Lightroom: Two Minute Tips | Nicole S. Young | Skillshare

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Lightroom: Two Minute Tips

teacher avatar Nicole S. Young, Photographer & Author

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

139 Lessons (5h 4m)
    • 1. 1.01 — Introduction: What are "Two Minute Tips"?

    • 2. 1.02 — The Advantages of Using Lightroom

    • 3. 1.03 — Lightroom "Do's "Don'ts"

    • 4. 2.01 — Why do I need to "import" photos?

    • 5. 2.02 — Quick and Dirty Import Settings

    • 6. 2.03 — Importing Existing Files into Lightroom

    • 7. 2.04 — Importing from Another Computer: Step 1

    • 8. 2.05 — Importing from Another Computer: Step 2

    • 9. 2.06 — Import Presets

    • 10. 2.07 — Quickly Importing to Recent Destinations

    • 11. 2.08 — Importing "RAW + JPEG" files

    • 12. 2.09 — The Difference Between DNG & RAW

    • 13. 3.01 — Move, Sort, and Delete Folders and Files

    • 14. 3.02 — Customizing the Workspace

    • 15. 3.03 — Toggle the Visibility of Panels and Modules

    • 16. 3.04 — Viewing Panels in Solo Mode

    • 17. 3.05 — Setting the View Options

    • 18. 3.06 — Loupe Overlay: Layout Image

    • 19. 3.07 — The Toolbar

    • 20. 3.08 — Adding Metadata to Photos

    • 21. 3.09 — Creating a Metadata Preset

    • 22. 3.10 — Converting Raw Files to DNG

    • 23. 3.11 — Saving EXIF as Side-Car Files

    • 24. 3.12 — Organizing with Collections

    • 25. 3.13 — Group Similar Files with Smart Collections

    • 26. 3.14 — Locating a Photo’s Folder in Lightroom (or on Your Computer)

    • 27. 3.15 — Using Survey mode to find your best images

    • 28. 3.16 — The Paint Can

    • 29. 3.17 — Viewing Edits Made Outside of Lightroom

    • 30. 3.18 — Renaming Photos

    • 31. 3.19 — Changing a Photo’s Timestamp

    • 32. 3.20 — Merging HDRs

    • 33. 3.21 — Merging Panoramas

    • 34. 3.22 — Copying GPS Data to Photos

    • 35. 3.23 — Using Filters to Search the Catalog

    • 36. 3.24 — Jumping to Previous Folders & Collections

    • 37. 3.25 — Stacking & Auto-Stacking

    • 38. 3.26 — Dealing with the Exclamation Mark

    • 39. 3.27 — Synchronizing Folders to Find Missing Files

    • 40. 3.28 — Facial Recognition

    • 41. 3.29 — Setting Up Publish Services

    • 42. 3.30 — Publishing to the Hard Drive

    • 43. 3.31 — Publishing to Facebook

    • 44. 4.01 — The Develop Module Overview

    • 45. 4.02 — Simple 3-Step Processing

    • 46. 4.03 — Raw vs. JPEG in the Develop Module

    • 47. 4.04 — Resetting Panel Adjustments

    • 48. 4.05 — Basic panel: White Balance

    • 49. 4.06 — Basic panel: Tone

    • 50. 4.07 — Basic panel: Presence

    • 51. 4.08 — Tone Curve panel

    • 52. 4.09 — The HSL & Color panel

    • 53. 4.10 — The B&W panel

    • 54. 4.11 — The Split Toning panel

    • 55. 4.12 — The Detail panel: Sharpening

    • 56. 4.13 — The Detail panel: Noise Reduction

    • 57. 4.14 — The Lens Correction panel: Profile

    • 58. 4.15 — The Lens Correction panel: Manual

    • 59. 4.16 — The Transform panel

    • 60. 4.17 — The Effects panel: Vignette

    • 61. 4.18 — The Effects panel: Grain

    • 62. 4.19 — The Effects panel: Dehaze

    • 63. 4.20 — The Camera Calibration panel

    • 64. 4.21 — Creating a Custom Vignette

    • 65. 4.22 — Creating a Faded Matte look

    • 66. 4.23 — The Crop Tool Overview

    • 67. 4.24 — Changing the Crop Orientation

    • 68. 4.25 — Adjusting Tone with the Histogram

    • 69. 4.26 — Viewing clipped highlights and lowlights

    • 70. 4.27 — Previewing Before and After Images

    • 71. 4.28 — The History Panel

    • 72. 4.29 — The Snapshots Panel

    • 73. 4.30 — Virtual Copies

    • 74. 4.31 — Adding a Graduated Filter

    • 75. 4.32 — Adding a Radial Filter

    • 76. 4.33 — Using the Brush Tool for Selective Edits

    • 77. 4.34 — The Brush Tool’s “Auto Mask” Feature

    • 78. 4.35 — Reset All Develop Settings

    • 79. 4.36 — Fixing Color Cast

    • 80. 4.37 — What is “soft proofing”?

    • 81. 4.38 — Spot Removal: Best Practices

    • 82. 4.39 — Removing dust spots and specks

    • 83. 4.40 — Syncing and Auto-Syncing Edits Across Images

    • 84. 5.01 — Importing Presets

    • 85. 5.02 — Creating a Preset

    • 86. 5.03 —Updating Existing Presets

    • 87. 5.04 — Creating a “Favorites” Preset Folder

    • 88. 5.05 — Applying Develop Presets on Import

    • 89. 6.01 — The Print Module Overview

    • 90. 6.02 — Using Collections in the Print Module

    • 91. 6.03 — Setting the Proper Page Size

    • 92. 6.04 — Picture Packages

    • 93. 6.05 — Custom Print packages

    • 94. 6.06 — Making a Custom Collage

    • 95. 6.07 — Saving User Templates

    • 96. 6.08 — Adding Text or Logos

    • 97. 6.09 — Saving a JPEG from the Print Module

    • 98. 6.10 — Color Management: Profile, Intent, and Print Adjustment

    • 99. 6.11 — Creating a saved print

    • 100. 7.01 — The Book Module Overview

    • 101. 7.02 — Book settings

    • 102. 7.03 — Auto Layout

    • 103. 7.04 — Add, Move, and Remove Pages

    • 104. 7.05 — Changing the Page Layout

    • 105. 7.06 — Working with Photos

    • 106. 7.07 — Adding Text and Image Captions

    • 107. 7.08 — Stylizing Type and Creating Style Presets

    • 108. 7.09 — Applying Type Presets to All Pages

    • 109. 7.10 — Adding Page Numbers

    • 110. 7.11 — Changing the Background Design

    • 111. 7.12 — Creating a Saved Book Project

    • 112. 8.01 — Open Any Catalog When Launching Lightroom

    • 113. 8.02 — Clearing the Preferences File

    • 114. 8.03 — Increase the Cache Size to Improve Speed

    • 115. 8.04 — Backing Up Your Catalog

    • 116. 8.05 — Rendering Previews

    • 117. 8.06 — Smart previews

    • 118. 8.07 — The Quick Develop Panel

    • 119. 8.08 — Using Quick Develop to Batch Process

    • 120. 8.09 — Editing Videos

    • 121. 8.10 — Creating a Custom Identity Plate

    • 122. 8.11 — Editing (and Re-editing) in Photoshop

    • 123. 8.12 — Open as a Smart Object in Photoshop

    • 124. 8.13 — Integrating Lightroom with Plugins

    • 125. 8.14 — Manually Adding GPS to Images

    • 126. 8.15 — Creating Saved GPS Locations

    • 127. 8.16 — Adding Location Data From a GPS Log

    • 128. 8.17 — Syncing with Lightroom Mobile

    • 129. 8.18 — Setting the Lightroom Mobile Settings

    • 130. 8.19 — Sharing Synced Collections

    • 131. 9.01 — Exporting: Location and Filename

    • 132. 9.02 — Exporting: Videos

    • 133. 9.03 — Exporting: File Settings

    • 134. 9.04 — Exporting: Image Sizing

    • 135. 9.05 — Exporting: Sharpening and Metadata

    • 136. 9.06 — Exporting: Keywords

    • 137. 9.07 — Exporting: Watermarking and Post Processing

    • 138. 9.08 — Creating an Export Preset

    • 139. 9.09 — Quickly Export with Presets or Previous Settings

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About This Class

Enjoy this class FREE for a limited time!


This knowledge-rich video training course features bite-sized tutorials, along with the very best tips and tricks inside of Adobe® Lightroom® Classic CC. Each lesson is 1-4 minutes in length and focuses on one key feature in Lightroom. These videos save you time by getting to the point and teaching you only what you need to know, without excessive talk or ramblings.

Whether you are brand-new to Lightroom, or have been using it for some time, this course will help you learn even more and take your understanding of Lightroom, organization, and processing skills to a whole new level.


  1. Introduction
  2. Importing
  3. The Library Module
  4. The Develop Module
  5. Develop Presets
  6. The Print Module
  7. The Book Module
  8. Mobile, Maps, and More
  9. Exporting

Includes a 37-page PDF guide to help guide you through the course. Please go to the Your Projects section to download this file.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * 

This course was created using Adobe® Photoshop® Lightroom® CC (version 2015.6). However the majority of the course will also apply to Lightroom versions 5 and 6, as well as the most current version of Lightroom Classic CC.

Meet Your Teacher

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Nicole S. Young

Photographer & Author


Hey everyone! Thanks for checking out my profile. My name is Nicole and I'm a professional photographer, a US Navy veteran, and I have found a way to turn my love of photography and teaching into an online business. I live in the beautiful state of Oregon with my two dogs, Kodak and Simon.

I'm best known for my books on food photography, but also enjoy photographing a variety of subjects, including landscape, travel, lifestyle, and even underwater photography. I have a bunch of books over on Amazon, as well as my online store, and create presets and other overlays for photographers to use with their images. I also post regular training tips and other items on my blog.



