Creating the most effective Lightroom Workflow for Photographers - Lightroom 80/20 | Andreas Kowacsik | Skillshare

Creating the most effective Lightroom Workflow for Photographers - Lightroom 80/20

Andreas Kowacsik

Creating the most effective Lightroom Workflow for Photographers - Lightroom 80/20

Andreas Kowacsik

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21 Lessons (3h 2m)
    • 1. Lesson 1 1 Hard Drive Mgmt

    • 2. Lesson 2 photo drive

    • 3. Lesson 3 workflow overview

    • 4. 1 4 clean computer

    • 5. Lesson 1 transfer photos

    • 6. 2

    • 7. 2

    • 8. M3 lesson 1 preparation

    • 9. 3

    • 10. 3

    • 11. 4

    • 12. 4

    • 13. 4

    • 14. PS and 3rd party plugins

    • 15. 5

    • 16. 5

    • 17. Publish services

    • 18. 6

    • 19. Working with portfolio

    • 20. 6

    • 21. 6

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About This Class

After completing this course you will not have to worry about how to cull, tag, edit, save and archive your photos so that you can find them easily and quickly at any time.

Lightroom 80/20 is an online course consisting of videos that shows you how to cull, edit and manage your photos in Lightroom - in the most time efficient manner.

No matter if you are at the beginning of your career as a photographer, if you are a hobby or a professional photographer - with Lightroom 80/20 you will be able to reduce the time of your post production significantly.

