind you which way to drag the tool, which as you can see from the triangles is up and down.

Take the TAT and move it out over your photo over the brown grass, in this case. To darken the grass, just click on that area as shown here and drag straight downward if you had dragged straight upward, it would have brightened the grass instead. You can move around your image and click-anddrag straight upward to adjust the curve to brighten those areas, and drag straight downward to have the curve darken those areas.

Here, I dragged the Highlights slider to the far right to brighten the highlights. I dragged the Darks and Shadows sliders pretty far to the left to make the trees and grass much darker, and I moved the Lights slider quite a bit to the right to bring out some upper midtones and lower highlights.

Also, if you look at the sliders themselves, they have the same little gradients behind them like in the Basic panel, so you know which way to drag toward white to make that adjustment lighter, or toward black to make it darker.

If you decide you want them back one day, click that same button again. The first is how to use the three slider knobs that appear at the bottom of the graph. For example, the Range slider on the left shown circled here in red represents the shadow areas, and the area that appears to the left of that knob will be affected by the Shadows slider.

If you want to expand the range of what the Shadows slider controls, click-and-drag the left Range slider to the right as shown here. Now your Shadows slider adjustments affect a larger range of your photo. The middle Range slider covers the midtones.

Clicking-and-dragging that midtones Range slider to the right decreases the space between the midtone and highlight areas, so your Lights slider now controls less of a range, and your Darks slider controls more of a range. To reset any of these sliders to their default position, just double-click directly on the one you want to reset.

Just double-click directly on the word Region and it resets all four sliders to 0. Just click it on or off. The Hue panel lets you change an existing color to a different color by using the sliders. Now press the Reset button at the bottom of the Panels area to undo your change. If I changed the white balance, it would change the entire color of the image— I just want the blue out of the steering wheel. A perfect task for the HSL panel.

The same eight sliders stay in place, but now those sliders control the saturation of colors in your image.

Just click-and-drag the Blue slider to the left until the blue is removed from the steering wheel as shown here, where I dragged it all the way to the left. Click on the TAT shown circled in red here , then move your cursor over the yellow logo in the center of the steering wheel and click-and-drag upward to increase the color saturation.

To brighten up just the tachometer, take the TAT, move it over the tachometer, then click-and-drag straight upward, and the tach will start to brighten the Luminance for the Orange and Yellow both increased. Plus, of course, Lightroom has the TAT which is nice. But, regardless of which layout you choose, they all work the same way. There you would brighten the corners using the controls in this panel.

This slider controls how dark the edges of your photo are going to get the further to the left you drag, the darker they get. The Midpoint slider controls how far in the dark edges get to the center of your photo. So, try dragging it over quite a bit too as I have here , and it kind of creates a nice, soft spotlight effect, where the edges are dark, your subject looks nicely lit, and your eye is drawn right where you want to look.

The reason I like it is the results are more like you get with the regular vignette. Again, this is my favorite choice, and is a big improvement on the old post-crop vignetting from Lightroom 2.

I made the edges pretty darn dark here—darker than I would make mine, but I wanted you to really see the effect on the cropped image just for example purposes.

Step Six: And finally Paint Overlay, seen here, gives you the same look we had back in Lightroom 2 for post-crop vignetting, which just painted the edges dark gray. The Post-Crop Vignetting Amount and Midpoint sliders do the same thing as the standard Lens Vignetting feature the Amount controls how dark the edges get, and the Midpoint determines how far in the darkening goes. You see how it creates a very defined oval shape? Here I clicked-and-dragged the Feather amount to 33, and you can see how it softened the edges of the hard oval you saw in the previous step.

So, in short, the farther you drag, the softer the edges of the oval get. The father to the right you drag it, the more the highlights are protected. Anyway, you can get pretty darn close to that look right within Lightroom itself. This brings back the shadows and the color saturation to the shadow areas. Step Four: So, you do that by going to the Vibrance slider and dragging it quite a bit to the left as shown here. You can see how doing these two steps brings out incredible details in everything from the bricks to the planters.

Step Five: The final step is to add an edge vignette to darken the edges of your photo, and put the focus on your subject.

So, go to the Lens Corrections panel in the right side Panels area , click on Manual at the top, and drag the Lens Vignetting Amount slider nearly all the way to the left making the edges really dark.

Then drag the Midpoint slider pretty far to the left, as well, but not quite as far as the Amount slider the Midpoint slider controls how far the darkened edges extend in toward the middle of your photo. The farther you drag this slider to the left, the farther in they go. Well, what if you wanted to see a version in black and white, and maybe a version with a color tint, and then a real contrasty version, and then maybe a version that was cropped differently?

So now, go ahead and process this virtual copy in the Develop module adjust the white balance, exposure, shadows, etc. Now, make some more copies to experiment with I made a few more copies and made some more White Balance and Vibrance setting changes. Note: When you make a copy, you can hit the Reset button at the bottom of the right side Panels area to return the virtual copy to its original unedited look. Step Four: Now, if you want to compare all your experimental versions side by side, go back to the Grid view, select your original photo and all the virtual copies, then press the letter N on your keyboard to enter Survey view as shown here.

If you choose to take this virtual copy over to Photoshop or export it as a JPEG or TIFF, at that point, Lightroom creates a real copy using the settings you applied to the virtual copy. Each time you move a slider, or make an adjustment, all the other selected photos update right along with it. Now, increase the Fill Light amount to around 25 which makes the shadow areas brighter. As you make these changes, look at the selected photos in the Filmstrip—they all get the exact same adjustments, but without any copying-and-pasting, or dealing with a dialog, or anything.

By the way, Auto Sync stays on until you turn off that little switch to the left of the Auto Sync button. Otherwise, it will say Previous. Step Two: You can see a preview of how any of these presets will look, even before you apply them, by simply hovering your cursor over the presets in the Presets panel.

In the example shown here, I clicked on the Color Creative preset, Cold Tone, which gives the effect you see here. TIP: Renaming Presets To rename any preset you created a user preset , just Right-click on the preset and choose Rename from the pop-up menu. Otherwise, it just moves those sliders again. For example, after I applied the Cold Tone preset, I felt it looked kind of flat and lacked contrast.

So, I scrolled down toward the bottom of the built-in presets and clicked on the Tone Curve Medium Contrast preset. Then, I clicked on the General – Punch preset to give us the image you see here. Just three clicks and I was able to add a special effect tinting, more contrast, and an overall sharper, punchier look.

Click the Reset button at the bottom of the right side Panels area shown circled here in red to reset our photo to how it looked when we started.

Lastly, go to the Lens Corrections panel, click on Manual at the top, drag the Lens Vignetting Amount slider to —, and set the Midpoint to 5 to complete the effect that looks better. Kind of a contrasty, washed-out, yet snappy color effect. Now, click the Create button to save all the edits you just made as your own custom preset. Locate the preset you downloaded and click the Import button, and that preset will now appear under your User Presets list.

The problem is, the Quick Develop panel stinks. Step One: The Quick Develop panel shown here is found in the Library module, under the Histogram panel at the top of the right side Panels area. Also, if you press-and-hold the Option PC: Alt key, the Clarity and Vibrance controls change into the Sharpening and Saturation controls as seen on the right.

Instead of sliders which give us precise control over our adjustments , the Quick Develop panel uses one-click buttons just to make us crazy. If you click a single-arrow button, it moves that control a little. If you click a double-arrow button, it moves it a lot. For example, in the Grid view, click on an underexposed photo, then go over to the Quick Develop panel and click the Exposure double right-arrow button two times to get it closer to being properly exposed.

Now you can make a better decision about its fate, without having to pause your sorting process by leaving the Library module and jumping over to the Develop module. So, while in Survey mode, click on the third photo, then keep an eye on the color of her gown. To get it back to white, I had to click the Temperature double left-arrow button two times, and then click the Tint double left-arrow button once. Now that I know the adjustments I need, I could return to Grid view, select all those similar photos, and fix them all at once with just those three clicks.

This brings up a dialog shown here where you can choose which Quick Develop settings get applied to the rest of the selected photos. Just turn on the checkboxes beside those settings you want applied, and then click the Synchronize button. Here I moved it over to The Roughness slider lets yw ou vary the consistency of the grain.

