Page 1


The Adobe· Photoshop· Lightroom· 2 Book The Complete Guid e fOJ" Photogrllph en; Marton

E~I1!ng

ThIS Atiobc Press book IS

publ~hed

by Pt!;w:hpit

Peachpit 12'19 Eighth StrHI Berkeley. (A 94710 510/524·2178 510/524 ·2211 (fa~) PeachplllS a dlVlion of Pearson Educallon.

Find us on the Web 011.

w\Vw_adobepres~,com

To report errors, please send 11 nole 10. erra taCpea<hpiLCom Copyright CI 2009 by Marlin Eyenlng

PrOjeCt Editor Rebeccil Gulick ProdlKlion Editor: Hilal Sa!a Copy Editor: lIz Wek:h Cover Design' Charlene Charres Will Composrlol: Mllrtin Eve1'1ing lndc~er: James MinkIn

Notice o f Righ ts All nghu reserved. No part of this book may be reproduced Of transmitted in artf 101m by any means. electronIC, me<hankal. photocopying. IE'<ordi09. or othe rwISe. Without tht> prOf wotten permrsSJOn of the publisher. For mformatlon 0fI gelling permissIOn for reprints and E'l«:erpts, contact permis~IOIlSOpe3Chpjt .com Notke o f liability TI'Ie' IfIformatlon in thIS book. IS dIStributed on an "As Is" basIs Wit hout warranty While e"i@:ryprecautlonhasl)e.en taken In the preparatlOO of [he book. neither the al.lthor ilOf ~3Chpit shall t\ave arry l.abillty to any pet"S0fl or entity Wit h respect to any loss Of damage caused or alleged to be UlJSed dlfe<:l ly or mdirectly by the instructions contained In \hls boo~ or by the computer soltwar~ and hardware products descnbe-d In It Tra d em arks Adobe, ltghtroom, .lnd Pt.otoshop are l'e9islered uademarks of Adobe System~ Incorporated in andlor o t her (ounlri('S. A ll Othel Irademarb are t he property of their re5pe<trve owners

t~

United States

Many of the desrgnahons used by manufacturers arid sellers to dlSlln9u~h their producis are claimed ;JS tr.ldemarh. Where those design.l tions a~,11 in this book, and ~3Chplt W;JS aware of a trademark claim, lhe deslgnalions appear ;JS requested by the cwner o f t~ trademark AJ other product n.:IfTIeS and services ldeotified throughout this book are used In editorial fashion only and for the ~nefil of $\I(h companies with no II1tention of infrinoeml!'nl of the trademark. No such use, or the use of any Irade name, is inlended 10 COfl','ey eodorst>menl or Olher afliliiltion with t his book.,

ISBN 13: 978-0 321 SSS61 8 ISBN -IO0-)21 -SS561-9 9876S4321 Pnnled and bound in the United

Stat~

of Amerka


Contents 1 Introducing Adobe Photoshop Lightroom

1

What is Adobe Photoshop Lightroom? ..... . . . ........ , ........ . . 2 Keeping things simple ....................................... 2

Modular design .... . . . ... . .... , ..... . .. . . . ... .. ... . ... . . . .. . . 2 lightroom performance ...... , ........ . ................... . . 4

Adobe Camera Raw processing . . . . ... .. ..... . .... . . . 4 Color controls

5

The Lightroom workflow. .. _. . . _', _. __ . . . ___. _. _. . .. _. ____ . . 6

Managing the image library . . _. . . _. _. . .. _. . .... .. __. . 6

Integrating lightroom with Photoshop... , ........ . . 8 What you'll need . _. .. _"_ ,_, __, _... _. _.. ___ ._ ._ . _ ___ .. _. _,_ . __ , _,_ 9 Installing li 9 htroom ...... . .......... , ........ . .......... , ........ . 10

lightroom preferences ....... . ............. . ..... . ......... 11 Customizing

th~ Id~n tity Plat~

and appearance .......... 14

Help menu ................... . .................. . ......... 17 Introducing the Lightroom interface ........ . ..... . .... . ........ . 18 A quickstart guide to lightroom ................................. 22 Importing the photos into Lightroom . ..... . ............. .23 Viewing photos in the Library module . . ... . .... . ........ .24 Simplifying the interlace . ... .. ... ... ... .. .. .. ... . ... ... .. .26 Zooming in .............. . ........ . .......... .. ....... . .... .28 Working in the Develop module ...... . . . ........ . ........ .29 Synchroni zing Develop settings ... . .... .. .. . . ......... . ... .30 Reviewing and rating the photos ............... . ......... 31 Making con tact sheet prints . . ..... . .. . ..... . .... . ........ .32 Reviewing t he final shortlist in Survey mode ... ......... .33 Dimming t he lights . . . ........ . ... . .... . . . ........ . ... . .... .34 Saving the shortlisted photos as a col lection .............. 35 Retouching a photograph in lightroom ...... ........ 36 Ed iting a copy in Photoshop ..................... . ......... 31 Creating a Web photo gallery ....... _....... ' ... , ....... , .38 Making a final print .............................. , ......... 39 Exporting the edited photos ..................... , ........ .40 Working throu gh the book ........ , ... , ...... , ........ . ... , .... .41 CO NTENTS

Lx


General and EX1F metada ta items ... . ........ . .......... 128 FiJe Name ... . .... . . ... .. .. .... . . . .... . . .. .. ......... 128 Sidecar Files .......... . ................... . .......... 128 CopyName . . ........ . .......... . ........ . .......... 128 Metadata Sta tus ..... , ........ , ........ , ........ 130 Cropped photos . .... . .......... . ... . .... . .......... 131 Date represent ation. , . . . ..... . ....... , . . . ..... 131 Capture time editing, .......... , ........ , ....... ,., 132 Camera mod e l an d serial numbe r . ..... ... ...... . . 133 Artist EX IF metadata .. , .. .. .... . ..... . .. ... .. .. .... 133 Custom info rmatio n metadata ...................... . .... 134 Metadata presets . ... ... ...... . . ... .. . ... . .......... 135 Edi t ing an d delet ing met a d ata presets ... ..... . . 136 IPTC m e tadata

136

An efficien t way t o add me t adata .... , . . . ........ 139 Me ta data editing and target photos . ........ . .......... 140 Mail and Web links., ........... .. .... . . , ..... .. .... 142 Copyright stat us ..... . . . ........ . .................. 143 Keywor d ing and Keyword List panels. ....... , ........ 144 Three ways to ad d new keywords .... ' .......... 144 Applying and manag ing existing keywo rds ...... 146 Autexomplete options ....... , ........ , ...... . 146 Remo ving keywords . .......... . ........ . .......... 148 Keyword hierarchy .............................. 148 Imp o rting and exporting keyword hiera rchies . . . 149 Im plied keywords ... . .... .. .... . ........ . .... .. ... 150 Keyword sets ......... .. ........ , ........ . ......... 151 Creating yo ur own custom keyword sets ........ 152 Suggested keywo rds ...

.............

.. 153

The Painter t ool .. , ... . Photo filtering and sea rches ... ' Fitter bar...

.. 154

... .. ... .. ....

... ..... 157

.. ... ........ .. . .. ... 157

. ........ ..

'

.. ..... '. , .. .... .. .. ...... . ........

The Fil ter bar layou t, .. ' .... Text f ilt er searches .

.....

....

'

'

158 158

Search rules ........ ' .... ' ......................... 159 Combined search rules .

.. ........... , ..

.. ... 160

Fine路t uned te xt sea rch es ....... . ........ . ......... 160

xii

CO NTENTS


Copying and pasting settings in the library module ....... . ..... ..... ........ . ........ .. . ...... 358 Applying a previous Develop setting ............ J59 Saving Develop settings as preseb .... . ....... . ......... J60 Auto Tone preset adjustments ............ . _...... 361 The art of treati ng Develop presets _...... _...... J61 Underst anding how presets work . . ..

. .. . J 63

Ho w to prevent preset ,ontamina tion. .. . ....... 364 Rese t settings . . . . . . . . . . . . . . . . . . . . . . . . 367 How to set default camera Develop settings... , ........ 368

7 Th .. art of black and whit ..

371

Black and white conversions .......... . . . .. . . . .. . . ... .. . . . . ... 372 Sla ck and whi te Develop controls ...................... 372 Black and white conversion options. ... . .. . ..... , .. , .... 374 How not to convert .... . ..... . .. . . . .. . ..... . .. . ... 374 Grayscale adjustments ............................ , .. , .... 375 Tempera ture slider conversions ....... . .... . ... . _. ....... 376 Au to grayscale plus whi te ba lance adjustments , ..... 378 Manual grayscale adjustments _. .. .. .. _. . ... . . _." _.. __.. 382 Grayscale slid er tip .... _. .......... . .. . ... __ ' ....... 383 81ack and white infrared effect .,

, .. 384

Fine-tuning bla ck and whi te images ... .. ........ . .. ... ...... 388 Split Toning paneL, ................... . .................. 388 Split toning a color image ............... . ....... 390 HSl panel: desatura ted color adJustments . .... , ........ 392 The HSl grayscale method .... , . ... . .... , .. . .. 393

8 Sharpening and noise reduction

397

Capture sharpen fo r a sharp start ........... . .............. 398 Out put sharpening .. , ..... _.. ....... . . .... ... . ..... . ... 399 Default Detail panel settings . . , ............. , .... 399 Sharpen preset settings................................... 399 Sharpen - Portraits ........ , .. , . , . ........ ,..

