Workflow Like A Pro: Class 4- Advanced Lightroom Editing & Exporting | Lissabeth Anglin | Skillshare

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Workflow Like A Pro: Class 4- Advanced Lightroom Editing & Exporting

teacher avatar Lissabeth Anglin, Doing all the things, coffee in hand.

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

5 Lessons (43m)
    • 1. Class Intro

      0:18
    • 2. B&W Conversion

      9:41
    • 3. Advanced Editing Tools

      19:09
    • 4. Exporting

      13:08
    • 5. Assignment

      0:36
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About This Class

This is the 4th class in the Workflow Like A Pro Series. If you want to start at the beginning, click on one of these:

Workflow Like a Pro Class 1: Adobe Lightroom Quick Start Setup

Workflow Like a Pro: Class 2- Importing & Culling in Adobe Lightroom

Workflow Like a Pro: Class 3- Lightroom Editing in Develop Module

Hi! I'm Lissa Anglin, a professional wedding and portrait photographer who edits hundreds of thousands of images in Lightroom per year. It is my #1 tool and I have learned how to use it for a quick and efficient workflow, resulting in beautiful images and well-organized file systems. 

In this class series, I'll walk you through my entire post-production workflow. We'll cover all of the essentials to using Lightroom- focusing on the elements I use most for a quick start. 

This class is for beginners or people who just want to learn a better Lightroom workflow. In this class, I'll walk you through some advanced editing techniques and exporting and archiving your images.

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Meet Your Teacher

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Lissabeth Anglin

Doing all the things, coffee in hand.

Teacher

Hi there! I'm Lissa Anglin, and I've been a professional wedding and portrait photographer for over 10 years. I specialize in clean, classic images which are above all, genuine. Over the years, I've met many people who had "fancy" cameras, but didn't know how to use them! I LOVE teaching people how to make the most out of the camera they have and learn to enjoy photographing their kids and adventures. So, I've landed here on Skillshare to share what I've learned and hopefully inspire a few others to go out and create!

View my work @ www.lissaanglin.com Insta: @lissaanglin & @lissaanglinphoto

Read my blog @ www.partofmeblog.com

The Moms Who Snap Facebook Group- it's an open group- come join us!