But I gotta tell ya, when you increase it too much, it starts getting really contrasty and kind of funkylooking, so I usually leave the Roughness amount at its default setting of So, if your final output is print, you might have to use a little more grain than you think you should. However, if you know you want to copy the same edits as you had previously maybe you always copy everything , then you can skip having that Copy Settings dialog pop-up up completely by pressing-and-holding the Option PC: Alt key, then clicking the Copy button it will change from Copy… to Copy.

When you import these into portrait retouching. To do that, go to the History panel in the left side Panels area , and scroll down until you find the step right before you started using the Adjustment Brush.

Click on it and it brings up a dialog showing you the file format or the camera make and model of the current image. When you click Update to Current Settings, from now on, your current settings will be your new starting place for all images taken with that camera, or in that file format. Now, save just that change as a preset and name it White Balance Daylight. Then do that for each of the White Balance presets, and save them as presets.

Think of them as another way to have one-click access to multiple versions of your photo. Just go to the Lens Corrections panel, click on Manual at the top, click-and-drag the Lens Vignetting Amount slider all the way to the left to — , then clickand-drag the Midpoint slider to the left to 10, and then go to the Presets panel and save that as a vignette preset.

It affects your entire image globally. This would all make perfect sense if anyone in the world actually thought that way, but of course nobody does not even the engineer who thought up this term.

Nope, when it comes to stuff like this, it has to go before the official Adobe Council of Obscure Naming Conventions known internally as ACONC, which is a powerful naming body whose members all wear flowing robes, carry torches, and sing solemn chants with their heads bowed. For example, if you drag the Temperature slider, it changes the white balance for the entire image Adobe calls this a “global adjustment”.

But what if you want to adjust one particular area a “local” adjustment? You’d use the Adjustment Brush, which lets you paint changes just where you want them, so you can do things like dodging and burning lightening and darkening different parts of your photo , but Adobe added more to this than just lightening and darkening.

An options panel will pop down below the toolbox with all the controls for using the Adjustment Brush as seen here. Step Two: With the Adjustment Brush, you start by choosing which effect you want to paint with from the Effect pop-up menu shown here. In our example, we basically want to re-light the photo, making some areas brighter the scooter , and other areas darker the background. We’ll also make some areas more colorful and others sharper.

Because of that, I usually intentionally drag the Exposure slider to the right farther than I know I need to. Step Four: So, go ahead and choose Exposure from the Effect pop-up menu, set your Exposure to around 1. This is what I was talking about earlier when I said that after you paint, you can still choose how light or dark you want the area you painted over. Pressing the Left Bracket key makes your brush smaller; the Right Bracket key makes it bigger. Step Six: Drag the Exposure slider back up to where it brightens the scooter again.

Want it sharper, as well? Drag the Clarity and Sharpness sliders to the right, and these effects stack right on top, but only on the area you painted over the front of the scooter. Choose Exposure from the Effect pop-up menu, and then drag the Exposure slider to the left, to darken the area. Now start painting over the background to the right of the scooter, as shown here, and as you paint, it darkens that area.

That little plus sign determines which colors to paint over. If it strays over the blue, it figures its okay to paint over it, so as long as you keep that off the blue, it keeps the darkening off it, too. The other Edit Pin will be a plain white circle.

Click the New button, then paint over the headlight. Turn that on and it shows a red mask over the area you painted as seen here. If you did miss an area, just paint over it. If you painted outside of where you wanted, press-and-hold the Option PC: Alt key and paint over that area to remove it the red mask will go away where you painted.

If you just want a quick look at the mask, as a shortcut you can move your cursor directly over a pin and it shows you the red mask overlay for exactly where you painted. Step Another nice feature of the Adjustment Brush is that you can make onscreen interactive adjustments, kind of like you do with the Targeted Adjustment tool which you learned about in Chapter 4.

So, to adjust the Exposure amount for the scooter, just move your cursor directly over the Edit Pin on the scooter, and your cursor changes to a bar with two arrows—one pointing left and one pointing right shown circled here in red. Those are letting you know that you can now click-and-drag left or right to make changes try it—click-and-drag to the right to increase all the effects you applied to that Edit Pin.

For a hardedged brush, lower the Feather slider to 0. The Flow slider controls the amount of paint that comes out of the brush I usually leave the Flow set at Also, you get two custom brush settings—Brush A and Brush B—so you could set one up to be a large, soft-edged brush shown at the top , and the other to be a small, hard-edged brush shown at bottom here. Choosing Auto means when you move your cursor outside the image area, the pins are hidden.

Selected means you only see the currently active pin. This is one instance painting over a large background area with different colors where I recommend turning the Auto Mask checkbox off at the bottom of the Brush section. Otherwise, it will try to keep you from painting outside the original area you clicked in—it will let you paint over other areas, but it will fight you along the way.

The final effect is shown here. Choose Exposure from the Effect pop-up menu, then drag the Exposure slider to the left to —2. Turn off the Auto Mask checkbox, and then paint over the entire image, which darkens the overall exposure as seen here. Increase the size of the brush big time make the brush really huge , make sure the Feather and Flow amounts are both set to as seen here , and then paint over just the area of the photo where you want the spotlight to appear.

Hey, I was thankful we could do that, because in many cases that was all I needed to do and it saved me a trip to Photoshop. Click on the Adjustment Brush in the toolbox near the top of the right side Panels area , then from the Effect pop-up menu, choose Soften Skin.

Increase the size of your brush use the Size slider in the Brush section, or the Bracket keys on your keyboard , and turn off the Auto Mask checkbox. Now, paint over her skin, avoiding any detail areas like the eyebrows, eyelids, lips, nostrils, hair, etc.

Note: Before softening the skin, I always start by removing any blemishes on it using the Spot Removal tool. First, click the New button near the top of the panel , then choose Iris Enhance from the Effect pop-up menu.

Now, paint over the iris in each eye with the Auto Mask checkbox turned on this helps keep you from painting outside the iris. Next, click the New button again clicking this button is really important , then choose Teeth Whitening, from the Effect pop-up menu as shown here , and paint over the whites of her eyes this preset desaturates the color, which helps hide any red in the eyes.

Start by clicking the New button and choosing Burn Darken from the Effect pop-up menu, and then paint over the shadow areas, making them slightly darker here I painted over the shadow areas on her cheek, neck, and the left side of her nose.

Click the New button once more, choose Dodge Lighten from the Effect pop-up menu, and then paint over the highlight areas of her face like down the bridge of her nose, the top of her cheeks near her eyes, and anywhere there’s a bright highlight.

Just remember, you can control the adjustment amounts after the fact using the sliders. A before and after is shown below. However, the way Adobe implemented this feature, you can use it for much more than just neutral density gradient filter effects though that probably will still be its number one use.

When you click on it, a set of options pops down that are similar to the effects options of the Adjustment Brush shown here. Start by choosing Brightness from the Effect pop-up menu and then drag the Brightness slider to the left to —70 as shown here. You can see the darkening effect it has on the sky and its reflection in the water, and the photo already looks more balanced.

You might need to stop dragging the gradient before it reaches the horizon line, if it starts to darken your properly exposed foreground. By the way, the reason we held the Shift key down was to keep our gradient straight as we dragged. Not holding the Shift key down will let you drag the gradient in any direction. Luckily, you can reposition your gradient after the fact—just click-and-drag that pin downward to move the whole gradient down as shown here.

For example, go ahead and increase the Saturation to 42 to make it more punchy , then decrease the Brightness to — a before and after is shown below. Note: You can have more than one gradient click the New button near the top right of the panel , and to delete a gradient, click on its pin and press the Delete PC: Backspace key. To bring them back, press H again. As you do, any color you move over in your photo is targeted in your color picker. When you find a color you like, just release the mouse button.

To save this color as a color swatch, just Right-click on one of the existing swatches and choose Set this Swatch to Current Color. However, if you pressand-hold the Option PC: Alt key as you drag the gradient, it draws from the center outward instead.

Just like in Photoshop, if you click once with the Adjustment Brush, then pressand-hold the Shift key and paint somewhere else, it will paint in a straight line between those two points.