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1. Lesson 1 1 Hard Drive Mgmt: before we talk about light room and workflow. I want to see a few words about hard drive management, archiving and backup solutions. And there are two reasons I want to start with that firstly, because you will understand this course much better if you understand the underlying system on which this whole light from 80 20 buck Floor is based on. And secondly, because, as you know, these courses are all about getting faster, working more effectively and optimizing every single step in your post production. You see, maybe you are already quite fast and editing your photos. But there is chaos on your computer and you need 30 minutes to find a single photo. Then you simply do not have an effective workflow. And this is the reason why I wanna start with the hard drive management and the hardware basics. So how should your hard drive management look like? Let me give you an example off how it works, in my case. Personally, I've got an apple I make, but it doesn't matter which kind of computer you have. It could be any type off desktop computer or laptop, and this computer we have a hard drive which is called C Drive for Windows or a Mac HD for Apple and this drive, you'll find my system relevant. Data and programs, of course, but you'll also find music, some videos and other media. However, there are no photo. Safed on the C drive for the photos are on another external drive, which I call the photo drive. And for this photo drive, I create a daily automatic backup to an external to a second external drive, which must have leased the same storage capacity as our four drive. If it's less, you won't be able to back up all your photos. Of course, this software I used for this backup is called carbon copy cloner. However, you can use any other data backup software you will find out there. There are plenty off them. Just find one that you like. The only important thing is it has to be able to make the backup automatically. This is how the four Dr looks in my case. In this case, you'll find the four to drive and the backup drive. However, you don't have toe have only one case. If you prefer to separate Rives totally fine in case you have a tower, Uh, or any other computer with several hard drives. Lots. You can make use of thes internal hard drives, of course, and make one off them your photo drive and one off them your backup drive. I'll give you a few criteria for choosing or for the drive. When you wanna buy afforded rife, please bear in mind the following three things. First, take the fastest drive that you can afford and that is compatible with your computer. Of course, a fast rife interest, fast work and little waiting and loading times, which we want to avoid as much as possible concerning capacity. Take a drive, which can hold at least two years off your photography work. That's my recommendation. So if you take 400 gigs of photos a year, you will need at least an 800 gig or a terabyte hard drive for both the photography drive and the backup drive. If you have multiple hard drives in the same case, please make sure that you have separate excess toe each of thes drives. So in case your photo drive breaks down, you should be able to take out the backup drive and connected to another computer doing this, you will be able to access your data immediately. And this is what counts after all. Well, now we've covered the hard drive part. But what happens if someone breaks into your house or if there is a fire and both off your hard drives are stolen or destroyed? In this case, you should think about on land back AB solutions. We'll find plenty of them in the Internet. Some off them are specifically for photo. Some of them are for all kinds of data. Personally, I've been using a pack absolution called Crash Plan. With this, after you can sink, you're enter a hard drive 24 7 to a cloud, if you like. Personally, I only pick up my master tape it folder to crash plan, but you can decide for yourself what you want to back up and what not speaking off cloud. If you already wondered where I back up my other files toe. So any files that are non photo related, the an interests, you'll know it. Dropbox reason for this is I just like the simplicity off Dropbox. It allows me to access my files from any browser from any computer from my smartphone and, of course, most importantly, directly from my finder on my computer. There are basically store all kinds of documents graphics, logos, profile photos. So anything that I want to have access to from different computers at a no Dropbox is not the only software that can do that. Um, that's totally fine. You can use any of the other services like Google Drive iCloud, Emma's Nikola. Try for any of the smaller companies to as long as you're able toe access your files from my tablet computers. It's fine now. There's only one more question left when it comes to our physical hard drives. And that's the question. What happens when the hard drive is full, where what I do then is a move the oldest yearly folder to an external hard drive, which serves as an archive drive In contrast to the four to drive in the backup drive thes archive drive is not connected to a computer unless I need to access specific fights. So 99% of the time this drive stays in my cup erred in a cover. I show you how it looks like this is the cover, and in here you'll find a hard drive and there is no backup for this hard drive. So it's just in the cup ERT, and if it dies, it dies. That's OK, because I got all my Che pack folders anyway on my four to drive all the time. How do I do that? I show in the next lesson, which is all about organizing your files and folders. For now, we're done with the lesson about hard drive management. I know this was a lot of information, and it requires a lot of work toe. Implement the system, however, bear in mind that you only need to implement the system once. Once it's set up, it works automatically. Also, make sure to check out the resource is and the worksheets. And in case you have any questions regarding hard drive management, just post them in a Facebook group. Or are Reitman email. I'm looking forward to hearing from you 2. Lesson 2 photo drive: in my last video and showed you how my hard drive management looks like in today's video. I want to provide you with an overview off a singular hard drive, namely the photo drive on my photo drive. You'll basically find three folders First, the original folder this folder contains, as the name indicates, the original fights, which are either raw or D, and she faults you will not find any shape X there. The second folder is the Master Che Peck folder. Here you'll find all the processed edited and final photos off. Every photo showed every holiday off anything. Basically, this is the holy folder that contains it all, from my beginnings as a photographer until now, and the third folder is the portfolio folder. This one basically contains my best off the's air photos that I especially like and want to use for further work, let us look in detail at thes folders. The original folder contains all the original photos segmented according to year, So in January 1st, you can create a new folder with the current year. The sub folders off this year are the actual photo foods and everything before the shoot to no matter if it's business related. Related has the same naming, beginning with the year than the month, the day and the client's name. If there is a client as well as the type of photo shoot, So here it's wedding, for example, and this is the folder where we copy our afford is to from the memory card here, you'll find the actual files during the post production process. When you were done calling and editing the photos, we'll move them to two news up folders. One is called Selection visits. The place were removed, the photos we want to keep and use as well as gift to our clients, and the other folder is called Delete. As you can imagine, this is the place where removed the photos we do not want to keep, which means that we will delete them at a later period. However, there is another very important file in this year folder that's a 2016 namely the light room catalog for the photos from this year. This means we create a new light room catalog for every single year, and we name it accordingly. Doing this, we have all the original photos from a single year in one folder, plus the respective flight from Carrie Lock. If you're confused now why you should create a new catalogue every single year. Remember, this is just the overview. I'll explain my catalogs in more detail in a later lesson Trust. Remember for now that you should create a new catalogue for every single year. How many years of photography director you keep in this original folder That totally depends on how much storage space you have and how many photo shoots you have per year. However, I recommend to keep it least two years off your original files on your photo drive. And keep in mind that the maturity off the photos going there will be deleted anyway, So two years should be doable. For most of you. Let's talk about the Master Jay Peak folder. What do you find in the Master Jay Peak folder? You might have guessed it. The J Pic files to be more specific. Every single J pack goes here, most importantly, the che pecs you sent to your clients, which were usually Safed in this Election folder. Imagine the Master Traffic folder as your mini archive. Ideally, you will be able to access every single photo off every photo shoot and every vacation from the beginning off your photographer life until now. So it's the collected works off your photography. I know they're only the Tropic versions off the photos, but at least they're all in one place and to most off the time we need a tray pick anyway. Beat for the client, your website or a print. How is this folder organized? While the structure resembles pretty much the one off the original folder at first to be half the year afterwards we have two shoots organized, like in the original folder. I basically used the same naming in both folders. I just at CEA Peck in the Master Tape IQ folder. So if the folders name is 2016 or three or seven, Lewis and Max Wedding in the original folder than its 2016 or three or seven Lewis and Max Wedding Che Peck in the Master Traffic folder. If I need to design an album for a wedding, I create a sub folder called Album. If I forced printed, I create a sub follow called Prints and so on. The only sub folder that exists in all My photo shoots is the selection folder, as here are all the photos off the shoot that are edited, retouched and finalized for bigger fruits like a wedding. I always create a sub folder with my favorites, too, simply because I confined the really good ones more easily. These favorite photos exist in both folders. So in this Election folder and the Favorites folder, one thing I want to stress is that the sub folders and files in this folders are not set in stone. You can change at a remove folders and fires any time, even years after a food. Just pay attention to maintaining an overview and deleting sub folders that you don't need anymore. Let's have a look at the next folder. The portfolio folder they put for your folder is a little bit more complex than the others , as there's a little system behind it. Basically, it contains the D and G falls off the photos you want to use in your portfolio, however, will cover this folder in more detail in an extra lesson in the last module, which is deport for your module. Still, I wanted to mention it here as it's one or three folders on the four to drive. This is it for today's lesson. Should you have any questions regarding the folder structure, please feel free to post them in our Facebook group. I'll see you in the next video. 3. Lesson 3 workflow overview: in this lesson. I want to give you an overview off my workflow. And I'm gonna start for saying that I show you two versions off my workflow. They're almost the same, But still, I want to present you both ways. Why? Because depending on your character and on the feet off photography urine, you might prefer the one over the other. The 1st 1 that I'll show you is called speed and Discipline, because this one is optimized for speed. Why discipline? Because it requires a little bit more action from your side as a photographer, whereas the second version that I'll show you is called the Lazy Version. This one requires less action from your side, but a little bit more waiting and loading times. At first, let's have a look at the speed and discipline workflow. We start by taking the photo with our camera, of course, Then we'll connect our memory card to the computer. Then we transfer the photos via the finder or the Explorer. This is one off the main differences compared to the lazy version in the lazy version. Re trends for the photos to the computer via that room. And here in the speed and discipline workflow, which rents for the photos through the finder or explorer. The next step is we import the photos into light room, then we'll select the photos. Then we keep birth. Um, then we create these folders that are talked about in the last lesson. We create sub folders, one is called selection and one is called delete. Then we added the photos. This is where all the color correction and photo shop etcetera comes in. Then we're trust the order off the images. We renamed them so that the order off the images stays the same, even outside of flight room. If you want to create a slide show, you would do that now. Then we'll pick the photos that we want to use for the portfolio. Next step is exporting the Shape X. Then we export the D and cheese into our portfolio. Finally, we convert the photos from the folders Election into a D and G form it. This is another important differences through the lazy workflow. I'll show you why in a minute. And then comes an optional step, which is exporting the whole folder as a catalogue. This won't be necessary for most of you. This is by its as optional police read the post below this video for more information. Because there I explain under what circumstances? A recommended export off a folder as a catalogue. And the last step is that you delete the folder that's called Delete after about 6 to 12 months. So this is the speed and discipline workflow. Now let's dive into the second version, which I call a lazy version, as it's especially designed for lazy people. And this is not meant as an insult, not at all. Even Bill Gates, one said, I will always choose a lazy person to do a difficult job because he will find an easy way to do it. So I think the lazy version is the one that most, if you will go for the difference. Compared to with the speed and discipline workflow is that you need to wait a bit longer until you can start editing your photos. Why do you need to wait longer? Because we have to do the DMG conversion already in the beginning, during the import so light from has to convert all of your photos, but in the speed and discipline work, fluid only converts. The finals election and this whole conversion process really take some time, so it's a huge difference between converting 2000 photos or 500 photos. The good thing is, though, that you don't need to sit at the computer violating. You can do anything else. Meanwhile, or just a flight room convert the photos overnight. So here the other points are basically the same as in the speed and discipline work floor. It is why I just go through them quickly. And here we are, so summing up the lazy workflow requires less action from your side, but longer waiting and loading times, then the speed and discipline workflow which off the work flows you choose is totally up to you as they're almost identical. You can just try both and see which wants you to more. And as I'm a very curious person, police that we know are even better posted to the Facebook group. What do you think? Which workflow type you are or which off these versions sounds better to you? That's it for today. I'll see you in the next lesson 4. 1 4 clean computer: If you want to work fast and efficiently, it's important to have a fast and reliable computer Peter laptop, a PC or a Mac, because nothing is more annoying than a computer that crashes regularly or that just lacks all the time. Does that mean you should buy a new computer every year? Absolutely not. Just pay attention that your computer doesn't become a garbage dump. The thing is, the more stuff you accumulate on your hard drives this lower they become. This is especially true for the C drive, where the operating system is stored and all the system relevant data are stored. So I'll give you a few tips on how you can keep your C drive clean. Tip number one ihsaa. Keep your C drive slim. What do I mean with slim? It's simply don't put too much data on your C drive last day that there is on the C drive, the faster it usually is. Tip number two. Clean up your desktop. A message asked up is not only a sign off a liking folder structure, it also costs your time on one hand, because it takes you quite a while to find a specific folder or file, on the other hand, because it also slows down your computer in general. Then please empty your trash, empty your recycle pin your downloads, folder your cash and do that on a regular basis. If you want. You can also use applications that help you delete all kind of unnecessary files. Give you a recommendation in this post and in the resource is and finally have a clear and simple folder structure. In this course, I'll show you how you construct for your photography files and folders. However, as strongly recommend you re structure your other folders and files, too. This structure doesn't have to be perfect, of course, but it should be set up in a way that makes you find your documents your music. Hear presentations, etcetera easily and effortlessly. Following this video, I've got a small task for you. Take five minutes off your time and clean a beard, asked up, empty your recycle bin and do that right now. And when you're done, make a screen jered off a super clean desktop and posted in our Facebook group. And finally take out your calendar and find a free afternoon or an evening within the next 1 to 2 weeks and dedicated to bringing order to your files and folders. This is really important. That's it for this lesson. I see you in the next video. 