If you would like to follow my work and keep up-to-d... See full profile

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1. 1.01 — Introduction: What are "Two Minute Tips"?: about six years ago, I started a video Siri's that I call two minute tips. They were short and to the point, bite sized videos to help explain or teach just one or two things inside a photo shop. I got a really good response from these videos, mostly because I cut to the chase and I didn't book end the actual teaching part with a bunch of blabbering. So I decided to create this leg room course with a whole bunch of these two minute tips. Now you'll find that some of them do go over two minutes. Most of them are in the 1 to 2 minute range in a few of them go over four minutes. But the spirit behind the videos is all the same and teaching you one or two things. I'm getting right to the point, and hopefully you'll come away learning something new without using a lot of your time. I hope you enjoy these two minute tips, and I really hope that they help you understand light room, whether you're a beginner or an intermediate to advanced user. I made this course for everyone, so please enjoy and thank you so much for watching 2. 1.02 — The Advantages of Using Lightroom: so you may be wondering why use light room? Why not just use the folders on your computer? Well, the biggest advantage to using light room is that it catalogues your photographs. And that's why the file that you open in order to view your photos is called a catalogue. It pulls all of the information from your photos, all the metadata, the exposure, the lenses, the cameras and even the location. If you have that embedded into the photos, and it allows you to search your files using that information, and you don't even have to use one catalogue for all of your photos. If you like, you can break them up into different categories, or you can use a different catalogue for each client. And in terms of file storage, you have complete control over where your photos were stored. All of the folders inside of the folders panel reflect the same folder structure that you have on your computer. They're not organized into some strange and mysterious behind the scenes method. You get to choose how your photos were stored and they're not stored inside of light room. Leg room is just pulling information and reading that information from your photos on whichever drive that those photos are located. Of course, there are a lot of other advantages to using light room things like publishing your photos directly, using the publishing tab or organizing your images into collections. We're flagging them and sorting them and giving them different colors to help you organize your photos and whatever method works best for you. Light room is a great organizational tool for photographers, and I'm sure that you'll see throughout the videos in this course some of the other ways that you can use light room to your advantage to help organize and even process your photographs. 3. 1.03 — Lightroom "Do's "Don'ts": when using light room, there's one major rule that you need to follow just to make sure that you keep things tidy and you don't mess anything up behind the scenes. And that rule is to Onley. Move things around inside of light room and let me show you what I'm talking about. The folders panel is a reflection of how your folders and photos were stored on your computer or your hard drive. You can go into these folders and view the exact same images and folders that you see in your light room catalogue. But if I were to move a folder inside of my file browser and then go back into light room now, light Room doesn't know what happened to that folder. I also have exclamation marks on each image because it can't find the images. It's not where I told it that it was when I originally imported the photos. I can find the missing folder if I know where it went, and in this case it's not that difficult to locate because I did it intentionally. But if I were to go into several folders and move photos around or just make a bunch of changes behind the scenes, not necessarily in editing the photo, but in how they're structured in terms of their naming and their location that can really mess things up. If you do too many things, you may not be able to recover and locate those files as easily as you would like. So I'll go back into this folder, open that back up in my finder, and now we can see that I have that 2015 folder and that green smoothie folder inside of my folder structure on my computer. So if I instead move that folder inside of light room, that also moves them on my computer, and I even get a notice that tells me this. I'll go ahead and click move. And if I go back to that folder, there's my green smoothie folder inside of that 2015 folder exactly how we have it set up inside of my folders panel in light room. So just be sure to move things around inside of light room to prevent light room from getting confused and not being able to find those files inside of the database. 4. 2.01 — Why do I need to "import" photos?: if you are new toe light room than the process of importing your photos may seem a little daunting, a little confusing or a little strange. In fact, I know people who don't like light room because you have to import your photos. But I just want to kind of get past some of the misunderstandings of what the import process does. First of all, when you import your photos, you are not putting them in a strange location. You're not putting them inside the application. All you're doing is telling light room where to see those photographs. Light room in itself is a catalogue, and that means that it is cataloging the photos that you tell light room toe look for all of your photos are exactly where you want them to be. There, either on an external hard drive, an internal hard drive. Whether you import them through an SD card, add them or move them into your catalog. The photos don't go into a strange location. Let me show you if I were to right, click on one of my photographs, I can show this in the finder, and I could see the image right in front of me. This is in the exact location that I told light room to place it when I imported it. I can access these files outside of light room and I can move them around, preferably inside of light room. All the import process is doing is saying Hey, light room. This is where my photos were stored. Go ahead and show me a representation of them instead of light room so I can organize them and make edits to my photographs. 5. 2.02 — Quick and Dirty Import Settings: Let's start out with what I like to call the quick and dirty import settings. This is a good place to start. If you're new to importing in light room, I'll begin by clicking on import on the bottom left and I'm going to be importing from an SD card that I've plugged into my computer. I can see that in the source here. It's called Entitle Laters. Haven't given the court a name yet. You have another option here. Eject after import. This will automatically eject that card. Once you finish your import process, it's up to you whether or not you want to have that checked. I like to keep mine unchecked. Now let's move up to the top. We have copies, DMG, copy, move or add. Because I'm importing these from a card I'm only given to option. If you're not sure about DMG yet, don't worry about it. Just select copy. This will copy the photos over in their existing raw form, which is great just below that, we have new photos selected and this is going to be a very common option. I use this one all the time. Usually I'm importing photos from a card. We've already imported some of the photos that are already on it. In this case, I am actually going to select only a grouping of these images. First, I'm gonna go down to the bottom and I'm gonna sort them by captured time so I can see them a little more clearly and have them grouped into the order that I actually photographed them and then also liked uncheck all of the bottom. I'm gonna click on one of the photos, scroll down, hold the shift key and click again, and then click inside of that little check box to select only those highlighted images. Now, only the photos that you see checked or going to import into light room. Now let's go over to the right. I'll start out with file handling. You really don't have to worry about this section if you're not sure what any of these mean . The default settings are going to be just fine. And in most cases it's what I use on a regular basis for file renaming. You probably will want to rename your file. I don't like to keep them as is. They just are messy, and they don't really mean anything to me. So click on that rename files box and I prefer to use custom name an original file number. Use whatever system you like that makes the most sense to you. And in the sample section, you can see a preview of what your files are going to look like in the apply during import section. Go ahead. Just leave this blank if you're not sure about it. If you already have a metadata preset, you can select it from this list. Otherwise, just leave it as is. And you can make these changes after the fact. If you'd like to, the destination is an important section to pay attention to the default is going to import them by date. But for me, this type of organization doesn't really make a lot of sense to my brain. And your choice of organization is really just going to be up to you. I'm going to change this into into one folder, and then I'm gonna locate the folder that I'd like to use for the purpose of this tutorial . I'm going to add these into a folder on the desktop, but for you, you're probably gonna want to import your files into an external hard drive. I have my main folder selected, and then I'll check on into sub folder and give it a new name. I'm finished making all my changes, so go ahead and click import to start the import of these files. 6. 2.03 — Importing Existing Files into Lightroom: Now let's discuss importing photos into light room from images that are already existing on your computer or external hard drive is a very simple process and will start out by clicking import on the bottom left. No, I don't have any memory cards connected to my computer right now, So the only option that light room is giving me is to add files, so I will select this files from my computer. I'll just double click on the folders until I get to the one that I'm looking for. And I'll just select this file of tutorial images now. If you like, you can make some changes over on the right. You can change the previews. You can prevent duplicates from being imported, or you can apply a metadata or developed settings presets. I usually just ignore everything on the right. I locate the folder and then on the bottom right. I click import. Now these photos are automatically imported into their current location, but now light room can actually see them in the database 7. 2.04 — Importing from Another Computer: Step 1: there may be occasions when you need to relocate your light room catalog from one computer to another. Maybe you are upgrading and getting a new computer. Or maybe you have some photos on a light room catalogue inside of a laptop that you need to transfer to your main computer. Whatever the case, the easiest way to do that is a two step process. You export the catalogue and then you import the catalogue. And for demonstration purposes, I'm gonna show you how I would export a catalog from some photos I already have here on this computer. First, you need to decide what you want to export. More than likely, it's going to be all of your photographs. So you would select all the photographs and then highlight all of them using Commander Control A and then go to file expert as a catalogue. Another option would just be to export one or two of the folders so you could select the folder right click and choose Export this folder as a catalogue, and this option also works with collections as well. So go ahead and right click and select expert. This folder is a catalogue. I'll choose a location. I have an external hard drive connected here, and then at the bottom you will see how many photos you're actually exporting. If you see exporting a catalogue with one photo, then you need to go back and highlight all those photographs who you export more than just that one photo that was highlighted. The other option you have that you may or may not need to use is the option that says export negative files. If you're exporting, let's see a small batch of travel photographs, and you're going to export them to a hard drive and then move them to your main computer. You're probably going to want to use that export negative files that's actually going to copy over the existing original photographs into a new folder. That way you can move them into your main computer. However, if you are exporting your entire lighter and catalog from one computer to a new computer and you have all of those photographs on an external hard drive that you work off of, then you don't want to check this option. All that you need to do is export the catalogue, and then when you connects that external hard drive to your new computer and import the catalog. It's gonna read the files from that external hard drive. 8. 2.05 — Importing from Another Computer: Step 2: Now we'll show you how to import photos from another catalogue. I've exported some photos from my main computer in my office so that I can use them in this tutorial here in my sound studio. The photos were located on an external hard drive that have connected to my computer, so I'll go ahead and select file import from another catalogue. I'll go down to that external hard drive, select the folder, and here you can see this is my light room catalogue. All of the photos and negative files were also exported with this catalog as well. So I have that catalogue selected. I'll click Choose, and I'm given a few different options here. If you'd like, you can see the preview of the files and you can even resize that window. There's a drop down here for file handling. I almost always select to add the photos to the catalogue without moving, and then I'll click import. My catalogue and photographs have been imported, but now I need to move them into my main computer. I'd like to move them into the same folder as this pup cake folder, but I can't see the parent folder so I'm going to right click on that folder and select Show parent folder. I'll click the drop down arrow for the Blue Passport, and I could move these arrows down if I'd like to kind of get to the main photographs and the 1,000,000 folders. Then I will highlight all of those folders and then click and drag those folders into the main folder on my hard drive. Light room will relocate those photographs while keeping all of the metadata and develop settings intact. 9. 2.06 — Import Presets: one really simple way to speed up the import process is to create an import preset. I have an SD card plugged in, and I have all of my settings set on the right as well as of the top where I'm going to copy. These is DMG Files, the's air settings I would use if I were importing photos that were photographed here in the Pacific Northwest. And I want to save this because I'm going to be importing a lot of photos in the same way. So to create this preset, I go down to the bottom. I click on the drop down, and I select save current settings as a new preset. I just give us a name. It's called it Pacific Northwest and click Create. Now when I import future images photographed here in the Pacific Northwest, also like that preset, make a few changes, such as the sub folder that is gonna go into and then click the import button on the bottom right 10. 2.07 — Quickly Importing to Recent Destinations: you may find yourself importing your images into the same location over and over, depending on your hard drive set up, you may have a large collection of several folders that you have to navigate Teoh in order to find that one folder using an import preset can also help with that. But another quick way is to access it, this little section in the top right, and if you click on it, it will show you some of the top destinations. But it will also show you recent destinations on this computer. I don't have a very long list, but on my main working computer in my office, this list stretches as far as it can go. When you click on a location, then the destination will automatically change to that location. So it's a convenient way to import photos into destinations that you use all the time. 11. 2.08 — Importing "RAW + JPEG" files: some cameras will allow you to photograph both raw and JPEG at the same time. I do this a lot with my Fujifilm x t. One because I like the ability of transferring that J pic file over to my iPhone and sharing it on social media. However, when importing them into light room, this means that I have two versions of the same file. One raw and one J peg leg room has the ability to either group those two together or show them as individual files. I prefer to have them group together if you'll notice here all of my files say R E f plus JPEG. Now, when I process the file, I'm processing the raw version of that file, but it's telling me that I also have a J Peg counterpart to go alongside it. Let me go ahead and show this photo in the folder so you can see what I'm referring to. There's the raw file, and there's that JPEG file. However, if you prefer to see the raw and J pic file separately inside of light room, there is a setting that you can use to change that to change it. Go up to the light room preferences and then check this box that says Treat JPEG files next to raw files, a separate photos. Now keep in mind that once you check this box, it's not going to apply these changes to my existing folders inside of my catalogue. It's on Lee going to show those separated J peg and raw files when I import new images. However, if I go into the folder and right click, I can select Synchronize Folder and it's telling me that 580 new photos want to be imported , and all of those are going to be the J pic versions of those raw files. Just click synchronize to make that change happen. 12. 2.09 — The Difference Between DNG & RAW: Now you may be asking yourself, what's the difference between a DMG file and a raw file inside of light room, particularly in the develop module you are likely to not see or notice any difference whatsoever. Behind the scenes, however, is a bit of a different story. A standard raw file that comes directly out of your camera is going Teoh be proprietary to that particular brand of camera. Some camera manufacturers create their own software, where you can process your raw files inside of that software. A DMG file, on the other hand, is a non proprietary file type, and some believe that it has the potential for a longer shelf life. For example, if a camera manufacturer were to go out of business and those raw files were no longer produced, it's possible in the future, the third party software may stop allowing those file types to be used in their software. Now that's just one thing that may be an advantage. However, the biggest advantage to a DMG file is how it stores the data and the changes that you make inside of light rumor, other raw processing software to show you how this works. Let me Go ahead and show you both of these files in the finder. In my Mac, on the left, I have a Fujifilm raw file or an R A F file. Next to it is an ex MP file. The Exon P file stores all of the processing data that is done to this image such as exposure, contrast, cropping, etcetera. The DMG file, however, stores all of that processing data inside of the file itself. Now, that's really useful, because I'm not worried about losing that data. If the X and P file were to be deleted, if that ex MP file were to be deleted, I wouldn't lose the actual image file itself. I would just lose everything that I've done to it. So the DMG Files can be a good way to simplify that file structure behind the scenes 13. 3.01 — Move, Sort, and Delete Folders and Files: the library module is your home base in light room. It's where you will view and organize your photos into folders and collections before bringing them into the other modules. Throughout this chapter, I will be demonstrating many of the ways you can organize, label, sort and even find files inside of the library module. And to start, let's take a look at the folders panel. This is where you will be most of the time, so I'm gonna go through how to re arrange and organize your folders and photos. The folders that you see in the folders panel in light room mirrors. What you have on your computer for whichever folders or images that you've imported. Light room does not have a mysterious way of organizing your image is what you see. Here is exactly how it set up inside of your computer. If I were to right, click over one of these folders, I can select Show and Finder, and it's gonna show me that folder exactly where it's located inside of my computer, and one rule that you need to follow when using light room is to only move and relocate folders and photos within light room if you start moving your photos in their folders like I have here with my desktop folder Oven light rooms not going to know what happened to that folder. But if I move things around inside of light room, then it knows, and it remembers where those things got moved to. This little plus icon gives you a few different options. With the root folder display, you can select a few different ways to actually view those names of the folders. The default and most simplest and cleanest method is the folder name only, but you can actually see the path and where those air located on your computer, if you'd like to as well, the show photos and sub folders options is checked by default. If I were to uncheck it now, I'm only seeing the photos in those specific folders here. It shows me that my raw photos folder has zero photos, but that's because there are sub folders inside of each of those folders containing images , so it's only gonna show me a number. When I get to that folder containing those images, I prefer to keep this option checked. It gets a little complicated and confusing when you keep saying zero next to each of those folders, and I want to make sure that I'm not removing any folders that actually contain hundreds and hundreds of images. If you need to relocate folders around, it's a simple as dragging and dropping. I'm going to move this folder titled 1000 Acres into my 2016 folder. So I just click it and drag it and release a windows going to pop up, informing me that I am going to be moving some files on my disk. They're going to show that they're moved here in light room, but they're also going to be moved on my computer. I did this intentionally, so go ahead and click move. And now those photos are in their new folder. When you click on a folder, you'll see all of the photos contained inside of that folder itself. Right now, I'm viewing my images in loop view. If I'd like to view them in grid view, I can press G and to get back to Luke View, you can use the keyboard shortcut e or press the space bar. You can also decrease or increase the size of your thumb nails by using the plus and minus keys. You can also choose the sort order of your images over the menu, go to view, sort and then select an option. You can also access this down in the toolbar. If you don't see the toolbar, press the tiki, and if you don't see the sort option, go to the little drop down error on the right and make sure that sorting is selected. You can also create a manual sort by dragging and dropping. Another thing you can do is remove photos from the catalogue, and you can even delete them off of your disk. If you'd like to remove photos, select them inside of the grid view right click and choose removed photos. Light room, then asks if I would like to remove them or delete them. Removing the photos doesn't actually delete the photos off of my computer. It's just telling the catalog that I don't want to see them inside of this folder. If you'd like to keep those photos the night highly recommend just selecting remove. But if their images that obviously or just trash or maybe a corrupted file, then you may want to leave it here. Oh, click. Remove. You can also remove folders, and this is a good option if you have a folder that is no longer on your computer. This folder was either deleted or moved inside of my computer and not inside of light room , But I don't really need it in light room. So I'm going to right click and select. Remove a warning pops up just telling me that those photos are going to be removed and I'll just go ahead and click that button to make that folder disappear. 14. 