, .. 400

Sharpen -landscapes .. . ..... . . , ..... . ..... , . ...... 401 Sample sharpening image .. . ... . .. .. .. . ... ... .. ... . . .. ... 402

CO NTENTS

xvii


Appendix B Lightroom settings Lightroom settings and templates ..

559 .

. .. . .. .. .. . ..

"

..

. .. .... 560

The lightroom preference file ...... , ........ , ........ 560 AW!S5i ng saved template settings ... , ....... , ........... 561 The Lightroom catalog folder . ...

.. ................... 562

The catalog database filL .......... . .... ..... ........ . . . 562 Journal file ...... . . , ................. . . , ................... 564

lightroom previews da ta ................ " .... . .......... 565

Thumbna il processing routines .. .. . . . ........ ... .. .. .. . . 566 Customizing the Lightroom contents ...... , ...... _.......... 568 The ligh troom RG8 space .. " ....... " ...... , .. " .... . .. " ...... 570 RGB previe\l\lS ..... , ........ . . . ........ , ....... . . . ........ 572 Tone curve response . .......... , .. . .... . ........... 572 Balancing t he tone curve ...... . ........ . ......... 574 l ightroom VS. Photoshop curves ......... . ...... _. ........ 575 About the curve comparison creation method .. . 577 Comparison results .. . .......... . ........ . ......... 579 Conclusions . . ........ . ........ . . . ........ .. ....... . . 580 The ideal computer setup fo r lightroom . . . .......... . .. .. ... . 581 RAM memory . .. ...... . .. . . .. ..... .. . . . ...... _. . . .. . .. . .. . 581 Graphics card .... . . . ........ . . . . . .... . . . ........ . . .. . .... . . 582 Harddrives .......... . .. . .. . _.. _............ . .. _ . __.. ..... 582 Drive configurations . .. .. . . .. ..... .. .. . ...... .. . . _. . .. .. .. 583 Striped RAID .................. , .. . ................ 583 Mirrored RAID. .. ... ..... . ...... , ................... S84 A mirror of stripes. .... . . .. ....... . . .... . .. . .. .... S84 Just a bunch of disks _.......... , ................... 585 Backup strategies . ........ . .......... . , ....... . ......... S86 Backup software ........................ . .......... S87

Index

xxii

CO NTENTS

588


Colorcontrols

NOTE

The Develop module's Image adjustment controls are easy to access, and presSing (Q) al\vays takes you directly to the Develop module.

..... Ado"'" C..... ~r .. R_ ....J"""'~nt _ de In o ne Ado"'" pro gram will

llghtroom is mainly Intended for working with raw Images, but the

always pr ...iew ld.ntkaUy In any

image adjustment controls In the Develop module can also be applied

oth •• Ado"'" program. If an ...... g. h

10 TIFF, P5D, or JPEG Images thllt are

In

RGB, Grayscllle, or Lab mode

(but note that lIghtroom Image adjustments are always earned out In RGB), The Basic and Tone Curve panels provide Intuitive controls with

.ltt, e d ouulcl. Ugh troom, a wI.n· Ing ud<omalion mar. win altrl ),0" a nd lei yo .. dedde whethe r t o , titk

which you can easily adjust the while balance and tones In any photo-

wit h t h~ ~urr.nl r_g~ "lUng 01 updot.the n_ one wa •• pp!;"d

graph. And the Gra~cale Mixer offers an adaptable approach to black-

out , ld,llghlroom.

.1...

and-white converSions whereby you can adjust the balance of color in formation thllt IS used to crellte a monochrome version of II color original. As you dig deeper you will d,scoVf'r that the split tone controls work nicely on color Images as well as black-and -white converted pictures, and With a httle experimentation you can eaSily produce qui te dramatic cross-processed type eifects, The Develop module also prOVides a greater range of conlrols over the colors and tones In your photographs. For example, when you adjust the luminance of a color in the H$L I Color I Grayscale panel, the sliders behave exactly the way

you would expe<:t them 10. so you can eaSily darken colors selectively. Or If you want to darken the color of a sky. you Simply adjust the Blue and Aqua Luminance sliders. It

r.i

worth poin ting out that all the Develop adjustments tn L'9htroom

are nondestructive lind are recorded as edit Instructions that are stored With Ihe Image. ThaI means a Single raw master file can be edited In many ways and printed at different sizes Without haVIng to make lots of different piKellmage versions from the original. Any Image edits and ratings you make In Ll9htroom Will also be recognized In curren t versions of Bridge and Photoshop. The same IS true of labels and metadata, Any metadata information that

15

added to an Image via another

program that can be recognized by llghtroom

WII!

be preserved and

updated in lIghtroom , For example, if you add keywords and assign a colored label to an Image In Bridge, these changes Will be trans ferred 10 Llghtroom and updated in the llgh!room library-although this does raise the question 01 whICh setting IS (orrect when a Single image has been modified in two separate programs. In this situation, ll9htroom informs you of any con fl ICts and lets you decide (see the accompanying Note on updating settings In Ll9htroom).

THE ADOBE PHOTOSHOP lIG HTROO M 2 BOOK

5


NOTE

Installing Lightroom

ll9hl.CHlm 11, now enablHl fo.

The Llghtroom Installation process is quick and easy. All you need to

M · blt p <ocen1n<J In both the MIC

do IS to download th e program or load the Installation DVD and launth

{'ntel, IOnd Window. (Villa 64 bit)

thE' Installer. Figure 1.2 shows the Mac: OS Installation dialog and

vaBlo ns of th .... ftw •••. Inl<,1

MfC IGtnwlll nted 10 lollow 1M

Figure 1.3 shows the PC version installer. SImply dick the Continue

I.. Olruc;llo .. o In Fill"" 1.410

or Next button and follow the on-screen instructions. All you have to

t~ble

do IS confirm which dove you want to Instalilightroom to and that's

the p'''9,.m in 6.-blt mode, while Window. VI,t, ....nwlll nINd to

it. If you have an earher version of Llghtroom on your computer. the Llghtroom Installer Will automatically overWllte the older program . The

download or In.t.llihe 64-blt no_

.Ion of the p'0'il •• m.

first time you launch lighlfoom you will need to read and agree to the

Llqhlroomwll1.h .. be IOble,o go

beyond 1M 4 Gil RAM limit Ihel Wn

terms and conditions of supply. and if Installing for the first time. enter

Imp .. IHI on 31· blt ope •• llng 'rstelM

a program serial number. If you are installing Ligh t/oom 2 and updat ing

(...uming you hllve morethlt .. 4G8

an eXisting Llghtroom catalog. you may be asked at tnis stage If you

0' RAM 11'01101'-<1 on you. compul"

would IIk.e Light/com to run

~

Ifyou.(omputt. II 'lOpeblt of

a verification prOCE'SS to test thE' IntE'gllty

of the current catalog.

fUMing'" "·blt .nd you II .... mort thlOn .. GI of RAM Inotelt.<!, lIMn

you .lIould ' " It .. I· ' ~ booSl '" p.rfo ......... , pHd.

:-_'0__

·""'"- -. ----"--"-' ·.-

_._..__..... .... .'-.-

.-- -5':::::::"!'" ... - ,::':'::;.. __.... __ -_ --.,.......".-....-;

.

.,.

,"

~_ _

• s.

"'"

LoLL

",.

-" '

~---

" "

.... -

LR

7

• ...

I'

.-.

._-

Figura 1.2

.-

.. '

7

7

1~ Ut}hlroom

ImEallo rion d/olOt} on

r~Moc .

_ _ .. _ _ wJal<J ...._

__

a .~

.."vn

1

,

Figur. 1.4 To mabie Llghfroom In 64-blt mcxk for an ImrS MaclmOJh computer, locout rile (lpp/korlon. go 10 rhe finder. and choofe flit -" ftle In fo. Uncheck rhe bin rfulr soys "Open In J1·b1r made" 000 relounch Ugh/room.

10

Figura 1.3

The Ugh/room InS/ollorlon dlo/og (It! /~PC.

CHAPTER 1 I NTRODUCING ADOBE PHOTOSHOP LIG HTROOM

...