See full profile

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Transcripts

1. Class Intro: in this last class, we're going to go over some more advanced editing techniques that light room has and some exporting and export presets on how that works with light room and how to finally finish everything out, archive those files and finish out the whole post processing workflow. 2. B&W Conversion: Okay, So in this video, we are going to work on converting your images to black and white, creating your own editing presets and a couple advanced techniques that I didn't talk about in the first city. So let's go ahead and get started. I like to go ahead and edit all of my images and color, and I do go ahead and label a few that I know I'm gonna convert to black and white, but just for me mentally, it works best to be able to focus on the color first and then go ahead and select the images that I want to make black and white in a second round. So I'm going to go first through the images that we've already picked and edited and select any of them that I want. Teoh, go ahead and convert to black and white permanently, and that's how I deliver them to my client. So I'm back in the library module and I'm going to just use my arrows on my keyboard to through them and label them the color red. I like to label them because I've already used some stars to designate maybe some of my very favorites and images that I'll probably blawg later. So the color labels work really well. You can see right here on the lower right of your to your bottom toolbar. Here's where you filter the color labels but actually label a photo. You can use your keyboard shortcuts on the number six makes it a red label. The number seven makes yellow eight Makes screen nine. Makes blue. There's other ways that you could do that. The keyboard shortcuts are definitely the quickest, but you can also right click on them, scroll down to set color level and then pick a color that you would like it to be. You can also see right here that it shows you the numbers that you need to hit on your keyboard. Purple does not have a number, but you can still select it by right clicking. Set. I go ahead and just use the number six to designate. Okay, that's when I want to make black and white, and then I just move on. I'm gonna go ahead and this one. And for my black and whites, I am typically looking for darker toned images, ones with a lot of contrast. Shadow that I know will just look good as a black and white. But a lot of times, sometimes it's the ones that just have a lot of collet had color struggles with. If I'm just still not quite pleased with the color in an image, I will I will also comfort that black your life. So a little secret there for you. Okay, so I selected just a few, but I do want to convert toe blocking white. They're all labelled red on, So to filter them out, I'm just gonna go down here and hit the red filter, and then we are gonna move over to the develop module. Now, my black and white filter that I use is a preset that I've created on. So I want to show you what we're working on this how to make your own preset on. I believe that I started my black and white presets with B s CEO film Preset. I think it was a try axe processing. And all of these are black and white filters. You can tell. So I think so. Let's just pretend I'm gonna make another one, so I'm gonna go and start with this one and check it out of that one has a little bit of grain. So that's cool. I like that for this image on. And then I'm gonna go over here just like we did with our color images and kind of added what? I would like to take out what I did. So obviously, because I applied this new preset, my sharpening has gone back down. So I'm gonna go and pull that back up just like that. Wanted Teoh, That helps a little bit. It does appear to ab quite a bit of grain to this image. You can see right here. It's just added, um, just some graininess to the photo, and I like it, OK, I like the grain look, especially in a black and white, but I think it's still a little too much for me, So I'm gonna go and reduce that a bit and pull the roughness down. Yeah, that's better for me. And then I actually like a little bit of been getting on my black and white images. I'm gonna pull that been yet all the way down. You could see what that's doing. Its darkening the edges right there. If this isn't enough for you in Vignette E. You can also click over here to manual and then play with the VA netting on this panel, and it'll darken it even more for you. So I like that in. The last thing that I want to do is obviously pull my blacks down because it's something I do pretty much on every image. So I'm gonna make those black, super super black and then also in black, and whites like to just over expose a touch so that all you really see it's a good, good contrast. Let's go ahead and pull that contrast. Filter at this well on. And then let's pull the highlights down. Just a touch got pushed it a little too far because now I can't see her dress and the whites, the whites and the highlights are different on you. You'll be able to see it once you move the sliders. But why? It's just kind of more overall. Okay, I'm pretty happy about that. That look right there. So let's say I wanted to save this particular editing set as a new preset that I made for myself. So all I'm gonna do is scroll all the way up to the priest. The top of the presets panel hit this Plus, and then I'm going to title it with as grainy black and white on and then below. Here, you get to select what aspect of editing you want to say with a preset. So just like we did when we were sinking images, you get to say, OK, this is the portions of that image that are going to affect it. When we hit that reset so pretty much everything here. I didn't use any filters that graduated radio, and I didn't make any transform. Um, one's corrections I didn't miss have been getting I messed with the luminous, the color sharpening all of those things I want to include on. And then I'm going to make sure you