3.02 — Customizing the Workspace: Now I'm going to discuss a little bit of the workspace and how you can customize the visibility of the panels to work best for you. First of all, you can resize the left right and bottom panels just hover over the edge of the panel and drug to the left or right to make it larger or smaller. When you re size the filmstrip, it actually makes those a thumbnail images larger or smaller, depending on the size of the panel. You can also hide the panels independently by clicking on the little arrows on the left, right, top or bottom. Those panels will be hidden when you're not using them, but if you hover near the arrow, they will appear so you can actually access and make changes to that panel. Or, if you'd like, you can toggle visibility the panels with a few keyboard shortcuts. Use the tab key to hide the left and right panels and use the shift tab key to hide all of the panels. Again. They will pop up and be visible if you hover over those arrows. If it any time you find that you need to renew the visibility of all of the panels. Just toggle that shift tab key a few times, and everything will pop back into view. Another one of my favorite view modes is to use the F key, and that will toggle the entire image into a full screen display. This is great for impromptu slide shows, or just to view your photo large and beautiful on your screen without the disruption of any of the light room handles on the side. To get out of this view, are there press the F key or the escape key? 15. 3.03 — Toggle the Visibility of Panels and Modules: When you use light room, you may find that there are panels and modules that you just don't find yourself using. The good news is that you can get these panels and modules out of your view so they don't clutter up your workspace. Let's start with panels. I'll go over on the right and let's say I just don't happen to use the keyword list. If I right click over any of those panels, I'm given a list of all of the available panels in that side inside of this specific module . In this case, I'm gonna go ahead and hide the keyword list, and I'll hide the comments if I change my mind. And I would like to see those panels in the future. I just need to right click and then at a check box next to that item. This also works in the develop module. You can right click over any of the panels and then just uncheck the ones that you'd like to hide at the top. It's the same thing, right? Click over the module selector and uncheck the modules that you don't want to see. This is a great way to customize your workspace and de clutter it to make it easier to work inside of 16. 3.04 — Viewing Panels in Solo Mode: I like to stay organized in light room. And not only do I like my photographs to be organized, I also like my application and the panels toe look nice and clean and be presented and a very easy to read manner if you happen to have a lot of tabs open, like over here on the right in the develop module, I have a lot of these tabs dropped down, and that makes it difficult for me to jump back and forth if I need to make adjustments in different panels. The easiest way to fix this is to collapse all of the panels except for one. And the way you do that is by pressing and holding the option or all key and then clicking on one of those drop down arrows. Now each of those panels will only open one at a time. You can do the same over on the left, and if you were to go into the library module, you could do the same there as well on both the left and the right. This works across all of the modules inside of light room 17. 3.05 — Setting the View Options: in the library module, There are quite a few different ways that you can customize the data that you see when in both the grid and a loop view. To get to these options, you can right click and go down to view options. It's also located in the menu as well. At the top, you can toggle back and forth between the grid view and the loop view. And for the most part, all of these changes are self explanatory. The settings also change as you move things around and check different boxes. So it's really easy to see what it's going to look like when you are finished making all of your adjustments. One of the things I actually really like are these little thumbnail badges. They may not mean very much just by looking at them, but if you hover over them, you can actually see what they're referring to. And if you click on them, it will actually take you to those settings. Now, this just told me that I have made develop changes to this image, which is likely in almost all cases on my photos. There's always going to be some type of adjustment but other things that tells me I'll go back in the grid views a little easier to see. It also tells me that this photo is in a collection. So if I click on that little thumbnail badge, it shows me the collections that it's in. In this case, it's on Lee inside of the quick collection. But if I were to click on that, it would take me into the quick collection. It's also telling me that it has GPS coordinates embedded into the photo, So if I click on that, then it will show me the map view and where that image was photographed. In terms of the view modes, you can show us much or as little as you like. It's really up to you, and it's a very personal preference. Sometimes I change things around, depending on what I'm doing or if I'm presenting photos inside of light room in a teaching environment. But it's kind of a nice feature. You're able to keep things as detailed or as minimalistic as you like. 18. 3.06 — Loupe Overlay: Layout Image: Sometimes finding the perfect image to use in a greeting card or a certain type of design could be a little challenging and often times. If you have your design already set up, you may be left with having to pull a whole bunch of different photos in and just placing them to see if they work with your design. Thankfully, like Room has a really cool and kind of a hidden feature that allows you to preview those designs as an overlay within light room to get started, go up to view, loop over way and then choose layout image. I haven't overlay that I created using canvas dot com, and it's a birthday card. It's a transparent PNG file, which means that the entire image is see through except for the details that you can see, such as the text and the border. I'll go ahead and choose that, and now I can see what this will look like as an overlay on top of my photos. If I hold the commander control key down, I'm given a few different options. I can move and resize the overlay. That way, if you haven't overlay that you don't want to encompass the entire image than you can resize it and relocate it. And if I want to reset the positioning in the size, then I could just double click, and it will bring it back to that full frame view at the bottom, you can reduce the opacity of the overlay. That way, if your overlay doesn't have any transparency than you're still able to preview the positioning of your images. And if you want to see this with a dark or a light Matt, you can move that to the right or the left is just kind of changing that background preview of your light room window. So now from here I can scroll through, I can see which images might work a little bit better. This seems like it's going to work better with horizontal photos. I'm gonna bring that opacity back to 100 so we can see it all. And now you can just continue looking through your images to find a photo that fits this particular design best. But your image doesn't necessarily have to be perfect as is. If you find something that you think might work, you can take it into the develop module and make some changes. For example, maybe with this photo I want to do a quick crop and make it Ah, horizontal photo and then bring it back into the library module. That may work as well. Or maybe I find a photo that works. But I need to flip the photo in order for it to fit with the design. In this case, I could go up to photo flip horizontal and now my images sitting perfectly inside of this frame. Now, keep in mind when you export your files, you won't actually be exporting them with this overlay. This is only a preview of what you'll get, so you would need to export the photo and then bring it into your design in whatever design program you're using. 19. 3.07 — The Toolbar: the toolbar in the library module can be a very handy feature to use, and you may need to access it from time to time. If you don't see it, press the tiki that will hide and reveal the toolbar. Sometimes it gets hidden away, so that's a good keyboard shortcut to remember. And also, if you don't happen to see the setting that you want, or if you just want to make sure that everything is visible, click on the little drop down there on the far right. This will allow you to reveal and even hide certain features inside of that toolbar. 20. 3.08 — Adding Metadata to Photos: making changes to metadata in light room is really easy to do, especially because you can batch at it as many photos as you'd like. I'll start out by selecting a group of photos that are similar in this case, some horses that we saw along side of the road and we're in the Big Island of Hawaii and then on the right, I can access the metadata or even a keyword panel for keywords. I'll go ahead and add some simple things. Horses. Hawaii, Big Island. You could describe as much or as little about your photos as you like the keywords air really, just for you to be able to locate your photos down the road. But depending on where you export your files, they may also be read by those online services in the metadata. You can use the drop down here to access some of the other options. Here. I have the quick describe set, and so I could easily add a caption that would apply to all of these photographs. After I press the return key, it's asking me if I want to apply. The metadata changed to just the one photo or all of the photos, and I'm going to select that. I want to apply it to the selected photos. And now if I just select on one photo, you can see that those changes are applied. 21. 3.09 — Creating a Metadata Preset: Adding your information to your photographs is a good way to attribute copyright and ownership of your images. It doesn't necessarily protect them from infringement, but it gives people a place to look if they're trying to find out who the photograph belongs to. Also, many photo sharing sites can read the metadata from inside of your photograph, and the best way to get that information into your image is through a metadata preset. To create a metadata preset, go over to the metadata panel on the right and the preset drop down select edit presets. This photograph already has some information associated with it already, but I can still make some changes. You'll notice that there are some other options at the top, like the basic info camera info and so on. Many of these boxes are specific to out photograph, so you'll want to fill those out individually, and you could do a lot of that inside of the metadata panel. The preset, however, is going to have the general information is primarily going to be about the photographer. For example, the copyright is gonna have my name. I have my girl creator. You can be a specific or is vague with your address as you like. You could even include your phone number, email, etcetera. If there is a check next to that item, then that means that that information is going to be saved with the preset. All I have is my personal information selected, so the top I'm going to select to save this as a new preset Go ahead and create that, and then I'll click. Done. Now I can highlight all of the photos inside of this folder and choose that preset for those metadata updates to be applied. You can also use these metadata presets when you're importing your images, which is a great way to ensure that you always have your information associated with your photographs. And if you'd like to see more metadata information, show up in that metadata panel. Use the drop down at the top and you can see as much information as you would like 22. 3.10 — Converting Raw Files to DNG: converting photos to DMG is a very simple process. Just select the photo or group of photos that you'd like to convert and go to a library. Convert photos to DMG. You'll likely only want to convert the raw files. And if you're not concerned with keeping the original raw files in this case thief Fujifilm R A F files you can select to delete the originals after successful conversion. This will prevent you from having duplicates, but this is totally up to you. If you'd like to keep them as a backup, go ahead. File extension is going to be. DMG can be either lower case or upper case That's up to you in terms of compatibility. It's OK to keep it at the highest setting. It's more than likely that the software you're using is going to be able to read this version of camera. However, if you know you have an older version of let's say photo shop on your computer and you know that Kamerad version that that will use that you can always select a different camera version. J preg preview at this point is really unimportant. The default is medium size so you can just keep it there and I tend to just keep the others to their default settings and click OK, Those files will just convert behind the scene, and eventually you will see that new DMG file type alongside it. 23. 3.11 — Saving EXIF as Side-Car Files: one of the things that light room does inside of the catalogue is it stores the data that you create. In other words, if you make edits to a photograph, it's going to store those changes inside the catalog itself. And this is the default setting. However, if your catalogue were to become corrupt, if you lose the catalog or if anything happens where you cannot recover it, you are also going to lose all of your processing information on your photographs, and that could be a really big deal. My preference from my photographs is to save all of that data, either inside of D and G files or alongside the file in a sidecar file or an ex MP file. And there's a setting inside of light room to make sure that you also save all of that data alongside the file so you don't lose it if anything happens to that catalogue. To do so, go upto light room catalog settings and in the metadata section, check the box that says automatically right changes into ex MP. Now, any processing you do in light room is going to be saved alongside that ex MP or sidecar file. 24. 3.12 — Organizing with Collections: collections are a way for you to group and organize your photographs without actually having to move the file into a new folder or create a copy of that file somewhere else. The collections only reference the image and then show you those grouped images together. The collections tab down at the bottom is going to be where most of this is going to take place. However, the catalogue tab, there's also a collection called a Quick Collection. This is a temporary collection that you can use to temporarily group photographs. One example of how I use a quick collection is old groups and photos together. If I'm exporting them for, say, a block post or something I want to share online, it's not necessarily something I need to keep long term. Next to the quick collection, you'll notice a plus sign That plus sign means that this collection is the target collection. This allows you to quickly, with just one keyboard shortcut. Add photos to that collection. So go ahead and start doing that. I'm gonna click on this texture file, and the fastest way to add an image to the target collection is to use a keyboard shortcut B. We'll continue scrolling down. I'm looking for textures, and I'll click on another one. Press B. Gonna highlight these two images and then press be Seiken, do a group of them together and just real quickly. Another way you can add to the quick collection is to use the pink can tool, select the paint can and choose target collection, and they just spray paint the ones you want to add. Now, if I go up to the quick collection and select it, you could see the photos that I just added. However, I would like to make this a permanent collection inside of the collections panel. To create a collection, you can click on that plus icon and select to create collection. From here, you can also create smart collections or collections sets, which are basically folders that allow you to organize your collections inside of the collections panel. However, I have already started to collect some of these texture images, and I have them in the quick collection. So what I can do from here is right Click over that quick collection and select Save quick Collection. Now we'll just give it a name and I don't need that quick collection any longer, so go ahead and clear it and then click safe. Now, my new textures collection is in the collection panel. If I want to continue adding to this the fastest ways by making it a target collection. So all right, click and shoes set as target collection, and that plus icon now appears next to the textures collection. I'll go back into the folder I was working on. They will find a few textures I haven't added yet, highlight them and press the Beaky. And now those new textures air added to my new collection. 25. 3.13 — Group Similar Files with Smart Collections: If you do a lot of HDR or panoramic merging inside of light room, the one really good way for you to organize this is by using a smart collection. Sometimes it can be difficult to locate that HDR file within your folder of all of your other images, especially when you have a lot of bracketed files, panel files, maybe a little easier to locate. But I can still be nice to have them all group together. So you know where to go when you want to edit those photos. I have one of these HDR merged files selected here in the grid view in depending on how your view options were set, you can actually see that the file name contains HDR. By default, HDR files will have HD are included in their file name when their merged and for Panorama files, it will have panel added to the file name. So to group these files, I'll go over to the collections panel select Create Smart Collection. I'll title this one HDR and then for the variables. I'm going to select file name, make sure it's set to contains and then type HDR. This will find all of the files that have hdr within the file name and group them into a collection. And it will do this automatically an auto update as you create more of own click create, and now you can see all of those photos that I've created as merged HDR is within light room. And then I could do the same for panoramas. I'll create another smart collection title this one Pan owes, and then, instead of HDR all type Pano and Click create. Now you can see all of the merge Panorama is that I've created in light room as well. 26. 3.14 — Locating a Photo’s Folder in Lightroom (or on Your Computer): There may be times when you're viewing a photo in light room, and you need to either access that photo from within the folder and light room or in the folder on your computer. Now, in this case, I have a photo selected and I'm inside of a collection. So I'm not actually inside of the folder where this photograph is located. But let's say I needed to go to that folder because I am either looking for another image that similar, or, for whatever reason, I need to go back to that folder in the light room library. I do that by right clicking and selecting Go to folder and library. The folder is opened on the left in the polders panel, and I can scroll around and see some of the other images alongside it. Now let's say I need to access this photograph in my computer and not in sight of the light room catalog. To do this, I would just right click again and select Show in Finder or on a PC show in Explorer. A filter will pop it. Then it will show me that photograph, along with all of the other photographs in that folder 27. 3.15 — Using Survey mode to find your best images: the survey mode is one of my favorite organizational tools in light room. It's a really good way to highlight certain photos and eliminate the ones that you don't want to work on. Let's go ahead and jump into it. I'm going to select these three photos of the bottom by clicking on the first image, holding the shift key and then clicking on that last image. These images are very similar, and I want to choose the one that I like the best to get to the survey mode. I can either click on this button in the toolbar or press the end key. If I'd like to have a little more real estate, I'll press the tab key that will hide the left and right panels. Now I'm able to see all three of these images, and it's a little bit easier for me to determine which one I like better. If I hover over the image, some very small flag icons appear on the bottom left in terms of flagging. I can either pick or reject this image. I can also use a keyboard shortcut. Let's say I don't like this photo at all. I know I never want to use it. So in that case I might want to press X, which is going to reject that photo. Now, if you look in the thumbnail view on the bottom, you can see that that photo on the left is great out. In terms of the survey mode, I can also click on this X button to remove it. From my view, all that does is de select the photo. So now I no longer see it for these two images. There's a very subtle difference in the light and the shadows on the left side of the glass . On the left, there's a little bit more shadow, and on the right, I used a reflector to bring some light back into that glass. And between these two photos, I really like the photo on the left, then images selected. So I'm gonna press P to pick it as my favorite to get out of serving mode. I just press the escape key. Now, if I click off to the side to de select these photos, you can see that I have one photo that I've rejected and one that I've picked, and then I would just continue this process on other similar groupings of photos in this series, 28. 3.16 — The Paint Can: the pain can tool allows you to add either metadata or an adjustment to a photograph just by clicking on it. I'll start out by selecting the paint can tool. And once I do that, I'm given the option of what I want to actually paint to that image you can, either. At a keyword, you can label it with a different color. You can add a flag or rating to it. You can use a metadata and select a metadata preset. If you have one available, you can even apply settings. The default is auto tone, but you can use any of your own saved presets as well. And then you can either rotate or add it to a target collection. For this demonstration, I'm going to add a keyword, and in this case, I'm going to add the keyword behind the scenes. All this use BTS for short. Now when I hover the cursor over the image, a little paint can will appear. If I click once, it will paint that keyword to that image and on the right, let me drop down that keyword panel so you can actually see that keyword being applied. Now let's change what we paint in this time. Let's add a preset. I'll select settings from the drop down, and I'll go into one of my presets. Now, instead of adding a keyword, it's applying a preset to that image. No. One last thing you can do if you are using, let's say the flag setting with the paint can mode if you were to flag certain images, but then you changed your mind and you wanted to remove that flag. Just hold the option are all key and the pink can will turn into a small little eraser, and when you click the image it will remove that paint can setting. 29. 3.17 — Viewing Edits Made Outside of Lightroom: It's always good practice to work from inside of light room any time you want to creatively at it. An image that's in the light room catalogue, However, if you were to make changes to a photograph that is in the light room catalog, but you did it outside of light room in, let's say, photo shopper on one photo, those changes should still be reflected inside of light room. In some cases, it takes an extra step to see those changes. In other cases, it does not. I'll start out with the DMG file. This is the same for other DMG or raw photos. Let me go ahead and open this image in its finder. So go ahead and view it inside of its original folder, and I'm going to open it into photo shop. I was gonna file open and the image opens up into adobe camera raw. I'll convert this to gray scale so we can see an obvious change and click done. And then if I go back into light room, my file is there, but no changes have been made. In order to actually see these changes, I need Teoh scan the metadata of this file. So go up to that image. Right click, go to metadata and select Read metadata from file. A window will pop up, and it's basically asking me if I went to overwrite whatever I've done in light room with whatever I have done outside of light room, and that is what I want to do. So click read, and then it read that I changed the color properties to black and white, and it's reflecting that in the preview. Of course, I could have just as easily made this change inside of light room. I could even press V on my keyboard, which is the shortcut to convert to grayscale. But if you found yourself having to work on your files outside of light room and photo shop , that's the step you'll need to take in order to show those changes inside of the late room catalogue. Working off of a PSD, however, should automatically update those changes. Let's go ahead and view this one in the finder. This is a PSD file. I've already done some editing to inside a photo shop. We'll do commando to open the file on photo shop and just like before, let's go ahead and just convert this quickly to black and white. I'll save the file and close it. Now if I go back into light room, those edits are immediately updated to reflect that change. 30. 