5. Lesson 1 transfer photos: hello and welcome Tomarchio too. So far we've covered the basics and the necessary preparations for an effective light from workflow. Now we're coming to light room itself. Finally, it you see in the workflow or review the first step off the Burke flow. Surprise. Surprise is transferring the photos from the memory card to the computer. Of course, the very first step is connecting her memory card through the computer. But you should all know how to do that. If you follow the speed and discipline workflow, you transfer the photos directly to the hard drive in your explorer or finder. So you go to the photo drive to the current year and you create a new folder. You name this folder, as described in Model One, starting with the date. So I call it, for example, 2017 03 20 graha Portrait singer. This single just indicates that it's not a family portrait or a couple portrait. It's a single portrait Press enter and now in there, I copy all the files from the memory card, so this should be a very easy task. You all know how to do it. My chest wreck that's over here, then we need to wait until the transferring process is done. This way is a bit faster than having light room transfer the photos. That's why it's in the speed and disciplined work for the first step. However, if you prefer the lazy workflow, you transfer the photos within light room to your heart rife. Just create the folder for the photo shoot in the import dialog. The folder exists already by now, but if it wouldn't, it would just created here new folder and name it accordingly. 6. 2: before I explain the import settings to you, I want to talk about catalogues briefly. When you open light from for the first time, it automatically creates a Cadillac for you. And chances are that you and many other photographers have been using this catalog and only this catalogue since the beginning off their careers. So what? Why shouldn't you stick through this one catalogue? You see, if you accumulate tons of photos in the same catalogue, light room slows down, and we don't want that. Apart from that, what do you do when your hard drive runs out of space? If you move photos from hard drive XTO heart right fly, the photos will be gone from hard drive X. However, they will still show up in light room. Then you have a lot off the's great holders that you can't really use that use up valuable memory space. Furthermore, it looks messy and confusing Off course. You can delete them manually, but that costs your valuable time. So I played around and experimented with a couple of methods and how to make this Catholic system work effectively. I tried to the old photos in one catalog method, which is the super lazy option, of course, but as I said, it slows down light room. Then it tried the one catalogue for every shoot method where you create one catalogue for every shoot, which keeps light from super fast, of course, but you always need to open a separate catalog, even for the smallest adjustment. And that costs sometime. And it's quite annoying, honestly. And I also tried to be working catalogue method where you basically create one catalogue where you put in all the four foods you're currently working on on. As soon as you're done, you exported as a separate catalog, which I find basically very good. But I caught myself over and over again, not executing this last export as a catalogue. So I came up with a mixture off all these methods, which I'll explain to, you know, basically, I used to catalogs one yearly catalogue and one portfolio cattle lock. The yearly catalogue contains all the photos one year, so you create a catalog in the first off January, and every photo food you have from the first of January to the 31st of December goes into this catalog. If you think that one catalogue per year is not enough for you because you really have a lot off event, a lot of weddings, a couple off them. Every week you can split that up and make two were three catalogs per year, so it's totally up to you. Just make sure that you're safe. All these catalogs within the same yearly folder on your photo hard drive. The portfolio catalogue contains all my portfolio photos. Indian Chief Form it. I'll explain the portfolio catalogue in Model six in details. For now, we concentrate on the yearly catalogue as this is the one that you'll be using most of the time. How do you create this catalog when you're in light room, you could a file new catalogue, and then you choose where you want to save this cattle. Look now, be careful when it comes to saving the catalogue in the right folder. To make this whole book for work properly, you have to save it in the same folder Very of God. Your photos, which is the current yearly folder. You name the catalogue, so in the year 2017 you create a new folder, Cold Light from Carol Lock and then you just called the Eardrum catalog 2000 and 17 If you want, you can put anything before that, like like pro checks, poor foto catalogue or whatever, on the important thing is that it's 2017 and the light from catalogue of 2017 is in the parent folder 2017. Now why is that important? Because at some point in time, your hydro feel before and then you need to transfer old photos to another drive. And if you include the light from Carol Lock, then you still have all the editing steps and all your ratings off all these photos so you can add it These photos easily, even years later. And even from a different computer, the rule is always safe. The photos and the catalog to the same location on your hard drive. And as there are no rules without exceptions, here is the exception. If you're a photographer who needs to additives photos from different computers because you're traveling a lot or you have multiple studios, then you should save the catalogue with Smart previous enabled in a cloud like Dropbox, Google Drive for your own server or whatever service you want to use wherever you saved the cattle lock. You should make a few settings in order to keep light room fast, and I'll show you some important settings. Now let us have a look into the light from preferences. At first you should increase your cash. If you work with a lot of Ron D and G files, you need this cash so that light room doesn't have to load the files over and over again. I don't really remember the standard preferences off light room, but make sure to keep your camera rock are setting at the maximum size off 100 or even 200 gigabytes. This allows you to have light room load your most recent photos much faster. Another very useful preference is having light room make a sound. When it finishes exporting your photos, you can choose out off a couple of sounds. It doesn't actually matter. Rich sound your truth as long as it does make any sound. The reason for that is because often we have to wait quite some time until light from finishes the exporting process. But we need this exporting process to be finished before we can continue our work so often we do something else. In the meantime, a light from exports, the photos. And then we may forget about the exporting process and being already some Moret's on. When you have a sound, you get reminded from light from a Your photos are done exporting police continue your work . Whatever it is he wanted Toby it uploading the photos to a gallery or or to an album software or to your block. And as we use more than one catalogue, please choose the prompt me when starting light from option here. Normally it's load most recent catalogue, but that can be quite annoying if you're one of work in the portfolio catalogue and it opens the yearly catalogue all the time. Of course, you can open any catalogue directly from the finder or explorer, but I find it more practically to half light room asked me every time I open up light room , which catalogue I want open. So this is the problem. We've been starting light from option here. Then let's have a look at the other settings. Oh yeah, In the interface Hap, make sure that you see like Thisun clicked point to center. Having this option unable to makes the whole postproduction process a bit more comfortable and convenient, I assure you. Why in a second, Yeah, other than that you can leave that room as it is a delight. Ra Mobile tab. You can sign in if you're a dope by D, and then you can synchronize these catalogue committee or a mobile catalogue if you want to do that. But it is just optionally if you work a lot with your iPad or smartphone or whatever, which I actually don't recommend too much. I still prefer working on a desktop computer, or at least on a laptop. Now I quickly show you the soon to center option that I selected a minute ago, while only import one photo quickly because I enjoy the import process in the next video. So there's swimming to Vcenter option will always display the area you zoom in in the central flight from you. See, I go here to the right bottom corner and it's still in the center, off the light from interface. Quickly turn it off So you see the difference K. So now I do that again, and then this home in area is here. It doesn't make that much of a difference. But I found that it's quite useful to always have it in the center. So this is it for the catalogue system. I see you in the next lesson where I show you the whole import process. 7. 2: hello and welcome to lessen three, which is all about importing your photos in this video. I'll walk you through the import process, step by step, and I'll show you all the useful settings that this import dialog provides. As we have transferred, the photos already from the memory card toe are afforded drive. I will import the photos directly from the heart rife. Otherwise, if you follow the lazy workflow, you would have toe copy and import the photos from the memory card in this dialog box in the lazy workflow. You would copy all the photos as D and G as it is selected here, and you will create a new folder here. Of course, we arrest in the speed and discipline workflow. You're simply add the photo light room because we have the photos were ready in the right folder on our hard drive. So I just select Ed and now we'll have a look at the Mariah's settings here on the right, inside, on the very top, you'll see the option here build previous, and this is the most important setting from the whole import process because choosing the right option here would say If you an immense amount of waiting time in the postproduction process. Please make sure that you have the want one preview options elected so you can browse quickly through your photos in your calling process instead of waiting for every photo to load and show you the difference a bit later on. Once you select that light room will remember these settings. This is true for all the other settings to So all the options you select here will be selected automatically the next time you open a plight room. Build smart, previous yes or no, That totally depends on your working style. If you always added your photos from the same computer, I wouldn't select the smart preview option because it won't be necessary. But if you added your photos from different computers or you have an agency added your photos, then I would definitely select the build smart previous option here. I do not want light from to import any photo twice. This is why I have selected Don't import suspected duplicates. Here, make a second copy. This is certainly not the first feature, but as we have our backup solution already in place, we do not need that then add to collection, then add to collection also depends on what you want to do, but I'd say that for 99% of the time this won't be necessary. I covered the collections in a later model so you can decide yourself than if you want to add these photos to a collection or not selecting a certain develops, adding can be very useful if you shoot under the same lighting circumstances over and over again, or at least very similar. Ah, lighting situations. This might be interesting for a studio photographers, for example, or school photographers, but if you have a lot of photo shoots on different locations, then I wouldn't ah subject any developed settings here because the lighting will be different from photo shoots to photo food and selecting a preset here or a develop a preset might mess up the editing off all your photos concerning the Made A data. This is a very useful feature, and I'd advise you toe create your own med, made a data setting here or metadata preset. Just give it any name that applies to all of your photos and that you recognize, or maybe it's you're the name off your photo studio. You'll know best what you name it, and then you insert the copyrights. So this is typically your name or the name of your studio. You can also add your website. You're all here, Andi, actually, whatever you want, whatever it is you wanna have in the metadata included here. And whenever you import some photos, I just save it here. Now create. Then select your photo studio here that remembers the options. You select it also for future imports. So typically, you just have to do this one's. So what's the advantage off Having your own made a data preset here? Basically, that's did it. Basically, it's a copyright thing. So wherever your photos might end up but declined at an agency, some vendors, anyone can easily see who the copyright belongs to and who the creator off a certain photo is. So the setting is primarily to protect yourself legally. Let's have a look at the last option here, which is three key word box or a keyword option. This can come in quite handy, Toby honest, especially if you take a lot of photos, like on weddings, for example, or any events were key wearing really Take some time. So you can already start here in the import process, Assigning keywords off course. Any keyword you put here will be assigned to the whole for food or to the whole wedding. So don't go too much into detail with the key words here, as it is just a first step overall, Keep voting process. So for this photo shoot, I assign keywords like portrait shoot City Vienna editorial style or just, uh, editorial and, uh, woman maybe, as these keywords were actually quite good and the fit for all of the photos here. And last but not least, you can save all these settings as a preset for itself. If you have to look at the very bottom here, you'll see import preset. And there is there. It's just none, but you can choose the option. Save current settings as a new preset How quickly do that? It's a night room 80 20 demo. I click create. And now we have the light from 80 20 demo settings. Old safety, everyone preset. So whenever you might change these settings, just go here to minima and delete key words to, and you wanna get back the light from 80 20 settings just selected preset from down here, and with one click, you'll see that all the settings we assigned before are displayed again. So this is it with the settings off the import process. Last step, of course, is toe click on import, and then we'll just wait until that room finishes. Thean put process, and I'll talk to you in the next video. 8. M3 lesson 1 preparation: what we've covered so far. We're basically the preparations. Very essential preparations, of course, as they make an effective and efficient postproduction workflow. Possible now, however, will get down to the nitty gritty. The first thing you should do when you sit down to call and edit your photos is to shut off your mobile phone and close all the ups and windows that you don't need. You've got your email declined. Open. Close it. Internet browser. Close it. Any other app that could distract you? You make you guess it. Close it. Generally, I recommend to disable any notifications that might pop up like Facebook Twitter emails, etcetera. There major distractions and should not be enabled at any time. If you do that, you'll be already 20% faster in your post production. If you want to go one step further, said a timer or an alarm clock. Why on Earth would use at an alarm club? Is editing photos so boring that you might fall asleep? No, The reason is the following. We only have a limited concentration span, and the longer we concentrate and work on one task, the slower and less efficient we get. This is why it's crucial to take a short break every once in a while. Personally, I like the Pomodoro technique the most. The Pomodoro technique was developed by front Tesco cheerio in the 19 nineties, and it's a great way to manage distraction and procrastination. He concept is a simple as its effective. Choose a task in our case calling or editing photos. Set the timer to 25 minutes. Work only on this specific task for these 25 minutes. Then take a break for about five minutes and then do another 25 minutes and the one you can repeat. This process is all from as you like. When the first rightist technique, it worked perfectly right away. You won't believe how much time I saved just by concentrating on one single task. So go and try it out yourself. You can either use a simple egg timer or, if you like to go digital, use an app called focus booster app. This app a runs in the background on your PC or Mac, and it's free of charge. We'll find the link below this video, and in the resource is Paige. Does he give a bit of a background information on myself. Personally, I'm a guy who gets easily distracted. When I was starting at University Meunier friends were having coffee all the time. And whenever someone came up to me and asked me if I want to have a coffee break, I said yes. And I asked others to if they wanna go for a lunge or do anything as sitting the san, drink a cocktail or whatever. So I'm not the guy who is disciplined. This is why I need a system that works. Otherwise, I don't get done anything, and the fact that you've purchased this course is a sign that you might need such a system to. Nevertheless, I ask you not to overdo. The Pomodoro technique doesn't make any sense to do 10 or 15 Pomodoro recessions after each other. There always comes a time where our concentration decreases in our mind and our body need a rest, and that's OK. It's very more effective to work 3 to 4 hours a day, highly concentrated than 10 to 12 hours a day in a state of flow, concentration and low focus. Also pay attention to your inner clock at what times off the day. Can you work better? And when verse. For some people, it's easier to work in the mornings. For some people, it's easier in the evening. Me, for example, I can do tasks that require a lot of focus and concentration in the morning work like calling photos, writing block posts, etcetera. There s task that require more creative thinking and work. I prefer doing in the evening. So your task is figure out your best day times for post production work and try to call and edit your photos at these times, nor your productive times. Set a timer and you won't need to have a bad conscious ever again that you should added your photos instead of having dinner with friends. That's it for this video. I see you in the next lesson. 9. 