Click on that, and everything zeroes out. Great for creating a quick shallow-depth-of-field look. To get rid of that, just use a small brush and paint right over those areas. Back in Lightroom 2, Adobe had two modes for the Adjustment Brush and the Gradient Filter: a button mode and a slider mode. People hated the button mode. I mean everybody. Even mean people. So, thankfully, Adobe spared us all and got rid of the basic button mode in Lightroom 3, and now there are just sliders.

Of course, those people will start learning Lightroom. They should have tried Craigslist. Step Two: To open up the foreground area, just click-and-drag the Fill Light slider to the right.

So, just keep an eye out for noise as you drag. Since this is a landscape photo with lots of well-defined edges, you can crank it up a little higher than usual I went to Not only is it more powerful, but it maintains more sharpness and detail than ever before.

To really see the noise, start by zooming in to a view. Dragging the Color slider to the right reduces the color noise easy enough.

The Detail slider controls how the edges in your image are affected by the noise reduction. If you drag it way over to the right, it does a good job of protecting color details in edge areas, but you run the risk of having color speckles. So, since both have downsides, where do you set the Detail slider? Look at a colorful area of your image, and try both extremes.

So to reduce this type of noise called luminance noise , drag the Luminance slider to the right until the noise is greatly reduced as shown here. I gotta tell you, this baby works wonders all by itself, but you have additional control with the other two sliders beneath it. So, if you think your image looks a little blurry now, drag the Detail slider to the right—just know this may make your image a little more noisy.

Step Four: The other slider under Luminance is the Contrast slider. Again, this one really makes a difference on seriously noisy images. Of course, it has its own set of trade-offs. The real key here is to try to find that balance, and the only way to do that is experiment on the image you have onscreen.

I wanted to keep more detail because of the lights on the bridge , so I increased the Detail amount to around I left the Contrast slider as is. So if you want to go back and undo any step, and return your photo to how it looked at any stage during your editing session, you can do that with just one click. If you want to see a list of all your edits to a particular photo, click on the photo, then go to the History panel in the left side Panels area shown here. The most recent changes appear at the top.

Note: A separate history list is kept for each individual photo. You can see my snapshot highlighted in the Snapshots panel shown here. Instead, in the History panel you can just Right-click on any step and choose Create Snapshot from the pop-up menu. Pretty handy. Step Two: To crop the photo, grab a corner handle and drag inward to resize your Crop Overlay border. So, grab the bottom-right corner and drag it diagonally inward to eliminate as much of the excess field as possible for a nice, tight crop as seen here.

Step Four: When the crop looks good to you, press the letter R on your keyboard to lock it in, remove the Crop Overlay border, and show the final cropped version of the photo as seen here. Go ahead and click the Reset button, below the right side Panels area, so we return to our original image, and then click on the Crop Overlay button, again. So, which way is the right way to crop? Now press Shift-Tab to hide all your panels. Step Two: Press the letter L twice to enter Lights Out mode, where every distraction is hidden, and your photo is centered on a black background, but your cropping border is still in place.

See why I like straightening like this? Now all you have to do is press R to lock in your straightening. So, to try again, grab the Straighten tool and start dragging. Step Four: To try the two other methods, we need to undo what we just did, so click the Reset button at the bottom of the right side Panels area, then click on the Crop Overlay button again if you locked in your crop after the last step.

The first of the two methods is to just drag the Angle slider shown circled here in red —dragging it to the right rotates the image clockwise; dragging left, counterclockwise. As soon as you start to drag, a rotation grid appears to help you line things up seen here. Unfortunately, the slider moves in pretty large increments, making it hard to get just the right amount of rotation, but you can make smaller, more precise rotations by clicking-and-dragging left or right directly over the Angle amount field on the far right of the slider.

The second method is to just move your cursor outside the Crop Overlay border onto the gray background , and your cursor changes into a two-sided arrow. Click on that square, and drag it to the top-left corner of the Navigator preview as shown here.

Step Two: If you see any spots or dust in this upperleft corner of your photo, use the Spot Removal tool to remove them more on this tool on the next page.

However, the advantage of doing it here is once you remove the spots from one photo, you can automatically fix all the other photos from that shoot based on the one you fixed. Now you can really see those spots. There are two choices for how this tool fixes your spots—Clone or Heal— but you get the best results by leaving it set on Heal. Step Four: Now, take the Spot Removal tool and move it directly over the spot you want to remove.

Use the Size slider to make the round brush cursor just a little larger than the spot itself. You can also use the Left and Right Bracket keys, found to the immediate right of the letter P on your keyboard, to change the size. Each time you press the Right Bracket ] key, it makes the circle larger; the Left Bracket [ key makes it smaller.

This brings up the Copy Settings dialog, shown here. First, click the Check None button, so everything it would copy from your photo is unchecked. Then, turn on just the checkbox for Spot Removal as shown here and click the Copy button.

To see these fixes applied, click on the Spot Removal tool again. I also recommend you take a quick look at the fixed photos, because depending on the subject of your other shots, the fixes could look more obvious than on the photo you just fixed. If you see a photo with a spot repair problem, just click on that particular circle, hit the Delete PC: Backspace key on your keyboard to remove it, then use the Spot Removal tool to redo that one spot repair manually.

When you release the mouse button, it removes the red eye. As soon as you click-and-drag out the selection and release your mouse button, this eye is fixed too. If the repair makes it look too gray, you can make the eye look darker by dragging the Darken slider to the right as shown here. Or maybe the top of the building looks wider than the bottom. These types of lens distortions are really pretty common, but in previous versions of Lightroom, to fix these types of problems you had to jump over to Photoshop and manually try to tweak your image there.

Step Two: Scroll down to the Lens Corrections panel. You have two options here at the top: Profile it fixes the problem automatically or Manual you fix it yourself. When you do this—Bam! It can pull off this mini-miracle because it reads the EXIF data embedded into the photo at the moment you took the shot, so it knows which lens make and model you used to take the image Adobe included lots of camera and lens profiles for popular Nikon, Canon, Tamron, and Sigma lenses.

This is pretty amazing stuff if you ask me, and it all happens all in a split second. You can see more of the backboard, as well. Whatever the reason, you need to help it out and tell it which brand of lens was used, and which lens it was taken with, and then it can apply an automatic correction. Step Six: Once I chose the closest profile from the Model pop-up menu to the lens I had actually used, it tried to tweak the automatic correction.

In this case, because we dragged the Vertical slider to the right, that gray gap is at the top of the image, so the photo will have to be cropped. Luckily, that process can be automated now, too.

If you click on the Crop Overlay tool up in the toolbar near the top in the right side Panels area—right below the Histogram panel , it displays the Crop Overlay options below it. Step Eight: All you have to do now is press the Return PC: Enter key to lock in your crop, and your image is fixed as seen here. I included the original image below, so you can see how the bridge was bowed and the buildings were leaning back. Go ahead and give it a try and see what you think.

Now, a little darkness in the edges is considered a problem, but many photographers myself included like to exaggerate this edge darkening and employ it as a lighting effect in portraits, which we covered in Chapter 4.

See page for more on how it reads this data. If the image still needs a little correction as this one did , you can try the Vignetting slider under Amount. Step Two: There are two vignetting sliders here: the first controls the amount of brightening in the edge areas, and the second slider lets you adjust how far in toward the center of your photo the corners will be brightened.

So, start to slowly click-and-drag the Amount slider to the right and as you do, keep an eye on the corners of your image. As you drag, the corners get brighter, and your job is to stop when the brightness of the corners matches the rest of the photo as shown here. If you shoot RAW, the sharping in your camera is turned off, so we apply it in Lightroom instead by default, all RAW photos have sharpening applied in Lightroom, but if you want more sharpening, or if you want to control which type of sharpening is applied, and how, then you definitely want to read this.

To sharpen your image, go to the Detail panel in the Develop module. Step Two: To zoom in on an area in the preview window, just click your cursor on the spot you want to zoom in on. Although I use just the default zoom, if you want to zoom in even tighter, you can Right-click inside the preview window, and choose a view from the pop-up menu shown here.