3.18 — Renaming Photos: if you need to rename a group of photos, Light room is a good place to do that. In these images, I unintentionally named them Snow. Well, there's no snow in these waterfall photos, so it kind of like toe rename them to reflect the actual photograph. I have that folder selected, so we'll use the keyboard shortcut Commander Control A to select all of those images and then I'll go upto library renamed photos. Renaming photos is just like naming them when you import them. I prefer to use custom name and original final number, so I'll select that and then I'll give this an appropriate title. When I'm finished, I'll click OK, and all of those images will instantly be renamed. 31. 3.19 — Changing a Photo’s Timestamp: every once in a while, I forget to change the setting on my camera to adjust my time. So that way it reflects the current time where I am photographing. When this happens, My time zones, or usually way off in the actual date and time of my photographs is inaccurate. When this happens, I like to shift that time. So that way it is in the appropriate time zone, and my photos reflect accurate time to change time of light room. Go ahead and select the folder that you want to change and then highlight all of those photographs using the keyboard shortcut. Commander Control a. Then good a metadata edit Captured time. I tend to use the shift by set number of hours, which will just all of the photographs. Appropriately, it will just move the time based on the amount of hours that you adjust it to. Then use the drop down to select the appropriate number, and you'll see the corrected time there in that readout. Then, when you're ready, click change all in the date and time will be corrected 32. 3.20 — Merging HDRs: One of the best things about creating HDR and Panorama files inside of light room is that you retain the full edit ability of processing of raw file on the final merged image. When you merge your files together, it creates a DMG file. So you don't need to do any processing to your images before you actually merge them together. You can use your straight out of camera raw images, and once it's emerged file, you still have the ability to non destructively edit all of the same things that you would on a standard raw file. I'm gonna walk you through the process here on how this works, and then I'm going to give you some tips, particularly on speeding this process up or just making it so you don't actually have to be active in the process while merging these files together, which will, in fact, save you time. I have five bracketed images here of tips to lake in a Mount Rainier. I've highlighted them and then I'm gonna go up to photo photo merge HDR. With this step, you need to wait for light room to generate an HDR preview All of the options air over on the right. I tend to keep them, as is with the auto line auto tone, which basically just auto tones the image in the develop module. You can always change it after the fact, and I don't tend to use much Diego saying it just kind of depends on the photographs that I'm working on. So here is my preview, and if I wanted to merge this, then I would just click merch. However, I'm gonna cancel this because I want to show you a faster way to do this. I have these images still selected, and if I were to go up to photo photo merge, if I hold the shift key down, you can see that the keyboard shortcut next to both HDR and Panorama changed a toggle it on and off so you can actually see with that shift key still pressed down. If I click on HDR now, it's creating that HDR, but it's doing it in the background. It will still take about the same amount of time to actually merge those files together. It's just doing it so I don't have to wait for that preview to show up and click another button. This is really helpful if you have other photos that you want to merge, so we go and find one. I did all these manually, so they're not quite as, ah, perfectly bracketed is some cameras we're going to dio. So I'll just take this grouping of files here and we'll we'll just see what Having a good into this one, actually. So I'm gonna use the keyboard shortcut control shift H and on the top left, you can see it's merging those files for me. Once again, I can continue this process and just keep finding new files that I want. Use that keyboard shortcut control shift H, and it's just going to keep merging. Those photos is going to do it in the background. It still might take a little bit of time, but you don't actually have to be actively in that process. Once those files emerged, you'll find them alongside your existing bracketed image. And if you go into the develop module, the basic panel you could make changes, and you're going to be able to shift your white balance and other settings non destructively 33. 3.21 — Merging Panoramas: merging panorama in light room is very similar to merging HD ours. In fact, each of these photos that I'm going to be using for this panorama are merged HDR files. First of all, when you photograph for a panorama to get the largest field of view of what you're trying to photograph, it's always best to do it vertically. You also want to make sure that you overlap each frame by about 20% or so. I'm always pretty conservative with the overlaps. When I am photographing for panoramas, I want to make sure that I have enough content to merge properly. So these are the six files I'm going to use to merge my panorama. I'm going to use the keyboard shortcut command A to select all of these files. Then I'll go up to photo photo merge. Panorama Light Room will create a preview based on the projection that you have chosen, and you can click through these projections to see some of the differences that will happen depending on which one you select. And in some cases, it's not even able. Teoh create a preview is not able to merge it. So for this, it's going to be between cylindrical and spherical. I think I'm gonna go with cylindrical. You can also use auto crop, or you can uncheck it to see the white boundary. And if you'd like, you can also play with the boundary warp setting, which warps those edges around to try and create more content for the edges of the photo. I'll recheck auto crop and I'll click. Merge. What's the panorama has fully merged. It will appear alongside your source files, and from here you can take it into the develop module and make more adjustments. The Panorama merging process in light room keeps her files as DMG, which means that you can edit this photo non destructively, just like you can any other raw file. 34. 3.22 — Copying GPS Data to Photos: when I was scuba diving in Mexico, one of the things that I was unable to do was to record the GPS data to my camera while I was taking pictures. I have a device for my canon five d mark three that allows me to do so. However, it's definitely not going to work underwater, and I also use cameras that don't have this capability at all. Use a Fujifilm X T one and there's no device to add that GPS data while I'm actually creating the photos. So to kind of navigate around this, so to speak, I create a photograph with my phone and then I sink those GPS coordinates to the photos for my camera. I'll show you how to do it. I have a photo here that I took from the top of the boat while we were out scuba diving, and this is of Socorro Island. And if I go to the map view, you can see my photo there in the Pacific. But double click on that photo that it will zoom into the island itself. So this photograph definitely has GPS data on it. I'll go back into grid view, and I want to copy this metadata and pace it over to those other photographs. So we'll go up to metadata copy metadata. And when I do, this window pops up. But it looks very similar to the metadata preset we know that will pop up. First of all, I'm going to select check none, because I want to make sure that I'm not copping over information that I don't want to copy . The only thing I want to copy is the GPS and location information in the camera info setting so over on the right, all at a check box to each of those settings and then click copy. Now we'll go into the folder of images that I know were photographed on this island. I'll use the keyboard shortcut Commander control A to select all. And then I'll go up to metadata paced metadata. The location information has pasted. Let's go over to the map to check it out. Now, in my map view, you can see that I have 332 photographs that are associated with that island. Granted, they're not going to be in the specific location that I created the photograph, but it's nice to have that general location information for future reference 35. 3.23 — Using Filters to Search the Catalog: one of the benefits of using light room and having all of your photographs catalogued is that you have the ability to very easily search for different files based on the metadata. This includes things such as date and time, even lens focal length, camera type file type, you name it. There are so many different variables that you can search for. I'll start by showing you kind of the basic and simple way to do a very quick search based on some of the attributes in the filmstrip. There's an area where you can select different filtering options. I tend to use this one when I'm searching for images that I've picked with the pick flag or maybe something I've given a color label to. There are also some of the presets in here is Well, if you'd like to get a little bit more detailed with your search, then you'll want to activate the filter bar. You can do this by going up to view show filter bar, or you can use the backslash key to show and hide that filter bar. If you click on attributes, it will give you some of those same options that you have in the filmstrip, or you can click on metadata, and this is going to allow you to search all different things. If you don't see what you want to search for in the default, just click on that option and select something from the list. Then when you click on one of those filtering options, it's going to show you all the photographs within that search. You can also search for texts, and this is helpful if you know that you have an image with a specific file name or if you have keywords inside of that photograph, that will help you to actually locate it. If you'd like to turn off all of your filters, just go to those presets and select filters off. And then you could just hide that filter bar at the top by pressing that backslash key again. 36. 3.24 — Jumping to Previous Folders & Collections: When working inside of light room, it can be easy to find yourself looking for a folder or a collection that you were just in . I tend to minimize a lot of my folder tabs and panels just to keep things tidy. But when I'm trying to relocate a group of photos that were in a folder I was looking at, sometimes it takes a little bit of time to make my way back there. Thankfully, light room has a really good solution for that, but it's kind of hidden, so I'm going to show you where it is on the film Strip down at the bottom. If you hover in that blank space kind of in the middle and right click, you're going to have the option to view some of your recent sources. So here you can see all of the folders in the collections that I was inside of, so go back into that panels collection. Now let's say that I want to be able to access this ah lot, and I know that I'm gonna go here all the time. I can right click and select. Add to favorites. Now. This smart collection is going to be inside of my favorite sources, so I can easily jump to it whenever I need to 37. 3.25 — Stacking & Auto-Stacking: stacking in light room is another good way to organize and group your files. Think of it like a deck of cards. You can either spread out that deck of cards to view all of the cards or, in this case, photographs. Or you can group them up and have them in a nice, neat pile. And that's what a stack is going to do. What you stack is up to you. Maybe you're doing a portrait session with a lot of different people. You can create stacks based on each individual person, or in this case, one of the ways that I like to use it is to stack my HDR brackets. That kind of gets them out of the way and creates a little bit of a nicer way to view some of the folders in my catalogue to create a stack. Just highlight the photos that you want to stack and go to photo stacking group into stack . You'll know it's a stack because there's an icon in the top left of that thumbnail, and if you click on that, then it will reveal all of those photos. You can also use that little tab just to the right of the stack and that will toggle that stack open or close. You can also right click to access those stacking options. In this case, I'm going to unstaffed these files cause I'm gonna show you another way that you can stack your images and this works really well for things like H ers or any photographs where they were created within a constrained period of time. I'm gonna go up to photo stacking in select auto stack by captured time. The time that you select is going to determine which photos are grouped together. In this case, the default is set to 10 seconds. And that means that any photos that were taken within a 12th time period are going to be grouped together when I'm doing HDR brackets than I usually am going to be photographing several images consecutively, one after the other 10 seconds might be a little too low defending on the photos I'm taking , so I might increase this up to Let's try 20 seconds, and I am given a glimpse in the background of what is going to be stacked. 20 seconds seems to be a good number. It looks like it's grouping all of the photos properly, so I'll go ahead and click on this stack. It's stacked all of the photos, but it left them all expanded, and I can kind of scroll through and and show you all of the stocks that is created. If I want to collapse all of these stacks, I can just right click, select stacking and shoes collapse all stacks. Now you can see in this representation that I only have a handful of compositions that I've created. They're just all grouped into individual stacks. In some cases, the photo that's representing the stack is not necessarily going to give you a good idea of what that image looks like. In these cases. You'll want to expand the stack and then click and drag the photo that you like best over to the very top image. Then, when you collapse that stack, it will show that photo as representing that stack of images 38. 3.26 — Dealing with the Exclamation Mark: If you find a photograph with an exclamation mark, it's a very small icon in the top, right of the photo thumbnail. This means that that photograph is missing. The source file has been either relocated or deleted from its original folder. This happens when you move a photograph or delete a photograph outside of light room, usually inside of the original folder in your computer. It's always best practice to move, delete or create new folders inside of light room in not outside of light room in the actual folder itself. Now what you're seeing here is just a preview image of what light room has generated for this photo. It knows that something is supposed to be there, but it can't actually find the photo itself. My room only knows what you tell it, and when this happens, you are very limited with what you can do because you don't actually have the file toe work with. To correct this, you can do one of two things. You can either click on that exclamation mark and locate the file so I'll click locate, and if I know where that file is in this case, I just moved it into a different folder. I would select it and then click on that select button at the bottom. And if I had other images that I had moved as well, I can collect. Find nearby missing photos. And it's going to take all of those photos and update the catalogue. So now it knows where they exist. But let's say that I did delete this photo and I just can't find it. I don't know where it IHS, or maybe I intentionally deleted it, but I just forgot to do it inside of light room. In that case, you're going to want to remove that photo from the light room catalog to prevent any future confusion. To do that right, click and select, remove photo light room and knows that the original cannot be found. So it's basically just saying we'll remove it from the light room catalogue and that's great. Click remove, and the photo will no longer be in the light room catalogue 39. 3.27 — Synchronizing Folders to Find Missing Files: If you want to make any changes to your folder organization, such as move files or create new folders, it's always a good idea to do it inside of light room. However, you can do it inside of the folder structure itself as long as you sink those folders after the fact. So you're just gonna have to really make sure that you are not moving things in strange locations and just kind of keep track of where things are going. For example, I have this folder, Hawaii 2015 and you can see it over and light room. It's also selected. Let's say that I wanted to create a new folder in here, and I wanted to call it videos. I could right click and select new folder. Give it a name and we'll go ahead and choose a few of these movie files and just drag them over to that new folder. No, If I go back into light room and search for those movie files, you can see that some of them have little exclamation marks next to them, which is basically saying we cannot locate this file. We have a preview for it because it used to be here, but we can't actually find the source file inside of the folder. When you see those little exclamation marks, you're gonna be limited in some of the things that you can dio with photographs, you're not going to be able to export it. For example, however, there is a way in light room to kind of remedy all of this. I know that all of this took place inside of the Hawaii 2015 folder, so I'm going to click on that folder of the top right click and select synchronised a folder. I want to make sure that the new photos air important. It's really not new photos. It's just the photos that I moved. But I also went to remove the missing photos or, in other words, those previews of those photos that it cannot locate. And then I'll click synchronize that new folder of images is going to appear on the left, and the previews of these movie files and that other folder have now disappeared 40. 3.28 — Facial Recognition: one of the features of a light room. Sisi is the ability to find faces and recognize individual people in your photographs. This could be helpful if you are searching for specific people in your catalog to access this feature. First, make sure that you can view your toolbar if it's hidden, go ahead and press that tiki and then click on that little People icon in the bottom left. The first time you click on this icon, you will get this welcome screen. If you have some time to wait, you might just want tohave it. Start finding faces in the entire catalog, depending on the size of your catalog. This might take a little while. I'll go ahead and click that option, and it's going to go ahead and start indexing all of those faces in my catalogue. Light Room has finished detecting the faces in this catalogue, so now I just need to tell it who is who. I already had a key word for my husband, Brian Matisse Year. So it's just asking me a few questions about who this person is, and I'm saying, Yes, this is him. So I just click on that little check box on the right. For people who doesn't already have names, I'll just go ahead and type them in. This is Ashlan, my niece, and this is Lily now because I gave it a little bit of information. It's going to look for the same faces inside of light room. You can stay. It's still getting a few things mixed up, probably because my nieces and nephews all look very similar. So I just need to keep going through and giving it more details. And the more information I give it this smarter it's going to become. And if I don't care to categorize someone, let's say it was either a very wrong assessment of a face such as this plate. Just click that X on the left. In some cases, there's going to be people from troubles. I don't know who they are, so we'll just x them out, too. 41. 3.29 — Setting Up Publish Services: The light room published services panel allows you to quickly add photos on the Web or even on your hard drive by dragging and dropping into that specific service. There are three default services hard drive Facebook and flicker, but you can also add your own from the Web. The portfolio site that I use is hosted at format dot com, and I'm able to use their publishing plug in to automatically out photographs into my portfolio. This saves me the step of exporting them and then re uploading them to the website. So let me go and show you how I would set up this specific plug in. I've downloaded it from their website, and if I go to the published services panel and click on Go to Publishing Manager from here , I can access the plug in manager, the plug and managers were you add or remove that the plug ins. I'll go ahead and click add, and I've created a plug and folder here on my computer. This is where I store all of the downloaded plug ins that I use inside of adobe programs. I'll go ahead and click on it and then select add plug in. That's all I need to do here. I'll go ahead and click done, and now I'm back into the publishing manager, then also like that format publisher and log into my account. This specific plug in is going to give me a set of options where I can select my file name , settings, etcetera. I'll go ahead and click, save when I'm finished, and here you can see that it is sink all of my gallery's. Each plugging will work a little bit differently. This specific plug in does not sink the photos from my existing portfolio on the website. It only sings photos that I add into the galleries. Now I already have this set up on my main computer in my office, so you're not going to see any of that here. But I can't show you what happens when I add a photo. Let me go ahead and drag and drop this photograph into my food portfolio, and then I'll click publish to publish those changes. Now, if I go back into my gallery and click on food, my photograph is added at the top. Each plug in will work a little bit differently, but that's a brief rundown on how you can use light room plug ins to quickly publish images online 42. 3.30 — Publishing to the Hard Drive: the Labour Unpublished Services panel can be useful If you want to create kind of a default location for your images to go, let's say you just want to quickly export a photograph and email it to someone or posted online. You can create a default set up and export them to a standard location such as your desktop and exporting the photographs is a simple is dragging and dropping. I'll go and show you how it works in the hard drive section of your public services. Go ahead and click set up. This looks very similar to a standard export dialog box. Select your specific folder. In this case, I'm just gonna go to the desktop. I'm not going to choose a sub folder. I'll go ahead and just leave it on the desktop. And if I need to, I could move it later. File naming is just going to be renamed to the file name. I'm not going to change that if you want to have video as, ah, an export possibility than you could include that as well. I like my quality setting for the file settings to be up to 100% and I'm gonna keep it as a J peg and s RGB image sizing. I'm gonna change my width and height 2 2000 by 2000. And it will just constrain any photo into those dimensions, so it won't be any larger than that. And I'm gonna change my resolution to 72 because this is mostly going to be for sharing online. I'll keep all of the rest of the settings as is and click Save. Now if I take a photo and drag and drop it over the desktop and go into that folder by clicking publish, that photo will automatically be exported to my desktop. Although I didn't hide light room and there you can see the image sitting on my desktop. 43. 3.31 — Publishing to Facebook: if you like to share your photos to Facebook than the Facebook published service might be a good option for you to set it up. Just double click on the icon on the left, and then you'll need to authorize this on Facebook. Just click that button. You'll get a little window that pops up. Go ahead and click, OK, and then just go through the steps to authorize light room with Facebook. I've already done this in the past, so it's just letting me know that I'll go ahead and click. OK, now I can close this window and I am authorized here on Facebook. Next, you just go through and select the location and the file name and just basically the settings that you would use when you're exporting a photograph. I like my quality would be set to 100 I usually set my image size to about 2000 pixels wide . And then, when you're finished going, click safe. By using that drop down arrow, you can see the folder that you'll be uploading them to, and then just click and drag a photo that you want to upload. These photos will not automatically publish you still have to click a publish button. So by going into that folder and clicking that publish button, it will post them on to Facebook. And now, if I go back into Facebook, I can see that photo has uploaded to my timeline. My settings for this are set to only me. This way I can make some adjustments to the image and maybe tag it or whatever I need to do inside of Facebook, and then I could make it public. If you'd like to change those settings, you need to go into your app settings on Facebook and set your visibility to public or friends, whichever one that works best for you. 44. 