3: Now we'll finally dive into the actual photo calling process. The first thing I do want to start calling. It's pressing G on my keyboard. G is the shortcut for the grid moat, and the great mode allows me to get a good overview over my photo shoot there. I quickly scroll from start to finish, just to make sure that all photos are copied and imported properly. Doing this, I also check whether the photos are displayed in the right order, because sometimes it happened that your camera counter Trump's from 9999 toe 01 and then light room might display the image or one as, uh, the first photo off the shoot. Although chronologically scene, it's not the first photo. If you notice that your fours are not in the right order, then go to view, sort and capture time and then light from will display your photos in the order you took them. If you use two cameras or you have an assistant with you who also takes photos, make sure that your synchronized the time between them ideally, before you start taking photos. Otherwise, light from will mess up the order if you sort them by captured time. In case you forget to sink the cameras, I'll quickly show you how to sink times from two different cameras within light room. You can do that. The only thing you need to know there is at what time a specific photo was taken. So, uh, make this a bigger a bit here. Um, So let's say from here on your assistant took the photos with his own camera, and the time is a bit off. Do you need to know the actual time this photo was taken? And then what you do is hold your shift key, select this first photo and select all the other photos that your assistant has taken or your second camera has taken. I'm You can also sort the cameras here in the middle Data filter here at the top, off the light from interface. So you select all the photos and to make sure that the photo you wanna change the time to is selected a bit brighter than the other photos is. So you see here this one is a bit whiter than the others. And then just go to meta data and you'll see captured date and captured time, and then you go to kept for time and there it tells you the original time this photo was taken. Then you enter the correct times. Or maybe it was 11. 53 on when you click. Change all light room automatically applies this change toe all the photos you have selected and yeah, then all your photos should have the right times temp. When it comes to the calling itself, I have only two rules. Rule number one is all the ways pick and never rechecked a photo And rule number two is always used. The great view for calling your photos you see in the calling process there are only two types of photos the ones that we want to keep the ones that we want to delete. And I know that many photographers press p for their keepers. So they pick the photos they want to keep and the press X for the re checks. So these are the photos they want to delete eventually and then there are a lot of farmers in between that are neither picked nor rejected. So what you want to do with them in the end. They end up on your hard drive. There will never be seen again, and they just use up your hard drive space. There is no reason for having photos in no man's land, so pick the photos you want to keep and delete the rest. And when it comes to Rule number two, which is using the great view, you might ask yourself, Why the great view? I tell you? Because it's faster and the photos are better comparable. See, most photographers and I was one off them to call their photos like this. And then they go back and forth, back and forth and asked him, Since I was rich of thesis better, I don't know. Let's pick this one. Ah, this. No, I Let's pick this one too well desired later on, which is which I'm going to use eventually and then they advance. And then they might see other photos like this, which is similar to the one stiff just fixed. And now the whole process starts again. This method is not only annoying, it also costs a lot of time. That's why you should stay in the great view. I always started the first photo respectively, in the first row of photos here in order to see as much detail as possible. So I got two rows of photos on my screen. I think that this is big enough toe. Make any decisions on still small enough toe. Compare the photos with each other. You can change the size of the thumb. There's, of course, by simply dragging this thumbnails lighter down there in the right corner. Alternatively, you can press a minus and plus key on your keyboard. So no, I'm starting three calling process on. What do we do and how do we do that? Remember Rule Number one from before, I only pick the winners. So I have a look at these two rows of photos, and when I see one or more photos that I'd like to keep, then I press p and P for pick on my keyboard. And despite flag here indicates that the photo is picked. Next, I repeat this process with the next to rose here. I don't see any photo that I want to keep. Maybe this one if I bride in it up a little bit, yeah, then I go to the next to Rose and to the next to and the next two and so on. Until I finally reached the bottom down here on a visit, I can now filter the photos that I have picked by clicking on this white flag here. Andi. From here on, I started the editing process and the selection off my personal favorites. Now you're maybe wondering what happens when you don't really get the details for a particular for particular photos. Because, uh, they are wide angle photos, maybe, or there are 50 people in it and you can't really tell any facial expression here. This works quite fine, but maybe these photos are a bit tricky because they're too dark. Find your can hardly see Anya facial expressions. So what do I do in this case? But the answer is quite simple. I just quickly suman and to make the photo Bic. So when I press the key said on my keyboard, light room immediately gives me a 100% sumed in photo so I can get a really good impression on how the facial expression is. Onda, uh, can decide whether or not I want to pick this photo. This really comes in quite handy because you can go so quickly from the great view toe. 100% view off the photo, and that's quite a time saver. Of course, there are often cases where you wanna compare to were three photos, maybe because they're so similar. There is also very quickly in light room. You can do that. You just select three photos, for example, you want to compare and you press the N key pressing. The end key gives you Ah, nice overview off all the selected photos. They appear all next to each other, and you can make a better judgment now on which photo to keep. I want to stress, though, that zooming in or comparing multiple photos should be the exception in the whole process. Please do not do that with every row a photo. Otherwise, it's a really time consuming, and most of the time this is not necessary. I'll also show you quickly how I precision my hands on the keyboard while calling the photos. As you can see, I have my left hand positioned in a way that I can reach both the cursor keys and the P and Yuki on Make Ebert. We know the cursor keys and too peaky what it's for. But what's the u key for, um, pressing? You disables the P. Basically. So in case you pick a photo by accident, then you contrast. Press the U key and it, uh, yeah, makes the white flag here a disappears are quickly demonstrated to you. Flag a speak now, Presti. Yuki on now their flags removed. So this is the whole calling process. It's simple and very effective. And I know some of you think now this is way too random for me. I could never make my decisions this fast. What if I'm wrong? What if I pick the wrong photos and I completely understand you? I know I know where you're coming from. However, I have a few ants through you on through number oneness. Trust in yourself and your church mons. You've probably gone through thousands and thousands of photos so far in your life. So you know what? Photos air good. And what photos are bad? You can make this judgment and you can make it quickly. It's just an inter barrier. Maybe that you might have, uh, that, uh, prevent you off doing that off making such a quick decision. Trust your experience. You see, let's have a look at these two photos, for example, I can easily tell that this photo here on the left side is much better than the one on the right. Although there although her face is quite small on the big screen. But ah, you probably seat to that. Her facial expression here is much better than here, so I would never pick this photo. I think this I'd pick this photo. Go. Let's let's find some other examples. Maybe from another scene where it is a bit far away. Let us see what we've got here. Let let's compare these two rollers here. When I look at this photo here, for example, I immediately know and notice that the four is not completely straight. So I need to straighten it out. And ah, I also see that there is very little distance between her foot and the bottom off the photo . And if I, uh, corrupt this image and straighten it out, I know that I would cut off her foot so I would never pick this photo from from this overview here because I see that there are other photos where there is enough space here in the bottom where it's okay if I crop it here a little bit. And for the facial expressions, When we compare these two photos here in this one, I need to straighten out to Of course. Um, but here, for example, we can see that she's looking up a bit and here she is, looking straight. So even if her eyes are very, very small and this big comparing of you, uh, we can see the difference. And this is all I'm talking about. I know this process may seem a bit scary to you at first, but I promise you you'll get used to it. And the more off mule proceed like that, the easier it gets. And the answer number two is if you pick a photo, you don't have to keep it. You know, if you're should know, it is later on that the Ford is blurry. And you didn't see that in the comparing viewer in the great view. But that's OK. You can just unflagging it. Nothing is set in stone. This happens This This also happens to me. You know, we can't all of this, uh, 100% reliably tear when a photo shop or not, we concede here, of course. But let's say I accidentally pick this photo. Andi now filtered down to the picks. And then I do my editing and all that. And now I come to this photo and I see our it's completely blurry. So So what? You can simply on flag it, you can do you activate the filter and just choose another one. You know, just go down to the section, read these photos, Vera, in your just have a look. Okay, Which rotors? Troppo this for the shop so I might pick this one. It's really not a big deal. If you pick a photo that you don't want to keep, I still safe hours off time. So it's OK for loose a few minutes afterwards. Re selecting a two or three photos and remember, often we have to call a few thousands of photos. I have to do that. You have to do that. But I don't do this at one go. You know, I sit down for 25 minutes like a shoulder, um, in the lesson before with the Pomodoro technique, I called my photos for 25 minutes and make a five minutes break, and then I do it another 25 minutes, then another break in another 25 minutes. And then maybe I call it a day for calling or editing photos and do something else, and I continued the next day. So this whole process takes, ah, a lot off effort. It takes a lot of concentration and we don't have to be concentrated eight hours a day every day you see a called this workshop lighter, maybe 20 because off the Peredo principle, which states that for many events roughly 80% off the effects come from 20% of the causes. In my opinion, this principle is highly related to life, and this includes staying flexible just because I can call and add it. Ah, whole wedding within one day. It doesn't mean that I have to do that or that you should do it. I usually stretch it out to a few days because I need a diversity in my life. If I do with the same task for a whole day, I'll get bored easily on my concentration drops. But that's me, you know you confuse yourself whether you wanna do their whole photo feud with the whole post production on one day, or if you want to stretch it out totally up to you. Now let's go back to light room. Another question you might ask yourself is, How many photos? Sure, you pick and keep. How many should you re checked? Or the leader, actually. But that depends on how many photos you promise your client. Of course. Let's say you want to give a plan 600 photos off their reading and you took 2500 photos. That means that you can keep approximately every fourth photo for a portrait. Rude like this is, It's ah, less. Of course they're the model gets maybe 50 photos to truth from, so I can only keep every 10 photo I took. It says here almost 500 photos. So, yeah, nine out of 10 I have to delete eventually. So please think about how many photos you want to keep before you start the calling process . Otherwise it may happen that you select far too many photos or far too less, and you need to do another round. Speaking off another round when I'm done with three calling process that I've just showed you. I always to a second round of calling. Why? Because I wanna truth my favorites. Of course, I could choose my favorites Wild selecting The'keeper's in round one, but it still requires extra time and effort because you have to make two decisions at once . One is. Do we want to keep this photo at all on Ga? The second question is as it belonged to my favorites. Additionally, the comparing process is a bit more complicated as the favorite photos are usually not next to each other, so you may need to scroll up and down a bit. Rich costs time again. The principle states the same as in around one. I filter only the picks. I am in the great view Onda scroll down from one role, toe another and whenever I want for Mark a photo as a favorite, I read it with one star. So this is a big difference if you want to say so. I don't press the peaky because all the photos here are already flagged and this is why I press 11 for one star and I do that until I reached the last photo and then I'm done with the whole calling process. Now I have a bigger selection, which are all the keepers and a smaller one, which are all the favorites. And all the photos that I have not picked will be deleted at some point in the future. And this is the whole secret off having an efficient calling process. This video this lesson. Actually, the whole model is essential for your postproduction workflow. So please feel free to watch the video over and over again. Start applying this process to your own workflow as soon as possible, because the sooner you start, the sooner you get used to it and the sooner you can save time, that's it for today. See you in the next video. 10. 3: this video is all about adding keyboards to your photos. Why should you add keyboards to your photos? Because you'll find them faster and more easily. You may ask yourself, But do you really need this? And my short answer is in most of the cases. Probably not, but sometimes you do. And if you need to look for certain photos, then it's a lot easier to just make a keyboard search instead of manually browsing through all your photos off your past 34 or seven years, let me give you an example from my own past. Recently, I got a request from a car magazine. They were planning to make a special on car rentals for wedding couples, so they asked me if I had any photos from wedding couples and nice cars like vintage cars, sports cars, limousines, etcetera and being a wedding photographer for more than six years. Off course, I have photos from cars and wedding couples. The question is, how can I find them quickly? Fortunately, I had most of my weddings keyboard it, so I just had to open my Ally Trim Portfolio catalogue and filter the photos with the keyboards reading and cars and I immediately have a bunch of photos with cars and ah, reading couples. If I hadn't assigned keyboards to my photos, I would have Proust manually toe all my photos from the past years, and this would have taken me hours of time. So this is the reason why you should at keyboards to your photos. Do you need to take all of your photos? No, you don't. This would simply cost far too much time. Bear in mind that these kind of requests probably won't happen every day, so we'll just keep the tagging to a minimum. Best selling author Timothy Ferriss used the term minimal, effective doors in one of his books, and he defines it as thes smallest does that will produce the desired outcome and anything beyond the M. E. D. This minimal, effective dose is wasteful. I really like this idea and Alberto this term for our tagging process, So my recommendation is that you keep it only those photos that have a high probability off being useful late run. Let's think about it. When do we look for certain photos? Mostly been want to publish photos in magazines, on blocks or when we need to print photos for an exhibition when we want to send, for example, flowers to the florist or if we just want to sell them. What do all these scenarios have in common in all of the's scenarios? We don't just I need photos for a specific topic, but we need the most beautiful and our best photos for a specific topic. In other words, we just need to take our favorite photos. And how do we do that in light room? Well, I tagged my photos in three steps from general to specific Step One is when we import the photos into a light room in the import the airlock. There is a field on the right side where it says keywords. Here I add only key birds that fit for the whole photo food, the whole event, the whole wedding or whatever it is you took pictures off. So in our case it would be Vienna Woman Lifestyle City. Step two is the second step is assigned keyboards in batches, meaning that I assigned the same key bird to a group of photos. Let's have a look at these photos from a wedding, for example of course. Normally you'd have a lot more wedding photos in this case. I just picked out a few for demonstration purposes. What I do is the following I select photos that belong together. For example, the first photos off this wedding were taken while the bride and groom were getting ready for the wedding. So I go to the keyboarding section and I entered getting ready. The next section is the ceremony. So I select all the photos from the ceremony and remember these air only your favorite photos. They're not. I don't do that for the whole wedding. I do that only for the favorites and I enter ceremony and then I move on toe the portrait photos here and I enter how wedding portrait it's. And lastly, I select the force from the reception Onda attack them with the keyboard reception. By the way, there is a keyboard shortcut for the keyboarding feature and it's ah, command or control plus case of command plus K for Mac and Control plus K for Windows users . This was Step two and the third step here we take individual photos and in order to do that efficiently, I recommend using a tool that you've probably never used before. And that's the spray can the spray can is a very useful tool that I'll show you in a moment . But first I want to share a few a few basics about tagging individual photos. Our goal is not to have a 100% perfectly tacked photo archive. We want to concentrate on the most essential photos and the most essential keywords. So please don't add everything you see in a photo to the keywords, as this is a very time consuming process and it's not necessary. So what keywords through you at Ethan? It vastly depends on what kind of photographer you are and what you need for your business . However, I can tell you my personal criteria. For key