00 )


f)

I') ,, - I4P1.td.".,g.

.. ,'\

.

.- . 1/""

---',

--

-3.

c" ,

~. " "

l~

(Ret/II

(\ 1"1

n

--

C~

'. .~~

,Plt010GRAI'tIY lIU

----.-

I

_ _ .. ~.

,~_---"

-

If you select the ·Use a graphlCalldenllty Plate" opt ion, you can add an image logo by copying and pasting or dragging a PDF, lPEG, GIF, PNG, TIFF, or PSD image into the Iden tIty Plate area. The logo Image you place here cannot be more than 60 pIXels

I. ' .. '

1

NOTE ' SO file, un only be ""dtd vie the Identity PI..e Edito. ""n-g the M .~ OS ve .. lon of Llghl.oom.

tall, but can contain transparent pixels. A graphKal Identity Plate can be added to Shdeshow and Web module templates, but be warned that a GO,plxel tall logo will be far too small for most prtnt layout template designs that use Identity Plates. You can also customize t he appearance of the module 5elector by choosing a new replacement font In any Size you like. And If you chck the lIttle

mo •• thIn 60 plnk ..It Fo. p.ln. wo.kyou w," p.ob.tbly w.nt to

color swatch ICons (CIrcled), you can change the font colors for the

crUle Idtnilly Pt..1 g •• pllk, Ihl. ue biqge.,h.n60 piKe ls.

actIVe and non-actIVe modules.

4.

G•• phle.' leIeMlly PI.ltI un be

Now let's see hOYl the top panel looks after customlzmg th e IdentJty Plate uSing the S ty~ text and Graphical Identity Plate options. The top Ylew shows a customized styled text Idenllty Plate and the bottom VIew shows a customized graphical Identity Plate.

THE ADO BE PHOTOSHOP lIG HTROOM 2 BOOK

15


(ontent area The Conlent area Is the central sec tion o f the Interface where

you can view the photos you are working o n. In the LIbrary

module Grid mode (shown here),

you see the Images displayed as t humbnails In II grJd cell layout. In the LIbrary module In Loupe mode and the Develop module.

t he photos lifE' d ispu-yed

lit /I

fiNo路vlew o r 1:1 scale size. In the

ot her modules, Print, Slideshow. and Web, you can see previews of

how the images or sc reen pages will look before you o utput them

from Ughtroom.

f il ler bar This Is new to Llghtroom 2 and appears at the top of the Con tent area when you are In the LIbrary

- --- --- - --

module In Grid view. It replaces

the Find panel, which Is where you would have gone previously

to carry out II find search by name and/or time period. This

sK tlon now allows you to carry ou t more detoliled seolrches by using the custo mlzable panels In t he Browse secUon to search fo r photos using additional search criteria, suc h as by a specific Da te, Camera type, or Lens type. You ca n use the key to toggle showing and hiding the to p panel In the Conte nt area and use the loShilt! key to d isplay more than o ne Item at a tIme.

m

THE ADO BE PHOTOSHOP LlGHTROOM 2 BOOK

19


Viewing photos in the Library module Tht activity vlewtr Indlcotn 1I9h1room 1$ busy Importing Images DndlO( building D prwiew ,ache.

rhe subro/de, IIalYfeou/gned In fhe Import Pholl)$ dialog.

LR

tt;

1_"'_. . .

.

.

- . .. .

-mg" ,_. , " , ............ ,,, , ,,.

Fig!! â&#x20AC;˘â&#x20AC;˘ 1.111

2.

..

The $fotUI indkolOf

show, Iheprog~, ofbockground proCfmes such os Imporrlng Images or fflnde,lng pflIvlt'W$.

24

The Imported Images starled to appear In the lJbrary module,

WhKh is shown here In Grid View. The activity viewer In the top-left corner ,ndiCates that Ughtroom IS actively carrying out background processes such as Importing photos Of building previews, If more than one operation is taking place at a time, you will see the grouped stat us indicator. If you click the small arrow to the right, you can toggle the status indicator between each task that IS In

progress and the grouped Indicator (Figure 1,16), The Imported Images Will appear In the grid in order of preference (such as sort by filename or cap ture time In ascending or descending order), and you can make selections of Images by uSing either the grid or the Filmstnp at the boitom. At this stage you can rearrange the order of the photos in the grid by dragging and dropping the images (note that the order sequence you apply here Will be carried through 10 ail ihe other modules).

CHAPTER 1 INTRODU CING AD OBE PHOTO SHOP LIG HTROOM


Working in the Develop module

bosk ~/op controls a~o grrar plac~ /OJ/o rl odjun/ng 1M and (a/all In on /mtlgf'.

7.

If we go to the Develop module we can now start adjusting Individual images for color, tonal range, Image cropping. and sharpness. If you are accustomed to working with the Adobe Camera Raw plug-In in Bndge and ?hOIOShop, you will probably already be famlhar with the Basic controls. There is a lot you can do to correCI an image by USing Just these BaSK panel adjustments as well as the other controls, such as Tone Curve, HSll Color J Grayscale, Spht Toning. Detail, and Camera Calibration panel con trols. Plus In lIght /oom 2 we now have a Vignettes panel for applying post -crop vlgnel1es, not to mention the new hxahzed adjuslmEmt tools. On a busy photo shoot I typically U!.e the BaSK

panÂŁ>! controls 10 fine -tune the white pomt and

adlu~t

the lone

coo trois such as EKposure and Blacks. If I already have a Color Calibralioo preset for the camera, I'll apply thiS as well and lastly, I'll enlarge the photo to a 1:1 view, go to the Detail panel. and adjust the nOise and sharpening sliders lor the currently selected Image. Figure 1.17 shows how to save Develop settings.

-------------- ------------

.

- - 1...... .... 1

FI5I ur.1. 17

I

---=----------=---

Youconla~ your

favorife Develop ~trIng~ such

a,

camera' ipl!Cllic Dew/op serrings as

II

presel.

THE ADOBE PHOTOSHOP lIG HTROOM 2 BOOK

29


Dimming the lights

NOTE TiM d~, ...1t lIghlJ Dim .nd Ughu

0 ..1 modlH"" urylng o,...:iliIH of b'KILlfyo .. go 10 Ihe lighlroom

Inl.I1_,e p.. f~.~n'~. (.M p.g~ 161. yo .. un $.1,hetighllOUI " ' Mn colo. 10 Olh ••• h.dlH of 'iI'fy .1'Id

.djuulhedim len' OPKity. Thk 1$ usef .., if you p ••, •• lo view you. ImAg," 1,0"I*<lAg_ln.1 _ light neul ••1II'.Y In.' "d oloolld bl.cIL

34

n.

SometImes It can help to work In llghtroom With the program Interface hidden. To this end lIghtroom has a lights Dim and a lights Out mode. These two viewing modes allow you to dim or hide the interface so you can focus more on what IS gOing on In the photographs, yet stili have easy access to the Interface when you need II. To see how these work, press the III key once. This sWitches Llghtroom to lights Dim mode (you (ould choose Window ~ lights Out Co lights Dim, but pressing the [J key IS easier to remember). The lights Dim mode just darkens the interface so you can stili see (and access) all the llghtroom controls and menu Items. Press III it second IJme to take you to the lights Oul mode, and then press OJ again 10 take you back to the default viewing mode. Note that if you roll the mouse 10 the top of the screen, you Will always be able to view the menu bar at normal brightness,

CHAPTER 1 INTRODU CI NG ADOBE PHOTOS HOP LIGHTR OOM


Retouching a photograph in Lightroom Lexalized odJWII7If!nf5 are ~mlfjed using pin morUfS like

the ont ,hown Mre. YOtteon dlC/( I~t to edit rhe J(>f llngl.

14. Once you have decIded which photos have made the final shonhsl,

NOTE

the next stage is to take them through to the photo finishing stage

Th.e n_louliled ~ dJu.I"'.nU

before making

will.ko kt you .pply oIlier type'

have (orne a long way from the early days 01 Adobe Camera Raw

of .dJu.lmenl.lo. plloto .,,~h ..

photo. Ther. Ii • linn. g •• dient 1001

for Pholoshop. In thiS latest version of llghtroom we now have 100ls to mak.e localized image adjustments in additIOn to the clone and healing brush tools that were Introduced in version 1. In thiS

mode I I well.

particular elCample I made a few fine-tuning adjustments to the

d.rbn, booS! 1M '1Iu"lion, .dd d •• My. O. (010,111 portlonl of.

d

final print output. The Develop tools

In

Ugh troorn

Basic panel settings and adjusted the Tone Curve to get the op ti. mum tone contrast. I then used the new brush retouching tool to apply a lightening exposure adlustment to the hair. ThiS was done to help make the hair look more shmy. In the screen shot shown here you can see how I was able to fade the brush adjustment to get the lightness on the hair Just rrght. Fmally, I selected

thE'

Remove Spots tool to re touch ou t a coopJe of sensor dust spots on the edge of the frame.