4.01 — The Develop Module Overview: the develop module in light room is where you will process your photo, and by that I need make adjustments. You can adjust the white balance, the exposure color, etcetera. The top left panel is the navigator. By clicking on the zoom options, you can zoom into the photo. You can also select a level of zoom if you'd like. If you have a specific ratio that you need to stick with, you can also zoom in and out of your photo by clicking inside of the preview area. Or you can click inside of the navigator to zoom into 100% and then drag around to see different areas of that image. There are some panels below. The presets panel allows you to quickly apply settings to your images. Light room comes with a certain amount of presets, but you can also create your own or you can download them from the Internet. There's also a snapshots panel on. This allows you to create your own snapshots of images. This allows you to jump back and forth to these different versions that you've made. The history panel shows all the different steps that you've made inside of light room, and you can also quickly jump into collections as well. Over on the right, we have the hissed a gram of the top, which will give you a graphical readout of the exposure and color in your photo. You can also see some of the basic settings of this photo as well. The isso focal length and the exposure just below that is a small tool bar where you can do things like crop your photo to spot removal, reduce red eye at a graduated filter or radio filter, and also brush. Clicking on each of these tools gives you a different set of options, and just below that are all of the panels where you can make your adjustments. I'll be going over each of these throughout this chapter. There's also a toolbar. The bottom. If you don't see all of the options, you can go ahead and click on that arrow and then add them to the list. And then the film strip at the bottom allows you to select other images inside of your folder or collection. 45. 4.02 — Simple 3-Step Processing: When I process any photograph in light room, there are three main things that I focus on composition, tone and color. Now, of course, there is more to processing than just those three basics. But that encompasses, ah lot of what I do in light room, and it's the approach that I use for the majority of my photographs. So the first step I do is I adjust the composition in this image that's going to be cropping and straightening. I also like the crop tool you can also use the keyboard shortcut are when I use the crop to . I'd like to make sure that it's using the original aspect ratio unless I want to intentionally change that to a different aspect. Ratios such as an eight by 10 or a one by one square. And I also locked that aspect ratio so that it's not going to change. As I make my adjustments, I'll rotate the image to straighten it, and then I'll crop it down. So she's a little bit more in that third line on the left, and then I'll press that return key. My image is now nicely composed, so we'll move on to the next step tone. I want to adjust the tone first because having an appropriately bright or contrast the image is going to make it easier to see the colors so that we went on making those changes , then they will be the correct changes. I'll use the basic panel for these main adjustments and to start out in the tone section. I'm just gonna click on auto to see what light room thinks it should do. I think this looks OK, but it is a little too bright. So the exposure I'm gonna click on those numbers on the right and just use the down arrow to move it down a few notches. I'm just gonna tab through to the other adjustments and I'm gonna go all the way down to the whites. I'm gonna reduce the whites. I'm gonna shift tab, which will bring me backwards in that list, and I'm gonna increase those shadows. You can also use those sliders to manually adjust those settings. So I'm going to decrease those blacks so they're a little less intense at any time. You can preview the before and after by using that backslash key Now to finish. I'm going to adjust the color and because this is a raw photo, that's going to be the white balance. The white balance in camera was pretty close, but it could be warmed up a little bit, and I might even increase that tent one or two notches. So now I have a nice base image to work with. So from here I could continue down the list and use some of the other adjustments to amplify or stylized this photograph. But that three set process is going to give me a really good start in a nice, clean photograph. 46. 4.03 — Raw vs. JPEG in the Develop Module: If you photograph in JPEG, you can still use light room. There are some limitations to only shooting in J. Peg and just in general. For example, if you have a color cast in your image and it's a JPEG file, it's gonna be very difficult to remove that color caste, whereas with a raw photo, you can edit the heck out of the color and bring the white balance back to its normal states. So getting color accurate in camera is really important. Tone is also important. It's gonna be difficult to bring back highlights and add brightness to the shadows on a J pic file. If you have to go to extremes for the most part, if you get your color and your tone pretty close in camera, then you're gonna be fine with shooting J pic. Now let's go through the differences in light room when you actually process those photos, and I'm just gonna highlight a couple of them. First of all, the white balance setting is there, but it starts at zero. I have the raw counterpart to this image alongside it, and if I switch over to that role quickly, you can see that I have an actual temperature. Intense setting applied, and that's just from how it was shot in the camera. I'll go back to the JPEG image you can see that they're pretty much identical is I switch back and forth the other major differences in the camera calibration. If you want to change the profile, you're kind of out of luck with a J pic file. You pretty much only have the embedded setting available. I'll switch over to the raw file counterpart, and you can see that I have all of those camera profiles that came with my Fujifilm x T one . I photographed this in the Vell via or vivid mode, but I could change it if I like. But with my J pic file, as you can see here that Vell via profile is embedded and burned into my image. A lot of people do like to shoot JPEG, and that's great. And you can use light room in a very full capacity without having to photograph in raw 47. 4.04 — Resetting Panel Adjustments: ever so often you're going to want to reset the settings that you have applied to your image. And there are three different ways that you can go about doing this. If you want to reset an individual setting, the fastest way is to hover over the name of that setting and double click. If you'd like to reset a section of settings, hold the option, are all key down and then reset will appear next to the name of that section, then click to reset. If you're using one of the tools of the top, each of them has a reset button at the bottom, so to reset, just click that button. 48. 4.05 — Basic panel: White Balance: the white balance section of the basic panel allows you to adjust the white balance or the temperature in the tent of an image. If you photographed the image in raw, it doesn't matter what your white balance setting was in the camera or how off the color is . You should be able to bring it back to a neutral white balance. And what white balance means is that it's correcting the color so that if there is something white in the image, it would be a pure white color. That means that there's no color caste or color shifts or strange things happening in the overall scale of your image. Now there's no perfect setting for your white balance. I just use auto, white balance and camera when I photographed this and it started out with a pretty good setting. It does need some modifications, and so they're a few different ways. You can do that. You can select the drop down, and you can try a few different settings here. I tend to really only stick with as shot an auto. You can also use this little eyedropper tool and pick a neutral tone in the image, usually that's gonna be a gray, and that brought it back to a little bit of, ah, better color. But most of the time I'm eyeballing it, and I'm just going to be sliding the sliders around on my own. In this case, I'm probably gonna want to move this temperature slider to the left to bring some blue back in the image and balance out that yellow. You can use those color scales to kind of guide what you think you need to do to the image when you're adjusting the white balance. For example, if it looks like there's too much yellow in the photo, then just push that temperature slider to the left to add a little bit of blue. They are opposite colors in the light spectrum, so by adding blue here taking away yellow, the same goes for the green and magenta. If an image looks like it has too much green in it, then slide the tin slider to the right just a little bit to kind of neutralized those two colors 49. 4.06 — Basic panel: Tone: the tone section in the basic panel allows you to make some really major adjustments to the tone in your image. Everything starts out at zero, and I often times like to click on that auto button to see what light room thinks that I should actually due to the photo in terms of the tone, Sometimes it does a good job. Sometimes it's just okay, sometimes its way off the charts and I have to start from scratch. In this case, I'm just gonna undo that, and I'm gonna start over and just gonna do this all by hand. The exposure slider is just that it's allowing you to increase or decrease the exposure. It's really similar to a brightness. Slider contrast will increase or decrease the contrast in the photo. Most of the look I'm going for is a very natural looks. I'm usually not pushing these ciders too far to the left or the right. The highlight cider will decrease or increase the brightness of the highlight areas, and that's typically going to be the whites in this photo. It's going to be the blurry water, So if I were to move it to the left, it's going to start showing me somewhere that detail in that area, and if I were to push it to the right, it's gonna start blowing it out. These types of sliders are when I have to be careful, and I want to make sure that I actually view those highlights. Eso I just press the J key and you can see in the top there if I move that slider too far to the right. I'm starting to get some over exposed areas there that where there's really no detail, so I may want to move. This may be just a little to the right or a little to the left. It just kind of depends on which direction I want to go. With this, the shadow cider will either darken or add brightness to the shadow areas by moving it to the right. That shadow area started to get a little bit more bright. You want to be careful pushing this too far, because you can have a little bit of noise into the shadow areas if it's goes too far to the right. The white cider is really similar to ah exposure brightness slider, but it's not quite as extreme, and despite its name, its not only affecting the whites in the image. If I move it to the right, you can see it's increasing. The brightness overall, particularly in some of those areas that are already bright, like the white water and the black cider, will either intensify the blacks or soften them. So by moving into the left, sending more intensity to the black areas. If I move it to the right, it's kind of acting like the shadows slider, where it's adding a little bit of brightness to that area. For this image, real quickly, I would probably increase the contrast, maybe increased the shadows a little bit at a little Blacks and there have a nice, beautiful contrast the image. 50. 4.07 — Basic panel: Presence: the presence of section of the basic panel has three ciders, clarity, vibrance and saturation. The Clarity slider helps bring out some of the details in the image. It's kind of like sharpening the image, but it's not really doing the same thing. It's basically just adding a little bit of crispness to the photo. That's kind of the best way I like to describe it by moving the slider to the right. It has a little bit of grit and grunge, and it and it even kind of gives the appearance of the saturation just a little bit. If you were to move it to the left than it kind of adds a glow effect, you probably don't want to move it all the way to the right, depending on the photo. For a portrait like this, it's probably not going to be the best. I'm gonna want to keep this at a lower setting somewhere between 1/4 and 1/2 way. Now we have vibrance and saturation. The two are very similar. They both either intensify or a decrease the color in your photo. The difference is in which colors they will actually effect the vibrant cider is good for portrait or any image that has a lot of red tones in it, because it's not going to over intensify those reds and the warm areas. I could move this 1/2 way to the right, and it really adds a nice effect. Colors are popping, but nothing is really blown out. I'll undo that. And now I'm gonna take the saturation slider and move the saturation slider to about the same point. You can see that it just starts to have that oversaturated look and the top left. You can see those greens are really starting to bloom and get a little bit too much and the Reds interface or just overdone. So for this image, I'm going to push this one about halfway. But don't forget that these ciders also moved to the left. I've had images whereby whatever processing I did, it was just a little too saturated. So to fix that will move the saturation slider down somewhere between five and 10 just to balance it out 51. 4.08 — Tone Curve panel: light rooms. Tone curve is one of the more advanced editing panels that you'll see inside of the program . This pale has two main views. The first view has the curve box at the top. If you hover over it, you can actually click inside and drag and make changes to that curve. Below that are sliders, where you can affect the curve by dragging the sliders to the left of the right and then back inside that curve panel. You can move the points of those siders to the writer left, which will affect what that curve does to your image. If at any time you want to reset your curve panel, the best way to do that is just a right click inside of the curve. Choose one of these options or just select reset all to start from scratch at the bottom in the point curve. Drop down. You have a few options, medium contrast or strong contrast. I actually used these quite often. There just a really good way to add a nice little punch of contrast to an image without having to get to detailed. The second view of the tone curve panel could be access by clicking on this little icon in the bottom right? This curve here is fully edit herbal, so I could make even more specific adjustments to the curve than I could. In the previous view. There are three basics of adjusting a curve. Moving a curve upwards will add brightness. Moving it down will reduce the brightness and make your image darker and creating a combination of the two. We'll add. Contrast. This type of curve is known as an S curve. If you'd like to reset this curve just right, click and select flattened curve. Just below that, you'll see that there is a drop down for channel and you have red, green and blue. This is another way of adjusting colors in your image, and it could be good if you have a slight color cast to your photograph. In this case, there's a tiny bit of red in my image. It's very subtle, but I'm going to remove it with the Red Channel. I have that selected so will hover over the middle. I'm going to click and then drag down just a little bit. Now if I toggle that panel on and off, you can see that I was able to take away a very subtle red color caste 52. 4.09 — The HSL & Color panel: the HSE L and color panels allow you to manipulate specific colors inside of your images. H S L stands for hue, saturation and luminous, and in the panel, you can click on all to view all of those settings at once. You can also do the same in the color panel. Instead of viewing individual colors, click on all to view all of them. By the way, the HSE Ellen color panels have the exact same adjustments there just organized differently . The color panel is organized based on the individual colors themselves, whereas the HSE L panel is organized by the type of adjustment that it's actually going to be doing. The hue setting will change the color of which ever slighter you are changing. So if I were to go down to the blue slider and move it to the left or right, it's going to actually change that color. It only has a specific range, and that's just going to depend on the color. In this case, it's going from kind of a greenish teal all the way out to like a light purple. And with all of these settings, if you don't know the exact color slider toe work with click on the little dot to the left , scroll out to the image, and if you click and drag up and down, it's gonna change that section of colors, and you'll also see those changes reflected in the panel. When you're done, just click back on that icon. Saturation effects the intensity of a color. So, for example, if I were to scroll the magenta slighter all the way to the right or the left is going to either remove or add more of that color, Luminant setting will increase or decrease the brightness in whichever color you choose. If I were to scroll the red cider to the right, it's going to find all the reds in that image, and ah, lot of them are in her face is gonna brighten that color. Moving it to the left is going to darken it now. As you can see in this example, you want to be careful with the intensity of some of these sliders. In some cases, like this luminous setting, you can see that it's not doing a very good job at a very, very low setting for the setting. I'm more likely to move it to the right to add some brightness to her face for some of the other settings, You may want to zoom in and look at the image closer. While you're making these adjustments some settings, they're going to have some adverse effects that you can't quite see when it zoomed out. For example, when I move that magenta slider all the way to the right, not only to lose a lot of the detail in the area and her shirt also start to bring out some of the magenta in the background, I'll move that back to zero. I recommend using these sliders only in small increments to get the best results. 53. 4.10 — The B&W panel: converting an image to black and white can be done by clicking on the actual black and white section of the ages, all color and black and white panel, or by using the keyboard Shortcut V, which will toggle the black and white setting back and forth by default. The black and white mixed will automatically apply based on what light room thinks. If you'd like to change this, go up to your light room preferences and uncheck the box that says, Apply auto mix when first converting to black and white. This will leave all of those black and white sliders at zero. If you want to reset it at any time, just hold the option. Are all key and click on the text that says to reset the black and white mix. I'm starting from scratch here at zero, so let's go and see how this works. With the black and white conversion, it's going to find the different colors inside of your image, and each of these sliders will affect the luminosity of the black or the white. If I move the red slider to the right, it's going to brighten her face and maybe some of the background. If I go down to the blue slider and move it to the left, her shirt is mostly blue, so it's going to be darkened. And then I could just continue playing with these settings until I get a nice look, just like with the H S L in color slider. If you click on that little circle icon in the left of the panel and then go into your image, click and drag up or down, it's going to either brighten or darken that section. 54. 4.11 — The Split Toning panel: The split toning panel allows you to add color into the highlights and or the shadow areas . This is often times used to style eyes photographs, but you can also use it to correct the color in either highlights or the shadows as well. Here will show a brief overview of how it works. First, you select a color. I'll just click on a yellowish color there in the highlights, and then you choose how saturated you want it to look. I tend to keep the saturation at a very low setting when I'm adding and I settle split toning effect for the shadows. It's the same way. Just choose a color in the Nazem saturation. If I toggle this, you can see it's adding just a very subtle effect. If I wanted to increase the effect, I would just intensify that saturation. The balance setting gives preference to the colors in the shadows or the highlights so you'd move it to the left to intensify the shadow colors, which is in this case, blue, or you move it to the right to intensify that yellowish green that I have there for the highlights. You can also change the color and either the highlights of the shadows just by clicking on that color box 55. 4.12 — The Detail panel: Sharpening: the detail panel allows you to do two main things. It allows you to sharpen your photo and reduce noise. I'm going to start out with sharpening, and I'll get to the noise reduction in the next video. When I sharpen my images, I like to zoom in. You can either use this box, Teoh. Highlight a specific area and you do that just by clicking on that little icon on the upper left and then just hovering over the area that you want to feature and then click. And then you can also go inside that box and move it around if you want to see a different location. But I also like to zoom into the image as well, just so I could get a better view of it. When I'm sharpening the first, I'm going to start out, zoomed out. And instead of starting at the top, Slater, I'm gonna go down to the bottom slider and set the masking. No light room wants to sharpen the entire image by default. The masking cider is set to zero, which means that the entire image is going to have the sharpening applied. If I were to move the cider to the right. And the best way to do this is to hold the option are all key while you're moving a slider . As I do this, I can see that the image is kind of coming through in a black and white in any area that is white is what is going to be masked. And so I confined to knit. I'm really mostly looking at the fly, and of course, some of those little flower petals are gonna end up getting masked as well, and that's fine. But I don't want the overall image because I have a lot of out of focus areas in the background. And when you start to sharpen those out of focus areas, things can get really kind of funny looking. All right, so I have my masking set. I'm gonna go ahead and zoom in, and now I can really just kind of focus on the head and the eyes of this fly. The amount slider will determine the overall amount of sharpening, and it will affect both the radius and the detail slider below it. I'm just gonna move this to a pretty high amount to get started. So we can kind of see some of the changes as I make them. The radius slider will determine how much sharpening to apply and how much of a radius to apply that sharpening to along each edge. This is another slider that you can hold that option are all key down, and if you were to move it to the right, you can actually see that area of sharpening increase or decrease the detail. Slider tells light room. How much or how little of the details to sharpen, for example, at a setting of zero only the very small details in the image or being sharpened. And if you move the slider to the right, the larger the details are, the more they're likely to be sharpened again. You can use the option are all key to move this slider around, and you can actually see those changes in kind of ah, grayscale over your image. Once you have that radius and detail, Slider said, you can go back and fine tune the amount slider, and by holding the option all key, you can see it in black and white, which kind of helps give you a clear picture to kind of Take away the color, the destruction of the color and the image and now we'll go ahead and toggle that before and after so you can see the change. 56. 