Speed Up Your Workflow In Adobe Lightroom | David Miller | Skillshare

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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

10 Lessons (26m)
    • 1. Intro

    • 2. Learning the Workspace

    • 3. Things To Consider Before Editing

    • 4. Picks and Rejects

    • 5. Global Presets and Tonality Adjustments

    • 6. Synchronizing Edits Across Multiple Images

    • 7. Creating Presets and Applying Upon Import

    • 8. Exporting Preset

    • 9. Virtual Copies

    • 10. Summary + Project

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About This Class

In this class I'll show how to speed up your editing process in Adobe Lightroom, taking your workflow time from hours down to mere minutes.  We cover syncing and auto syncing your actions, creating your own preset filters and brushes, effectively utilizing virtual copies and collections, and more.

Meet Your Teacher

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David Miller

Multimedia Artist For Primordial Creative studio


I'm David, a multimedia artist in Phoenix, and my studio is Primordial Creative.  


I have always been interested in the visual arts from an early age- drawing, painting, and clay- but around my high school years I became interested in photography for the social aspect of involving other people, the adventure inherent in seeking out pictures, and the presentation of reality that wasn't limited by my drawing skills.


One thing in my work that has stayed consistent over the decades since then is I have an equal interest in the reality of the lens next to the fictions we can create in drawing, painting, animation, graphic design, and sound design.  As cameras have incorporated video and audio features, and as Adobe's Creative Cloud all... See full profile