36

CHAPTER 1 I NTRODUCI NG ADOBE PHOTOS HOP LI GHTROOM


Working through the book

n_.

This more or less concludes the introduction to working with

To lind oul all 11M! lalHI

Lightroom . In t he rema inder of the book you will explOfe edch aspect

Mlobe Phololh-o p Ughtroo... , 110 101M Ligtll,oo ... Ii_I W.b sil.at

of the program In greater dep th. llghtroom has been designed almost exclUSively for digital photographers. This makes my task slightly eaSier,

about

hup:lJllghtroo .... n.w â&#x20AC;˘.com.

because being a photographer myself I have a dearer idea of what

olher photographers will find Imponant lind useful to know. To thiS end I have struc tured the book to match a typical workflow, starting With the Import and export of Images to and from lIghtroom. At the beginning of thiS chapter I desCrIbed how the philosophy behind Lightroom was to offer ~ u n reasonable simpliclty.H If Adobe has been

successful 10 this mISSion, you should find that much of the l!ghtroom program

15

fairly self.explanaIOf)'. For example. If you go 10 Ihe Help

menu, you Will ~l'l' a Shortcuts Item for whlchl'Ver modull' you happen to be uSing at the time. Figure 1.22 shows the shortcuts for the library module. In keeping with the $plrlt of Lightroom. I have tried as much as pOSSible to avOid diSCUSSing the technical workings of the focu~

on diSCUSSing what Llghtroom does best: managmg, editing, and printing photographs. And If you really want program and have

to know more about how Ligh troom works, I have reserved a techmcal section at the back o f the book in the appendICes to elaborate on features like the Llghtroom native RGB space. I havl' also Included several pages devoted to Side tOpiCS that relate to working m Llghtroom. and you Will also find lots of qUick tipS In the page marginS of Ihls book. U b rilry Shortcut s

â&#x20AC;˘

Flg ur. 1.22 II II olways worrh ukc/ing rht ShorrcuU IItm In rfw~lp menu-lX) 11 {MaC) Of IClrII II (Pe}- ro find 01/1 mortOOOullht 'flO/leurs {ottach modult.

TH E ADO BE PHOTOS HOP lIG HTROO M 2 BOOK

41


t wo'

, I c - _ .. _,,,, , _ _ .... _ ! i t

_ .. 0. - _ !!

,I/· ar

,,-

IMI/OI. .

g-~ ... -

C ,.01, _ _

..- ........ " COfI'I' 10 IIKkup fokWr Iocalion

--4. c.klllotl"ll dotn fill' IlJ """,,,00

You can also speci fy a secondary folder to copy the Images to. Check the "Backup to· check box and then click the Choose butlon to specify a backup folder. This optton should be manda·

( c-... )

tory whenever you are Imponmg valuable Images and want to ensure you have a back.up of all your Imports. After you have renamed and edited the master selection of Images and have

Figu r.2.2 If you havr a large numbel af/mages lo lmpofl, Ihf'

backed up these Images In their moclified state, you no longer need

dille cokulorlon dlo/og moy oppeor, Indlcoting rhol Llghrroom Is reading In IfNI COplUff' dDrf' mf'rod% of oil/hI' /ill's Ihol Off' ovolloblf' /0 bf' lmpoflf'd.

to keep the initial backup copy files. But nonetheless, 11 is a w ise precautIOn at thiS stage to temporarily keep more than one copy of each master file stored In the s~tem.

-,...,. .

' .. , '

.....

.

s.

..

After you have con figured the Import Options and clICked the Import button, lightroom Imports the files from t he card to the llghtroom library. As the images are Imponed, the thumbnails stan to appear one by one In the library Content area. If you used the "Organize by date" optton and there are a lot of files to import, you may see the dialog shown In Figure 2.2. Meanwhile. the status ,ndICator In the top·left corner Will show the import progress. Oftentimes, there may be at least two processes taking place at once: the file import and the preview rendering. The progress bars give you a visual indication of how the import process IS progress· Ing. And if more than one operation is taking place at a lime, you Will see the grouped status IndICator (above left). If you dICk the small arrow 10 the fight, you can toggle the status Indicator between each of the tasks

46

CHAPTER 2

IMPORTING PHOTOS

In

progress. plus the grouped Indicator.


Organizing files imported by copy If you import files by copy, you need to decide how they should be

Which Islhe ...... foldltt' organlDllon

organized as they afe added to the catalog. very often I prefer to

~hod l lf you

Ire !el.I"'n tl9O<Ot.L1 In Ipplying keyword meaad"110

import aU the files from a ,ard and group them uSing the "Into one

-I")'

folder ' method of organiza tion (Figure 2.5). By checking the ~Put in subfolder~ option, you can create a unique folder (or match an existing)

folder destinatIOn .

Im.ogl you Import. thon ...... y....

It b b..n'rlo Impol1 Ind o1"9"nllt you. pt,oio.inlo nlmed foldfn. Vou un .t~llpply keywo.d melad ....

• nd "'~I the option to lelKh by keywo.d. 0< eH.ctilrlly bn>WH by 101M. nllM. aut the Pfoblem with lo kM ... buld org.nllillon h ' do yo<I Ulorgorire somelhing like I _ddlngl Do you o.glni.u , he fold ...

E! ..... "' ,,r. 'tz

by Ev,nl > NIIM of couple, by PIoK, ) Loc ..ion. o. do you ....

~ Dooo" .. ~ 2 ' , ....... ""d d ...........

o ·". . '•. Fig"". 2.5

-

0

I

foIde.

mttbd flmYy pholol1 lf,.... . ..

using bywo.d .... Iadt\. ~u"en,~1y

10 c ....log aM J'OU. if'r:a9H. It ...11y

"100 seif-a tile "JflfO Oflq foId~ Organize option, 0" the lmag~

(rom

lhe

import JOurc~ wlU ~ amolgamaltd In lO a $l1'lQ/ot dtsrinallon fokkr.

.hould not ......" •• which fold..you. pt:.olOS I;.,.. in bKa.... you can ..aKh (0 .

.... orythlng

by m<l'lad ....

Thre.l!1"o.-e, ~nlzlt:g Impol1. by dill pt<1'IILp1 offl ri • _ .. conslstlill

Alternatl~ly,

you can select one of the "By da te" se-gmentlng optionS

(Figure 2.6). If the photos you are about to Import were shot over two

or more days, lightroom displays the files by segmenting them Into

I ppn>a<h 10 folde. orglniu,ion for th ...... who <egull,1y Ippty u)"Words 10 eN thli.

pholo$:.

their separate shoot dales (Figure 2.7). This allows you to import files

by select dates only and apply the folder naming strudure shown in the Organize menu list (Figure 2.6).

R/Io '1M

...... _ , SotI1OO1 • n '"" z007 Ie. _ _ · _ _ Ie t!

"

"_"",,ll_ 2I to_· IOM/ _ _ U ·l '

c- , ,

.. _

IOM .~",

n ,1/

,,_I_m ,,"

. - ......."."

to_ 1OM/1I/1'

"~IOMDtt"

!!I

AI 0.. .. U. 00"" @J 2CI01J01 09

I!!I

100',"- 10

PI

_'/Moll

f'i'I DM~ '"

0 "'''''''"

_

.. , _

• :.:0" "

f lgur.2.6

"

The Imporl Phoros Organ/It ~u orrell you a ,hoke 01 waY' roorgDnlzfl l htlmporred Imog:n wlrhln rht dtsrinallon folder. You can segnwm rhe Imports In/O OM fallk, os

+,' -,...

_ttl<

shown in FIQure 2.5, Of use OM of lnt

dole U'gmenr options shown here.

Figur.2.7 /fyou selef:r oneof rnesegmenr bydoreoprlonl. Ughrroom wil/orgonla rhe Imponed fi~ by dOle, using one 01 rhe opriom lined In Flgu~ 2.6.