Also, if you click the little icon in the upper-left corner of the panel shown circled here in red , you can move your cursor over your main image in the center Preview area, and that area will appear zoomed in the preview window to keep the preview on that area, just click on the area in the main image. To turn this off, click that icon again. But, at the same time, you need detail areas to be sharp—like their eyes, hair, eyebrows, lips, clothes, etc.

Step Six: First, press-and-hold the Option PC: Alt key and then click-and-hold on the Masking slider, and your image area will turn solid white as shown here. In the middle section, you can add any keywords that would be specific to these images which is why I leave this field blank when I save my Import presets.

Otherwise, I’d see keywords here from the previous import. Then, it shows your preferences for file handing and backing up a second copy of your images. On the right, you can name the subfolder these images are going to be saved into. So, how does this save you time? Well, now you only have to type in a few keywords, give your subfolder a name, and click the Import button. That’s fast and easy! Besides adding metadata, sorting them in collections, adding ratings, labels.

Picks flags, and so on, you really can’t do any video editing per se so no trimming the length of clips, or putting clips together, etc. Here’s how it works: Step One: When you’re in the Import window, you’ll know which files are video files because they’ll have a little movie camera icon in the bottom-left corner of the thumbnail shown circled here in red.

When you click the Import button, these video clips will import into Lightroom and appear right alongside your still images of course, if you don’t want these videos imported, turn off their checkboxes in the top-left corner of their thumbnail cell. Step Two: Once the video clip has been imported into Lightroom, in the Grid view, you’ll still see the movie camera icon, but you’ll also see the length of the clip to the right of it.

You can see a larger view of the first frame by just selecting the video, then pressing the Spacebar on your computer. Also, you can export your video clips from Lightroom just be sure to turn on the Include Video Files checkbox in the File Settings section of the Export dialog , but of course it only exports the original unedited clip, since you can’t do any editing in Lightroom 3. Step Four: If you want to organize all your video clips into one central location, create a Smart Collection to do it for you.

When the dialog appears, from the first pop-up menu on the left choose File Type, from the second menu choose Is, and from the third choose Video. Name your Smart Collection and click the Create button, and it gathers all your video clips and puts them in a Smart Collection, but best of all, this collection updates live— anytime you import a video clip, it’s also added to your new Smart Collection of video clips.

The advan- tages are: 1 you can see your images much bigger on your computer’s screen than on that tiny LCD on the back of the camera, so you’ll make better images; and 2 don’t have to import after the shoot — the images are already there.

Warning: Once you try this, you’ll never want to shoot any other way. Step One: The first step is to connect your camera to your computer using that little USB cable that came with your camera. Don’t worry, it’s probably still in the box your camera came in, along with your manual and some other weird cables that come with digital cameras. So, go look there for it. Go ahead and connect your camera now.

In the studio, and on location, I use the tethered setup you see here which I learned about from world-famous pho- tographer Joe McNally. This brings up the dialog you see here, in the Import Window where you enter pretty much the same info as you would you type in the name of your shoot at the top in the Session Name field, and you choose whether you want the images to have a custom name or not.

However, there is one important feature here that’s different — the Segment Photos By Shots checkbox shown circled in red here — which can be incredibly handy when you’re shooting tethered as you’ll see. For example, let’s say you’re doing a fashion shoot, and your subject changes outfits.

You’ll be able to separate each of these different looks into different folders by clicking the Shot Name this will make more sense in a moment. Try it out by turning on the Segment Photos By Shot checkbox. When you do this, a naming dialog appears shown here , where you can type in a descriptive name for the first shoot of your session. Step Four: When you click OK, the Tethered Capture window appears seen here , and if Light- room sees your camera, you’ll see your camera model’s name appear on the left if you have more than one camera connected, you can choose which camera you want to use by clicking on the camera’s name and choosing from the pop-up menu.

If Lightroom doesn’t see your camera, it’ll read “No Camera Detected,” in which case you need to make sure your USB cable is connected correctly, and that Lightroom supports your camera’s make and model.

To the right of the camera’s model, you’ll see the camera’s current set- tings, including f-stop, shutter speed, and ISO. To the right of that, you have the op- tion of applying a Develop module preset see Chapter 4 for more on those, but for now just leave it set at None.

When you take a shot now, in just a few moments, the image will appear in Lightroom. The image doesn’t appear quite as fast in Lightroom as it does on the back of the camera, because you’re actually transferring the entire file from the camera to the computer over that USB cable or a wireless transmitter, if you have one con- nected to your camera , so it takes a second or two.

Here is a set of images taken during a tethered shoot, but the problem is if you view them in the Library module’s Grid view like this, they’re not much bigger than the LCD on the back of your camera. Note: Canon and Nikon react to tethering differently. For example, if you shoot Canon, and you have a memory card in the camera while shooting tethered, it writes the images to your hard drive and the memory card, but Nikon’s write only to your hard drive.

Step Six Of course, the big advantage of shooting tethered is seeing your images really large you can check the lighting, focus, and over- all result much easier at these larger sizes, and clients love it when you shoot tethered when they’re in the studio, because they can see how it’s going without looking over your shoulder and squinting to see a tiny screen.

So, double-click on any of the im- ages to jump up to Loupe view as shown here , where you get a much bigger view as your images appear in Lightroom.

Let’s say you finish this round of shots with your subject wearing blue earrings, and in the next set, your subject will be wearing a hat. Give this new set of shots a name I named mine “Black Hat” and then go back to shooting.

Now these images will appear in their own separate folders, but all within my main Studio Session folder. Step Eight When I’m shooting tethered which I always do when I’m in the studio, and as often as I can on location , rather than looking at the Library module’s Loupe view, I switch to the Develop module, so if I need to make a quick tweak to anything, I’m already in the right place.

Also when shooting tethered, my goal is to make the image as big as pos- sible onscreen, so I hide Lightroom’s panels by pressing Shift-Tab, which enlarges the size of your image to take up nearly the whole screen.

Then lastly, I press the letter L twice to enter Lights Out mode, so all I see is the full’Screen-sized image centered on a black background, with no distractions as shown here. A popular strategy is to include the date of the shoot as part of the new name. Unfortunately, only one of Lightroom’s import naming presets includes the date, and it makes you keep the camera’s original filename along with it.

Luckily, you can create your own custom file naming template just the way you want it. In that panel, turn on the Rename Files checkbox, then click on the Template pop-up menu and chose Edit as shown here to bring up the Filename Template Editor shown below in Step Two. Step Two: At the top of the dialog, there is a pop-up menu where you can choose any of the built-in naming presets as a starting place. For example, if you choose Custom Name – Sequence, the field below shows two blue tokens that’s what Adobe calls them; on a PC, the info appears within braces that make up that preset: the first represents the text, the second represents the auto numbering.

To remove either token, click on it, then press the Delete PC: Backspace key on your keyboard. If you want to just start from scratch as I’m going to do , delete both tokens, choose the options you want from the pop-up menus below, then click the Insert buttons to add them to the field.

We’ll start by adding the year first this helps keep your file- names together when sorted by name. To keep your filenames from getting too long, I recommend using just the last two digits of the year. So go to the Additional section of the dialog, click on the pop-up menu, and choose Date YY , as shown here the Y lets you know this is a year entry, the YY lets you know it’s only going to display two digits.

The Date YY token will appear in the naming field and if you look above the top-left side of it, you’ll see a live example of the name template you’re creating.

At this point, my new filename is lO. Step Four: After the two-digit year, we add the two- digit month the photo was taken by going to the same pop-up menu, but this time choosing Date MM , as shown here. Both of these dates are drawn automati- cally from the metadata embedded into your photo by your digital camera at the moment the shot was taken. By the way, if you had chosen Date Month , it would display the entire month name, so your filename would have looked like this: lOFebruary, rather than what we want, which is However, if every- thing just runs together, it’s really hard to read.

So, after the date you’re going to add a visual separator — a thin flat line called an underscore. To add one, just click your cursor right after the Date MM token, then press the Shift key and the Hyphen key to add an underscore seen here.

Now, here’s where I differ from some of the other naming conventions: after the date, I include a custom name that describes what’s in each shoot. This differs because some people choose to have the original camera-assigned filename appear there instead personally, I like to have a name in there that makes sense to me without having to open the photo.