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1. Intro: Hey there. My name is David Miller. I'm in Phoenix, Arizona, multimedia artist and photographer. Today, we're going to talk about speeding up your workflow in adobe Light Room. We will be covering picks and rejects sinking auto sinking virtual copies and created your own presets so you can maximize your time, get more done much faster. Your project will be to create your own presets on virtual copies, screen captain and posted to the skills Sharp Age. His class is intended for people who are beginners to Adobe Light Room or who know how to use the library editing suites but haven't dealt deep into the realm of creating their own presets, sinking on a sinking or creating virtual copies. So let's get started. 2. Learning the Workspace: Okay, We've opened a light room and I have a fresh set of photos that I haven't had a chance to take a look at. Yet. For the purposes of our class, these were shot out at the Superstition Mountains outside of Mesa, Arizona. And if you don't know, light room will briefly go over where everything is. The main things were going to concern herself with are the library module and the develop module. Up here is your module bar. If you don't need to see this, you can de clutter your workspace by flipping this. Closed this little triangle in the middle here and the other modules, Matt books, light show prints. And I don't have web here. But there is a Web module. No, those are really relevant to what we're going to be working with because we want to speed of our workflow. We want to make this stuff, though as quickly as possible, while not sacrificing quality. So over here is your organization panel. This in library module. This has all the folders of where things are at. And then over here we have where we mess around with stuff key wording. Quick, develop our hissed a gram, which led to snow. If something is too far into the highlights or too far into the shadows, this is pretty much what you've got in your library panel underneath the folder location. There's something we'll talk about in a different section of our class, but I'm gonna show it to you now just so you know what's here. And this is collections that's underneath the folders, so the folders are the specific place where things were located on your hard drive. As you can see, Mac hard drive for me Creative Cloud Files Band goes into my pictures in my Dropbox and all those physical places down in the collections. This is the way of setting aside your material in a way you can organize it without moving where it is physically on your hard drive. As I said, we'll get into that in a later lesson. 3. Things To Consider Before Editing: when I come back from a shoot first thing, I do load the card. Don't leave the card in the camera to accumulate more and more photos, because you can speed up your workflow. If everything is shot, let's say on the same day or the same location or similar environment. Same subject. If you have your weekend trip to the Superstition Mountains alongside your Christmas photos alongside which you ate for breakfast, done all these different lighting scenarios, you're going to make it a little more difficult to process thes in a timely fashion or organize them. And in many ways, processing and organizing could be the same thing. Also, if you are shooting in an automatic exposure mode, it's not necessarily a handicap. And certainly there are some leading environments where it's pretty much impossible. Shoot anything other than an automatic mode bites for the purposes of post processing. You're going to make it a lot easier on yourself if you shoot fully manual on your camera. So manual means you control the ice so you control the aperture and you control the shutter speed as well as shooting in whatever the proper white balance of your environment. is so in my case, it was mostly sunny. I have my white balance set to that. If the clouds came over a certain area, I would switch my white balance too cloudy. Do that while you're shooting. Don't say I leave all this stuff up to the computer because I don't have time to think about it. If you don't know how to do the manual settings on your camera, I have some other classes that can help with that. And I'm sure there are probably 100 other ones on skill share about setting the manuals, thinks on your camera. 4. Picks and Rejects: So with that out of the way, we are going to go into our workflow. First things first. You're going to make life a lot easier for yourself if you don't try and develop every photo you took, only the good ones. So I have my filmstrip done here and I'm going to arrow through each picture. And if I see the potential in it, I'm going to hit P. So this first set of photos, I comptel I shot them with intention to be a panoramic, So I'm going to pee them all. He puts a flag down as a pig if I see a mistake, all right, don't see a potential. A photo or a photo is just covering the same ground. For example, have a couple of these that not sure why I backed up when I shot but don't need that one. Hit X and X sets your photo as a reject. See how it's great out on the bottom. I do this for anything that's blurry where the hands were cut off on a person where I've made some obvious horrible air. And oftentimes, when it's just a random duplicate of something that I already have these air intended as panoramic. This is one that I'm likely to X because I cut my son's feet off. If I'm not sure I go ahead and leave it without a P or necks. Get my daughter's head off here. Got a forehead off X finds closed X dog out of brain necks. Everyone together p everyone together. T sons had blocked eyes closed, Bex, Once you've gone through this process, you can hit command, deletes on your Mac, or believe it's controlled leads or control backspace on your windows platform and voila! They're all gone deleted from the hard drive. Now I wouldn't go crazy Xing out everything that you don't think has potential because many of my favorite photos that I have processed happened to be ones that I shot years ago and did not think they had potential. And I saw it later in life. So important thing to remember is that, um there are photos that just cannot be rescued or very unlikely be rescued. Or are the poor man's version of a better photo you already took Those are the ones worth Xing out, rejecting so cleaned up something like 13 photos out of here as far as Onley seeing my favorites, the ones that I think are worthy of working on right away. We have filter here that has an options is flagged in the drop down menu. Quit that. These are only the ones that I put P on. He planted the flight. 5. Global Presets and Tonality Adjustments: Okay, Now that I've got some pics, I'm going to go ahead and choose one that I think is very representational of the scene. So even though this is part of something I shot for panoramic, this is very representational of the day. The sun was hitting most of the desert landscape, but the mountain itself was covered in cloud shadow. So now I'm going to move over to the develop module and in developed you do not have access to your folders on Lee the collections. One of the reasons why you want to organize your work as a collection. We'll get to that later. Um, also in the develop module. In this left hand side, you have presets, which anyone who's ever played with instagram or any sort of photo editing APP knows that preset is a somewhat short hands for style. There are a lot of presets that come of light room, and there are a lot of presets that you can download from the Internet and add into your library collection. The way that she add a preset is this plus button here. So what's currently happening is whatever my sittings are here. My develop module anything that's checked, it will save it as a user preset, which I will show you down here. This photo is currently zeroed out how the sliders in my develop module are set to zero of two methods of attack. One is mouse over my presets. Look at what looks good. Sometimes I have standards I go to out of the light room ones. Let's pick yellow filter and then make some adjustments accordingly. So my global adjustments air here to the goal things that I would do in a photo humble, adding clarity and contrast, usually around plus 50 plus 40. If you're highlights are really high, you pull the whites down, and if you're blacks are really far over, did elect, you can pump up the blacks or the shadows. How do you know if you're really far in one direction or another if you're too far? Well, Instagram has little buttons here. The's show you where clipping occurs and clipping is when you are really white. You see the history Ram bumps all the way to the right or really dark. Mr Graham is bumped all the way to the left. Some of my blacks are super black and my wife's or super white. Generally, that's something you don't want in