can. You save your precepts in different sets. You can see over here they're different ones. So user presets is the one I want because I'm making this preset for myself, and then I'm gonna hit create. So it's pretty awesome how you have a brand new preset just for me. So I'm gonna go over and let's pretend I'm in a new shoot and I'm just gonna hit my grainy black and whites and there it ISS. Now, this is a little bit bright for this image. Obviously, I'm losing some detail interface, so let's tweak it a bit. Pull that exposure down. I'm gonna pull that black out just a bit, but I actually really like that on then. All we need to do is just sink it to the rest of the lack of my images. This one I like. I like the craziness that's happening behind her bath, that black from what would be a really good way to isolate her so you could see her in between They all the grass and stuff, which I really do. I am liking that effect now, so I'm gonna brighten it up and then pull my blacks down just a bit, bump up some of the shadow shot there just to get a little bit more her face, but they've been getting It's working really well because it allows you to focus on her better here, not the best shot, but when I like, obviously this is too dark. The preset has made it a little bit too dark. I could have excluded my exposure in making that preset, and it wouldn't have changed any exposure settings. So that might have been something I need to consider next time. Because I don't If I've already perfected the exposure level, I don't want to redo it every time. I had a new preset, so this is good. I'm gonna bump up that exposure, and they've been getting on. This is kind of killing me here, so I don't like the way that that's kind of darkening those little corners. So I'm gonna pull that back out, just so it's nice and clean. And actually, this little dark spot right here is taking away from her, so I'm gonna crop it in. Just lose that right there. There we go. That's better, right? Well, like this. Okay. So I'm gonna pump that up a little bit more good, but the contrast this is why I love shooting backlit. Because it just creates this nice little a little line around people, but make it just a nice crisp look. Okay? Lastly, that looks pretty good. Teoh. Cool. So there we go, with all of the black, my images, and if I want to view them with everything else. I just turn this filter off with red, and there we go. So at this point, I would start exporting. But I'm going to go ahead and show you guys just the more advanced techniques toe edit in light room, which I did not show you earlier. 3. Advanced Editing Tools: Okay, so there's actually a lot that light room can dio to avoid getting into Photoshopped Photo Shop is amazing on, and there's 1000 bazillion things that Photoshopped dio. But I have just learned that over time the longer I can stay in light room better because it means last time required on my part and probably the ability to get Justus much done on which I really, really like. So I want to show you some of the pretty cool things as faras editing goes that I probably don't use every time. But I definitely do utilize from time to time. So let's go ahead and just start with this image right here. Bump over back to the develop module on the things that I want to tell you about our right over here underneath the history, um, on these little icons right here. So this is obviously the crop tool we talked about that I showed you how to use that earlier that would click back on. But one of my very favorite things is the spot removal tool and actually let's find a better image that would be good for first R removal, But she's OK so spot removal is awesome. Anytime you have an isolated spot, is it or piece of dirt or trash or something like that that you want to see? Go away. So basically, let's say I wanted Teoh remove the bruises that she's got on her legs, which were actually quite authentic for this child. I don't think I would normally, but let's for let's say, I was referring to do that on. So I'm gonna hit in order to zoom in and just get a better view of what I'm doing. I've already clicked right here on the spot removal tool in this little panel. His pop down commended Hit the shift bar the shift key, and it's gonna pull up a magnifying glass and then I'll click, and they keep the shift key down to grab and move it over to where I really wanted to be. So now I can see kind of she's got a little Bruce here. There's, like some dirt and some stuff on her diaper right there. So So once this little panel pops down, you have a couple different options. You can do the clone or the hell option. I typically prefer the hell option because it's going to kind of incorporate the surrounding area when it's when it's covering up the blemish, or whatever it is that you're wanting to hide on. The clone is great if you have a very specific pattern or specific color that you need to stay within, so I'll demonstrate just both for you really quickly the clone. We'll literally exactly duplicate what, um, it is that the reference point. So when you hit when this is kinda hard, explain when you click on what you want to cover, what you want to hide, it's going to automatically make the same shape, the same size circle. It's gonna be the reference point for that cover and that edit, and so you can see that as I change this reference point, Lie Room is saying Okay, well, I'm gonna exactly clone that, and here we get. So it's literally cloning exactly what it's referencing right back on to the area that I wanted to cover, which in this case is not doing a terrible job because their skin tone is pretty even here . But in most cases, I would need to use the heel, the heel tool so I don't know if you noticed that you can change the reference point just by clicking and dragging it, and it will change automatically. Eso to get rid of that, I'm going to click back on the original circle that I made and hit Delayed. It's gonna delete it for me and then let's get back over here to the heels will, and I'll