In your example up top, though, it will say “untitled” until you add your custom text. Step Six: Now you’re going to have Lightroom automatically number these photos sequentially.

To do that, go to the Numbering section and choose your numbering sequence from the third pop-up menu down. Here I chose the Sequence token, which adds three-digit auto-numbering to the end of your filename you can see the example above the naming field. A dialog will appear where you can name your preset. Now, when you go to the Import window and click on the File Renaming panel’s Template pop-up menu, you’ll see your custom template as one of the preset choices as shown here.

Step Eight: Now, after you choose this new naming template from the Template pop-up menu, click below it in the Custom Text field this is where that Custom Text token we added earlier comes into play and type in the descriptive part of the name in this case, I typed in “IndyTestShots,” all one word — no spaces between words.

That custom text will appear between two underscores, giving you a visual separator so everything doesn’t all run together see, it all makes sense now. Once you type it in, if you look at the Sample at the bottom of the File Re- naming panel, you’ll see a preview of how the photos will be renamed. Once you’ve chosen all your Apply During Import and Destination panel settings, you can click the Import button. That’s what preferences are all about and Lightroom has preference controls because it gives you lots of control over the way you want to work.

Step One: The preferences for importing photos are found in a couple different places. First, to get to the Preferences dialog, go under the Lightroom menu on a Mac or the Edit menu on a PC, and choose Preferences as shown here.

Identity Plate Setup. Under Import Options in the middle, the first preference lets you tell Lightroom how to react when you connect a memory card from your cam- era to your computer. By default, it opens the Import window. However, if you’d prefer it didn’t automatically open that window each time you plug in a camera or card reader, just turn off its checkbox as shown here.

In the Comple- tion Sounds section, you not only get to choose whether or not Lightroom plays an audible sound when it’s done importing your photos, you also get to choose which sound from the pop-up menu of system alert sounds already in your computer, as seen here. Step Four: While you’re right there, directly below the menu for choosing an “importing’s done” sound is another pop-up menu for choosing a sound for when your exporting is done.

I know, this isn’t an importing preference, but since we’re right there, I thought I’ll talk more about some of the other preferences later in the book, but since this chapter is on importing, I thought I’d better tackle it here.

In the Catalog Settings dialog, click on the Metadata tab. Here you can determine whether you want to take the metadata you add to your RAW photos copyright, keywords, etc. Well, normally Lightroom keeps track of all this metadata you add in its database file — it doesn’t actually embed the info until your photo leaves Lightroom by exporting a copy over to Photoshop, or exporting the file as a JPEG, TIFF, or PSD— all of which support having this metadata embedded right into the photo itself.

However, some programs can’t read embedded metadata, so they need a separate XMP sidecar file. Instead, if you want to send a file to a friend or client and you want the metadata written to an XMP sidecar file, first go to the Library module and click on an image to select it, then press Command’s PC: Ctrl-S , which is the shortcut for Save Metadata to File which is found under the Metadata menu.

This writes any existing metadata to a separate XMP file so you’ll need to send both the photo and the XMP sidecar together. DNG was created by Adobe because today each camera manufacturer has its own proprietary RAW file format, and Adobe is concerned that, one day, one or more manufacturers might abandon an older format for something new. With DNG, it’s not proprietary— Adobe made it an open format, so anyone can write to that specification. While ensuring that your negatives could be opened in the future was the main goal, DNG brings other advantages, as well.

Although you can embed the original proprietary RAW file, I don’t it adds to the file size, and pretty much kills Advantage 1 below. If you want to give someone your RAW file and have it include the metadata and changes you applied to it in Lightroom, you’d have to give them two files: 1 the RAW file itself, and 2 the XMP sidecar file, which holds the metadata and edit info.

So, before you give somebody your DNG file, just remember to use that shortcut so it writes the metadata to the file first. Well, here’s how to do just that. Keep in mind that you can create more than one template, so if you create one with your full contact info includ- ing your phone number , you might want to create one with just basic info, or one for when you’re exporting images to be sent to a stock photo agency, etc. Once the Import window appears, go to the Apply During Import panel, and from the Metadata pop-up menu, choose New as shown here.

First, click the Check None button at the bottom of the dialog, as shown here so no blank fields will appear when you view this metadata in Lightroom— only fields with data will be displayed.

E cottkelby. Next, go to the IPTC Creator section and enter your contact info after all, if someone goes by your website and down- loads some of your images, you might want them to be able to contact you to arrange to license your photo.

Now, you may feel that the Copyright Info URL Web address that you added in the previous section is enough contact info, and if that’s the case, you can skip filling out the IPTC Creator info after all, this metadata preset is to help make potential clients aware that your work is copyrighted, and tell them how to get in contact with you. Once all the meta- data info you want embedded in your photos is complete, go up to the top of the dialog, give your preset a name — I chose “Scott’s Copyright Full ” — and then click the Create button, as shown.

Step Four: As easy as it is to create a metadata template, deleting one isn’t much harder. From the Preset pop-up menu at the top, choose the preset you want to delete. Once all the metadata appears in the dialog, go back to that Preset pop-up menu, and now choose Delete Preset [Name of Preset]. A warning dialog will pop up, asking if you’re sure you want to delete this preset. Click Delete, and it is gone forever. Step One: There are five different modules in Light- room, and each does a different thing.

When your imported photos appear in Lightroom, they always appear in the center of the Library module, which is where we do all our sorting, searching, keywording, etc. The Develop module is where you go to do your photo editing like changing the exposure, white balance, tweaking colors, etc. You move from module to module by clicking on the module’s name up in the taskbar across the top, or you can use the shortcuts Command-Option-I for Library, Command-Option-Z for Develop, and so on on a PC, it would be Ctrl-Alt-l, Ctrl’Alt’2, and so on.

I S:i aiMk. Step Two: There are five areas in the Lightroom interface overall: that taskbar on the top, the left and right side Panels areas, and a Filmstrip across the bottom your photos always appear in the center Preview area.

You can hide any panel which makes the Preview area, where your photos are dis- played, larger by clicking on the little gray triangle in the center edge of the panel. For example, go ahead and click on the little gray triangle at the top center of the interface, and you’ll see it hides the taskbar.

Click it again; it comes back. The idea behind it sounds great: if you’ve hidden a panel, and need it visible again to make an adjustment, you move your cursor over where the panel used to be, and it pops out. When you’re done, you move your cursor away, and it automatically tucks back out of sight. Sounds great, right?

The problem is one pops out anytime you move your cursor to the far right, left, top, or bottom of your screen. It really drives them nuts, and I’ve had people literally beg me to show them how to turn it off. A pop-up menu will appear shown here where you’ll choose Manual, which turns the feature off.

This works on a per-panel basis, so you’ll have to do it to each of the four panels. You can hide both side Panels areas by pressing the Tab key, but the one short- cut I probably use the most is Shift-Tab, because it hides everything — all the pan- els — and leaves just your photos visible as shown here.

Also, here’s an insight into what is found where: the left side Panels area is used primarily for applying presets and templates, and showing you a preview of the photo, preset, or template you’re working with. Everything else all adjust- ments is found on the right side.

Okay, on the next page: tips on viewing. Learning these viewing options now will really help you make the most informed decisions possible about which photos make it and which ones don’t. Step One: When your imported photos appear in Lightroom, they are displayed as small thumbnails in the center Preview area as seen here.

You can change the size of these thumbnails using the Thumbnails slider that appears in the toolbar the dark gray horizontal bar that appears directly below the center Preview area. Drag it to the right, and they get bigger; drag to the left, and they get smaller the slider is circled here.

Step Two: To see any thumbnail at a larger size, just double-click on it, press the letter E on your keyboard, or press the Spacebar. This larger size is called Loupe view as if you were looking at the photo through a loupe , and by default it zooms in so you can see your entire photo in the Preview area.

This is called a Fit in Window view, but if you’d pre- fer that it zoomed in tighter, you can go up to the Navigator panel at the top left, and click on a different size, like Fill, and now when you double-click, it will zoom in until your photo literally fills the Preview area. If you click it once on your photo, it jumps to a view of the area where you clicked.