4.13 — The Detail panel: Noise Reduction: The noise reduction setting in the detail panel allows you to remove the digital noise and green that you get with high I. ISOS. We'll zoom in so you can see the image a little more clearly. This was photographed at I s 0 12 50 So fairly high. In many ways, noise and grain are not bad elements in an image. I would rather have a well composed in focus image and maybe have to increase the I s a little bit that not get the photo at all. But when you want to remove the noise, light room has a panel where you can do that. There are two different types of noise reduction, luminous and color. I'll start out with color by default. Light room sets that color slider to 25. In fact, you may never need to make any adjustments to this. If I move the color cider to the left, you can kind of start to see that color showing through. They're basically little rainbow like pixels that are integrated into the grain in the image. On this video, it might be a little difficult to see, but trust me, it's there. If you were to go into light room and get one of your photos. That's really noisy. Pull that color slider to the left and you'll probably see what I'm talking about. So I'm just gonna undo that and move that color cider back to 25. I don't really see any more color noise in the image, so there's really no reason to make any adjustments to any of these settings. Now, back up to Lou Minutes. This is gonna be your main focus. You have to be careful about moving this cider too far. And for a demonstration here, I'm just gonna move it all the way to the right so you can see what horrific things it does to your photo. It basically just smudges out all detail in the photo. Now, this obviously is not an ideal setting, but I'm gonna use it to show you some of the other sliders. I'll start out with the detail cider. This letter helps bring back some of the fine details of the image. It defaults at 50. But if I move it to the right, the details start to come through. And if you look in her face, you can really see that coming through. And if I move it all the way to the left and set it at zero, it kind of reemphasizes and over does that smudgy look. The contrast slider helps bring some of the contrast back in some of those detail areas. This could be a very subtle adjustment, depending on your photo, so you may not even see a change. And just like with the other ciders, if you press and hold the altar or option key, you'll get a black and white representation of your image as you're making those adjustments. Okay, didn't hold that option. Are all key with the Luminant slider and kind of bring this back to a normal setting. It's basically just removing all of the color destruction in the image so you can see only the noise reduction setting. 57. 4.14 — The Lens Correction panel: Profile: the lens correction panel allows you to correct for lens distortion with your photos. You're more likely to see distortion with a wider lens, and you are a longer lens. But there still can be some type of correction to make. And sometimes it's just with the vignette, because some lenses can add a subtle vignette. Sometimes that's something that you don't mind, so it may not even be an issue for you. So let's start out with the profile mood. There are two boxes at the top that you can check. The 1st 1 removes chromatic aberration. You may know of this also as purple fringing. It can also be green or magenta, and what it is is it's a line of color around the outside of an object. If I zoom in here on this image, you can see that there's purple outline. It's kind of a magenta in a way. That's the kind of outlining some of this area, and if you really look at the image, you can start to see it kind of appear in more places a lot of the time. That's going to be where there's a lot of contrast. The amount of purple fringing or chromatic aberration you get sometimes is dependent on the quality of your lens, but it's still going to appear in really good quality lenses. This is a pro lens of 14 millimeter cannon lands, and but, you know, you just can't avoid these things. Sometimes. Thankfully, light room has a fix, so to remove it, all you have to do is just check this remove chromatic aberration box, and it will find that in your image and then just wipe it away. It typically does a really good job. Sometimes it'll leave a lingering halo, and you can go into the manual mode to fix that. But I'll show you that in the next video. The next check box is the enable profile Corrections. I'll go ahead and check this box so you can see what it does. The result that you see when you check this box is very dependent on whether or not you have an actual lens profile installed into light room. Some cameras. We're going to have more profiles than others. I find that with all of my canon cameras and glass, I haven't run into any problems with the lens profile. Actually, showing up. There's also a little preset section here. So if you come up with ah, a profile that you've basically created because you can go through these and actually select a different thing. So if you find that there is a profile, it works better for your specific image. You can set that up and then I just kind of save it as a default in there at the bottom, there's an amount cider so you can take. What light room has decided is a good profile correction, and then you can kind of enhance it even further so you can move that distortion to the left, and it's gonna be a really subtle change, and you can also increase or decrease that been. Yet there is well. 58. 4.15 — The Lens Correction panel: Manual: the lens correction panel also has a manual option. So you click on that manual section and kind of see the other options that you have. I'm gonna zoom into this fish here because there's quite a bit of purple fringing or chromatic aberration around it. I'm gonna go back into my profile section that I'm gonna click on that remove chromatic aberration and you can see it doesn't pretty decent job of removing it. But there's still a subtle amount of purple in that shot, so if I go back into manual, I can actually go into the D fringe section. Move that slider to the right, and it's going to really de saturate those purples. In that image. You can also use the eyedropper and you confined colors. There's not really any chromatic aberration left here, but you could find a color and you could click on it, and it it should remove that fringe area. There's also a setting for the hue, so you can specify the specific you of purple and then also the same for the green. If you have a green friends, you can increase that slider to the right, and then you can also change that. Hewas well, some images. Even if you do have a profile for it, you may not even want Teoh use that profile in the image. And this is a really good example of that type of photo. So I'm gonna go back into that profile section and if I were to click on enable profile correction, it's really weirdly distorting this photo. Now this is photographed with a fish islands and so I want that distortion. So I don't want it to try and fix it for me because you can see it's just doing a really weird things. So I'm gonna uncheck that. And now I can go into the manual and I can't. If I'd like I can change that distortion, I can increase it and kind of make it even even more fish. I if I would like to or I can remove some of that kind of that bull Be fish. I look and at the bottom, you also have a vignette setting so you can decrease or increase the vignette, and you can change the midpoint. Of course, this can also be done in the effects panel as well. I'm gonna jump to another photo so you could see another type of image that that this would work with. You could have a little bit of fun with the distortion setting, and I can kind of make this image look a little bit thinner or more skinny. He's kind of the best way to describe it. If I move that slider to the right, it's kind of squeezing the photo in. But it's also making the waterfall a little bit more upright. I'll toggle that on and off so you can see. But now I have all of this leftover white on the sides of the image. I could go into the crop tool to fix it, but the fastest way is to just click on this constraint crop button and that will delete and remove all of that white. So now if I toggle this on and off, it's still cropped, so just keep that in mind. But it is showing me the difference without distortion. Setting moved to the right 59. 4.16 — The Transform panel: the transform tool is a really good way to take a photo that's maybe a little bit crooked or the perspective is off slightly and kind of bring it so it's up right? There are two sections to this panel. Upright and transform. I'll start out with upright. There are a lot of different buttons that you can push your Some of them are going to do a pretty good job. Looks like some of them are actually kind of fixing the problem for me here, and you can always do it yourself by clicking on guided. The guided upright allows you to draw lines. I'm just gonna create lines along those straight areas. And as I create those lines, light room straightens the image for me. And then, if necessary, I can continue to transform this image using these sliders below the age do different things, and you could just kind of play around with the settings to see what works best with your image. And then, if you end up with a photo like this, where there's a little bit of white on either side, you can click on the constrained crop button, which is going to crop out all of that white area 60. 4.17 — The Effects panel: Vignette: The easiest way to create a vignette in light room is to use the effects panel. The cyber vignette is a post crop vignette, meaning regardless of the crop of your photo, the vignettes gonna basically follow with it. And I'll show you that towards the end of this video, let's start out with this style. We have three different styles. Highlight, priority, color, priority and pain. Overly. Now to actually show what each of these looks like, I need to first creative and yet so let's start out by making our vignette. But moving this cider to the right, you can create a white vignette. I tend to prefer darker vignettes, So I'm gonna move it to the left. I'm gonna make it pretty dark to start out. In fact, I'm gonna move it all the way to the left and normally wouldn't actually use this setting. This is just to show you how the other settings work. The midpoint slider determines basically how big the vignette is from the center out to the edges. It starts out of 50. If I move it all the way to the left than the vignette moves in closer towards the middle and as they move it to the right, it moves out for roundness. You can have either kind of a squared off in yet, and if I move it to the left, you'll see that there. I'm gonna actually move that midpoint slider in a little bit so you can see that difference . And it kind of gives it like a like a film frame look. And as I move it to the right, then that vignette just turns more and more round find kind of like a middle ground that you like best. The feather determines how harsh or house soft the edges. At zero, it's going to be a much more solid line, and as you move it to the right, then that edge gets more and more feathered. I really like feathered vignette, so leave it up pretty high. The highlight slider allows the highlights to kind of punch through. It's not really doing anything, and that may be because I have the highlight priority style set. So let's go up to those drop down settings. The highlight priorities style protects the contrast of the highlights and your image. This may change some of the colors, however, in the in the corners. Color priority is going to protect those colors along the vignette area. And now if I go down to that highlight slider and move it to the right, you can see some of those highlights kind of starting to punch through. So any really bright area that's in that vignette should come through with that highlight slider moved to the right. The paint overlay setting adds a much more soft, basically, just ah matte black or white vignette over your image. This is a good setting to use if you just want to soften yet, or if you are creating kind of a faded Matt look on your image. Now that I have this vignette created, let's go to the Crop tool and I'll show you how the post crop vignette ing actually works in a press The R key on my keyboard. It will change my aspect 22 by three. You could see that the vignette kind of disappeared. Ah, when I did that. But if I press the return key, the vignette reappears, and now it's formed around my new crop frame, and then I could change the settings as I need to 61. 4.18 — The Effects panel: Grain: if you'd like to add a grain or film grain type of look to your image than the grain panel is a good option. I like to zoom in what I'm adding grain because I'm able to actually see ah, what it's doing much closer. The amount cider is really just the overall amount of the overall effect that you would like to apply. So if I move it to the right at a small number, it's adding a little bit of grain and all the way to the right is really over doing the grain and showing it very, very clearly. I'm gonna leave it at 100 just so we can kind of go through the other steps and so you can actually see what they do. The size is going to determine the size of the individual grains. So all the way to the left, it makes them really small, and all the way to the right makes us you really can't even see any detail in your photo. You're probably not gonna want to have this one set very high. The roughness later will determine kind of how uniform or irregular each individual grain is going to be all the way to the left. We have kind of Ah, simple, clean, but almost two pattern e style of grain. I really don't like it all the way to the left, Moving to the right and you have a really course, a really rough, rough grain making it look like you photograph. This was like t max 3200 or something like that. Again, this is really going to be up to you and the look you're going for. Also, keep in mind that you're going to see the green much more in the out of focus areas than you are in the in focus areas. So, you know, you could see it. I really kind of like the effect that it's doing over here. I wouldn't set my grain to 100. I'm probably going to go more. Let's see a museum back in, gonna talk about this on and off. So this is probably a pretty good setting. I might even go up to about 50 or so. So now I have a nice kind of ah film grain effect to this black and white photo 62. 4.19 — The Effects panel: Dehaze: the D. Hayes slider in the effects panel allows you to cut through haze or fog and bring out some of the contrast in those areas. You can also add Hayes as well. But one thing about this cider is You have to be really careful that you don't push it very far. We'll use this photo is an example By move the slider to the right, it's starting to add some, Really, a nice contrast slider is set to 28 that's pretty good number. But if I keep going and let's say we go even go even further and I'm not even 100% yet and I'm losing a lot of detail, it's adding weight. Too much contrast. It's kind of adding some really funky things to the color, and it's just not a very good look. So I am it more likely to keep this in the 20? I probably wouldn't go any higher than 30 on most of my photos. Here, let me talk about on an officer. You can see the result of that D. Hayes moving a slider in the opposite direction. Eyes gonna kind of be a little bit more stylistic I've been kind of racking my brain with trying to figure out reasons you would want to actually move the slider to the left and let me show you what happens when you dio. It just starts to really remove the contrast in the color. Um, and depending on the photo of might go, it might even go completely white. But one thing that it can do is it can allow you to kind of add that feed ID, look to a photo. So I have the setting set to minus 22. And if I toggle it on and off, I'm giving this image a little bit of kind of a faded Matt look without even having to use the tone curve panel. But if you can see as I move this and I'll kind of go back and forth here as they move it to the right, it's It's adding contrast. But it's also adding some saturation, and the same goes in reverse. If I move it to the left, it's removing some of the saturation, but it's also removing obviously the contrasts as well. And so when I moved this photo to the left, it added a little bit of green, or maybe just took away some of the existing magenta or reds and damage, so I'd probably have to go back up to another panel to kind of fix this a little bit. So in this case, I go up to the basic panel and maybe move the Ah, 10th slider to the right a little bit. So playing with that d hey slider is is another way to ever fix or stylized a photograph to your liking. 63. 4.20 — The Camera Calibration panel: the camera calibration panel is another place for you to further adjust the colors in your photograph. It has two sections, process and profile. To start, the process is going to have a year number, and these correlate with the years they've actually made changes. Significant changes to some of the developed settings, primarily the basic panel. If I drop down the basic panel, this is the most current one in 2012. But if I were to change this down to 2003 this is what the original basic panel looked like in 2003. There are a lot of sections missing. You don't see shadows or whites or highlights. It was just a different type of processing. So for all your newer images, they will automatically import at 2012. And you can also go back in and change your other photos up to 2012 as well. For the profile. If you click on this little drop down, you're going to see some options. Selecting a new profile can modify and change those colors and light room uses. The colors that you choose here is kind of a base for some of the other sections primarily the basic panel and the white balance settings, but you don't really have to worry about that too much. You can just kind of see this as another place to adjust the colors so you can start by selecting a profile if you like. Or you can make adjustments in the manual ciders below. If you want Teoh, let's say saturate the reds or de saturate the greens and just kind of create your own version. Each camera brand is gonna have its own set of profiles. So with my canon cameras, I get different types of profiles than I do with my Fuji camera. This is a Sony A seven aren't. You can see that these air also different as well. However, if you're processing a J Peg image like I have here, the profile is going to say embedded and you cannot make any changes to it. It relies on that raw information in order to actually just the profile information with the calibration panel, however, you can adjust the manual ciders below to play with the colors in the photo 64. 4.21 — Creating a Custom Vignette: the effects panel doesn't really good job of allowing you to create a post crop vignette. However, one downfall of it is that the vignette always originates from the center of the image. If you have an off centre subject, then you won't be able to properly creative and yet around that subject, and in some cases you might actually cover up areas that you don't want to. I've created a really basic thin yet using the effects panel, and you can see that it starts to get a little dark on the left side. It's not really that bad, But if I wanted to make a Nisman yet, that was only around these two flowers, then I wouldn't want to use the effects panel. I'm gonna go ahead and reset this vignette, and instead I'll add a radio filter. I click once on the icon at the top and then to add the filter. I just click and drag in the image, and I see that circle start to appear. You can always resize it, so if I don't get the perfect shape right off the bat, that's fine. The red overly you see is the mask of relate and that's showing it because I'm hovering over the mask. If I move off to the side and press the okey, then I can hide that overlay now in the settings within this filter. I could do a lot to customize this. I don't just have to make it a darker Brighton yet. I could do so many other things, but let's start out just by reducing the exposure, I could even reduce the blacks and maybe intensify the shadows. But I can. I want to play with some of the other features, like maybe the highlights. What happens if I move the highlights to the right that helps balance out the dark areas? Contrast might be a fun when I could reduce the contrast or increase the contrast at any time. I can toggle this on enough to see what my results look like, and I think this vignette looks great. There are a lot of other ways that you can adjust this, and I think that for these purposes, this custom vignette looks great. I could even do a quick comparison. That previous vignette, I think that's looking pretty good 65. 4.22 — Creating a Faded Matte look: a stylistic effect that you may want to add to your photographs is kind of a faded Matt look. This could be done inside of the tone curve panel in light room in the tone curve panel. Click on the little icon on the bottom right toe, access the point curve, then hover over the left point curve until a new icon appears. And then click and drag that point up just a little bit and then do the same on the top, right? But it said this time you'll want to drag it down. This gives it a basic Matt look. If you'd like to enhance it further, you can add a subtle S curve to the image, and I'll talk about before and after so you can see just what that Matt look did. This effect removes a contrast, softens those shadows, doles the whites and gives it kind of a vintage look 66. 4.23 — The Crop Tool Overview: the crop tool is one of those tools that will probably use quite a bit. I like to access mind quickly by using the keyboard shortcut are you may or may not see in overlay, and I have, like a tick tack toe rule of thirds great here. This is helpful for composition. If you prefer not to see it or you want to hide it at times, you can change that setting down in the bottom left. I like to keep mindset to always. You can also change the overlay that you see there. It's up in the settings under crop Guide overly, but you can also click the okey to cycle through. If you have an image that works better with a different type of overly, you can select the aspect ratio from the drop down. Or you can even enter your own. And keep in mind that this is a ratio setting and not pixel settings. Or if you just want to click on that little icon there and draw, you can actually create your crop by just doing it manually like that. This little lock here allows you to lock that ratio unlocked. You can move anything around, however you like by locking it. When you move any of the sides, it's gonna keep that ratio locked in. If you have an image with some pretty straight lines in it, you can click the auto button and the angle section, and that's going to read the image and align it as best as it can. Or you can use this lighters. Or you could even click and drag a straight line if you had one, which I don't really have here, and it'll angle that image with that line. Go ahead, reset everything here and now I'm going to talk about the constrain to image check box by checking this box here. If you were to make changes, you're not really going to see anything. You won't really understand what this box does, so I'm gonna reset that and make sure that boxes unchecked. This box is tied to the lens correction panel or any kind of distortion that you would add in your image if I were to slide the distortion cider to the right and start to see white space. If I wanted to crop that out automatically inside of the lens correction panel I would click on this constraint crop, and as I did, that the constrained image box inside of the crop tool automatically checks itself. Now, if I go back up to my crop with that box checked, if I rotate the image around, it's making sure to stay inside of that image only, and it doesn't get any of that white space in the photo. If I uncheck the box, however, I can rotate it in that white areas gonna show through. So this is a good box to have checked if you know you've done any changes inside of the lens correction panel. 67. 4.24 — Changing the Crop Orientation: when cropping a photo, you may not want to retain the original orientation of your photo. I photographed this vertically, but I'd like to crop it down so that it's horizontal. There's no obvious way to do that inside of the panel. And so your best bet is to use the keyboard shortcut X that will flip the orientation so you go from vertical to horizontal or vice versa. 68. 4.25 — Adjusting Tone with the Histogram: when you need to adjust the basic tone oven image, you'll probably go to the basic panel to do that. However, you can also make adjustments to these settings using the hissed a gram on the top right portion of your window. As you scroll over the history Graham, you'll see the names of those adjustment settings appear on the bottom left of that panel. So to adjust the exposure, I hover over until I see exposure. And then I click and drag it to the right. And then if I wanted to, let's say, increase the whites, click and drag it to the right and let's say I want to reduce those blacks and click and drag So those blacks were reduced on the left. And now those changes are also reflected in the basic panelas Well, 69. 