THE ADOBE PHOTOSHOP lIGH TROOM 2 BOOK

51


Importing existing photos from folders

NOTE Irnportln9 phol'" by .~f•• ...,clt k 1M

If you are importing Images from a preeXlsllng folder of Images, the

be!ol ...,. to build \lp • Llghtroom

Import Photos dialog presents you With different options. In most cases.

cat.1og lrom """tCh. WMn you

the *Add photos to catalog Wit hout moving" option is the fastest and

~"'I

0I.1t ...1n9 Ughl room, you will

...,n, IO.cid Imagu 10 th,lIb,.ry th.t •••• I,~~y On )'OU' (omput e' ,yul!tn. You don't h.ve 10 lOudly

most practical solutIOn (Figure 2.15). Although you could choose ·Copy Photos to a ne'N location and add to catalog.· this is only useful If you wan t to Import and make a backup copy of the original master file'S at the

follow 1M"'", I do Ihk (by h.... lng

same time. Or you could choose the "Move Photos to a new locatIOn and

...... di.k driYe fo r (am ••• Imports

add to catalog" optIOn. ThiS can be used if you want to move files from

.nd .notM. lo.Mm.!Iv. liles,. It

an intermediary location to a new locatIOn and delete the ongmal files.

elMs nol ...lIy ...."" how youdilti .re currflllly of'9lnized. 8..ically,

Unless you have an expensIVe. hlgh-capacity RAID (Redundant Array o f

the "Import Phot .....1 Ih.!, Cu ... nl

Independent Disks) seNer, It IS unlikely you Will have the storage capaCIty

loutlon· ....... hod Is 1M qukkell WIY

to keep all your catalog photos on a smgle drive. My work setup

to add •• k Ung 1m~'IO .llghtroom

e.I.1og wlthoUl: having 10 cop)' .ach

Includes three large-volume dISk drIVes for stOring data. One IS used for

.nd ...e'l' Im.age 10 • _ folde.

Importing all new work Images. and the other is used for storing per-

loudon.

sonal and travel photographs. These are archive dnves for stOring the digital negative files. where the photos are Imported u~ng the copy and Import option. The third drive is used for stonng derivatIVe files. These are the Photoshop·edited. layered PSD or TIFF files that have been created from the lightroom catalog master photos. As I work on the selected

If you are Hn ing up ligl>troom for

u.. fitst IIII'M and ...... all you. ImAgfl ..... tly WIKfU.ed In, w y, YO'" My

PktUrfl folder, .M you N~.IO do

Images from a shoot. I find II helps to separate the derIVative files In thiS way. What I usually do is export a selection of photos as PSDs or TIFFs to a n@INmasterfolder on thiS other dnve. ThiS process IS made

k d>oone "Imp!>t1. Phol.,. '" thM

easier now In lightroom 2. because exported photos can be simultane-

C..... nt Loutlon- and ulect the 10f>-

ously added to the Lightroom ca talog as pari of the export process.

......1 foloar It"'" rooldlnctOJ)'l and

dldf;lmport. '""" will ,,"port .ll t .....

photos In OM go. The fo ide. dlN<to'l' on you, compute, will be mirro. ed In lhe Ught"""" Fold .... ","net

---... __ . -... _-_.---

~- ----- "

'"-,----• -----.. ·-·-· '- - •I -E· ,..

--.--

"

'.- :J -

flgu,. 2. IS Herels the Import PhoroJ dialog forlmparllng phoros from an existing folder. lmparllng by .verence/s the Desr and fostes r oplfon. Theorher oplions mirror rhe Imporr by copy op/lons thor (Ire oVCI/fllblf when Imporllng from a card.

56

CHAPTfR2

IMPORT ING PHOTOS


Importing folders into Lightroom via Bridge Thk pank .. a.rtlp can t.. rulty

utet ..11f yo ... re )ust ,,,nlng o .. t In Llghtroom and beginning to.dd photo. to 1M llghtroom library. Yo .. (In .. " 8rldve ••• p ......1Iw browser

10 Intpece folden before proCJHding

-,

to impontlle .... ThkunH>it y _

yo .. lot. of lime slnea yo .. won1 hw. to 9<' t hrough the Impon Photo,

,."

d ialog to Pl'niew the ifna9n before Imponlng. 8<ldve (In offtr yo ... mtKh f.n" rollle for browling lhe pholot beforeh;ond.

1.

Unfo(\unat~ly,

you can't drag and drop foldE'rs from BndgE' onto the Ughtroom program In Fal/orltes and have thE'm Import. But if you keep an aliaSlshortcut of LJghtroom on thE' Desktop, you can drag and drop folders from the Folders panel to the alias/shortcut.

.. _----.-----_.

-,,---~--

~__

.. ,,-

"'FE

--u_

.. _

--.-2.

In this example I dragged the folder shown in StE'P 1 to the AdobE' lIghtroom alias ICon, whICh launched the Lightroom Import Photos dialog shown here. This workflow technique will let you use Bridge to browse your computer hard disks to InSpect Image folders In detail before chOOSIng which Image folders to Import,

THE ADO BE PHOTOS HOP LlG HTROOM 2 BOOK

61


"7 "

,_

' . ' _. . . . _ _ _ .'

,_

It .1>o,,1d boo, pon'!>!.to (onfl9"' .

the Auto ImpOrt ~tlng$ 0",. __ the

!>e;inning of a .hoot .nd hay ......ry-

." ,

thing yo<J photog •• ph ."bs.qu.ntly

-. ~T

_ _ ..

be hlndled cOmpletely ."tomatlc.lolly. But of co,,_, Ihl"9' (an newrbe

-:':':':':'="=":~:-='.:(il~'~;;)~'

~- ~

g".r.nteed 10 fUn .... moothlyl

KHP In mind thllN)'O" "peI.lethe Dev.lop _in'1'''~ in t .... Auto

'"_ ' ;, IOS,' •

-.,

Import, )'0" need 10 .nelKt them

'I

;,

'9a1n bet".. !IO" (Ontin'" .hoot~

", ,-. .... ,

With ... me letMM ... ftw.re

'. '

Fe

F"

Lf ...

cr

,T .

I

-

P'09 •• m.. having a u ...... llKh..ed

to the (Omp<tle, un q"kkly d ••1n tIM b."try. 1f )'0" find thl> la be lhe can, .witch , .... u ...... aff bttwHn ~hou.

• Ol

lI __ l

Anot .... ' .1t ....... t .... l>la ..... DC ~uupply la

pow ... l .... cam«.

S.

The Auto Import Settmgs dialog can be used to configure the

while wO<klng ln , .....ludlG.

Import settings for the automatically Imported files. These Will be applied to all the Images that are about to be cap tured and for the duration of the shoot Click the Choose button and select the same watched folder as you selected In Step 2, Then go to the De-stlnatlOfl section, choose a destination folder location, and enter a Subfolder Name for thl' CUrrl'nl shoot. In Ihls exampll' I Sl'lKled the same custom File Naming template as I used in Figure 2.1 and entered a shon shoot de-sCflptlon in the Custom Text field. I also selected a custom Metadata template and custom Develop Settings template. I then added some custom Keywords to apply as the files were Imported ,

-_

_ _ 000,

---.15.

Q:oo""'+F

'

After you have done that go to the Au to Import menu again and hIghlight the Enable Auto Impon menu Item 10 switch it on ,

66

CHAPTfR 2

IMPORT ING PHOTOS


Navigating the Library module Tips for navigating the Catalog module and how to make refined selections o( photos

In this chapter we are going to take a first look at the library modu le and in particular. how to use th e Library module controls to navigate the photos in your cata log. Lightroom uses fart im age caching meth ods to build preview images of all your imported photos and from there you can quickly navigate and view any o f the pictures in the cata log . You can select individual images. zoom in and zoom out , see multiple selections of images all at once on the screen, and compare sing le

shots alongside others. Plus now in lightroom 2 you can do this over two disp lays at once, or as a second window on your main d isplay. We wi ll also look at the t ools you can use to refine your image se lections, through t he use of flags or by rating your images with sta rs to mark the pictures that you like most. From there you can use the filtering tools in the library module to make se lections o f speci fic photos or create shortlists of you r favorites. You can then decide which photos you wish to keep in the lightroom cat alog and how you should handle th ose images that have been left unmarked or marked as rejects.

ex,


Exploring the Library module You un " . . . d.ag a nd d, op 10 ~ .... nge

llte ..... oe order In boIhlM

Libr.ry Grid and FUmotl'ip.

Grid View options As new photos are Imported, low-resolution previeW'S Will appear In

the Grid view. If you selected the Standard-Sized Previews opt ion at the Import stage. the Initial rendering may take a httle longer but you will see better-quahty previews. If the camera used to capture the Images has camera orien tation embedded in the metadata, the thumbnail

previews Will automatically correctly rotate to portrait or landscape accordingly. Otherwise, you can use the rotate bullons to manually lurn

the previews or use the keyboard shortcuts

axm rOlale left and fXfIl

rotate right (use@illI) and ICII1 W if on II PC). To open the Library View Opttons, go to the View menu, selec t VIeW

Options (or press ~ IMacl or [Ctrl MIl (?C]) and choose Gnd Vili!W. There afe two modes for the library Gnd View: Compact Celts (see Figure 3.1) and Expanded Cells (Figure 3.8). The General cell view options

,~-

allow

you to sele<:l items that can be common to both

View

modes, such

as Include QUKk Collection Markers and Include Pick Flags. The ·Show clickable items on mouse over only· option refers to the QUick CollectIOn markers and rotation buttons. When this is checked, dick able items will only be revealed as you roll the mouse over a grid cell. When the "Tin t C')l .... o...tn0',1 dD.... ", ' ..

grid cells With color labels· optIOn is checked, thiS shades the entire cell border when a color label IS applied to a photo. In the Cell Icons sectIOn,

---... ---...---., ... -- ...---, ""-----

(",

• d f i L", •

c. ,.,.,

_0

I !_ .... _ _ _ _ _ _

SIttioot.