words, I asked myself the following questions. What is shown in the photo? And I mean the main things. Not every little detail always bear in mind that the whole process is about finding photos that you might use it some point in the future. So concentrate on the essentials. The next question is there. Did I take the photo here? You can put the name off the city. The hotel the vineyard or whatever kind off location it waas. Then I asked myself who participated in this photo shoot? Was there a hair and makeup artist involved? Or a second shooter and assist under any other vendors you can put their names in there to than what kind of Ford should Wasit? Was it a family portrait? A reading, the corporate event, a commercial, whatever it WAAS added to the keywords. And sometimes I also add the names of the people that are shown in the photo, for example, declined name. Or if there are celebrities or CEOs, politicians or whatever in the photo, then at their name to my keyboard list, too. So these are a few basic criteria that I use for my key birds, and now we'll show you how you can use this. Prey can tow ADC Evert to individual or specific photos. You'll find this break and at the bottom right here in the toolbar in light room. It's called painter, but I prefer using spray can because yeah, it looks like a spray can. And what you do is the following You see here in the very first photo, Uh, we have a dress So this is the main, um, object we see in the photo. And this is actually the only keyboard I would use on this photo as a individual key. Bert. So I select this photo, I go to the spray can, and here you'll see it says key birds. And there is a field right in extra it where you can enter a keyboard and let's enter address. And now what? I do. Yes, I trust I Just click on this photo and the key. Bert should be right here. Heisey, It's s dress here. And wherever I Z photo where I want to add the keyboard dress. I just ah, spray the key Bert on it. So to say so here, for example. And that's basically it. Of course, you could use this keyboard for every photo where we can see the bride, but ah, yeah, I don't do that. I think this would be too broad for using the term dress. Now let's do it the same process with the keyboard groom, for example. So there are a couple of photos where we see the groom. You go down here again toothy spray cans ember and you trust change the key bird to ah groom, for example. And now is pray the key. But groom toe every photo literacy the groom in it. This this here, here and here. No, let's check. If the keywords were added correctly, I click on this photo and we see here on the right inside in tisk room. And here, too, and here to him. And lastly, will do the same thing with the bride. Here, here, here and here. Here, actually. So almost everywhere. Okay, this is the whole process for adding key, Bert. Individually, it's a very fast process. You'll see yourself just ride out, but within a few minutes you will probably have keyboard it whole wedding. And also, this is only for the favorite photos. Of course, Please always bear in mind that we're only keeper to the favorite photos. So for a wedding where the client might get fair five for 600 photos, it's maybe on the 80 or 90 photos. So really, the ones that you might want to use in the future, or where you think this is your best work. These photos are getting text. So this is the whole secret about keyboarding as you've just seen, it really doesn't take a lot of time. It usually takes a few minutes, maybe 10 or 15 minutes. And I think that these minutes are really worth the effort. However, I must confess something. I do not do the key voting process for every single photo shoot. You see, I'm a reading and portrait photographer on I concentrate on these areas when it comes to keep burning. If I get booked for a corporate event, for example, I do not take any photo. You know why? Because I know I do not want to specialize in this area. And these photos don't end up in my portfolio anyway. So why is he no reason in keyboarding the photos? So before you start the whole keyboard process Although it doesn't take that long time, ask yourself if it's worth the effort. What kind of photos would is it that you're currently working on? And do you wanna use any photos from this shoot for your portfolio? Or is there any potential use at least for your portfolio? And if yes, then police at the keyboards on. If not, then don't. Basically, the more Ford is you want a popular speed online or offline The more time you should invest in tow. Keyboarding your photos. This is it for today. I'll see you in the next video. 11. 4: welcome to model for which is all about editing. For many of US photographers, the editing part is the most beautiful and most essential part in the whole postproduction process. Beautiful because we can create something there is. The other tasks in the post production are more often administrative nature, and I probably don't need to tell you. But as creatives, we hate administrative tasks, don't we? And why's theory tings of essential? Because Theo editing reflects your style, and the style communicates a lot to the viewer off your photos. In marketing, this is called branding. And as you probably know, having a good branding is the reason why people buy from you. No matter if you're a photographer, the owner off a restaurant or the CEO often international cooperation. So what's the difference between a bad and a good branding? A lot of things, of course, but there is one thing that all well branded companies have in common, and that's consistency. You see, when you go to McDonald's in a foreign country or in a foreign city and you order a cheeseburger, you know what you get. You know how it's going to taste before you even take a bite because they make the hamburgers and cheeseburgers and all the burgers everywhere the same. So branding is all about recognition. Which brings me back to photo editing. My strong recommendation for you is to keep your style consistent. Whatever style, whatever editing study wanna use. But please keep it consistent. I've experienced that myself recently. A couple booked me instead off Photographer X, although Photographer X really, really makes great photos, and they also left his photos very much. However, there were a few photos on his website that were totally different. Couldn't comparison to the other photos so that the couple didn't know what they would eventually get from their own wedding, and they didn't want to take the risk. So that's why they booked me, because my style on my online portfolio was consistent with them hence. But I'll show you in this model. It's how you can edit your photos consistently. I won't teach you any tricks or any editing styles anyways. How toe edit your photos in a certain way, firstly, because I think you should develop your own editing style. And secondly, as you know, this is a light from workflow course and not a light from editing course. So feel free to experiment with this lighters in light room on, try to find your own style and if you find an editing start that you like a polite for the whole photo food. And ideally, for all the future photo shoots, too, I know the more experienced we get, the more off we want to change our style a little bit, and that's totally fine. Just make sure that you take down the photos that you don't like anymore from your own land portfolio and showcase only those photos that reflect your current style. I'm showing you now two sets of photos so you can see the difference between a consistent and an inconsistent style. So now you know how a consistent editing style looks like. Please feel free to post your own photos in the Facebook group or ask the community for help. This way, everyone gets a better sense of building a consistent portfolio. This is the end off today's lesson. I know we haven't covered any light from specifics in this video. Still, it's one off the most important videos or most important, lessons off the whole course because it's so vital for your business. And furthermore, knowing your style keeps your editing process toe a minimum, which will save you quite some time, all the best, and I see you in the next video. 12. 4: Now that you've learned the importance of a consistent editing style will finally get into the actual editing process, I recommend to start in one of two different ways either chronologically. So you work your way from the first to the last photo or you begin with one off your favorite photos off the whole shoot. I like this method because it motivates me. Toe added all the other photos to knowing that my favorite food already looks really, really nice. I really like this photo, for example. So I just added this one first in orderto edited efficiently, we should use thes lighters as little as possible. The more I click and the more I really trust Ah, race Inglis lighter here the more time I need and we don't want to spend much time on our post production. So I keep this sliding around to a minimum, hands a start with the major adjustments and continue with the smaller ones. The major adjustments are primarily exposure, but you can find here, as you well know, probably and skin retouching within light room. The possibilities for skin retouching are limited, of course, but, uh, yeah, here there is hardly and its kings can retouching necessary. But I might take the hell brush here for more advanced retouching. I would switch to photo shop. As I said, the major trust mints are done first concerning brightness. There is not much to do. Just make it slightly darker. And when I've done that, adjust contrast. Temperature separation, etcetera. So I think this photo could have a little bit more contrast, especially in the blacks. Yes, this looks nice. Then what else could we do? I wouldn't change saturation that much in our case, might play around with the temperature. Yeah, like this? Yeah, I leave it like this. So there is not much that I've done here. Maybe I just enhance the luminant off the orange. You see, the her, her face and her whole skin is starting to brighten up. I really like this lighter for making this kin more. Ah, glossy. But we shouldn't exaggerate it. So as the skin is already very bright as it is, I just keep it at plus four. If you do it the other way around and you're just temperature or saturation first and exposure second, it can happen that you need to readjust temperature because they knew exposure setting might mess up your temperature setting a bit. And as I said, the more often you used the slaughters, the more time you lose, especially when you add it hundreds or thousands of photos. So this is why we start with the Major and Huntsman's at first. Of course, I would corrupt this particular image because I don't like this white wall here next to the door. So let's see what we can do. Comets. Yeah, I like it like this. Yeah, this looks good. And that just want to check what it looks like if I enabled the profile Correction. Yeah, it looks a bit more straight, but I at back the Vigna ting a little bit. We'll also ought to operate the photo so that the lines will orchestrator When I'm done editing the photo, I apply these settings toe the other photos off the same series two and for this alike switching back to the great mode because I have a nicer over you overview here. And what I do now is I keep this one selected. I select the ones before, for example, and then I go to sync settings. I just make sure that I do not synchronised the crop we crop was only for this particular photo and shouldn't be applied to the other Forest to and I have local adjustments turned off and yeah, that's basically it. So it's Intron ized them on earth. You see, these photos look pretty much the same now as our first and favorite photo here. I do the same with the following photos. Okay, that's it. So we've managed to add it. A whole photo. Siri's off course. I would, uh, corrupt these, uh, these photos here, too. I might even remove this little whatever it iss. Okay, When we go to the lens corrections, we see that the profile corrections are enabled, but the operate is turned off. So I enable this one too. And I do the same here. How you see that this one is not sharp. So I just diesel ect id by pressing you, which removes the white flag and therefore won't show up anymore in our filtered photos. I just want to stress that to these photos were taken under the same circumstances, especially in the same lighting. And that's the reason why the the hold synchronizing process works well. Please do not apply this Eddings through the whole photo shoot unless location and lighting were the same for the whole photo food. Of course, if you were in a studio or in an office building, maybe. But if you're added wedding photos, then you will never have the case that all the photos are taken under the same lighting circumstances. So police think in small photo Siri's. As you've seen the easiest way to apply or editing settings, it's by selecting the newly added forest. First, hold the shift key on your keyboard and then select the last four off the series we could in this case, we could even go further until this one, because it's the same door. It's not completely the same lighting, but we can give it a try. You click sync settings. You can also do that in the developed model, of course. Or then you need to select the photos here in the filmstrip down here and, uh, chose sink. Then this window pops up. Please always check this and decide if there is anything you want to exclude. Most of the time, I have them all check except locally trust mints and spot removal and crop. Then click Synchronize Andi. All the photos off the series are edited. So let's see how this last photos turned out. Yeah, they might might be a bit brighter, so I just brought in them up. Looks I would also straight in this one, for example. Drop it a little bit on. Yeah, this is the process I use for all of the other photo series two. So I would code with next for groceries here, for example, I would again choose my favorite photo. We can also start with the 1st 1 here and at the contrast, Ah, make darker in the background. We'll also enhanced the luminant off the orange. Make it a bit warmer a bit. Onda Uh, that's it. Basically, No, I can easily synchronize the settings again, but with the one before. Uh, and as you see now, these photos are a bit too dark. That's because this photo was a bit too right in the first place. But that's easy. I can trust. Select all these photos that I want to write about brightened up a little bit. Even this one here and I have these quick develop settings here in the library module. I just turned the exporter up by one stop and maybe when 1/3 off a stopped less. Yeah, and the next photos here is it's done. In this example. Life edited only a handful of photos at one go, as you've seen, and this is this is find the safety already some time. But if you take really a lot of photos at a wedding, for example, you come home with a few 1000 photos, you want to deliver a few 100 off them. Then you might be ableto added a few dozen photos at one goal, and doing that over and over again will save you huge amounts of time, depending on the lighting situation. It may even work to copy the sidings off one photo series to another, but mostly doesn't work out very well. But let's just give it a try. So or let's say, I wanna applied the same settings to this photo. Siri's, which must obviously taken a different location. So I synchronized the settings. Onda Uh, yeah, it's it's okay. I mean, it's a little bit too dark, as you can see, the contrast is a little bit too much for me. So in the end you'll always have toe go in and I trust the settings again. But it's OK, so the style is pretty much the same. If you compare these two now and what I do now, I synchronized the settings with the other photos off this Siri's. And yeah, this one might even be a little bit too bright. So and again, we're done. So you you can apply the settings from one photo series to another. But please pay attention that you don't overdo it and that you still take the timeto readjust the settings so that the photo looks really, really nice. In the end, at the end off the day, all the photos off a photo shoot, a wedding or an event should look consistent and harmonious. In order to assess the consistency, I recommend using the creative you as all the photos are displayed next to each other so you can easily spot any inconsistencies. Uh, let's say this one for examples. Toe dark, you merely immediately see this one. It doesn't really match the other photos so we can turn the exposure up a little bit. Now. I just show you a cool trick on how to use this lighters here in the development model a bit faster than then with your mouth just over the cursor over any starter you want and press plus or a minus on your keyboard on a sec. The slider goes up and done, and lastly, I'll show you another cool trick. This one concerns photos that were taken under the same circumstances, but they're still inconsistently lit in theory. This shouldn't happen, of course, as you should always have the camera settings right when you take the photos. But it happens to everyone off us from time to time that the exporter is off a little bit at particular photos. Let me give you an example. Let's say that we have how many four star? These six. So that's a B. Have 10 photos that are under exposed on and to off them, or three of them are under exposed. The one stop and the other seven or under exposed by two stops. So what you would normally do, or what you would do with the method that I've just shown you issue were to take one photo , for example, like this one U boat bright and bright, and it happened toward the other magic. And then you would synchronize this photo with the other photos and a soon as you do that. But what this light room do light room only knows that you bright end up this photo by one stop. So it would also brighten up this photo here or this photo by only one stop, which won't be enough. As you can see, this is far too darkened. As I've said, it's under exposed by two stops. So what happens is that this four, for example, would still be too dark, and you would have to go in and manually turn up the exposure by one more stop. But there is something you can do instead, something that can save you a bit of time. It's a feature within light room that you can find in the library module, uh, under photo develop settings, and it's called Match Total Exposures. As soon as you select this match, total exporters here night room doesn't consider anymore if you're a trusted the first photo by one or two stops, but it evaluates the other photos on its own algorithm and majesty Exporter and this feature, I must a works really well, so within a second the exporter is corrected. All the selected photos, even if they were not lit correctly when taking the photo, it's as easiest that and finally, I'd like to talk a little bit about virtual copies. As you probably know, all