4.26 — Viewing clipped highlights and lowlights: one good practice in light room is checking to make sure that you have not clipped any of your bright areas or your dark areas. When you have, let's say, whites or blacks that her clip. That means that there's no more detail in those areas. The whites are pure white and the blacks or pure black, depending on what you are planning on doing with your image. This may not be a big deal, however. If you want to print the photo, then you probably want to have some detail in there. An image printed on White that has a clipped area of white is not going to print anything at all. And sometimes having a little bit of detail there, even if it's just a different color, can make the photo look a lot better. I'm going to start out by making some adjustments of the basic panel, and I'll probably just do things a little extreme just so I can get a good representational photo so you can see what happens. So here have added a lot of contrast. I increase the exposure and I reduce the blacks. And now, if you want to see those areas that are clipped. Just press the J button on your keyboard. You can see I've really overdone black areas. All the blue means that there's no detail in those low lights, and anything that's red is going to be clipped whites. So with this view now, I can make some changes and bring those blacks back to a normal amount. I can still continue to add contrast, and having a few little specks of blue in that with the clipped low lights is really not gonna be a big deal. So I'm gonna be okay with that, usually more OK with clipped blacks than I am with clipped whites and the water. There are some Clift highlights if I'm OK with the overall exposure of the water, but I just want to reduce those hot spots. I'm probably going to want to bring that highlight slider to the left. It didn't get rid of all of them, so in that case I might want to play with the white slider, and that seems to be doing the trick. Now you can toggle this setting by pressing the J key, and that will toggle both the highlights and the low lights clipping view. But you can also check these little icons at the top if you want to hide or reveal only one of those. So let's say that I'm only concerned with clipping my highlights, and I'm not really worried about the low lights. I can click on that top left section to hide the shadow clipping, and now I'm not going to see that if they're clipped. But I'll see the highlights if I overdo those white areas. 70. 4.27 — Previewing Before and After Images: There are a few different ways that you can preview the before and after of your image. The fastest way to preview the overall before and after is to use the backslash key on your keyboard. Just press it. We will show you the before any after. Now, keep in mind that this will not show you what your photo looked like before you cropped it . It's only gonna show you a before and after of the settings that you've applied. If you would like to see individual settings, then all you need to do is use these little toggles on the right. The only panel that does not have this is the basic panel. But you could go down the list and I could see how the tone curve is affecting the image. DHS l split, toning and so on. And if there are new setting supply, then pressing that toggle won't really do anything. You can also use the little buttons on the left to change the view as well. By clicking on it, it will toggle through different preview modes, split view modes, and then to get back to the original view. Just click the button on the left 71. 4.28 — The History Panel: the history panel shows you each step that you've taken to process the photo in the developed panel and goes all the way back to when you imported the image. If I hover over the settings starting from the beginning, I can actually see a progression of how I process this image by clicking on one of those steps. I'm brought back to that history state, and those changes were reflected in my image. If I were to start processing this photo again, then all of the history states above that are going to disappear and be replaced with my new steps. When you preview the before and after oven image by default, light room will select the photo that you imported as the before states. But you can actually change this. So let's say I'm happy with my changes here, and I want this to be my before setting. In other words, I only want to see the changes of the before and after from anything I do beyond this point . To do that, I'll go over to the history panel and right click over that history step where I want to create that before image also like to copy history step settings to before. There's not a huge change in the image at this point. And if I were to try and do before and after, nothing changes because now this is my before setting. So from here, if I were to add a preset and then toggle before and after the before state is not from when I imported the photo, but rather from when I said it in the history panel. You can also clear out your history at any time. This doesn't change the settings in your image. It just clears all of those steps in the History Channel. 72. 4.29 — The Snapshots Panel: snapshots are a good way to create saved versions of your photos while you're still processing the image they're good to use if you are working on a photo and you think that maybe you have it at a good stopping place. But maybe you just want to keep playing around with it to see what else you could dio. In that case, you might want to create a snapshot. I have a photo here that I've added a preset to have made some other changes, so I'll go ahead and create a snapshot. I'm gonna click on that little plus icon on the left, and I couldn't just give it whatever name I like, or I can keep it as is. Just give it a name called Horse One. Now this frees me up to make us many changes, as I like without worrying about losing what I already have so I could play with maybe some some different presets could maybe adjust the split toning a little bit. Intensify the vignette, but let's say I get here and I'm not really happy with it. I don't really want this to be my final image, and I liked what I had before. All I need to do is go back into snapshots and click on that for a snapshot that I made, and it will bring me back to the original at it. You can create several snapshots if you like. Ah, you can remove them if you no longer need them. And there are also a few other settings in here as well. Copy snapshots settings to before allows you to make this snapshot your before image. When you toggle the preview back and forth, you could also rename the file. Or, if you've made updates and you want to keep the snapshot with your new edits, you can update it with the current settings. 73. 4.30 — Virtual Copies: virtual copies are a really good way for you to create alternate versions of your original files. So let's have done all of my processing to this photo, and I really like the result that I have. But let's say that I also want to preview this in black and white and maybe make another version of it to show his mom. The best way to do that is to create a virtual copy, so I'll right click the file and select create virtual copy. You'll know that it's a virtual copy because there will be a little tab on the bottom left . Kind of like the photo is curling upwards, and when you view the image path in the filmstrip panel, it will say copy next to the file name. You can create pretty much as many virtual copies as you want, so you could create more than one variation of the photo if you'd like. But so I'll go and take this into the develop panel real quickly and all converted to black and White by pressing V, and I'll even make a few different adjustments here. I'll go into the tone curve. You could even go into the basic panel. All right, I'll go back into grid view. So now we can see both of those photos side by side. I have a black and white version and a color version. A few things to keep in mind. Virtual copies save with the catalog. They're not actual physical files. They're just extra data that is allowing you to see this photo as a separate image. If something happened to your catalog than you would lose your virtual copies, however, you can export virtual copies just like you can normal photos. Also here, I'm working off of a raw photo so I can adjust the settings in each individual image, and those adjustments are only going to apply to whichever copy I'm working on. But let's say you had a PSD or tiff file, and he had a few different virtual copies If you were to go to the original photo bringing into photo shop and make some changes, such as cloning something out of the image once you bring it back into light room, that cloning changes going to apply to the virtual copies as well. So that could be a really good thing, especially if you have a change that's necessary to all of your copies, but it's just something to keep in mind when you're working on virtual copies in light room . 74. 4.31 — Adding a Graduated Filter: the graduated filter in light rooms develop module is a good way to add a large chunk or a large section of selective edits. Now this is a linear grainy in, which means it's going to be straight across, or whichever angle that you decide that you would like it. And it's going to feather from one end to the other, and you can adjust all those settings as well to start out. Make sure you have the graduated filter clicked and selected over in the toolbar at the top , and you can either start out by making a few adjustments or you can draw your radiant right off the bat. I'm going to start out just by reducing the exposure, because I know that that's one of the adjustments I'm going to want to make. This will make it easier for me to actually see my greedy int inside of the image that I'm just gonna click anywhere. I usually start from the top and dragged down. Now the filter will rotate with you as you move the cursor, but if you'd like to keep it straight across or even up and down, hold that shift key while you're making your adjustments. Once you've added that filter, you can click and drag it and move it anywhere you need to. If you hover over one of the lines, you can decrease the feather. So it's basically a straight line right across that green area. Is that mask overlay that's just appearing when I'm not actually moving it around. So I'm gonna move this down closer to that horizon. But I don't want it to be quite as harsh of a feathered edge, so I'm just going to feather it a little bit and then move it up. That adjustment is too dark. I don't want the exposure adjustment to be that intense. So I'm going to sign that back of a little bit, have it to about 0.6 minus 0.61 there. I'm also gonna reduce the highlight slider, and I'm gonna see what happens if I move that whites to the left. No, I think I wanna keep the whites to back up the middle there. I don't wanna flatten it too much. I am gonna increase that contrast a little bit and up in the temperature cider. I'm gonna move that to the right to add some warmth to the sky as well. And there are also some presets as well that you can use to kind of give your image off to a good start. I'm gonna talk all this on and off so you can see that adjustment. No. The issue with most photos is that they're not always going to be just a straight line across with sky on the top and land on the bottom. We're going to have things like I do in this photo where I have some mountains off to the left and even off to the right as well. And for this photo, I don't want these adjustments to affect any of the land. I only wanted to affect the sky. So there's another tool inside of this graduated filter, and that's called brush, and you use the brush. When you want Teoh, add or remove from the actual ingredient, so I'll click on that brush. And as I do that a new set of options appears below that panel. I'm not interested in brushing mawr of this and actually want to erase some of that Grady int filter that was just applied. If I pressed the okey and toggle that you can see the area that the Grady in is actually covering. So in those new options that appeared, I'm gonna click on that erase button to make sure that I'm erasing that Grady int and then over in my image, I'm just going to start painting. And as I do, that those new filters and those new effects that I added are being removed. I'm gonna do it over on the right as well. And if I press oh to toggle that mask preview, you can see that those adjustments are only affecting the sky area of this image. 75. 4.32 — Adding a Radial Filter: the radio filter is a really good way to add selective adjustments that air circular in your photograph. You can access it by clicking on that little circle icon at the top just to the left of that brush, and to add a filter, just click and drag and create a circle or an oval. Before I added the filter to the image, the exposure setting had already been increased, and so it automatically showed me the results of that effect. It also makes it easy for me to see what's being adjusted, and in this case I need to invert the mask so it's flipped. So I'm going to click on that invert mask button at the bottom and now the edits air only inside of this filter. So what I'm gonna do here is I'm going to create kind of a son glow effect coming from behind the trees there. I already have the exposure increased a little bit. I'm gonna go up to that temperature and slide it to the right, and I'll play with the exposure a little bit more, maybe add some contrast and blow some of those highlights out. I'll talk all this real quickly, and that's looking pretty good. However, I don't want the effect to be on her face, so I need to remove the filter from her face, and I'll use the brush setting inside of the radio filter. To do that, I'll click on brush on the top, right, and then I'm gonna click on the erase button. I'll go over to the image. I'm just going to brush over the area that I want to remove that effect from. I changed my mind at any time I could go back to one of these brushes, and now I have a plus icon. So if I start to brush than it's going to add that effect back to those areas, I'm gonna press oh, to toggle that mask overlay preview. And if I move it around, you can see that it is still keeping that brushed area out of the filter. Those brush strokes don't travel with the filter if you move it around, so that's just a really nice feature. With this radio filter, you can add more than one radio filter to your image. You can add a new one by clicking on new and then draw a new radio filter inside your image , just like I did with the 1st 1 Or you can also hover over the active filter, right click it and then select duplicate if you'd like to create an identical radio filter with those same settings that you just created. 76. 4.33 — Using the Brush Tool for Selective Edits: the brush tool allows you to add selective adjustments to your image. Now you cannot use layers inside light room, but you can do a lot of customization. It's not all global effects to access the brush. You'll just click on the brush whole. Once at the top, you'll see a lot of settings there that are mirrored from some of the other panels in light room. If I were to start moving some of the sliders over, nothing is really going to happen. But then, if I start brushing inside of the image, those settings that I just changed have now only applied to that area that I brushed to out another adjustment. I'll click on new this time. I'm gonna change mine to a preset and set it to burn. I'm gonna increase my brush size using the right bracket key and then brush over an area. Now you can see that I have two pins in the image, and the active one has that black dot, whereas the other one is just great. If I want to go back and re edit this area, I just click on it to activate it and then make my changes. Here's a quick toggle before and after of what those edits looked like 77. 4.34 — The Brush Tool’s “Auto Mask” Feature: when making selective adjustments with the brush tool. There may be times when you want to have very specific and precise brushstrokes. I'll show you what I mean. I have a preset that I've created, and it's basically just to brighten and add some contrast to her eyes. But I really only want the colored portion of her eyes to be affected. My brushes fairly large here, but it's also feathered. But if I were to brush just inside of her eyes, you can see that it's carrying over to more than just the area that I want to effect. And if I press the okey, you can see that mask overlay, and that's showing all of the area that I just painted instead. What I'd like to dio is allow the brush tool toe auto mask for me and basically just keep me in the lines. So to do that, just click on the auto mask box inside of the brush section, go back over to the image, and I just make sure you keep that cursor inside the area that you wanted to effect a press the okey so you can see the difference between the two brushstrokes on the left. The brushstroke just went everywhere. It just painted over the entire area of that brush. But on the right, it kept that brushstroke to within the confines of whatever color I was actually brushing over. I could even toggle that brush, setting on enough so you can see the overall results. 78. 4.35 — Reset All Develop Settings: if you're working on an image and you just want to start all the way over with the photo, the fastest way to do that is just to reset all of your developed settings inside of the develop module. You do that by going up to settings. Resettle settings. If you happen to be inside of the library module, you'll get to that setting by going up to photo develop settings reset. 79. 4.36 — Fixing Color Cast: there may be times when you need to fix a color cast in an image. Maybe you have an image that was photographed in the wrong white balance. Or it's an old photograph that you've scanned and you want to correct the color color Casts can be any color, and they'll basically look like there's a film of color over your photo, and it just doesn't quite look right. In this example, I have two images, a raw on the left and a J pig on the right. I used my Fujifilm X T one to photograph a raw plus J peg, so they were photographed at the exact same time. As you can see, this was photographed in the wrong white balance. It's very slightly off. Color is a little bit of a blue or a sigh in color cast over the entire image, and I'm gonna show you the difference between fixing a color caste and raw versus fixing a color cast on a JPEG file a presidency to go into the develop module, and if it any time you're confused on which photo I'm working on. Look on the upper left and you'll see are there are a F, Which is that Fujifilm Raw File or J. Peg? I have both of these images selected, and I also have the Auto Sync feature set. I'm going to quickly adjust some of the tone so the colors will come through a little bit more clearly. I'm gonna increase the exposure and a little bit of the contrast, and of both of these photos are set to the exact same settings. They may look a little bit different because ones that J peg and one's a raw I'm gonna de select and let's go and start with the raw file. There are a few different ways that you can correct a color cast if it's a raw image than the most obvious is going to be with the white balance. If you have a white or a gray area in your photo than the White Balance selector tool is going to be a really big help. Just click on that little eyedropper and find an area in your image that is white or even grey and click over that area. More than likely, it's gonna bring you to a much more balanced color. You may still need to make a few adjustments in that white balance setting, but this will get you off to a really good start. Now let's go to the J peg and do the exact same thing also like that white balance tool and then click in that same location and it took away that color caste. But it really didn't bring the other colors back to what they should be by highlight both of these images and bring them side by side using survey view while the image on the right doesn't look bad. In fact, it actually looks kind of neat without effect. The raw photo on the left is much more true to the original colors in that scene. Now I'm gonna open up old photograph that's been scanned and it has a significant color caste. Instead of using the basic panel to fix the color cast, I'm gonna go into the tone curve. Then I'll click on the point curve in the bottom, right, and I'm gonna focus my attention on the Channel section. If I click on this drop down, I have three other options red, green and blue. With RGB selected, you adjust all of the colors of the same time, which in effect, adjust the brightness and the contrast of your image. But if you'd like, you can also select individual color channels to effect only those colors. Each of these colors also has an opposite color of the light spectrum. The opposite of red is science. The opposite of green is magenta, and the opposite of blue is yellow. The color cast that I can see here looks green saw. Go ahead and choose green. Then I click over the middle part of the image, and I'll drag down. Doesn't need to go very far. Just a little bit. That took out a lot of that green and did a really good job. Next, I'd like to have a little bit of science to take away some of the red to see what that does . So we'll choose read from the list and again will drag down. But I don't really like what that's doing. If I go up, it makes it to read. So I'm just gonna reset this specific curve to do that, I right click and select flattened curve that only affects the channel that I'm currently in. I'm gonna go back into green and I think I'll move it down just a little bit more. Now, if I toggle this panel on and off, I can see that I was able to remove that color cast from the image. 80. 4.37 — What is “soft proofing”?: soft proofing is a way to preview your image and see what it will look like when it's either printed or exported with a specific color profile. Toe access Soft proofing. You can use the keyboard shortcut s or check the box at the bottom that says soft proof in the toolbar. You immediately see a white background. If you like, you can always right click and change the color. It's defaulted to paper white To start, let's select a color profile by default. You'll have SRG be an adobe RGB, but if you have installed I C C profiles or print profiles into your computer because you know that's the paper you're going to print with, then you can add these as well. Just go into other and then check the boxes that apply. I've installed a few different profiles here. Demonstrate this and I have in Epson watercolor paper selected If you want to see what it looks like, where it would simulate the paper and the ink click on that box, and it's going to usually kind of faded a little bit, depending on the profile that you have, each of them are gonna look a little bit different. The biggest reason for soft proofing is to make sure that the colors I see here we're going to be pretty similar, if not identical to the colors that I see once it's printed. And to do that, you need to check for out of gamma colors to summarize what that means on your computer, you see and work with more colors than printers can actually print. So to preview those colors that your specific paper or printer cannot see, click on the little icon on the top, right? If you see this a bright red area in your image, that means that those colors are not going to print the same way they'll still print. They just won't look like what you want them to look like so you can take control instead of light room and adjusting it ahead of time so you know how it's gonna turn out. In most cases, you'll probably want to do this in the HSE l panel. I'll go ahead and click on HS l, and I'm just going to reduce the saturation of just that color in her dress. I'll click on the left of the saturation. Bring that little icon over to the dress and then click and drag down until that bright red area disappears. As soon as I did, that light room asked me if I want to create a proof coffee. If you know that you're going to make adjustments, you can do this ahead of time by clicking on the create proof copy button inside of the soft proof panel. But thankfully, it also pops up. If you don't do ahead of time, it's usually a good idea to keep an original copy of your image and a copy of an image that you want to actually send off to the printer. Proof copies are almost identical to virtual copies, so if you are familiar with virtual copies, then that's pretty much exactly what they are. A click create proof copy, and now I have a copy that I consent to the printer. I'm gonna press as to get out of soft proofing. And if I go into the library mode and look at the metadata on the right in the copy name, I can see the profile that I selected. This is good info because now I know when I export this photo that this one is going to that specific printer or type of paper 81. 