....

Co_",_1SO

~ --

1;0, , . "

~.-

ISO SIIH<I ,.1."

~T

....

r«ol tMovIh

,ror ...'''' """" Co,

, -, _ !! -

'E~"' ''''

-[>,

.

_

'"-:;0':';;:;:---".of

,,' _ .. - _ .._ _ _

'

1M" '~'~O"'."

-_ oi _ _'_

~,

~--­

Flgur.'.1 (Jvol/obl~ In

TM kl~ options CDmpoct C~I/ ExtroJ In

Ih~Llbrory V1m' Opt/om

I7N!nu.

16

NAVIGATING THE LIBRAR Y MODULE

CHAPTER3

flgur.).8

Thl/!: Ub,ory VlI/!:W Opttons dialog.


3.

However, if you go to the Loupe view mode and apply a QUick Develop adjustmen t (such as convert to Grayscale), It will only be applied to the cuuent photo, even though the photo selection remains actIVe in the Fllmstnp (you can use the@+lelt/nght arrow keys (Mac] or ICtrl I+leftlnght arrow keys (PC] to navigate from one photo to the next).

CNelr anywllere In IIIIJ Jhaded afro ladeJ~1 a Je/芦tlon a( pho/a$..

4.

Back In the Grid VIeW you can deselect a photo seleCllon by click路 ing anyv.lhere In the cell border area to deselect the other photos.

THE ADO BE PHOTOSHOP lIG HT ROO M 2 BOOK

81


Loupe zoom views As mentioned earlier, t here are actually four different Loupe views and th e NaVigator panel displays a zoom View readout of each

In

the top·

right corner. They are in Older of magntficatlon: Fit View, which magnifies the standard Loupe View to fill t he available Con ten t area both horizontally and ver tically; Fill View, which magnifies the standard Loupe view to fill the Width of the available Con tent area on -screen, croppmg th e top and bottom of th e pICture as necessary; close-up Loupe VIew, whICh o ffers a standard 1: 1 View; and lastly, the fourth close -up view Flgur.l .:U I-Ierels o l'lewof fhe Nol'lgOfor ponel. showing 01/ Ihe

mode, which offers customizable magnification levels. You can e)(tend

ovallDblecul fom Zoom vlew op flon!. Thq con range from 1:4 (25':16) 10 8:1 (800'*) and all the way up 10 / / :1, 8ul

the NaVigator fly-out menu (Figure 3.23). It's Important to understand

OJ In the mov~ Thl5 15 Spinal Tap, I

and a close-up view. You can use the NaVIgator panel to set the

suspectlhe reo/zoom value herflIJ In fo(/ , IDJer/a 10;/.

standard view to Fit 0 1 Fill, and the close-up View to either 1: 1 Of one

the range of the close-up Loupe view by selecting a zoom view from that the Loupe zoom essentially o ffers two zoom modes: a standard

of the custom magnified ViewS. The zoom View modes you select via the Navigator panel will establish how L'9h t room behaves w hen you use either a single chck or the

NOTE

to toggle between the two

zoom ViewS.

In the Uslhttoofn k!te<"f.t<e PI,f.,.

encH. t ... · Zoom clkUd point 10

«nlvoptlon pfO'<'idR'l •• ubt" diffe_ in zooming b.h<ovlo •. W"'n d..,...le<led, zoomln'jl in cktH w~I~" the KrHn to best ~II'" Content

.ru. When II

-_.

II; ..,Iea....

d id< will .Iw~ be

where you

(l!1\"..d on lhe

Loupe view shortcuts You can use the@ key (M iK) or lelrt ] key (PC) Wi th the -+ key to zoom In

progressively from the Grid W!W to the standard Loupe VIeW 10 the

magnified Loupe View. And you can use the @ key (M ac) or lelft ] key

(PC) With the ", (minus) key to progresSIVely zoom out again . If you use the [xJAII ] key (MacJ or ]CIrl JAlI J key (PC) wit h the -+ and", bu ttons, you can zoom

In

and out m gradual increments for the close-up Loupe view.

Working in Survey view If you have multiple image selections active, you can VleYV them all at once by clkk,ng the Survey view button in the Library module toolbar. A lternatIVely, you can sWitch to Survey View while In any module at any t ime by using the@ key. Wh enever you are In Survey view, the Content area IS used to preview the selected images as big as possible. Figure 3.24 shows a Survey view of all the photos that have been selected via the Filmstrip. (We'll d iscuss the Filmstrip a bit later In thiS chapteL) The arrangement and size of the individual previews Will dynamICally adjust according to the number of photos you have selected and the amoun t of screen real estate that IS available in the Con ten t area.

88

CHAPTER3

NAV IGATING THE LIBRARY MODULE


3.

I prIXeeded to U~ the nght arrow k~ to move forward through the selection companng other photos w Ith the oogmal Select.

4.

When I found a new photo that I liked more, t used the up arrow

key to promo te thIS Candida te photo to be<:ome the new Select.

THE ADOBE PHOTOSHO P LlG HT ROOM 2 BOOK

93


current Image and updates whenever you make a new Image actM!. The live view updates as you roll the mouse over the photos In the B~

now, yo ..

ma~

hav. <.ughl on

n_lo Ihe 'Kl lh" .lIlhe keybOllrd .h.ort<uu .... second'!"i dj.pIIo~ a .. j .... II"'" .. m. n lhow ...... 10, th.

nornwl dbpllo~, ..<tpl you .cId • ij)Shft I kt~lolh •• h.ort(~

NOTE You

twov. lhe _

ZOOm <onlrok In

the _ond.!"i Loupe view window as you do In lhe Navlg.to, ,......, but

you CiOn W1 lhe Loupe zoom 10 •

diffennl ""'9nifK"ion 1~in9> This

..... nl you can p..Vh. pholo In f it

mam Grid View Of the Filmstrip, whKh IS handy If you want to Inspect other photos up close Without loSing the current Image selection. But It also means that if you have the secondary display set to 1:1 vi~. you can run the mouse over the photos in a Grid vteW and use the

1: 1 Loupe View as a qUKk focus checker You should try thiS out-it is like running a large magnifying glass over a set of con tact sheets! The locked view option locl:.s the loupe VIew in place and does not update until you unlocl:. from this view mode. ThiS offers an alternatIVE' way to compare photos side by side. which leads us to the secondary Compare View mode shown in Figure 3.33 OOShltI® toggles shQVollnglhlding the se<:ondary Compare window). The secondary compare view shown here works Just like the main Compare Vff!!W and baSIcally extends the scope of hQVol you can carry out Compare View ediling .

10 " ' " " LoufM view on 0... oc,..n

",hi" ullng, ..y.• 1:1 vlrM on lhe 01 .....

How to get the most outof working with two displays NQVoI let's look at a few examples o f how a secondary display can be useful to you when working In Llghtroom. On the faCing page I have suggested three w ays that a secondary display can ease your workflow. Figure 3.34 shows how you can have a selection o f photos In Survey View mode on the main screen and use the Compare VIew on the secondary monitor. With this arrangement you can prevtew a Select Image alongside a Candidate on the secondary screen and choose alternative candidate-s by clicking on the indIVidual photos In the main screen In Survey view mode. In the Figure 3.35 example you can see the Loupe VIew In use on the main screen wi th a Grid View on the secondary display. W ith th iS setup you can have full acce-ss to the Gnd and Loupe VleIfoI5 at once. rather than have to rely on the Fllm5tnp (one thing you can't have IS two Grid ViewS actIVE' at once). And lastly, you can combine any module view on the main screen With a Grid. l oupe. Compare, Survey, or Slideshow view on the secondary display. In the Figu re 3.3 6 example I used the main screen to display a photo In the Develop module, where I was able to use the Develop tools to edit the photograph . Meanwhile, I had the current sele<.tlon of pho tos displayed In the Survey VIew mode on the secondary display. W ith this kind of setup you can use the secondary display to select photos from the Survey VIew (It doesn't have to be Survey mode; you could use Grid Of Compare) and edit them directly In Develop. thereby bndglng the gap between the-se two separate modules.

98

CHAPTER3

NAV IGATI NG THE LIBRARY MODULE


Filtering photos in the catalog edIted your photos uSing a rating system of your

WMn a filtH k In rifKl,.I'O" '.on ....