the adjustments we make here in within light room are only displayed in light room. Whatever we do here doesn't affect the actual file on our hard drive, and this applies not only toe the editing. This also applies when we want to duplicate a photo. And that's a really big advantage of flight Room that we can create multiple versions off one photo without actually duplicating fights themselves and wasting hard drive space. This feature often comes in handy when you're not sure how you should added a certain photo . Let's assume we're thinking about converting this photo here into black and white. We like the colored one, but a black and white version could look nice to, and as it is with the calling process, the best way to assess a photo. It's by comparison, so we select a photo, right click and choose. Create virtual copy, then light room to replicates it on. We can convert the duplicated version to a black and white. You can play around with this virus, and we can directly compare it with the first version. And now we can assess really well. Which version we like more. Andi, if you prefer the black and white one than simply sink this ad ings with the original file . So it's the same process as before. Sync settings synchronize. Andi. This one's broken right now, too, and now you can delete the virtual copy. Don't be afraid when removing virtual copies as the only exist in light room. Anyway, you won't lose the original file. It's still here. If you want to go back and have the colored version again, just go to the history and you'll find the colored version here, as it was before. How can you distinguish the original file from the virtual copy? You might ask yourself so that you don't accidentally delete the original fire. Uh, create virtual copy again. Here, you see this little smaller white triangle here in the left hand corner. This symbol here indicates that a photo is a virtual copy, and if you have more than one capping off a photo, you will also do you see the numbers, so let's make another virtual copy. Then you'll see the numbers two or 33 or three. And here are the small white trying this year, So please be careful and do not delete this original one, because if you delete it lightly will ask you anyway. If you want to delete it from discord, just remove it from light room, but still be careful when deleting virtual copies. You can also stack thes virtual copies so that you have a better overview over your shoot on. You can also true switch off these photos. You want to have fun top, so to say so. If I tracked this photo here, Andi, stack it, then the black and white version. It's on top. This is it for the editing process. Thes are it is the basic techniques that I am a goose off in my editing process. As you see, there are two more videos in this model. Lesson three and four, and they'll be about using and creating presets. So why's he you in the next video 13. 4: presets. Let me tell you something about presets. There is no other feature in light room that will save is so much time like presets, So please use them wherever you can. The more often you use them, the faster you'll be. It's that simple. In the develop module, you'll find a section called Presets in the left side bar. You've probably used this section already, or maybe have played around with it. As there are already a few presets included in light room, you can easily spot them, Uh, as there all called light room on something in presets. Maybe you've even purchased or downloaded time. We're ready, just in case that you don't know what these presents are, quickly explained them to you. Basically, a preset consists off multiple editing steps, which were bundled in one single setting, so you can create a special look within a second instead of editing every single photo manually. So as you can see here we have. The contrast is lower, the shadows are brightened up, and there are a lot of settings in the color section to split, toning and so on. This is a preset that comes with light room already. So if I choose another one, you'll see these lighters. The move here, and that's the way a preset works. The problem with purchased or downloaded presets is, though, that they might not work for your particular style for your way of photography. Or they might work for a few photos, but not for others. So what can we do in these cases? What we can do in these cases is something that many, many photographers do not do. Although it's so easy and this is creating our own presets, we can create presets that reflect our style. And I hope you already see very want to take you to our magica consistency again. If you create a few presets that resonate with the look and style you want to communicate, you don't need to worry about a consistent look anymore because you have already done the work. But before I demonstrating how we can create and use our own presets, I'll show your future that you should make use off before you start editing the process, and you only need to do this once for every catalog. What I'm talking about is Thekla camera calibration. I simply switch to the import setting again here. So the camera calibration is a setting you'll find on the right inside in the develop module, pretty much at the bottom at the very part time, actually, and I recommend that you go there and try different settings. So why should you do that? Because light room may not display the colors off your photos in the most beautiful or in the best manner. And maybe you were already wondering why your photos always half a slight green, usual reddish color tone. Or maybe you're just not company dissatisfied with the way light room interprets your raw files. Or maybe you were just wondering what other possibilities there are when it comes toe your colors. If you go to camera calibration, you'll see that Adobe Standard is the standard profile, and in my opinion, that's okay. But I like the camera standards preset more. Somehow, the photos just look more vivid. I can't really tell why. Maybe they I think they have a bit more off contrast in them, but it's just my just my opinion and my preference. So please have a look at the different profiles that you can find here You can also adjust the, uh, colors individually and manually if you want and just choose truth, the style that you prefer most. And please don't assess the, uh, that profile on a singer photo. Try different for orders from different areas like Portrait's weddings, travels or whatever it is that you shoot and see which which of thes profiles provides the best look. The whole purpose off this camera calibration is that you should find a look that will be applied toe all off your photos that you import in future, so police do not overdo it. This is not meant, Toe added. Your photos. This is just a standard profile that will be applied to all of your photos. And as I said, you have to do this only ones per catalog. Why only once? Because when you save your settings, light Room remembers them, and you won't need to adjust them again. So how do we safety settings? It's easy. Just go in the develop module, go to develop Andi, go to set default settings, click on update to current settings and light room will remember all the settings you've done here. This is also true for any other setting that you adjust here. So please make sure that all these settings are at zero, otherwise light from safe. So, uh, the exporter, for example, if you turn it up a se standard setting to onda, we don't want that, so please make sure that you only adjust the camera calibration when saving the default settings. In case you photographed with more than one camera, you can make individual settings for each camera swell. If you want to do that, just go to light room preferences two presets on and then you can jack the make default specific to camera serial number. You can even have different adjustments to every Eissa setting. I can't stress it enough that this camera calibration is not meant to replace your editing so police don't overdo it. Just make simple and small adjustments. This is just for optimizing the display off your colors and bear in mind that the display off her colors is also influenced by your monitor calibration not only by the camera calibration in light room, so let's dive into the creation of presets. I mentioned before that we can create a preset out off multiple editing steps and let's assume we want to create a black and white look for our photos here. The first step is toe pick a photo that really like like this one, for example, and transform it into a black and white version. And then we edited until we're happy. So just make this black and white. I had a little bit more contrast here, maybe writing it up a little bit. I can even turn up the clarity a little bit so that we can get more. Even more contrast. Let's play around with this. Blitzed owning a little bit. Okay, now I think that's good, Then we safety settings now as a preset by clicking on this little plus here, next to presets me, She was a preset name. Just call it likened White demo like Trump it in 20. We won, and you can also create a folder where this pre surge should be. So let's create a new folder with also call it black and white demo, and then you can choose which of these options you wanna have included in the preset. I just keep them as they are Onda. We click create and this is it the preset is now saved. You see this little black and white? A demo folder here, Andi. In there we have the preset we've just created. So now I select a different photo. I click on our new preset and within a second the photo has the same look as the other one . So let's just compare this to and we immediately have a consistent style. Never want to apply this black and white look too. The whole four groceries. I select the photos that I wanna have added it. So yeah, let's that's choose thes and not now. We have two options. You can either, Goto. If you're in the library model, you can either go to safe presets, Andi, to go here to black and white anymore and choose to present here on you see, the forests are being edited or if you're in the develop module, you just synchronized them. As you would do with any other, uh, editing settings go too soon. Going to you know, this style, like already as you see this photo, for example, is a little bit too bright, and this is exactly what I said before that a preset Usually it doesn't work toe 100% for every photo. So sometimes we need to adjust them a little bit in order to make it look goods. This one we could brighten up maybe. Yeah, even more like that. So this is exactly the method how you can create a consistent look within your portfolio. Over time, this presets action here will become quite crowded. So please make sure to use ah, naming on and structure that you recognize that you can work with and very can keep the overview. You can also override this adding self a preset. So in case you don't like these preset anymore, uh, what you could do is so maybe you wanna have, um, or bluish tone to it or more greenish. Then you can simply right click on the preset and updated with the current settings. And then this preset we're have the updated settings. Yeah, you're tough to choose a different preset if you wanna have the photos updated to. By the way, light room doesn't safe the presets per catalog, but per computer so you can use your presets for multiple catalogues, which is really nice unless you tell light from to save the presets per capita lock in case you wanna half a catalogue on different computers than it might make sense to a safety presets for catalogue. And I'll quickly show you how you can do that. So you go toe develop authorities light room preferences. And here in the presets section, you find the location store presets with this catalog. So if you're click here, light room creates thief all instructions for the presets in your Cadillac folder. However, you need to manually drag and drop the presets toe these folders, and only then light room will refer to the presets folder, uh, in the cattle lock. But for the maturity off us, I recommend to leave it as it is to leave the presets in the, uh, original folder, which you confined. If you just click right, click the preset. Any presets that you've created, actually, and choose showing finder or in explorer if you work on windows. This is also exactly the place where you can drag and drop any any presets that you have downloaded from the Internet, or that if purchased, and you can also save thes presets or back up these presets to your Dropbox account or toe any USB stick or a hard drive, which I do recommend, because many photographers think that it's enough to just simply a backup and copy the light room catalog or the photos. And in a few years they might get a new computer or a new laptop, and only then they notice that all their presets have gone. This is because they didn't save the presets to an external drive for to a cloud. So police make sure that you back up your presets that you've created, or that that you've download it to a different place to a different folder or to dropbox or wherever, so that in case you should format your computer or if you buy a new computer, that you can still access the presets that you've worked so hard for usually and that you've used for all these years 14. PS and 3rd party plugins: As you can imagine, I'm a big fan of flight room, and I do 95% off my editing work there. However, light room has its limits, especially when it comes to skin retouching, removing objects or straightening hair in these cases as which to photo shop. I've already mentioned that I do the major editing like skin retouching or removing objects before I do the more detailed editing, like a trusting colors, saturation, contrast, etcetera. For example, when I have a photo that needs some retouching in photo shop, then I immediately open it in photo shop. Ah, this is quite easy if you're in light room because photo shop and light from our both from adobe, so they interact with each other really nicely. You can trust, right. Click through the photo in the filmstrip on Goto, edit in photo shop, and then the photo automatically appears in photo shop. So with this picture, what I want to do is I want to remove this cable from the sky, and this is a task that's far easier done in photo shop than in light room. Let me quickly do that. So now that I've removed the cable What I do is I saved this photo by pressing Command s our control us. If you're on Windows and photo shop, saves the photo as a tiff file on brings it back right into light room. And as you can see, we have no two versions off the photo. One is the original one. With the cable on. One is the version without the cable. And as you can see in the file name, the original file is still the DMG that we had before on the edited version is a tiff. So we still have both versions in light from the display off. The photos might remind you off the virtual copies. You can see this little numbers here in the corner. And as with the virtual copies, I recommend toe stack these photos by clicking on this small one here. Uh, this way you don't get confused, Onda, and you can make sure that the finalized photo is on the top off this deck. By the way, it works exactly the same with any other third party, Blufgan, that interdict that interacts with light room. So if you're have not only Photoshopped, but other plug ins like exposure in the collection, etcetera. Um, with all these plug ins, light room saves both before and after version. As there are dozens of third party begins out there. I won't say that. You should always begin with the third party block in and do the editing in light room afterwards. It totally depends on what you want to create. The only important thing is that you don't end up switching from software to software constantly in orderto adit One single photo. So please stay efficient and keep this switching to a minimum. 15. 5: welcome to Model five, which is all about publishing and delivering your photos. So far, we've covered the import process, the calling, an editing process. And we talked about how to keep your photos. So basically, we're done with the postproduction are Ndri. I mean, at this point, all you need to do is to send the photos to your plant. Well, as you might know, from your own experience, we're not done yet because we also need to export the photos for our own purposes, for example, for a block for a website, for our own archive, for portfolio, etcetera, for other vendors. So it might be that we want to publish the photos from a certain chop one week later to our website or to our block. So we need to come back to the light room to the light from catalogue Burt to the photo shoot and export the photos again in a different resolution. Maybe we want to send the photos toe some other vendors a week later or a month later, so we need to come back again, experts the photos again and so on. And this is very time consuming. If we need to go back to the same photo shoot over and over again. Hence I recommend you to do all the experts that you know you need to do sooner or later. At one go, I usually proceed the following steps. Step number one is I export the final shape X for my clients as these photos are the most important ones. Then I export the same J pick fights as high resolution files for my own archive. And afterwards I do all the smaller weap resolution exports that this is usually for my block, for example, or for other service providers, etcetera. It all depends on your photography. You can expand this least two to your needs. However, what's important is that all these all the photos from these three steps they end up in my master Che pick folder. And last but not least, I export all the portfolio photos as the ng's. If you follow the lazy work floor, your photos should PD and she already. Anyway, if you follow the speed workflow, make sure you export the portfolio photos. STN cheese. Now maybe you ask yourself, Why do I convert my raw files into T and G at all instead off just keeping the raw files as they are. I do that for a couple of reasons. The reason Number one is the compatibility, the injuries, a file for months that it's not proprietary to a camera manufacturers, and it can be read by almost any software. So no matter what camera are the using in 10 years or what camera manufacturer will be around in 10 years or 20 years? My fights are preserved in a highly compatible format, so the inches long lasting and it's more versatile than raw Reason. Number two. It's really high quality. It's pretty much the same quality as raw. However, Di and CI files are slightly smaller than role for us, which saves you quite some hard drive space, actually, in the long run. Reason Number three is that all the Trestman's I make to a photo of written into the DMG file itself. So, for example, keyboards or metadata or even editing adjustments, they are embedded in the D and G. So I'm not not dependent on the light from catalog, for example. And if you want to have that with raw files you always need and a separate X and P file to every single photo. Otherwise, the changes will be lost a soon as you open the role file somewhere else, then in the respective flight from catalogue. If you're one off the photographers who take the photos in J pack anyway, please do not do that. Please take your photos only as raw files, because only then you'll have the full color depth off 16 bit compared to eight bit with Jay Peak files. 