show you the difference. So I'm gonna over over the blemish and hit its and it didn't combined kind of the different oops, the different tones in her skin and healed really, really well where you can't even tell that there is any outline or anything that has actually happened there. So let's go ahead and use that again. I'm just take away some of this dirt on her diaper right there, men and make my It looks like I could get both of those and one go. There we go. Let's pretend I wanted to even get rid of this blue stripe, which I do. It's not my favorite you can see, since it's on the heel. Load on. It's kind of fringing off a little bit there. Those are things that you can control right here in the feather capacity. So capacity obviously is going to control how opaque the edit you make ISS. So, as you can see, I'm sledding it down. That blue begins to show again, but if I turn it all the way up, it's going to be 100% of Paige. And Feather is actually deals with the edge and how much how hard that edge gets. How much light room incorporates what's around it into actual at it. You keep it at zero. It's gonna have a very soft flow from your edit point to the actual the rest of the photo. If you want it harder, it's gonna go all. You pull it all the way up 200 you can see it's more of a straight line there where there's just more within your circle that it's pulling from the outside. So I keep that at zero. But because, um, this tool is the size and shape it is. I'm gonna actually need to get over this and overlap a little bit to get rid of that line. Let's do 1/3 1 right there, see what happens. Actually, that worked, okay? It's not a detail that probably anyone would notice that myself. But it did help for sure. So, um, that is the spot editing tool. The spot removal tool. It's really, really handy if you've got is it or just something in the background that you don't like that you want? Cool. So the next one is the red eye reduction tool. It's pretty awesome. I tested it out on this, this image earlier, but it really because she doesn't have any red eye issues. It doesn't do much. But I'm going to go and show you how to use it, just in case you haven't image with a lot of red eye, and I'm again hitting the shift bar and clicking What's it makes that magnifying glass to zoom and really, really well on. And this little tool is pretty amazing because it's going Teoh just basically, light room understands that what you're working on is a pupil. And so it incorporates all that technology into making It could continue to look like a people just without red eyes. So essentially, how you're gonna use it is drag the that you're gonna start, click on the center of the eye and drag it out to the portion of the people that you want Teoh alter on, and it's going to just automatically. If you can see that in there, let me just do it on her skins. You can kind of see what happens when I oh wow, that's amazing. So it won't even let you do it if it's not people. So basically, you get to been in, choose to darken the pupil, adjust the people size, and essentially it creates this layer a darker, like a darker circle on top of it to hide the readiness to correct it. So that is pretty stinking cool. So that is the red eye corrector. And obviously they have a pet I setting as well. If your dog's air have some red eyes. So the next one that I love using a super cool. It is the radiant filter, and you can do so so much with this on. In fact, let's move over. Let's go to this image. Great filters are awesome, and I could spend way too much time playing with them, but essentially what they're gonna do is create a radiant on your photos. So let's pretend that woman did this area. We're here to the right to be slightly darker, to match this side, if you can tell. But the greenery on the left side was just a little bit darker than the ride. There's more sun hitting decides. It's Let's say that really bothered me and I wanted to change it on. The first thing I'm gonna do is after I click on this grating it tool. It's closest history game, so you can see better on I'm going. Teoh adjust the settings that I want to happen. So obviously, instead of the exposure going up, I wanted to go down a little bit and I might want to pull the the highlights down. Just a touch and the blacks in just a little bit. So what we're gonna do, then it's gonna give us this little cross tool. I'm gonna start at the very edge and just start pulling and you can see that as a drag. It it's obviously making things a whole lot darker. And the very left edge where I'm at with my cross tool is where that Brady will end on. I can even shifted up or down, which is pretty amazing on. Obviously, this is too dark for my liking. But once you pull the radiant over, create ingredient Aziz. Long as you have that actual dot right there, it's in black. That means about so when you're working on on selected, you get to edit it, so I can then go back in and say, OK, that was a little too much Pick that up. Just kidding about those blacks do want back over here. And another thing I didn't realize was selected with saturation, so it de saturated that quite a bit as well. So let's add that back in. So that is pretty stinkin awesome because it did. It just controlled some of that brightness for me. I'm also saying that this side is a tad bit more yellow. So let's say I wanted to change the white balance back to a bluer to match the other side, which is awesome. So another really cool thing that you can dio is if you wanted to add more than one radiant say, for instance, I wanted to make the sky bluer. I could hit new and start a newer ingredient, So let's do one for the sky. I'm guessing I'm gonna want term exposure down just a touch and obviously move my temperature over to the blue side and keep my saturation at least where it is or a little bit more. Let's just go all the way down. Whoa! Hello, loose guy. So there we go. I could see that sun was almost directly over her, and that's a little bit blue. For me, that doesn't look too realistic. I