Now that you have

Ub<.ry "" EIWble filter!o !(>glllt' It

choice. you can start uSIng these ratings In conjunction with folder,

on .ond off. or .... , ... oog (MKJ Of

ke'yWord, and other selections to refine your image

(OrIN (PCI u.yboio,d .horWtL

~le(tlOn s

and

retrieve pIctures qUickly. The LJghtroom image catalog can be thought o f as having a pyramid路 type struct ure in which the zero-rated images afe the most numerous,

fewer images have a one-star ratmg, and even fewer Images have a five-star rating (Figure 3.48). Meanwhile, library Image searches can be filtered by selecting folders or keyv.-ords via thelf respective panels, or by uSing the Lib rary Filter bar to search by both, entering a specifiC term In

the search field. Whether you filter by folder, filter by collections, or

by metadata In comblnatlon With a ratings filter, you can always qUKkty narrow down a selectIOn o f Images from any library to find the speci fic Pl(l ule5 you wan t.

Figure 3A8

AlllI/unro/1on Jhowlng/he lib/of)' COllftllfS c/Qssllit(i IIIfO 0 pyromld

Jhopt slruclure.

106

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NAV IGATI NG THE LIBRARY MODULE


3.

In this next screen shot I clicked the red and green filter buttons In the Filmstrip, to filter Just the red-and green-labeled photos _

"-

w__ . ..-. -~-

-._"-1_ _

'01 _ _

~_

__,

"--_._.-_.. _. ... ----

,,_

.--I

~

C ; _ _ >+D

4.

In the color label filter swatch section of the filmstrip It IS pOSSible to I""I-<hck on a color swatch to make an Inverted color swatch selection. The Inverted swatch selection will exclude photos that have no color label. In thiS example, IIAIII-<hcked on the Yellow swatch to display all photos except the yellow-labeled ones.

f ig u re 30SS Yoo CDn cU5rDm/ze rhe Llbrory grid cell vrew by preu/ng (jiQ) (MIK}, IC!iu l (PCJ. which will ~n the Llbrory VIew OptlDm.1f you don't WIlnt tOJt'e lhe (ell (olor Iinted, lhend~ecl lhe "1Jn l (ellJ wllh Iobel colo,,' apI/on. Inueod, check 1M Im:lude Color Lobel Item In the Show Rating Foote, secl/on.

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Image selection options

NOTE n... gllM<.IIoH....... k , ..., you "'" ..... \O(cn.1vt Add to SelKtlon commands 10 boJ lld 101. of diffetent 10.1.....

The Edit menu contains a series of «Select by" submenu Items. The5e let you make filtered selections of photos from the current catalog VIew. "

'

...

of filt • • •• lKtlon .. Fo . .... mp ...,

1'011 c.n use,he SelKe by Colo, lAbel

IMnu to Add ~l'- 100'"" ~ 10. red ytllow photo lelec:tion. You

_.... •

ca".h.o ..... ,IM SeiKI by R.lIng "" Int.n.ert with SelKtion _nu ,,,

"

unit >electio ns of photos tt.., haft ..... Ichlrtg eril . . .. o nl)l. 8y Uling thll

method you can selKt lhe OM-S'" ,.ted photos ' N' t..v •• ,ltd or ,.Qow

libel TiM Edil ~ SeIK! by ""'"U

opliom uon be "...tin Ihh way to . ...' e any numlM. 01 ..,.... tlon . ul ...

whkh I. """lui when 1\'WIn.aglng la'g. (olle<tioM of phol .....

1.

Go to the Edit menu and choose a "Select by' submenu Item. In this example, I chose Edit 0 Select by Rating 0 one star.

-------_

"

7

000 _ _ _

,>" 'LlU '22 ' _

2.

116

CHAPTER3

Ilhen opened the Edit menu again and chose Select by Color label::;) Add to Selection 0 Green .

NAV IGATI NG THE LIBRARY MODULE


Metadata panel let's now look at the Metadata panel. Figure 4.1 shows the default Metadata panel VIf!W, which displays a condensed list of file and camera Information . At the lOp IS the Mel adata Prese t menu with t he 5ame options as those found on the File Import menu (for more about creatIng and applying metodala presets, see page 135). Below thiS are fields that show baSIC Informallon aboullhe flle such as the File Name and Folder. Underneath that are the Til le, Caption, Copynght, Crea tor, and location fields. These are all edllable, and when you click In a blank field, you can directly enter custom metadata, such as the Image title and COPYright InformatJon. Below thIS are the Image Ratmg and label Information, followed by the basic EXIF data items . This data is Informa路 tlonal only and shows things like the file size dimenSions, the camera used 10 take the pho tograph, camera se ttings. lens. and 50 fOfth . Many of the Items In the Metadata panel have action arrows or other buttons to the righ t o f each metadata list Item, and these provide acklitlOnal functions. For example, Ii you click the action button next to the Folder name (see the actIon button Circled 10 Figure 4. 1), thiS Will take you dllectly to a Grid view of the source folder contents,

Metadata panel view modes If the metadata panel

In

your version of l lghtroom looks different from

the one shown In Figure 4.1, thiS IS probably because you are us!Og Figur. 4. I

Hete If !Iu! defaull view of th~M"tadala pan ...llnformo tlon, which

sha wl jUl//1u! ballc "1... ln{o me/adoto,

TIu! action arrow bultonJ fhal app芦lr In

one of the seven other Metadata panel layout VIf!WS Each photo can contain a huge amoun t of metada ta ini ormatlon. so If you want to see everything, you can select the AU View. But If you want to work

!/I. Metodo/a p<lmol vttwS provl~ U~U,

With a more- manageable Metadata panel View. then I suggest you

qUick links. Fa. eltamp~, ")'011 click f/)q Folder blmon {cl.ckci}. rhb will 10k. you dlr.cl /y 10 a view of Ih. loki., conlmlJ

dick the view menu shown In Figure 4,2, whICh Will let you access the

Ih~ ~/ed ph%

~ongs 10.

alternatIVe Metadata panel View optIOns (figure 4,3 compares some o f the maIO Metadata panel View modes), You can then select a Metadata panel View more SUited to the task at hand. FOf example, the EXlf Ylf!W mode displays all the non路edltable EXIF metadata, while the (PTC View mode concentrates on displaying the (PTe custom metadata fields ooly. The large Cap tion View mode displays a nice, large Caption metadata field. whICh gIVeS you lots of room in whICh to write a text caption (the large caption spacE" here does at lean make the- CaptIon field easy to target-diCk. anywhere in the Caption held and you can start typmg). While you are

Flgur.4.2 TheMe/ada/a

data entry mode. hitting Enter ()( Return now allows

you to add a carriage return

In

this field section rather than committing

the text.

opllom.

126

vI~

In

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MANAGING PHOTOS IN T H E LIBRARY MODULE


Cropped photos If a photo has been cropped In any way, the (ropped Item will appear

On I'" MiK pLatfonn you un u ,," &

in the Metadata panel, shQl,vlng the crop dimensions m pixels, If you

_.JI.ppllc" lo n u lllHl6etterFInde.

click the action button next to it, It will take you directly to the Crop

AnribuiH 10 ,.,>el l'" Dale Origln&1

mode in the Develop module.

.nd Date T1me DIgitized biK" 10 !Mil K{1I.ltlme1.: www.pllbilcspoloC • . nelI

A8etlerfinderAllributHi. II wo .....

Date representation

with . f• • "'''9"' of me ;.,.t •.,.... c.me •• r.w fonn.u..

There are a few changes to the wiYf fi le dates are handled and displayed In the Metadata panel compared to version 1. Date Time Ongmal and Date Time Dlgllized means the date Ihal a photo was captured or was first created, whrle the Date Time field indicates the time the file was last modified Figures 4.8-4.11 explain the dlHerences between these bits of metadata Information. Next to Date Time Onginal is the Go to Date action button (thiS only applies to dlgnal capture images). Cllckmg thiS bunon Will filter the catalog view to show only those photos With matching capture dates. To exit thiS filter View, use the ~ (Mac), @!!)£l{PC)shortcut, which Will toggle the ca talog filters on or off.

Fig ur. 4..8 In 11'111 (our o( (OlTlllrIJ coplurll tilts rhol hDw nor beIIn COn~lIrled loONG, IhII DoIII TlmII Or/glnol, DoIII Tlmll Dig/filed. ond Dorll TlmllllnlrillS will all ogl".

F;gur. 4.9 WMfII a camO!1ll COp l u~ Imagf' nm bef'n Cam'f'r/ed 10 DNG. 11'111 Dalf' Tlmf' mrry rf'lI~rs 1M foCI rhollhl! fik W(lJ modified. rf'S(1v1n9 Ir In 0 dlfff'~1 tile fl)mlo/.ln lills (oseo rowfi/ll was converled 10 DNGo fllW daysafler I~ Ilmllo( coplurr.