16 bit is not a double the amount off eight bit. The enhancement is exponential. In an eight bit J pic file, you have 256 colors in a 16 bit raw file or D and G five. You will have 40,000 colors, so please take your photos in raw and to not in shape back. By the way, you can't convert Jay Peak files into D N cheese. Only raw photos. Only raw fights can be converted into the N cheese. This is really important when it comes to your post production, so these are the reasons why I convert mint photos into DMG file. It's speaking of conversion if you follow the speed workflow the next step after exporting the portfolio photos as Thean chief files is to convert all your photos in this election folder into the end Cheese. This is only necessary for the speed workflow, though, if you fall of the lazy workflow. This step has already been made during the import process. Let me quickly show you how to convert your photos into D and G fights. So make sure they're your in the library model. Select all the photos from by pressing command A or control A and you make sure that you only have the picks selected. So we are only want the flag photos converted into the N G. We do not need the rejects converted, by the way, if you haven't done it already, this is the moment where you should create your selection and your reach X folder within night room. So we go to the folder section here, create folders inside, and then we called the folders election the check the include selected photos box on click create, and we do the same for the non selected photo. So to say so we filter them down here by clicking this middle flag Press command A or our control a for selecting all the photos on and create another folder. Delete. Now we go back tothe e election folder on again. We select all the photos here we go to library and down here you will find the convert photos to DMG. We click that and then light from asks us if we want to only convert the raw files. And if you want to delete the originals after successful conversion, as we do not need the raw files after the conversions anymore, you can check this books, too. So flight from converts to photos into the N. G. And then it will delete the raw files. When you click OK, the conversion process begins. It takes quite a violent light room, converts all these photos, but it doesn't matter at all as we can do anything else. In the meantime, there is still one more thing to do, and that's the renaming off the photos. So, as you can see now, the first photo here is called ho 677 Onda Uh, and, as you know from Model one, are renaming works a slightly different. We start the way we always start with number one so we select all the photos and this again only applies to our selection folder. We do not do any renaming for our delete folder, so these are only the photos we want to keep. We go toe in the library model, we go to library green and photos and we start with the number one. Make sure that you have at least three digits here. Otherwise the naming can get messed up in the Explorer or in the finder. You can edit the file naming here. So as you can see, if I go here, I can tell light from how to name my images How many digits I wanna have. I usually have three averages enough for actually all my photo foods. And as soon as we click OK or light room will rename the photos. Finally, one more tip concerning the expert, as I mentioned already, a couple of times, you should use pretty sets wherever possible and in the export dialog, we have some possibilities to create presets. So, as you can see, I've added a couple of them here but for the D and G with always put for the in chief, for example, all my photos will go to the put for your drop zone and the renaming. We'll always be the same, which is the date and the name off the fire. I usually have my presets divided in print and screen sizes. So higher s, for example, is the highest possible resolution where I have 100% quality. I do not have any image resizing and the resolution is 300 t. P i. And for the screen exports, I have my website in my social media, etcetera. So create presets for all the different exports you want to use or that you use regularly and you'll safe a lot of time in the long run. By the way, light room is able to multi task. So you don't have to wait until one export is finished before starting the next one, just to all the experts that you need or that you know that you're gonna need in the future , throw them at once, right in our because yeah, Then you're done. And you don't need to get back to the shoot over and over again. This is it for the export lesson. I see you in the next lesson, which is all about collections 16. 5: collections. What are they? What do we need them for? And most importantly, how can we use them? These air Basically, the questions to that'll cover in this video Collections are a feat for in light. From that help you organize your photos by creating virtual folders. Personally, I used them for preparing certain exports or for managing my portfolio. That's why I primarily used them in my portfolio catalogue will come to the portfolio catalogue in our portfolio module, which is the next model. However, the principles and the way off how collections work are the same in whole catalogues. So I'll just use our catalogue here that, you know already from the past models, in case you've never heard of collections. Or maybe you've never used them. Let me quickly show you where you can find them. You can find them in the library model here on the left hand side. You see this area very test collections. Latam comes already with a few are pre designed collections. However, you can create your own. Of course, it's similar to the presets in the develop module. All you need to do is click this plus sign here on then Goto either create collection or collections that are smart. Collections will come to the smart collections a bit later on. In this video, a collection set is you can compare it to a parent folder, and the collection is Thea actual collections. There are collections that can hold a couple of collections, emigrate a collections. At first. Let's name it like from 80 20 set. You can also create sets within sets, as you can see. But we don't do that. And within this light Roommate 20 set, we create a new collection inside a collections that that we call Let's call it calendar. Let's assume we want to create a calendar for our client. That's why I call it Calendar. You can include thes elected photos here already. So far, only this one is selected, so we don't want to include that on. We click create and now you'll see here the collection calendar has been created, and all we have to do now is to put the photos that we might want to include in the calendar into this collection here, and we can do that either by dragging and dropping. So I trust, drag the image to this collection, and you see there is a one here, meaning that there is no one photo included in thes collection. Or we can make use off target collections. If you make a collection a target collection, right click on Go to Set his target collection. You'll see here a small plus. This indicates that this collection is the target collection. There can only be one target, a collection per catalog. You can change the target collection, of course, but there cannot be two target collections at the same time. And why target collections Air Useful is because you're now can select any photos and press be on your keyboard and the photo with automatically go to the calendar collection. Alternatively, you can also right click a photo and go toe. This is removed from tackle collection because we've just edited. That's take another one right click and go toe add to target collection. So this way you're even faster than dragging and dropping. So just press the letter p a couple of times, and when I'm done, I go to the collection itself, and here I have an overview. Now, off all the photos that I've just elected and I can easily compare them. These photos do not have to be from the same folder from the same photo food. Otherwise, this whole collections that for this whole collections area wouldn't be really useful. I can also go to any other photo shoot and, um, press and press be here, and the photos are moved where they're not moved. Their copied is a virtual copy, actually toothy calendar to, as you can see here. Now, we have thes other photos from another folder in the collection too. So now I can easily compare all my photos and remove the ones I don't want until I have 13 photos left. So one for the cover and 12 for the months. Andi. Yeah, that's it. This is an example how we can use the collection feature in light room. So now you know how to create collections in light room. The next question is, when should you use them? Well, let me start by saying that collections are not my first choice when it comes to filtering photos. As you know, light room offers a variety off filtering options. The, uh, flags, for example. You know that already from our last models and the stars. So flex and stars are my primary choice. When it comes to filtering photos as well as the cholera ratings here, however, there are situations where these three filters are not enough or situations where I want toe bring photos together that are not from the same photo shoot. And in these cases, I'm accused of collections, so I'll give you a few examples when they are especially useful. One example is when you need to send different photos from the same photo food to different people, because then it might get a bit confusing using only the color or star ratings. Or when you want to create a sly Joe out of different photo foods, for example, a best off Siri's off the current here, or when you want to create a photo album that should include photos off an engagement shoot , a rehearsal dinner and the wedding itself. You can use collections for private purposes or long term pro checks to I use them. For example, when we moved into our new apartment, we have very high ceilings, so there's a lot of space on the walls, a lot of space to hang up for us, the only decision I had to make its which ones off my thousands and hundreds and thousands of photos What I hang up. So I opened up my portfolio catalogue that already contains my best photos, a browse through all my portrait truths, my travel photos, etcetera and whenever, as our photo were thought, Oh, this might look good on our wall. I just added it to a target collection, and I didn't do that at one goal. This took me, I think, a year or so until it was all done off course. There were months in between where nothing happened. But that's OK. The collections, it's there. It waits until it gets deleted, actually, So after a few months, I had a bit of time. Just browse through my photos again at it. A few more photos on the 10 point the collections were complete, and I made the decision which photos to hang up. So you see how practically these collections are. In order to keep the neatly arranged, it's advisable to delete the collections that you don't need any more on a regular basis. Finally, I'll talk about smart collections, which are a special type of collections, and the big advantage is that you can filter your photos by defining certain criteria and have flight removed them automatically to a collection folder. I'll give you an example. Let's say I did a couple of portrait truths off women in the city of Vienna, and now I want to send a best off Siri's off these portrait truth's to some clients or to an agency, for example, and being lazy. I don't want toe manually search for these photos, so I'll just have flat room. Do it for me. How do we do that? I create a smart collection and define some conditions. You'll find smart collections in the collections area on You can create a smart collection as you create a normal collection. Just click to create smart collection. On there, you type in the name. So let's say you know Port Richards women and I hear you can define the conditions in this box. You can either tell that from the rating, so as I want to create a best off serious, I only want photos in this collection that have a rating off greater or equal toe. Three stirs. Then I create a new condition where I say that I want only photos that have the key Burge woman, for example. And the key Burge uh, Vienna. I click create and, as you see immediately, have a smart collection. I've created a smart collection. Their light room added all the photos that matched my criteria. So these air photos from multiple photo foods and they both have the key Bert, Vienna and, uh, women. And they haven't least three stars, as you can see. So this is just one example for using smart collections. Depending on your photography, you might, uh, used them for different purposes. Of course. Maybe you won't let room to show you all the photos off a particular politician or a particular separate celebrity if your celebrity photographer or a press photographer. Or maybe you want to create a best off album off all your travels to South America, or you can use smart collections to keep your portfolio up to date, think about it. How could you make use of smart collections? I'd really love to hear your ideas. So please post them into the Facebook group. And I'm convinced that other members will find some inspiration in your ideas to That's it for this video. I'll see you in the next one. Bye bye. 17. Publish services: this model is all about exporting your photos, and usually you want to export your photos because you wanna publish them on your rep side on your block. Or maybe you're just gonna deliver them to your client, and I briefly want to talk about the publishing feature. You'll find the publish services in the library module at the bottom off the left side bar , And the big advantage of this feature is that you can post photos to Facebook to flicker instagram and other social media platforms like 500 pics or Twitter without having to leave . Flight room. Light Room has a few of the platforms automatically listed here, like Facebook and Flicker and the dope stock. However, there are light from plug ins for other platforms to just search the Internet to find out if there is one for your favorite platforms. A good place to start is the website off Jeffrey Friedl, who offers a variety of blag ins for light room. I'll pay stealing toe his side below this video and in the Resources section, Workflow Visor used the published services after the export. It means if I used them at all because they're not a fixed element off my workflow In order to set up one off the services. Just go to set up Onda light from will ask you for all the necessary information. Uh, for Facebook, for example, you have to authorize your account on Facebook. You can choose which album light room should export the photos too, and so on. You can change even the naming and the quality and father size etcetera. So this area here varies from platform to platform, but they're all very self explanatory. Actually, he published services air not only useful for social media, though you can also use them for you can also use them for updating certain folders on your hard drive. That's why you see the hard drive area here. So, for example, a folder containing your mobile portfolio photos, Or you can even select a Dropbox folder that you regularly share with your client or an agency. Let's try it out quickly. Let me just create a folder on my heart rife physic specific folder. Let's call it, uh, lodrome 80 20 demo. And with also half a sub folder. Yeah, it 960 pixel. That's fine. Okay, Safe annoyance. See that, uh, she folders up folder appears here. And so this is from our Dima folder I've trust curated, and whatever photo I dragon there, right room adds them to Yeah, it's actually like a virtual collection. So right now the photos are not exported yet. Well, they have to do is a click the publish button right here and light room exports all the photos that's in this temporary area that you've just seen. And now it's as published photos. So all of the's four photos should be on my desktop right now, so let's have a look. So here we have to fold the light from 80 20 demo sub folder and water. Here are the four photos now you know how the published services work. Still, you might ask yourself how ah, sure, you actually deliver the photos to your clients? I've just talked about sharing a Dropbox link, which is a very practical solution, is best especially for business clients. However, it's not a very elegant one. The most beautiful way to deliver your photos is, via Web galleries declined only has to click on a link and can immediately see their photos . I guess most if you have heard of fat calories already, and many probably used them already as they've been around for a couple of years now. Still, I mentioned them because many off you're just starting out as a photographer, and many experience professionals still deliver their photos on a disk on a disk. A disk. Most laptops don't even have a CD drive anymore. Guys, stop doing that, creating a map galleries. Aziz is clicking, clicking a button, actually within light room. You have a rap module. It's ah very right model here in light room on. And all you need to do is you just need to see like the photos. So let's go back to the library module, toe our whole portrait shoot. So use selective orders. You wanna have indeed, gallery all the ones with a star rating or all the ones with the flag writing etcetera. And uh, yeah, you can do a little bit off adjustments here on the left hand side and also on the right inside, you can enter the name off the gallery, etcetera. However, I won't go into detail as there are many Web gallery providers out there who do far better drops than light room when it comes toe. Yeah, showing your photos. So I only recommended this feature this Web module in light room if you need to create a temporary gallery or a gallery on the fly. If you want to create beautiful galleries for your clients, I suggest using external providers. There are a couple or actually a ton of providers meanwhile out there that offer exactly that. Basically, there are two types of galleries, one that only shows your photos and one where you can also sell your photos. As Prince Orris downloads, I put some off them in The resource is section and also below this video. The ones that you'll find here are the ones that I can recommend personally, these air all gallery providers that I've used so far and that I've bean content with. If you know any other Web galleries or repertory providers that you're satisfied with, then feel free to share them in our Facebook group, I'm sure other people will find it very helpful, especially because not all the galleries offer worldwide delivery. So if you live in Europe and you want to order prints from an American provider, the delivery costs for your photos are pretty high. So the neuro the lab is for you, the cheaper the delivery will be and the better results for the clients as they do not have to wait for weeks until their photos finally arrived from overseas. 