don't think you can see it's tricky because now all of these plants that are in that radiant have this crazy, weird blue outlying right there that's happening. So I probably need to adjust that just slyly from our personal preference so that it doesn't look like I over edited it. But that looks pretty cool. So that is Grady Int filters, which I really, really love. Now another thing. Let's go remove those just in to remove it all. You need to dio want you winter in that panel and click on that particular I'm editing tool . It's gonna pull up these two dots that show you. OK, there's a filter here. When you hover over, it will show you, and there's a filter here. I'm just gonna click that and delete it so I can change these next ones. So this is the radio filter, and it's very similar to the radiant, except for the fact that it is a circle. So let's pretend that I wanted Teoh make her much, much brighter and everything else pretty dark. So I'm gonna close this, actually, let's go and start with the darker setting. So I'm just turning my overall exposure down a little bit. Then I'm gonna hit this circle radio filter. So now I know that I'm gonna want to make her a little bit brighter. So I'm gonna go and pull my exposure up a little bit of those highlights back. And here it's just kind of like the red I told him in a full from the center. Oh, I forgot. I had my white balance going on and you could make it a lot more of an oval shape. Boobs? Let's see that again. You could make it more of an oval shape of were a circular shape, however large you want here, like right about there. Obviously that's killing me so fixed that. But say I want even get brighter and I know at a little clarity for some contrast, A little more contrast up here, etcetera. Then I could done. And you can see obviously, that she is now brighter. Everything else in the image is darker. I don't really prefer that at it. And I don't use the radio filters very often, honestly. But it is helpful when you have maybe a black and white image or just something really, really specific that you want Teoh highlight on and you need a circular for to do so now, lastly, I do use this one quite often is the re textual and this one there, the brush tool and it's the adjustment brash. Excuse me. I use it for retouching a lot. So it's the adjustment brush tool and one of the things that I like to use with this tool. If I do skies a lot of times with this one instead of the the great and filter cause I could just get more specific. So, um, for instance, if I wanted to make the sky bluer, all I would need to dio iss, um, select my size. I could make it bigger on what's cool about the adjustment brush is you can select the feather level so that outer circle right there is actually referring to the feather. It's gonna control kind of how much of that other parts of the image to incorporate, and it'll just kind of feather it out. So it's not such a, um, sharp circle wall in editing, and Landrum is really, really smart. It print it, it will automatically detect what this guy What? It's not. It's very smart program. So I can actually run all the way over these flowers and trees, and it pretty much knows where to stop. So I'm gonna turn my exposure down just slightly. I like my saturation of a little bit, and the temperature is gonna go bluer because I want a bluer sky and then I'm just gonna start kind of painting in here. How dark I want that to get. And honestly, you know, it's bothering me the most about this image Is this sun? So let's see what happens when I go back over here to my spot tool and make it huge. Can I Can I make the sun go away? I don't know. No Bob, a reference point that large. Yeah, that looks to fake. I can't handle it, so I'll just have to be happy with the sun right there. I'm sure there's a way I could do that, but I don't want to spend the time and effort. I'm so that adjustment brush Tool did definitely saturated more come down in here. In fact, it's a little too much, really. I mean, you can see just as I go over more, more, you know, saturated more area. So you have to be kind of careful. But there we go. Pretty happy with that. A little too blue. So let's turn it a little bit more yellow. That's more accurate for the area. Okay, so there's one way to do it. And then I could even, you know, if I wanted to make this ground darker a little bit. I go in here kind of pulled out in using the adjustment brush is relevant because it's kind of like painting on your photos. I really like There we go. Okay, that's making me happy. So that is pretty cool aspect of that now. I talked earlier about that red car in that photo here, it iss on, and I could have just de saturated all of the Reds. But instead, what I'm gonna do is use my adjustment brush Teoh do for me so that I don't actually exaggerate her lips in the process, Simon, and pull my brush down pretty much Teoh the smallest or a small small point on and then bring my saturation pretty much all the way down. And I don't want to just the white bounds. And then I'm just gonna roll over here and let it be saturate, Really? My goal is I just don't want it to distract from her face too much. And you can see that that's starting to be saturate a little bit, which is nice. Now, if that's not enough for you, you can go in and just remove the thing which I am probably going to do now. That war the quite as good as I wanted it to be. So I'm gonna go to my spot removal tool and just treat it like a spot. And because I can't make don't, I'm not sure I have a reference point this large that I can tell lightning toe Look at. But let's try it out. It's obviously that's not gonna go. I need something kind of linear so that it looks like the road behind her. Here we go. That looks good. So this is interesting, because I have, um, de saturated that. Now it's just kind of showing a black and white. So let's go ahead and go back to my adjustment brush, find that little dot and remove it. Because now, if we've cloned over it with that spot removal tool, I may also go ahead while I'm at it and that whole give it Morgan organic. Look, because wasn't that pretty back there? There we go. So obviously that helps a whole lot of cars gone, and now the whole is gone, and that is have you edit with those aspects? 