To zoom back out, just click it again. To return to the thumbnail view called Grid view , just press the letter C on your keyboard. This is one of the most important keyboard shortcuts to memorize so far, the ones you really need to know are: Shift’Tab to hide all the panels, and now G to return to Grid view. This is a particularly handy shortcut, because when you’re in any other module, pressing G brings you right back here to the Library module and your thumbnail grid.

Step Four: The area that surrounds your thumbnail is called a cell, and each cell displays infor- mation about the photo from the filename, to the file format, dimensions, etc. But in the meantime, here’s another keyboard shortcut you’ll want to know about: press the letter J. Each time you press it, it toggles you through the three different cell views, each of which displays different groups of info — an expanded cell with lots of info, a compact cell with just a little info, and the last one hides all that distracting stuff altogether great for when you’re showing thumbnails to clients.

Also, you can hide or show the dark gray toolbar below the center Preview area by pressing T. If you press-and-hold T, it only hides it for as long as you have the T key held down. That’s why I love the Shift-Tab shortcut that hides all the panels. Here’s how: Step One: Press the letter L on your keyboard to enter Lights Dim mode, in which every- thing but your photo s in the center Preview area is dimmed kind of like you turned down a lighting dimmer.

In this mode, a thin white border also appears around your thumbnails, so they really stand out. Perhaps the coolest thing about this dimmed mode is the fact that the Panels areas, taskbar, and Film- strip all still work— you can still make adjustments, change photos, etc.

Step Two: The next viewing mode is Lights Out you get Lights Out by pressing L a second time , and this one really makes your photos the star of the show because everything else is totally blacked out, so there’s nothing and I mean nothing but your photos onscreen to return to regular Lights On mode, just press L again.

To get your image as big onscreen as possible, right before you enter Lights Out mode, press Shift-Tab to hide all the panels on the sides, top, and bottom— that way you get the big image view you see here. With- out the Shift-Tab, you’d have the smaller size image you see in Step One, with lots and lots of empty black space around it. The first time you press F, it makes the Lightroom window fill your screen and hides the window’s title bar directly above the taskbar in Lightroom’s interface.

The second F actually hides the menu bar at the very top of your screen, so if you combine this with ShiftTab to hide your panels, taskbar, and Filmstrip, and T to hide the toolbar, you’ll see just your photos on a solid top-to-bottom gray background. I know you might be thinking, “I don’t know if I find those two thin bars at the top really that distracting.

To return to regular view, use the same shortcut. The image on top is the gray layout you just learned, and on bottom, I pressed L twice to enter Lights Out mode. T Lightroonn Won’t Let You Import Duplicates If you go to import some photos, and some or all of them are already found in your Lightroom catalog in other words, these are duplicates , and the Don’t Import Suspected Duplicates checkbox is turned on, any images already in Light- room will be grayed out in the Import window.

If all the images are duplicate, the Import button will also be grayed out, so you can’t import them. T Using Separate Catalogs to Make Lightroom Faster Although I keep one single catalog for all the photos on my laptop, and just three catalogs for my entire collection in the studio, I have a friend who’s a full- time wedding photographer who uses a different Lightroom catalog strategy that freaked me out when I first heard it.

He cre- ates a separate Lightroom catalog go under the File menu and choose New Catalog for every single wedding. At each wedding, he shoots more than a thousand shots, and often he has one to two other photographers shooting with him.

His way, Lightroom really screams, because each catalog has only a thou- sand or so photos where for many folks, it’s not unusual to have 30, or 40, images, which tends to slow Lightroom down a bit. Hey, if you’re a high-volume shooter, it’s worth considering. T Why You Might Want to Wait to Rename Your Files As you saw in this chapter, you can rename your files as you import them into Lightroom and I definitely think you should give your files descriptive names , but you might want to wait until after you’ve sorted your photos and deleted any out-of-focus shots, or shots where the flash didn’t fire, etc.

Well, if you delete some of these files, then your numbering will be out of sequence there will be numbers missing. This doesn’t bother me at all, but I’ve learned that it drives some people crazy you know who you are , so it’s definitely something to consider. However, I think it’s faster and more convenient to go down to the Filmstrip, and on the left side, where you see the current collection’s name, click-and-hold, and from the pop-up menu that appears, choose Previous Import.

Applimionflnlel Si«. That’s it. In Windows Vista and Windows 7 bit, by default, only the bit ver- sion of Lightroom is installed. T Organize Multiple Shoots by Date If you’re like me, you probably wind up having multiple shoots on the same memory card for example, I often shoot one day and then shoot a few days later with the same memory card in my camera. If that’s the case, then there’s an advantage to using the Organize By Date feature in the Import window’s Destination panel, and that is it shows each of the shoots on your memory card by their date.

The folders will vary slightly, depending on the Date Format you choose, but you will have a folder for each day you shot. Only the shoots with a checkmark beside them will be import- ed into Lightroom, so ifyou only want to import shots from a particular date, you can turn off the checkbox beside the dates you don’t want imported.

T Multiple Cards fronn One Shoot Ifyou shot two or three memory cards of the same subject, you’ll want to choose Custom Name – Sequence from the File Renaming panel’s Template pop-up menu, which adds a Start Number field, where you can type in which number you want to start with as you import each card rather than always starting with the number 1, like the Custom Name template.

For example, ifyou imported photos from your first card, you’d want the second card to start number- ing with , so these shots of the same subject stay sequential. Once that card is imported let’s say you had shots on that card , then you’d want the start number for the third card’s photos to be By the way, I don’t do the math, I just look at the file number of the last photo I imported, and then add one to it in the Start Number field.

Just go under Lightroom’s File menu, choose Upgrade Photoshop Elements Catalog, and then choose your Elements catalog from the dialog’s pop-up menu. You may need to upgrade your Elements catalog for Light- room, so just click Upgrade if prompted to.

Lightroom will close and then reopen with your Elements catalog imported. T Hard Drive Space an Issue? You can’t just back up your photos to a different folder on the same com- puter or the external hard drive you are storing your photos on , because if your computer’s hard drive or your storage hard drive crashes, then you lose both your working copies and the backup copies, too. That’s why you’ve got to make sure the backups go to a com- pletely separate external hard drive. T Using Two External Hard Drives If you’re already storing your original photos on an external hard drive, it means you now have two external hard drives — one for your working photos, and one for your backups.

A lot of photographers buy two small, stackable external hard drives small hard drives that can stack one on top of the other , and then connect one with a FireWire cable called an IEEE on a PC , and the other with a USB 2 cable hey, I never said this was going to be cheap, but think of it this way: if, one day, you lost all your photos, you’d pay anything to get them back, right?

Instead, just pay a fraction now for a backup hard drive — believe me, you’ll sleep better at night. The cool thing is that this works in the Import window, too. This brings up the Import window with this folder already chosen as the destination for your imported photos. If you don’t turn on the Into Subfolder checkbox and you choose Into One Folder from the Orga- nize pop-up menu, Lightroom tosses the loose photos into your Pictures or My Lightroom Photos folder whichever folder you chose in the To section at the top right of the Import window , and they’re not organized within their own separate folder.

So, if you choose the Into One Folder option, I recommend that you turn on the Into Subfolder checkbox and then name the folder. That way, it imports them into their own separate folder inside your Pictures or My Lightroom Photos folder. Otherwise, things will get very messy, very quickly. Now, it renames these second copies. T Choosing Keywords Here’s how I choose my keywords: I ask myself, “If months from now, I was trying to find these same photos, what words would I most likely type in the Find field?

It works better than you’d think. If you pop in a new card, click on the From button at the top left of the window, and choose it from the pop-up menu that appears. That may not seem that bad with 14 photos, but what about or photos?

So, armed with that info, you can make a decision that fits your workflow. If you’re the type of photographer that likes to zoom in tight on each and every photo to check focus and detail, then it might be worth it for you to wait for the 1 :1 previews to render before working on your images. If you look at them mostly in full-screen view but don’t zoom in really tight that often , then Standard might work, and if you want thumbnails that more closely represent what your photo will look like when it is rendered at high quality, choose Minimal instead.