4.38 — Spot Removal: Best Practices: Now let's discuss spot removal. You can access the spot removal tool by clicking on the icon at the top in that little toolbar in the develop module. First, I'll discuss the differences between Clone and he'll I'll click once in the image and light room is going to try and locate an area where it thinks that I want to actually clone this , too. I'm gonna move it over to the blue section just to demonstrate this setting, and you could see the light room is creating an exact clone of that area. If I were to click, he'll, however, light room will retain the color of that original area that it uses the texture from whatever the sample area is. I recommend that you start out with the heel setting and then move to clone. If necessary. The site setting is pretty straightforward. You can change it in this section here. This will change the size of the brush, but it will also change the size. If you have any of the cloned areas active in your screen, feather will just how softer how hard that edges and then opacity is pretty straightforward . It just sets the opacity of that section as well. The spot removal tool works best in images where there is a lot of area to sample from, and this is a really good example. It's also a good idea to keep the brush size to as small as necessary in order to get the job done, so I'll just reduce the brush size and click over those balloons off in the background. And light room has no trouble with healing those areas with the surrounding sky. Of course, not all of your photographs are gonna be this easy. Other types of images that tend to work better for cloning and healing are images with repeating patterns. You saw me click over an area last time, but another way you can. That clone or hell is just by clicking and dragging to create an area, and then it will try and sample. And that actually did a very good job of sampling from a similar section. The larger your section is that you're trying to heal or clone. Ah, the less likely that light room is going to do a good job. Ah, you can see here it sampled in a strange place. I could try and find another spot. If I really wanted to get rid of that and if I'm unable to find it, then I'll just delete it. Another thing you can do is click hold the shift key and then dragged down, and that will create a straight line. This kind of thing works really well with power lines. For example, to delete an adjustment, just make sure it's active and press the delete key and then just keep trying until you get a good sample. 82. 4.39 — Removing dust spots and specks: spot removal tool is a really good way to remove any type of dust spot or any speck in your image. But sometimes they're not always easy to see in this photo. I can see some pretty large ones that are standing out, and so just use that spot removal tool to heal those away. But I might get to a point where I want to make sure I have all of them removed. Or maybe you just want to check your image to see if there are any dust spots that you just can't see. The best way to do that is to click on this. Visualize spots bucks at the bottom. You can also use the keyboard shortcut. A. The slider on the right is kind of a tolerant setting for how many of those spots we're going to see. As you move it around, you'll find kind of a nice middle ground for your image, and then you can go through with that spot removal tool and continue to get rid of those little specks. And then he went to preview the image to make sure that the spot removal tool was doing a good job 83. 4.40 — Syncing and Auto-Syncing Edits Across Images: when processing photos in the develop module, it's possible that you may want to sink the same settings across a group of photos. Oftentimes, those images will have been photographed in the same location with the same light. Same camera, etcetera. They basically need similar adjustments to each image. So what I've done to set this up is I have gone through the images, and I I picked all the photos that I wanted, and then I added them into the quick collection. So I have only those photos visible in the film strip of the bottom. I chose one image that I'm gonna work off of, and I'll go ahead and make some changes in the basic panel now to sink those photos because I want all of the photos in the filmstrip to be sink together. I'll do command A, but you could also select individual photos to sink as well. You don't have to do every single photo in your film strip. Next, I click on the Sync button at the bottom, and here I would choose which specific settings I want to sink. I usually start out by selecting check none, and then I go through when I check the boxes on those settings that I made changes to. I usually don't sink spot removal because that's oftentimes gonna vary between photos and for the crop. I tend to keep that photo specific as well. I didn't really make any changes to any of the other settings, though, so if I had all of them checked, it probably wouldn't matter. But I have those boxes checked that I did change. So I'll go ahead and click. Synchronize and you'll see the photos in the filmstrip start to accept those changes. But there's also another option that you can use as well. And that's the Auto Sync Toe Access Auto Sync. Go to the Sync button and then click that toggle on the left until it says, Auto Sync. All of these images air still highlighted in the film strip, and any change I make inside of these panels will now apply to all of the photos instead of just the one photo that's in my view, I'm gonna increase the size of this film strips so you can see the changes as I make them. I'll start out by going to effects and a pretty good vignettes. And as I apply these changes to the image, in my view, it's also auto, sinking them across all of the images that are selected at the bottom. This is a good way to quickly process a large group of photos that are very similar to each other. 84. 5.01 — Importing Presets: the presets panel in the develop module comes with some pre installed presets. Thes all start with the light room name and they're kind of locked down, so you can't really do anything with the folders. You can't delete them. You can move them around, and that's about it. But if you have presets that you have downloaded, then you'll probably want to import them into the presets panel. At the very bottom is a folder called User Presets. This starts out empty, but you can import presets into this folder by right clicking. You could choose import and any presets you select. We're going to go into that user presets folder. But if you're like me, you probably want to organize your presets and put them into different folders. So to do that, you'll want to select new folder, then give your folder name and click Create. Now hover over that new folder that you just made right Click, and now you have a few more options. You can rename this folder or you can delete it. In this case, I'm going to import because I'd like to add some presets into this folder so I'll choose import. I have some presets on my desktop, so we'll go ahead and open that folder and next. I just need to highlight all of these presets, all of the L R. Template files and choose import. Those presets automatically appeared over on the left. You can also access some of these settings in the menu go to develop, and here you can either create a new preset or create a new preset folder when you import presets. Those presets are stored in a folder inside of the application, and you can access and even make changes to the presets panel by adding folders and renaming them and even adding presets to those folders. And those changes will show up in the presets panel. You can get to this presets folder in a few different ways. If you go into your light room preferences and then click on that presets tab, you can select show light room presets folder. The other method to access this folder, which is a little bit faster, is to just go into that folder inside of the presets panel, right click and choose the option to show it in the folder on your computer on a Mac that's gonna be show in Finder. From here, I can backtrack to get to the Presets folder. The presets that I've created or added into the develop module will be shown in this folder . Right now, I only have the vintage fade and the user presets folders, but I can add more folders here and then see them appear inside of light room. But keep in mind that the preset panel does not support sub folders so you won't be able to create hierarchies of your presets. I'm gonna go into some presets that I have installed onto my desktop here, and I'm just gonna drag and drop one of these presets over into that developed presets folder. Now we'll go back into a light room and that preset folder has not yet appeared. When you add presets manually, kind of behind the scenes into the folder system, you may need to quit and then reopen light room in order for those presets to appear. I'll go ahead and do that. I just quit and reopen light room and I can see those presets that I added into the Develop Presets folder have now appeared inside of the presets panel. 85. 5.02 — Creating a Preset: If you've created a certain look inside of light room and you want to save it as a preset, then you'll do that over the presets panel. I have this fairly grungy look that I've created, so I want to save it so I can apply it to more photos to save a preset click on the little plus icon to the right of the presets panel. You can start out by giving your preset of name and choose a folder. I'll just keep it in the user presets folder for now. Now I like my presets to have the ability to apply uniformly across all images because things like white Balance and the basic panel adjustments are very specific to each photo. I tend to remove those from the presets, so I'll start out by selecting check none, and then I'll go through and I'll put a check box next to each setting that I want to save with this precept. Most often, that's going to be whichever settings I used to stylized this photo. Aside from things like white balance and basic tone and depending on that preset, I also tend to avoid things like the graduated and radial filters. Unless those filters are for stylistic purposes and not to correct something in the photo. For example, I could have put a radial filter at the top of this image because it's very bright at the top. So maybe I wanted to dark in that area. But on future images, I'm not gonna have that same brightness in that specific area, so radio filter may not be appropriate. Then, when you're finished, click create and that new preset will be available in whichever folder you selected. 86. 5.03 —Updating Existing Presets: Another option that you could do is update your presets. Let's say I'm looking at this photo, and I think the vignette for this preset is just too dark, so I can go into that setting, make the changes and then head over to that preset that I just saved. And when I right click, I can choose the update with current settings option I'll check or uncheck the appropriate boxes is necessary, and then shoes update now that new preset is updated, and it will reflect that when I apply it to other images. 87. 5.04 — Creating a “Favorites” Preset Folder: light room doesn't really have a way for you to favorite any specific presets, so you can access them quickly. However, there is a work around, and it involves creating a separate folder where you can store specific presets that you use quite often. So, for example, let's say have this preset. I like it a lot, and I want to be able to access it quickly without having to search for it. And all of those preset folders that I have in the presets panel. I can right click over any of those presets and select new folder, and then I'll just give this a very simple name title it favorites and click create. Because I was hovered over that preset when I created the new folder. It automatically pulled that preset into that new Favorites folder. But let's say I just want to copy these presets instead of outright removing them from those folders. Me. Go ahead and drag and drop this back down to that folder and it's settled. Open this, using the finder on My Mac so all select show and finder and then I'll copy this preset. I'll backtrack into that developed Presets folder, locate my favorites folder and then paste it. That preset doesn't show up right away. So I'll need to quit out of light room and then reopen. I've reopened light room, and that Copied Preset is in my Favorites folder, but it's also still inside of its original folder. 88. 5.05 — Applying Develop Presets on Import: If there are settings that you want to apply to all of the photos that you import into light room, then you'll want to create and set an import preset. My main camera is a Fujifilm x t. One, and one of the things that I like to set in camera is a specific profile. If I go to the camera calibration, I can see them here on the list. I really like the Vell via look for my images. So what I did was I created a preset that Onley effects camera calibration on that image. Any time I import my photos into light room, I have to change that in the settings and because I do it to pretty much all of my photos, then it's a lot easier to have those settings applied while they're being imported. So setting an import preset is very simple. Just right. Click over the preset you want to set and choose apply on import. A little plus icon will appear next to that preset. Now, if I go into the import window next to develop settings that Fujifilm Vell ve a preset is selected if I happen to be importing photos that I don't want this to apply to. I can select none or I can choose another option from that list. 89. 6.01 — The Print Module Overview: the print module is a great place to go if you want to print images, it's also a good place to go if you like creating custom collages, and you can also use it to save JPEG files to print an offsite labs or as photos that you'd like to share online. The TEMPLATE browser has a good selection of templates that you can start out with. You can also create your own and save them to your own folders. Just below that, the page set of button will allow you to create a custom page or accustomed document Size. Over on the right are all the panels that you'll use to adjust the content inside of your document. The layout style will affect some of the actual panels. If I go from the single image or contact sheet setting down to the picture package, the names of some of the panels have actually shifted to different things. The image settings is where you will select things such as zoom to fill, rotate to fit, and you can also set borders and strokes on your images. The rulers, Grids and Guides section allows you to set the ruler units if you prefer to not use inches , you can choose a different setting. The grid snap setting allows you to keep your images aligned. Each of those image boxes is called a cell, and so right now this is set to snap to sell. So that way, all of my cells will be aligned. If I change it to grid, then it helps keep me in line with the grid, and you can also turn it off as well. If you prefer not to see the guides, you can check individual options. Or you could just click the box of the top to hide all of them. If it any time you see this little exclamation point at the top, that's telling me that some of the cells inside of my document are overlapping. That's probably due to the fact that I just moved one of them around. So if I go ahead and reposition it than that exclamation point disappears, the Cells panel is where you can customize the cells. I'm in a picture package right now, so all of the cells are going to be repeated. I can clear the layout and then start adding my own cells. If I were to change this into a custom package. The cells will add, but no images will be added alongside. I would need to drag and drop those images myself to determine which photos I would like in each of those cells. The page panel allows me to add things such as, ah, colored background. I can also add text in the form of an identity plate or a watermark. And you can also set this to print cut guides, which will make it easier for you to cut your print packages after they are printed on paper. And then the print job allows you to either print to J Peg or to a printer. 90. 6.02 — Using Collections in the Print Module: when you want to bring a group of images into the print module to create a picture package or collage or anything where you have more than one photo that you want to use somehow in that module in the best way to do that is to create a collection with the photos that you'd like to use. You can use folders for this, but I prefer to use collections because it allows me to pre select all of the photos that I want to use. And then I don't end up with images in the film strip at the bottom that I have to ignore. I'll go ahead and click on that print module, and now I have Onley those photos that I've selected in my filmstrip of the bottom. You can also use the collections tab on the left inside of the print module. If you need to select a different collection 91. 6.03 — Setting the Proper Page Size: When you first go into the print module, you may want to change the size or orientation of your document, but if you go into the settings on the right, there's no obvious location for you to actually change that paper size. And because this is a print module, you're actually gonna have to go into the page, set up and change the actual paper size that you intend to print to do that Click on page set up on the bottom left, I'm on a Mac, so if you're using a Windows machine, this set up may look a little bit different to you. The key is to find that paper size drop down, and you can either select something from the list or go into a custom size. This is where you will set up the paper size that you want to work with, and it will also create a custom sized preset that you can access in the future. When you're finished, just click OK and your document will immediately change. Once you've set that page, you want to be sure that you don't click on any of these presets on the left because the paper size is connected to those presets gonna undo that so I could bring myself back to that custom paper size. Now you can make changes or add more cells or do whatever you need to do inside of the print module to create your document. If you happen to be using the print module to create a J. Pegler digital copy of whatever you're making inside of the print module, go into the print job and change it to Jay Pek file. This gives you another place where you can change that file size. If you click on the custom file dimensions, you can add anything you like into that box, but it's not going to scale the contents. It's only gonna change that paper sides surrounding whatever you have inside of it. 92. 6.04 — Picture Packages: The picture package option in the print module allows you to create one document with the same image repeated in all of the cells. This maybe something you would use for school portrait's or maybe a team photo. And there are some templates over on the left that you can start with or you customize the cells yourself. If you only need to make one print, then you want to make sure that they use selective photos is set. As I go through each image on the bottom, you can see it's switching back and forth, but there's only one page in this entire document. However, if I have a collection of images and I want to make one printed page of each of these images, then you want to choose all of filmstrip photos. Now, instead of just one page of printing, I have 10 pages, and I can use the arrows on the left to scroll through each of the prints inside of that picture package 93. 6.05 — Custom Print packages: the picture package option allows you to create prints with same photo wanna repeated. But when you want to create a print that has different images on it, that's when you want to create a custom package to start click on custom package. In the layout style panel, you'll be presented with a blank page. And so, from here, you'll need to choose the size of images that you want to go inside of your package. There are some presets here. I'll go ahead and click five by seven twice, and then I'm going to select the photo that I want and drag and drop it over the cell. We'll do that again with a different image. But because this image was vertical and I'm trying to put it into a horizontal spot, it didn't automatically rotate it. If this happens to you, go up to your image settings and select rotate to fit. You can also move yourselves around inside of the document, and if you wanted to add more prints, click on new page by clicking on the arrow to the right of each of those cells. You can choose a different cell size if you want to delete a cell, make sure it's active and then press that delete key. And you could even create a custom cell size as well. If you need to reposition a photo inside of a cell, hold the commander control key and then click and drag until you get it where you like it. 94. 6.06 — Making a Custom Collage: making a collage is probably one of the things I do most in the print module. The default templates don't really have any good collages. So I end up making my own. I start by setting up my page size. I always create a custom size, and I want to keep to the two by three aspect ratio, so I'm gonna make it 36 by 24 inches. If you're printing it, then you'll want to choose the paper size that you actually are going to print. In my case, I'm more likely to just export this as a J pic file. So I'm just looking for a big file that I can work with and maybe size down if needed. Now I have this nice big space, but I want to change my layout style so that it's a custom package. It gave me two pages for some reason, so I'll go ahead and delete one of those pages. I'm also going to clear my layout. I don't really need the guides, and I don't really need to know the size of the image cells of the dimensions or anything like that. So I'm going to uncheck the show guides, and this will basically just give me a nice kind of clean sheet of paper to work off of. Now I go into cells. I'll just click on one, and it will add a nice image box for me here. I can resize as needed. I was gonna keep adding different cell sizes. I'm just trying to create a nice uniform. Look, I'll just keep adding cells until I get something that looks fairly interesting and nicely balanced. You don't need to align your grid as neatly as I did. The images can overlap, or they could be spaced out even further. Now, adding photos is just a matter of dragging and dropping. If you have any images like this one that is rotated and I don't want it to be rotated like that, go back up to your image settings and uncheck that rotate to fit. If you need to reposition an image inside of the collage, hold the commander control key and just move it around until you get it where you need it. You can also add borders and strokes to each of the images inside of the Image Settings panel. I think a white photo Border does a nice job of separating the images within the collage, and that's the basics of creating your own custom collage. 95. 6.07 — Saving User Templates: If you have gone to the trouble of creating your own custom print just like I did with this collage, then you may also want to save. This is a template so you can use it in the future with different images. To do that, go up to the template browser, click on that plus icon and give it a name. I'm gonna call this one collage 36 by 24 Horizontal. I'll go ahead and save this in the user Templates folder, but you can always create your own custom folder name if you'd like a well, and then I'll click create. Now, if I go into the user templates, I can access this collage set up at any time. 96. 6.08 — Adding Text or Logos: One thing the print module allows you to do is at either text or a logo to your photo, and this is done inside of the page panel. The first option you can select is the identity plate. This allows you to add texture logo anywhere in the document. If I click on it once it appeared in the middle there, I'll go ahead and move it out of the way so you can see it. This identity plate is something that you can set up outside of the print module as well. If you go up to the top left, where it has the light room logo and right click, you can select a personalized identity plate. Now the text on the top left along with the font and the colors of all of the module selectors on the top right are personalized. I'm gonna bring that back to the regular light room setting, and to edit this click once over that identity plate in the page panel and select edit. You can use either stylized text like I have here, or you can choose a graphical identity plate click on locate file to choose the image that you want to work with PNG files air usually best because they have transparent backgrounds and you can also save or load presets as well. I have one with my logo that I've already saved. So go and click on that. It's pretty large, so you can't quite see it inside of the preview there, and I'll click. OK, now the identity plate is changed to my logo. I can resize this inside of the document and relocated as well. Another option that you could do if you were creating this type of fine art. Matt is to create a save preset with your signature, and that will kind of give it the impression that you've signed your print. Another thing you can do is water. Mark your photo. I'm gonna go ahead and access. One of my previous prints that have created water marking is different because it doesn't just add one thing to a page. It adds it to all of the photos. If I click on water marking in the page panel, nothing really happens yet because I don't have any presets created. So I'll click on the drop down and select edit watermark. If you want to use a text watermark. Just edit your type and use the options on the right. Teoh, decide how you want it to look. You can also add a graphic watermark as well. Just by clicking on that and selecting the file, I'm gonna click Save to save. This is a preset. And now, on each of the images, I have my watermark applied. It also rotates depending on the orientation of the photograph. This works well. If you're doing