4. Exporting: Okay, so it's time for the very last portion of the workflow. It's time to export and do something with these photos. Sound. Let's go ahead and go through, um, the exporting process on now because light room uses presets a whole lot. There are also presets for exporting, and it's super super handy and something that you're definitely going to want to utilize. Let's go ahead and get started on that. Okay, so I'm going to jump back to the library module and view everything in grid view right here on. And the first thing that I typically do after I'm finished editing is blood. My favorite images on them because I've already selected those images from the get go. All I'm gonna do is filter them by this star because that all I've started every one of them. So let's end going to block these particular images. All I need to do is filter them by the star down here, hit command A to select all and then hit exports on. This is your export screen. So it's going to show you that leg room has already got some presets here. I've created my own for my different purposes. Um, my blawg. Well, my Blawg, Prue said, is right here, and that's typically what I'll hit. But I'll go ahead and talk you through just some of the different export options you have whenever you are starting out. So there's lots of different options here. Your first gonna select where you wanted to export to mine is always the hard drive. I can't remember the last time I used STD, and I would never export a bunch of images to email because that would just be a headache. So hard drive is always selected there. Then I'm gonna choose the location. You can use one of your default folders down here. You can have a go to a specific folder. You keep it in the same folder is where already is, which I wouldn't recommend. That could get super confusing, but I just keep it on specific folder on. You can have to solder later, but it doesn't really matter. I'm going to choose the folder, no matter what. The current Project folder is, where my current projects were always located. So I'm gonna actually go in here and hit choose, and there is my shoot folder that we created earlier, so I'm just gonna double click on that on. I can go ahead and create a folder here by clicking new folder, but I'm just gonna hit choose because my in my life room dialogue here, I can actually go ahead and create a step folder within that. So I am gonna click, put in sub folder and type in block so that I know those are the images that are specifically geared toward my blawg because they're going to be smaller file sizes for the website. I can add them to the catalogue if I want, but I typically don't because it's caused some complications for me. Like if I go back, I want to print some of these images. I don't want to accidentally select the block images to print because obviously their lower quality. So I keep that unchecked. And I love this feature of light room because it will. If it recognizes that I've already exported that particular files to that folder, it's gonna ask me what I want to dio a couple other options, are you? It will have. It'll just right in a brand new name. You can have it override without warning, which obviously probably not a good choice is already in caps for you. Or just skip it altogether and go to the next file. So I just keep it on, ask what to do so that I could be alerted that there may be a problem or maybe a duplicate file happening on I rename my files depending on what I'm using them for filed any is a super cool way. You can utilize it for your website or if it's for my clients. I may write wedding on there so that they know that these are wedding files. But here, if you click renamed to you, have a lot of different types of options you can do. I like to keep that original file number on there because we've already changed the names. When we imported these images, I'm not going to rename them here. But let's say, for instance, that I wanted Teoh erase. You know, all of the all of the following names, all of the text that I already put on here and just do them by a sequence never on you could just basically go. Uh oh, there's not secrets on here, so If the option that you want, it's not here, click at it and then you get to seriously make your ads. It's kind of cool. I'm just gonna delayed these two. And let's say I just wanted to sequence. I wanted to go from 123456789 on. I wanted with a two digit. So I answered that there and there we go. And one of the other cool things that you could do with this right here is add in your own men and data. So, like if it was going to my Web site, I could add in, you know, Children, photographer, outdoor, you know, session, any type of tags or keywords that I want to be pulled up to my website. I can add it in here. I mean, obviously I can add in custom text, but the options are very, very endless on what you can make your images. But I am just going to keep the custom name or the the following, because I have already done that within the import video files. I don't deal with a light room, so I don't typically use that panel at all. But my file settings for blonde images are lower quality images because they are going on the web and I want them to load quickly. So I keep the quality at 50. I keep the color space s RGB. I'm depending on. What, um, what's that you're uploading to that may or may not change. Facebook messes with that stuff Sometimes that these are my settings here for that on the biggest thing I do is change the image image size. Now, what's super awesome about liar? Um as well is that you can so let how you want it to resize your images for you. You can do about with height. Specifically, I wanted this. You know, this many pixels has been by this many pixels or inches or centimeters. I like it best because you can control the long edge of the short edge. That way, you're not having tea. Export all your horizontal images and then export all of your vertical images. It just takes the longest edge of each of the images and string Sit down toe, however largely wanted to be so That is typically what I select. If you have a megapixel limit that you know, certain website can't have an image over three megapixels or something like that. You can also limit that here, but I typically have a long edge at 900 pixels, and I turned the resolution down from 300 d. P. I to 72. 