T Hiding Folders You Don’t Need If you’re importing photos that are already on your computer, that long list of folders in the Source panel can get really long and distracting, but now you can hide all those extra folders you don’t need to see.

Once you find the folder you’re importing from, just double-click on it, and everything else tucks away leaving just that folder visible. Try this once and you’ll use it all the time. Over on the far-right side, to the right of Kind, click on the Videos button its icon is a filmstrip and it’s the third icon from the left and now it displays nothing but all the video clips you have in Lightroom pretty handy if you want to make a regular collection ofjust your video clips.

But if you’d prefer to control which image appears onscreen, and for how long remember, if you see one onscreen you like, it Nrw Calalpg Under the chapter name, I would put a subhead that explains what the chapter is actually about, because sometimes from the name it wasn’t quite as obvious.

For example, in another book, I had a chapter called “Super Size Me” from the movie of the same name , about how to resize your images.

But for the previous edition of this book, I dispensed with those titles and just gave each chapter a regular boring ol’ name, and now that I’m writing the Lightroom 3 version, I’m kinda wishing I hadn’t done away with it even though I guess this way does make it easier. See, I was thinking that people who buy books on Lightroom are photographers, and that means they’re creative people, which to me means that if I named the chapters after things that in themselves are creative like songs, TV shows, and movies.

Well, as luck would have it, I just checked on the iTunes Store and there actually is a song named “Library” by a band called Final Fantasy from their album Has a Good Home. Anyway, I listened to the song and I have to say, it was mind numbingly bad — bad on a level I haven’t heard in years, yet the album has 12 five-star reviews, so either these people are criminally insane, or they were basing their review on their general love of one of Final Fantasy’s other songs, titled “He Poos Clouds.

My year-old son would still be giggling. When you import photos, you have to choose a folder in which to store them on your hard drive. This is the only time I really do anything with folders because I think of them as where my negatives are stored, and like with traditional film negatives, I store them someplace safe, and I really don’t touch them again. I use the same type of thinking in Lightroom. I don’t really use the Folders panel I use something safer— collections, which is covered next.

So, here I’m only going to briefly explain folders, and show one instance where you might use them. Step One: If you quit Lightroom and on your computer look inside your Pictures folder, you’ll see all the subfolders containing the files of your actual photos.

Of course, you can move photos from folder to folder as seen here , add photos, or delete photos, and so on, right? Well, you don’t actually have to leave Lightroom to do stuff like that— you can do those things from within the Folders panel in Lightroom. You can see all those same folders, and move and delete real files just like you do on your computer. J09 m OliiD SlulE What you’re seeing here are all the folders of photos that you imported into Lightroom by the way, they’re not actually in Lightroom itself— Lightroom is just managing those photos— they’re still sitting in the same folders you imported them into from your memory card.

If the triangle is solid gray, it means there are subfolders inside that folder, and you can just click on that tri- angle to see them. If it’s not solid gray, it just means there are no subfolders inside. Step Four: When you click on a folder, it shows you the photos in that folder that have been imported into Lightroom.

If you click on a thumbnail and drag it into another folder like I’m doing here , it physically moves that photo on your computer from one folder to another, just as if you moved the file on your computer outside of Light- room. Because you’re actually moving the real file here, you get a “Hey, you’re about to move the real file” warning from Lightroom see here below. The warning sounds scarier than it is — especially the “neither this move nor any change you’ve made prior to this can be undone” part.

However, you could just click on the folder you moved it to in this case, the Misc photos folder , find the photo you just moved, and drag it right back to the original folder here, it’s the Tuscany finals folder , so the dialog’s bark is worse than its bite. So, if it’s the external drive thing, just reconnect your external drive and it will find that folder.

If it’s the old “moved them somewhere else” problem, then Right-click on the grayed-out folder and choose Find Missing Folder from the pop-up menu. This brings up a standard Open dialog, so you can show Lightroom where you moved the folder. When you click on the moved folder, it re-links all the photos inside for you. Step Six: Now, there’s one particular thing I some- times use the Folders panel for, and that’s when I add images to a folder on my computer after I’ve imported.

For exam- ple, let’s say I imported some photos from a trip to Italy and then, later, my brother emails me some shots he took. If I drag his photos into my Tuscany finals folder on my computer, Lightroom doesn’t automatically suck them right in.

In fact, it ignores them unless I go to the Folders panel. Right-click on my Tuscany finals folder, and choose Synchronize Folder. I dragged the nine new photos my brother sent me into my Tuscany finals folder, and you can see it’s ready to import nine new photos. There is a checkbox to have Lightroom bring up the standard Import window before you import the photos so you can add your copyright, and metadata and stuff like that if you like , or you just bring them in by clicking Synchronize and adding that stuff once the images are in Lightroom if you even want to.

Since my brother took these, I won’t be adding my copyright info to them. At least, not while he’s looking. So, that’s pretty much the main instance where I use folders — when I drag new images into an existing folder. Other than that, I just leave that panel closed pretty much all the time, and just work in the Collections panel as you’ll learn about in the next tutorial. TIP: Other Folder Options When you Right-click on a folder, and the pop-up menu appears, you can choose to do other things like rename your folder, create subfolders, etc.

There’s also a Remove option, but in Lightroom, choosing Remove just means “remove this folder of photos from Lightroom. Just so you know. Personally, this is one of the parts I enjoy the most, but I have to admit that I enjoy it more now than I used to, and that’s mostly because I’ve come up with a workflow that’s fast and efficient, and helps me get to the real goal of sorting, which is finding the best shots from your shoot — the “keepers” — the ones you’ll actually show your client, or add to your portfolio, or print.

Here’s how I do it: Step One: When you boil it down, our real goal is to find the best photos from our shoot, but we also want to find the worst photos those photos where the subject is totally out of focus, or you pressed the shutter by accident, or the flash didn’t fire, etc. Lightroom gives you three ways to rate or rank your photos, the most popular being the l-to-S-star rating system.

To mark a photo with a star rating, just click on it and type the number on your keyboard. So, to mark a photo with a 3’Star rating, you’d press the number 3, and you’d see three stars appear under the photo shown here at the top. To change a star rating, type in a new number. To remove it altogether, press zero. The idea is that once you’ve got your S-star photos marked, you can turn on a filter that displays only your S-star photos.

You can also use that filter to see just your 4’Star, 3’Star, etc. Besides stars, you can also use color labels, so you could mark the worst photos with a Red label, slightly better ones with Yellow, and so on. Or, you could use these in conjunction with the stars to mark your best S-star photo with a Green label as shown here at the bottom. Here’s why: they’re way too slow. Think about it — your S-star photos would be your very best shots, right?

The only ones you’ll show anybody. So your 4’Star ones are good, but not good enough. Your 3’Star ones are just so-so nobody will ever see these. Your 2’Star ones are bad shots — not so bad that you’ll delete them, but bad, and your l-star shots are out-of-focus, blurry, totally messed up shots you’re going to delete. So what are you going to do with your 2- and B-star photos? What about your 4’Star photos?

The 5’Stars you keep, the 1 -stars you delete, the rest you pretty much do nothing with, right? So, all we really care about are the best shots and the worst shots, right?

The rest we ignore. Step Three: So instead, I hope you’ll try flags. You mark the best shots as Picks and the really bad ones the ones to be deleted as Rejects. Lightroom will delete the Rejects for you when you’re ready, leaving you with just your best shots and the ones you don’t care about, but you don’t waste time trying to decide if a particular photo you don’t care about is a S-star or a 2’Star.

I can’t tell you how many times I’ve seen people sitting there saying out loud, “Now, is this a 2’Star or a 3’Star? It’s not a S-star; move on! To mark a photo as a Pick, just press the letter P. To mark a photo as a Reject, press the letter X.

A little message will appear onscreen to tell you which flag you assigned to the photo, and a tiny flag icon will appear in that photo’s grid cell.

A white flag means it’s marked as a Pick. A black flag means it’s a Reject. I look at the photo, and if I think it’s one of the better shots from the shoot, I press the letter P to flag it as a Pick. If it’s so bad that I want to delete it, I press the letter X instead.