a photograph. I'm sure there are many a specific cases where you could make the argument. It looks good to have that, but for our purposes, we want to stay within this middle area. We don't want to go all the way to the black all the way to the white, one little spot left where it's all the way to the black Help until it's gone, looks good. So put more detail in the clouds, playing with the black and white mix a little bit to see what's more appropriate for our landscape. The thing with presets is it doesn't know what's in your photo when I shoot in the desert. The ground is a certain color, and the plant life is a certain color, and mountains in the background are certain color. And that's not the same as other parts of the country. So so you just slap on a preset and not affect any of this other stuff. You really losing on the potential of the photo 6. Synchronizing Edits Across Multiple Images: is this was all shot. The same environment, same lighting conditions with the camera on manual. So if I do something well here in a single photo, I can apply that setting to everything else that I'm working Do one last bit of touch up, which is the adjustment brush? The adjustment brush has the same exact controls that we have here when we're not in the brush. But these affect the entire photo you can see and the adjustment brush effects only portions of a photo. So if I only wanted to knock down whites in certain areas of the club or add contrast to the sky, it's a good way to do it. Okay? Do a quick comparison here with what I started with him. Where I'm at, this feels more like a classic desert landscape than this. This just looks like something Somebody walked out and shot with their phone without a whole lot of feeling. So I think we're good on this photo. Now I'm going to apply what I did to this to the other ones. Highlight the ones you want to effect in your film strip. We have a switch here. It says auto sync and sink. Auto Sync means everything I do to one photo effects, all of them from the point that I selected them. So in this case I really blew it up. But because I only changed exposure after I clicked Auto Sync and connected these other photos, they're all brighter. But they're not black and white. All of the black and white adjustments I did before I highlighted the rest of them on the bottom to back up. I'm going to hit control or command Z, and we're all back to normal. So Auto Sync isn't what I need right now. If I was working from scratch and highlighted these all at once, Ottosson could be useful, and I'll find another set of photos to do that to in a moment. But for now, when I I want to do is sink, I think, well paced all the settings I did on photo A to everything else that's highlighted, including my brush adjustments. Now, when you do local adjustments using a brush or you crop or you do spot removal, which is where you take out despots, it's not a good idea to paste all of those onto your other images because you can see my thumbnails where the superstitions mark mountains are in photo A They're not in the same place in photo Be therefore, my brush strokes would not align properly. I'll go ahead and show you what that looks like by synchronizing local adjustments. So here is far away for a B. I wanna see if I open up my brush palette, show the mask overlay. You can see that the lower right portion of the clouds wasn't hit by that mask put away. That's exactly what I wanted in these others. Not so much. So I'm going to back up again. Commands ear control Z on windows. Now I'm back in the place before I synchronized all my images Looks think again, uncheck local adjustments Synchronize Now they all have a consistent look. But without that brush trip, say I want to do that brush stroke on all these other images. Well, light room is going to remember what your very last brushstroke waas what kind of brush used in this case. My brush is plus 87 contrast minus 0.9 exposure plus 49 7. Creating Presets and Applying Upon Import: Okay, So now that we've established a particular kind of filtration, we like we can save this as a new preset presets menu. Over here in the develop module, Click Plus gives you all the options that you have on this right hand side of your develop module. The ones you don't think you are going to want to keep his part of presets such as the graduated filters, radial filters could have those unchecked. I title my presets with a, uh something that's memorable to the situation for me. So this waas cloudy but sunny desert, something like that. I'm going to remember this scenario and how waas useful. You can see some my other user presets. One says Aqua eliminator. And I created that when I needed a color filtration to get rid of the weird cast you get underwater, black and white, grainy backyard cake. I don't remember what I was photographing at the time that I needed that, but that's one of them. And here is our new one Cloudy but Sonny Desert. Now one of the quickest ways to speed of your work is to do all this development during the import phase, which is where you bring your photos into light room. So I'm going to go over its in library module, insert an SD card in my computer Click import, and these were all actually shot the same exact time that I did. The other work that you've been seeing, I just shot on a different camera over here. File handling file renaming apply during import developed settings, have my presets here, and I have my user presets. So we find cloudy. But sonny desert click import and as it brings them in, you have your plus minus here that shows you that development settings have been applied, and there we are. Now, of course, every photo has individuals stuff to work on. For example, I have a spot here, and though I could auto sync spot removal across all these photos, it's not a good idea because it's not always going to be clear sky here. So at this stage you will have to do some individual work, but I've already saved a lot of time just by importing, with the development preset applied 8. Exporting Preset: so the philosophy of creating presets to save time extends to the export menu and in the export menu, you have a lot of settings on how you can custom rename stuff the sizes you want to export , either in inches or pixels and at what resolution. And also what kind of sharpening you want to export your images as if this is something you do commonly like. You always print out at 14 inches the long way, 300 pixels per inch. You can create a folder for that, like I'm creating one for my dog, Yoshi here. And once you have your settings on the right side of the panel, there's a little button that says, Add on the bottom of the left side, right above where it says, plugging manager, Whatever you currently have going on on the right side is what is going to be added as a new preset. So we're adding Yoshi, this is a setting that I would normally use Fire wanted to create websites, images of my dog in a particular folder on a regular basis. Doing this has probably saved me hours, months, maybe even years of my life. I remember in the olden days when I only had a photo shop and I had to create difference, a Web sized image and a print size image for a wedding. I owe them 100 photos, and that was a process of opening and saving 200 times. 9. Virtual Copies: The last thing we're gonna talk about is the concept of virtual copies. So virtual copies are new iterations of your images that don't eat up any extra hard drive space, because the way light room functions is not through creating duplicate files, but by saving your data in a small sidecar, file the Ex MP file to create a virtual copy right click on your photo in the filmstrip, and you'll see virtual copies as an option in the middle of the list like that. And we see a new it aeration of your image, which you can no edit a totally different way than the 1st 1 you did with the original. Or keep the original with no edits and create a new version with extra clarity. A new version with funky colors, a new version that edits out objects in the background completely. There any number of reasons why people create virtual copies. Having virtual copies is useful to your workflow because it means that you can have more than one version and not have to wrestle with the weighty decision of Is this going to be the final edit and my really happy with what I have here, and if you owe them to a client, you can use the export menu and export both versions or the multiple iterations and send them to your client and have them choose from your versions. 10. Summary + Project: So that was the class we covered. Sinking auto sinking, creating your own presets, creating virtual copies and working with collections as well as picks and rejects. I hope you got a lot out of it. If you do create your own presets and virtual copies. Screen captain posting the skill share page so we can see what you came up with.