18. 6: in this model a talk apart portfolio management. And this is not just about where to place your put for the photos on your hard drive. This is also about how to use your portfolio's effectively in order to attract new clients . I'll start with the portfolio system. Why the heck do we need a part for your system? Aren't the photos already in their respective folders anyway? So why not just keep it that way? I'll tell you why. Because your portfolio is one off. The most important assets you have is a photographer. When potential clients visit your website, first thing they do is they browse through your portfolio, and depending on how much they like what they see, they will get in touch with you or not. And as any other business owner, we have to take care off our most valuable assets. In my previous lessons, already mentioned the portfolio catalogue and also talked about exporting your best photos as PNG's to a specific folder, this folder I call Drop Zone because any part for the Royal three D and G that I export from a yearly catalogue ends up here for the time being, it's located in the portfolio folder on your photo hard drive and this portfolio folder. You'll also find the Petroleo catalogue, which will open in a moment. But first, let us export a few photos to this portfolio drop zone. So, as I said, only the very best ones go into the portfolio drop zone. So I always filter the photos by stars. So photos have to have a minimum of three stars to end up in the portfolio drop zone. And yeah, you know the usual export process Already I've got here my template portfolio, D and G. And as you see, I've already selected the folder put for your drop zone. In this case, let me quickly change, though toe are light from specific to our light from 80 20 specific put for your drop zone . Also, consider the renaming off the photos, as I've also mentioned in one of my past models always rename my put for their photos toe the date when the four was taken and the actual file name. As these photos are specifically for demonstration purposes only they won't. They do not have the, uh, file naming that I've talked about earlier because I need toe. Leave them as original as they are, and that's why it's as a K o ho 776 usually would be only, oh, tour 031 etcetera. So then let's export your photo are the photos and let us do the same for if you utter foods. Okay, light room is done with the exporting process. Let's open up the patroller catalogue. Opening up the portfolio catalog is not a step or a fixed element off everything in the post production, so you don't have to follow these following steps after every photo shoot. You can, of course, but bear in mind that it'll cost some time and he probably won't need to update your portfolio every few days. I meant to put for their catalog right now, and I see there are no photos inside yet, so the first thing we have to do is tow import all the photos from the Portfolio Drop Zone folder. We can either do that manually by clicking the import dialog here and just import them or and this is something that I can truly recommend is we'll have light from import them automatically. So every time we open up the light from portfolio catalogue light from imports. The photos from the portfolio drop zone. And we're doing that by making use off a specific feature. And that's the auto import. It means we can define any folder on our hard drive. That light room watches constantly, and when new photos are at it, they'll be imported to light room as soon as we opened up the portfolio catalogue. So let's do that. First of it enabled the auto import. Then we choose the, uh, drop zone folder. Oh yes, the first time for the first set up, this folder has to be empty. So I just direct this photos here through the temporary folder. Then we'll go back to the artery import settings put for your drops on, and now we have to choose a destination folder. So light room has toe move the photos on your hard drive in orderto imported them automatically, and the name off the destination folder is a patrol your in box. And for whatever reason, we're required to create a sub folder to So these steps, they're only necessary for the very first set up off this order import you can name this folder power however you want. Actually, I'll just leave it us all to imported photos. We do not need to do any father renaming as we've done that already in the export process, Andi, And just make sure that you will enable the auto import here. So now, of course, nothing happens because the put for your drop zone is empty as we've just moved to the photos. Let's move them back. And now you see light room starts importing all the photos from this folder and as our next step, we create categories, which basically means we create other folders so that we do not have wedding photos and portrait photos and travel for us all at one place. And in order to separate them from each other, we'll just create for create folders like weddings, for example. No, all they have to do is to drag all the reading photos to the wedding folder, while the portrait photos Teoh Portrait's folder don't show again and all the travel folders, which is only one toe the travel folder and voila, we now have a clean structure for our portfolio alone. This whole process from Truck Platt, A few years ago, and I've been using it so far. It's been really useful and helpful for me, and I hope you can profit from the system just a swell as I did see you in the next video. 19. Working with portfolio: having this record portfolio is not the end but the starting point, and that's a mistake that many photographers make. If you're a professional photographer or if you want to become one and all you do is look at your portfolio and in Troy the photos. It won't take you anywhere. The portfolio is not only for yourself. It's not meant to be an archive. It's a tool, a tool for getting new clients and new bookings. So work with it, and by working with it, I don't just mean put some photos up on your website or on your block. It's more than that. In my opinion. There are three types of photographers when it comes to getting new clients. They are photographers who put up their portfolio photos to their website or two to their block, and then they'll just wait. They might share the website on Facebook every now and then, but other than that, they do nothing and hope that business will come in. As you can imagine, this is the least successful type of photographer, because by just waiting, usually nothing happens. Then there are photographers who generate a lot of traffic or some good amount of traffic, at least to the rap side by sharing their block posts and their photos all over the place, especially on social media channels. Many of these photographers have a decent amount of clients and actually can live from. From photography. However, traffic doesn't equal bookings. This is another mistake that many photographers are any other business owners to actually make, that they think the more traffic they have on the website, the more bookings on, the more assignments they'll get. Getting much traffic to your website takes quite some berg, so these people really put in a lot off work in order to get this amount of traffic. However, this way of working is not effective and not efficient at all. And then there is the third type of photographer who gets the right traffic instead of just a lot of traffic. He gets the ideal customers to see his portfolio and partners up with ideal other businesses. The target, the same clients as he does. So how do you reach these clients with the most simple way is by just contacting them if you know who your ideal clans are. This is especially easy in the B two b business. So if you do business portrait's, for example, or commercial work, there are a lot of agencies and a lot of companies that you can just call up or write the minima Onda Introduce yourself. The same is true for partners are. Ask yourself the following questions. Who is it that you want to reach? Who are your ideal clients? Who do you want to book you? Do you want Mom's from your neighborhood to procure for family sessions? Or do you want to reach law firms to book you for, uh, company and team photos? Or do you want to do some commercial photography? For some big companies, the next question is a very important one that hardly anyone thinks about. And that's who can help you reach these people. Maybe you don't have the network yet or the context toe. Reach your ideal clients from your friends or from acquaintances or colleagues that can help you reach these ideal clients or ideal partners and do not only go through these questions in your head right. The answers down create lists for clients you want to go after for partners you want to reach and then contact them and send them. Your portfolio sent them these many portfolios I was talking about in the lesson on collections. These are situations very. The collection feature in light room comes in very handy because you can easily customize your portfolio to the needs off the client or off the partner. Create a collection expert. The photos on sent these photos toe to your potential client to your potential partner. I would even send thes many portfolios if a potential partner or potential client is contacting you. Let's assume that in agencies into a request for a commercial art or portrait shoot, chances are that they already know your website. So So you probably don't need to attach your website in your response email. But you can attach a mini portfolio with your best outdoor portrait's, maybe even photos that are not on your website. Remember that your portfolio is a marketing tool. Use it wherever you can work with your portfolio 20. 6: So far, I've talked about how the categories, your portfolio photos and where toe expert them. But you might ask yourself, When is a photo actually portfolio ruthy? Personally, I have three criteria that decide whether photos put for liberty or not on. I'd like to recommend these criteria to you, too. Criteria number one is I really like this photo. If before truly appeals to me, for whatever reason, I'll expert it to my portfolio folder Criteria Number two is Can I make money out of this photo either by selling the photo toe on agency or to clients or whoever, or by attracting potential new clients and criteria number three years? Can this photo potentially help any other person? A vendor, for example, wedding planner, florist, a makeup artist or whoever it is that you were Fuding with? Or maybe you have assistance or models, Of course, as all of these people they need put for the photos for themselves to the florists, needs photos from flowers, a van you needs beautiful photos off their value, and a videographer might need a photo where you can see him in action of behind the scenes photos, which would never end up in my own portfolio, for example. But for him it's very useful because other people can see how he stress how he acts while he's doing his job. If only one off this criteria is true for any given photo, then I added to my portfolio. I hope these criteria help you, too. If you have your own criteria, let me know, either by writing an email or just posted to the Facebook group, I'm anxious to hear your ideas, and I see you in the next video. 21. 6: as a last point, I'd like to talk about our website portfolio. The website is one of the most important means of communication as a photographer. The way our portfolio looks like is a deciding factor for a potential clients to book us or to not book us off course. There are other factors, too, like branding, marketing recommendations and terror. But the portfolio is one off these factors, and this this is the portfolio model. I'd like to talk about the website portfolio and how you can design it so that you attract more potential clients. As for me, I have three rules when it comes toe ah, designing my website portfolio Rule number one Specialize If you have a website with multiple areas of photography, like our architecture, our family portrait, it's animals, babies, landscape products, weddings and maybe school photography. To then you'll probably won't have that many bookings, regardless of whether you have really high quality photos or not. Maybe it works if you live in a small town where there are hardly any photographers. But if you live in a city where there's a lot of competition, it's really hard to survive. As a photographer without specializing so concentrate. So concentrate on only one area our photography on your website. You can have multiple websites if you like, But if you promote a certain website and there is a portfolio style off, the photos should be consistent and it should be photos from the same area, like portrait photography, for example, or weddings or family portrait. It's There are certain areas that go quite well with each other, like portrait's and weddings, for example. So this is something you can. You can have both portfolios off on your on the same website, especially if the style is very similar. However, areas I wouldn't recommend to combine our architecture er and weddings, for example, or portrait photography and product photography. And it's really important that the photos on your website are consistent, that they have the same language. So to say you remember probably when I was talking about the editing style from one off the last models when I waas stressing for the consistency all the time and this is why it's so important. These photos are on your website, and this consistency is your branding. If you don't have any consistency on your website, in or in your portfolio. You don't have a brand. The client wants to know how his photos are going to look like. And if you have photos there with a mix off style, it's like HDR Beauty magazine. Look vintage look. Then the website visitor will be confused or the potential clients is confused and won't book you. Many for talker first and actually many other service providers to think that the more services and the more variety they offer, the more clients they'll attract. But the opposite is true. If you want to reach everybody, you'll reach nobody. If you want to attract certain clients, you will have toe repair certain clients. If you absolutely want to offer weddings and architectural photography, for example, because both are your passion, then I can only recommend you toe create two different websites, one for architecture and one for weddings. Rule number two. Categorize your portfolio. This is especially important if you offer more than only one aerial photography. Of course, as I said, and rule number one only offer multiple categories for multiple areas if they go well with each other like weddings and portrait's, for example. So if a client is on your website, and here she wants to Mary next year. Then make it possible that this potential client this a website visitor can immediately go to your wedding portfolio, where there really are only wedding photos and not portrait photos. You can do that easily by creating a menu item that's, Ah, wedding portfolio. For example, if this visitor is interested in wedding photos, I want them to see my best wedding photos and not other photos, like family photos or whatever. And if the visitors may be interested in a portrait session or a portrait for the shoot, then I want him to see all my portrait photos. My best off Siri's from a portrait shoots, and I don't wanna distract him with photos from weddings. So this is why I have two categories in my put 41 for weddings and one for portrait. It's and finally rule number three. The Laissus more roll. The less is more. Rule is very simple. Don't show too many photos on your website. We live in a world where people want to make decisions fast, especially when they're surfing around the Internet. And if a website visitor has toe click through 150 photos on your website in order to get a first impression off your work, then you will certainly lose him after 1/3 off the photos. Probably so you're probably asking yourself, Well, what's the right number then? If 150 photos is too much while I'll tell you, my recommendation is to not have more than 40 photos in ah, your portfolio, it means in your, uh, portfolio category off course. More important than the quantity off the photos is the quality off the photos reduced the photos you show on your website to a minimum. It's better to have 12 exceptionally good photos on your website instead off 20 mediocre ones, or instead, off 12 good ones and eight mediocre ones. Let me tell you a story that happened to me a few years ago. I met with a couple who were potential clients. They were interested in booking me for the wedding, and we had a really nice conversation and everything went smooth. And while we were having the conversation, they also told me that they actually really, really liked some other photographer a lot, and they were honest and told me that they were thinking off booking him instead of me. Actually, they were thinking about that before they reached out to me. The problem. Musto that the liked 90% off the photos really much, but they didn't like the other 10% off the photos that were on his website. So now they were confused because they wanted their own wedding photos to look like the 90% they really liked and not wanted to end up with the other 10%. So they didnt know how their own photos are going to look like. And that's why they decided against him. And they reached out to me and ended up booking me only because I had a consistent portfolio on my website and I didn't mix up the style of my photos. So I ask, you go to your website, look at your photos, and if you think that there are some photos are even one photo that doesn't fit because it looks different than the other photos, even if you like it, then remove this four from the website or a T least from the portfolio. Otherwise, the same thing can happen to you that's some website visitor really likes. Her photo sees this 14 or maybe two photos that he really dislikes and doesn't even reach out to you. So only have photos on your website that you're 100% happy with, and that reflects your style. These are my three rules for a website portfolio. Specialize, categorise and less. It's more. I hope you found some using these tips. If you're not sure which waters usually post on your rep said, or if you're sceptical on your current website already, feel free to post your website or your portfolio with a Facebook group and get some help from the community.