If it’s just okay, I don’t do anything; I just move on to the next photo by pressing the Right Arrow key on my keyboard. If I make a mistake and mis’flag a photo for example, if I accidentally mark a photo as a Reject when I didn’t mean to , I just press the letter U to unflag it. That’s it — that’s the process. You’ll be amazed at how quickly you can move through a few hundred photos and mark the keepers and rejects.

But you’ve still got some other things to do once you’ve done this first essential part. Go under the Photo menu and choose Delete Rejected Photos. This displays just the photos you’ve marked as Rejects, and a dialog appears asking if you want to delete them from your disk or just remove them from Lightroom.

I always choose Delete from Disk, because if they were bad enough for me to mark them as Rejects, why would I want to keep them? What could I possibly use them for? So, if you feel the same way, click the Delete from Disk button and it returns you to the Grid view, and the rest of your photos.

Once they’re actually in a collection, doing this just removes the photos from the collection, and not from your hard disk. Delete movci?

Click on the white Picks flag shown circled here , and now just your Picks are visible. There’s a Library filter there too, but just for attributes like flags, star ratings, and color labels. Step Seven: What I do next is put these Picks into a collection. Collections are the key orga- nizational tool we use, not just here in the sorting phase, but throughout the Lightroom workflow.

You can think of a collection as an album of your favorite photos from a shoot, and once you put your Picks into their own collection, you’ll always be just one click away from your keepers from the shoot. A pop-up menu will appear, and from this menu, choose Create Collection as shown here. So for now, leave the Set pop-up menu at None, but don’t worry, sets are coming soon enough. In the Collection Options section, you want your collection to include the photos you selected your Picks in the previous step, and because you made a selection first, this checkbox is already turned on for you.

Just in case you were wondering, collections don’t affect the actual photos on your computer — these are just “work- ing collections” for our convenience, so we can delete photos from our collec- tions and it doesn’t affect the real photos they’re still in their folder on your com- puter, except for the Rejects we deleted earlier, before we created this collection.

Note: If you’re an Apple iPod or iPhone owner, then you’re familiar with Apple’s iTunes software and how you create playlists of your favorite songs like big hair bands of the ’80s, or party music, or classic rock, etc. When you remove a song from a play list, it doesn’t delete it from your hard disk or your main iTunes Music Library , it just removes it from that particular playlist, right? Well, you can think of collections in Lightroom as kind of the same thing, but instead of songs, they’re photos.

Out of the bridal shots that were taken that day, only 58 of them were flagged as good shots, and that’s how many wound up in our Picks collec- tion. But here are some questions: Are you going to print all 58 of these keep- ers?

Are all 58 going in your portfolio, or are you going to email 58 shots of this one bridal shoot to the bride? Probably not, right? So, within our collection of keepers, there are some shots that really stand out — the best of the best, the ones you actually will want to email to the client, or print, or add to your portfolio. So, we need to refine our sorting process a little more to find our best shots from this group of keepers — our “Selects.

You already know the first method: double-click on a photo to jump to Loupe view, move through the photos using the Arrow keys on your keyboard, and when you see one that you know is one of the best of the bunch, you press the letter P to flag it as a Pick when you created this collection, Lightroom removed the old Picks flags for you.

The second view that you might find helpful is called Survey view, and I use this view quite a bit when I have a number of shots that are very similar like a number of shots of the same pose and I’m trying to find the best ones from that group. You enter this view by first selecting the similar photos, as seen here click on one, then press-and-hold the Command [PC: Ctrl] key and click on the others.

Don’t get me started. This puts your selected photos all onscreen, side by side, so you can easily compare them as shown here. Also, anytime I enter this Survey view, I immediately press Shift’Tab to hide all the panels, which makes the photos as large as possible on my screen. Just press the letter L on your keyboard twice to enter Lights Out mode and you’ll see what I mean. When you’re done in Lights Out, to return to the regular view, just press L again.

Step Now that my photos are displayed in Survey view, I start the process of elimina- tion: I look for the weakest photo of the bunch and get rid of it first, then the next weakest, and the next, until I’m left with just the best two or three shots of that pose. To eliminate a photo, just move your cursor over the photo you want to remove from contention the weakest photo of the bunch and click on the small X that appears in the bottom-right corner of the image as seen here , and it’s hidden from view.

It doesn’t remove the photo from your collection, it just hides it to help with your process of elimination. Here, I removed one photo and the others auto- matically readjusted to fill in the free space.

As you continue to eliminate images, the remaining images get larger and larger as they expand to take up the free space. TIP: Changing Your Survey Order While you’re in Survey view, you can change the order of the images displayed onscreen by just dragging-and-dropping them into the order you want. U Hi Step Once you narrow things down to just the ones you want to keep of this pose, press C to return to the thumbnail Grid view and those photos that were left onscreen will automatically be the only ones selected see the three final photos I wound up leaving onscreen — they’re the only ones selected.

Now, just press the letter P to flag those as Picks. Once they’re flagged, press Command-D PC: CtrI’D to deselect those photos, then go and select another group of photos that are similar, press N to jump to Survey view, and start the process of elimination on that group. You can do this as many times as you need, until you’ve got the best shots from each set of similar shots or poses tagged as Picks. Note: Remember, when you first made your collection from flagged Picks, Light- room automatically removed the Picks flags.

That’s why you’re able to use them again here. Step IS: Now that you’ve gone through and marked the very best shots from your Picks collection, let’s put just those “best of the best” in their own separate collection this will make more sense in just a minute.

At the top of the center Preview area, in the Library Filter bar, click on Attribute, and when the Attribute bar pops down, click on the white Picks flag to display just the Picks from your Picks collection as seen here.

This brings up the Create Collection dialog. Here’s a tip: name this collection by starting with the name of your keepers collection, then add the word “Selects” so in my case, I would name my new collection “Katie Wedding Selects”. Collections appear listed in alphabetical order, so if you start with the same names, both collections will wind up together, which makes things easier for you in the next step besides, you can always change the name later if you like. When you look in the Collections panel, you’ll see your keepers collection with the Selects one right below as shown here.

Note: We still have one more method to cover for narrowing things down, but just so you know, after that you’ll learn how to use Collection Sets, which make things easy when you have multiple collections from the same shoot — like we do here with a Picks collection and Selects collection.

That’s when you use Compare view — it’s designed to let you go through your photos and find that one, single, best shot. Here’s how it works: First, select the first two photos in your Selects collection click on the first photo, then Command-click [PC: Ctrl-click] on the second image, so they’re both selected.

Now press the letter C to enter Compare view, where the two photos will appear side by side as shown here , then press Shift-Tab to hide the panels and make the photos as large as possible. Also, you can enter Lights Out mode now, if you like press the letter L twice. Step So, here’s how this works, and this is a battle where only one photo can win: On the left is the current champion called the Select , and on the right is the contender called the Candidate.

All you have to do is look at both photos, and then decide if the photo on the right is better than the photo on the left in other words, does the photo on the right “beat the current champ?

If it doesn’t, then press the Right Arrow key on your keyboard and the next photo in your collection the new con- tender appears on the right to challenge the current champ on the left as seen here, where a new photo has appeared on the right side. This makes the Candidate image become the Select image it moves to the left side , and the battle starts again. So, to recap the process: You select two photos and press C to enter Compare view, then ask yourself the ques- tion, “Is the photo on the right better than the one on the left?

If it is better, click the Make Select button and continue the process. Once you’ve gone through all the photos in your Selects collection, whichever photo remains on the left as the Select photo is the best image from the shoot.

When you’re done, click the Done button on the right side of the toolbar. Step Although I always use the Arrow keys on my keyboard to “do battle” in Compare view, you can also use the Previous and Next buttons in the toolbar. To the left of the Make Select button is the Swap button, which just swaps the two photos making the Candidate the Select, and vice versa , but I haven’t found a good reason to use this Swap button, and just stick to the Make Select button.

So, which of the three views do you use when? Here’s what I do: 1 the Loupe view is my main view when making Picks, 2 I use Survey view only when comparing a number of shots of a similar pose or scene, and 3 I use Compare view when I’m trying to find a single “best” image.

Instead, I mark this one photo on the left as the winner by press- ing the number 6 on my keyboard.