72 is the Web standard. It's going to make a really fast loading, smaller image, and this is another cool thing. You can go ahead and sharpen it just to touch for a screen viewing. I do go ahead and do that because it just use a little bit better on the Web. Since that's where these letters were going and I take, I go ahead include the metadata. I could select copyright in contact info on Lee if I wanted Teoh, but I like the fact that you know, my, my my information is embedded within that data. So I'm actually slipped copyrighted contact info so that anybody on the Web that wants to see the metadata this image will basically just see that I shot it. And here's how to get ahold of me. They want Teoh. I don't watermark any of my boy images. If you wanted to add a watermark. You can select that here. And then, um, you can go ahead and have it prompts something else. Like if you wanted it. Teoh, go to photo shop or pull up in your finder immediately after exporting you can. You can select that option right there as well. So, uh, those are all of my export fall. So I can see here that I'm about to export those eight files that I just select it and I'm in a hit export. And what that should do is go ahead and create that block holder within my current projects . And there it is. You can see that they are starting to load. You can see the progress that here on the upper left, and they will be exported shortly. So, after I export my blogged images, the next step of my workflow is to go ahead and export the full size high resolution images . So I'm going to want all of my picks in this grouping summit unchecked with my stars and then hit command A to select all. I could see that I have all 53 selected that I have edited hit export again. And then I'm going to do a full resolution, um, full resolution image so that I have all of the high rose files that are already edited on that. I've already made a preset here for my specific proofing website that has the high resolution images. But I want to show you how to make your own export, um, your own export preset, just in case you want to do that yourself on. So, basically all you're going to dio is, um I already have a full size. We're going to start wherever you want over here. It doesn't really matter cause you're about to make adjustments on. Then you're going to make the adjustments that you want to say to your preset. So I do want it toe export to a specific folder. I know that. I mean, I just choose this with every sessions that I want to go there, so that's where it's gonna go. I'm gonna put it in the sub folder called High Rez. Okay on, then let's say I do want it to change the file name Teoh or let's say I wanted I wanted to add the word high rez or something like that to the actual following. So let's let's say I wanted it to go. I'll have to add a custom name. So it would be the file name groups added twice plus custom text because I'm gonna write high rez. So my custom settings are gonna be the custom text was going to say hi rez. And you can see here's an example. It's gonna say the original following, which is this live dash +3651 and in the work high rez. So I know that when I'm looking at that file in my finder is the high rise, the file settings I'm gonna keep. It s hard to be for the color profile, and now the quality is up to 100. I'm not re sizing it at all, but I am keeping the resolution at 300 which is high resolution, and I'm keeping all of the metadata as well. And then all I mean to dio is click add. And again, it's gonna ask me what I want this to be called. I'm gonna call it High rise and create it. So there it iss and then I hit export. So get back to that original holder and Now there's a high rise folder. Okay, so then after that, I'll be done exporting everything. I'm gonna proof these images for my clients blogging. Put him on the on the internet. And after that, the very, very last thing that I need to do is make sure that our archive this folder properly and archive this photo shoot properly. So for me, what that means is I'm going Teoh. Now copy it. Just take that whole shoe folder, drop it into my archival external hard drive and let that start copying over. Obviously, this is, for example, purposes that I want this export to finish exporting before I do that. Because obviously, I'm gonna miss some files that it hasn't created yet from the high rises. But once that's copy over, it'll also because there's a continual online backup happening on. I know that. I'll have one copy here in my archival hard drive. One copy in the cloud online and the one copy on my proving website that my client can access and download. So that is a really beautiful thing about the workflow system that I have, and that is pretty much it. You have finished my whole post processing workflow and I hope you've enjoyed it. Thank you so much for coming 5. Assignment: So you've made it to the end of my post processing workflow. Thank you so much for joining me. I would love to see your edited images. I'd love to see how you use your radiant radio filters. Anything call you do with spot removal or the adjustment brush. And of course, any questions you have, you're welcome to put them in the notes section. But this is a great place to show us your projects and Jewish your work on. Asked if there any anything helpful as faras, workflow or follow management is concerned, Please let me know. I would love to be able to help you out. And thank you so much for watching this class.