Flgu ... 4. 10 Similarly, If I we'll 10 "f'(I'~ on Ed" copy 01 0 TIFF. PSD, or }PEG ve~/<)n oIlheorlglnot Ine Dole nme would ref/«l l hol IhlJ ve"lon oflhemaSlerlmoge wos CfIIOlf'd 01 a Ioler dalf',

Fig ur.4 .1 1 And 11 )'011 Impair ophOEo IIID I was orig,nol/ycfIIOled os 0 new documt'f1lln PhOIOS/lOP or was original/yo scanned i/TI(Jge, O<lly Ihe Dole TIme tleld will be dlJplay«1 Jhowlng Inf' dOlf' lhollhe tl/f' was tI,,/ creo/ed.

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Metadata presets provide a useful way to batch-apply Informatlonal

NOTE Mftadata

metadata either at the Import stage or later via the Metadata panel. ~.,.

_I .... vaiLab!.

.nd edlt.ble ,,'" the 'mport Photos dialog. You IhereIG •• h.ve 1M chole. of . pplylng lhe .... e... d.t. hms IInlHl

in FlgUII 4. 1S n 1M I.... port sltg. or 'IN tM Met.,!..,. panel.

You might therefore fmd It useful to create several metadala templates for the different tYpe5 of shoots you normally do. Let~ SlIY you are a

sports photographer and art' often r~u!fed to photograph the home football team whenever the team plays a game at the local stadium. You could save yourself a 101 of time by creallng a template with the name of the football team plus locatIOn in forma tion and apply this

template every tune you photograph a holllE' game.

Editing and deleting metadata presets If you wanl to edit an existing preset, first choose the preset you want to edit and then select Edit Presets. Apply the eclit changes you want to make and click the Done button . ThiS Will open the Save Changes dialog again where you will have to select Save As and choose a new name for the preset (It must be a new name-you can't overwnte an existlOg preset). To remove a metadata preset. go \0 the Usernamel library/Applicat ion SupportiAdobelllghtroornlMetadata Presets folder (Mac)

Of

local dISk (C:)\Username\Applica tlon Data\Adobe\l.igh troom\

M£'tadata Presets folder (PC) and d£'lete tht> prt>st>t. lIghtroom mE'tadata templates Will appear listed With the .Irtemplate suffix.

IPTC metadata The e(Mable Items you see listed In Figure 4.15 and figure 4 16 conform With the latest International Press TelecommunICations CounCil (IPTC) standard hie mformatlon specifications, used worldwide by the stock library and publishing industries. The items listed

In

the Metadata

Preset dialog are not as comprehenSive as those found In Photoshop, Bridge. or Mew Media Pro. bu t they do conform to thiS IPTC metadala standard. ThE'fE'fore. the metadata InformaMn you Input via llghtroom Will be re<ognizabie when you export a file and use any of these other programs. Conversely, Ligh troom is only able \0 dis,play the metadata Informatron It knows about. It won't bE' able to display all the data that might have been embedded Via Brrdge or iView. Should thiS be a cause for concern? For thosE' who r£'gard thl5 as a shortcoming of llghtroom. It may w£'11 prove to be a deal breaker. But for others, the metadata options that are available should be ample. Figure 4.17 prOVIdes some suggestions on how to complete the BaSIC and IPTC fields . II is not mandata!)' that all the listed fields be completed: Just fill In as many as you find useful. The IPTC Creator seclion normally contains your

136

CHAPTER4

MANAGING PHOTOS IN T HE LIBRARY MODULE


•••

_

... ••• '_WI

••• \ ,I

•••

,

,~~)Ji&:::; ,

'...

-,

DO

,

. ,"

• •• •

~l~ .

,

Figure 4 .2 1 An ~J«lmple of tM Show M~todola for Target Photo Only function In us~. NDt~ loot although all tM photos haV(' been SI'l«Ied and Ih~ rlt~ Off dlfferetlf, W~ can now read rhe inforrno/JOn for/~ mOlt lelectf!d phO tO.

THE ADOBE PHOTOSHOP lIGHTROOM 2 BOOK

141


_"-' ........ ----_ ..... _ ..------_., .. _. • .. _. It_··--_ ===---- )

-.--

~~ ------ '

=""-~

' -... _.---.--

...

_

7

,

_ " "

Flgur.4.2$ Yew can add keywt)/ds or rhl! Ifmeof lmporr, ln {hiS v:ompl#, iMltred lhe relevan t kqwordJ Into rhe Keywords field. Uqhlroom will offer IOQu/ocompler/! o keyword Ifil fW:ognlzes rhol II mil/h/belong 10 file t /gil /room keyword do /atlas!!.

figur.4.28 When you roIJ the mouse OVff 0 keyword In the Keyword lis! pand, a checkboxtlppalrs 10 lhe~fl of/he _eywo1d. lf you c/ic/lln lhis box.

you con add a lId: nw~ w/llch means the byword Is added /0 Ihl' currently ~Kled Image or Images. If)'OO clkk the orrow / 0 lhe rlghl ofrhe keyword counl nu~r. U9h1room ~llerJ rhe cal alog /0 show all photos l hol shiff(' 1M same keyword.

Flgur. 4.26 AJtemor/w.oly, ~ con go dl~lly 10 Ihe Keyword/ng pa~ and type In lhe keyword Of keywords you wish /0 QUip'! /0 0 se/'!<Itd pho /a (In lheboll where

/1 JOYS ·elk /< h~ IO odd krywords1. He~, II~ In "8ygdoy pMlnJu/a > Norwcly > Europe > PfaC~ · IO odd the keyword '8ygdoy pen/mulo-willl ,he rkJlrrd hierarchy.

,,_r.. _ .

l< _ " _ _

111--,,_,:,,2 •• 11M ..... . . .:..,

Figure 4.27

_doIo"' . L4

( c-o )

.51......

USi't )

YOII (on olw odd keywords In adwlfI(f!. In IIlIs f!J«lmple, I tfglll-Clicked on

lhe Norwoy keyword and chosf! Creole Keyword Tog Inskk ' Norway." This opened the C~rf! Keyword

Tag dialog. Ilhen adtkd ' sy¢oy penlnSIlIa' as a child of Norway.

TH E ADO BE PHOTOSHOP lIG HT ROOM 2 BOOK

145


A tab-delimited file IS

iI

plain telCt fi le With

level in the telCt. Tab -delrmi ted hies o...id RIKIt. ",no a W~b ,It. with 11,..

. nd lIuide ll,," on how 10 worio; wit h . <onlroltH vo<abul.o ry.1 www.ControH~o.,.bul.ry, <orn.

a tab between each mdented

are one way to Import and place

data that IS arranged In a hlerarchic,,1 formal. In the tiP to the left you Will see a link to David Rlecks' Con trolledVocabulal)'.com Web Site, from whICh you can purc ha~ a ready-made vocabulary that IS compatible With ughtroom. To Install thIS. download the file, laun<:h llghtroom. and choose Impon keywords Irom the Metadata menu . That's It-these keywords w ill be added to the Keyword list panel. Similarly, you can export a keyword hlerarcf1y for sf1anng on other compu ter systems

Of

ca talogs by selec-tJng ~Export keywords. -

Implied keywords Figure 4 .34 When Em e,Keywords II Se/KIN In lhe Keyword"'g panel, you can edll rhe ~qwcmls dl=l !y. bur fhe ImpNelr Aqwords wlff bt' hlddm from

view.

The Keywordlng panel lists keywords that have been applred elCplrcl tly to Images

In

the KeywOtd list section. But as I ment ioned, some 01 the

keywords thilt you enter w!ll already have lmphcll keywords ilssociated wltf1 them. So If In tf1e luture, I apply the keyword Bygdoy peninsula, It automatically includes tf1e Implicit keywords: PliKes and Europe. So I don't f1ave to type in Bygdoy peninsula> Oslo > Europe> Places if tf1ere IS already a keyword WIth suth a hierarchy in the diltilbase. It should only be neces~ry to type In the fi rst few leiters such as Byg ... and lKJhtroom will aUlocomplete the rest. If the Keyw ord l~st menu IS set to display Enter Keywords (Figure 4 .14), you can edit tf1e keywords In

Flgur.4 ,35

When Kqwards & CanraInino Kqwards or Will Expart I, $e/~red In rhe Keyword'fIt} panf'!/, Ihe Imp}lclt kqwords will be matk v/$Ible 50 IlID r youean Sf!! 0 "aflfm~ vI_ of oil fhe keyw<)fds opplled roo photo, bill yeu won't bt' ab~ to edll/lwm,

this mode but the ImpliCit keywords w ill be hidden (althougn they

Will nonetheless remain effectIVe wf1en conducting searche s), If you select Keywords & Parents or Will ElCport (Figure 4 .15), you Will see a flattened list of keywords tf1at Includes the Implicit keywords, but you won'l be able to edit Ihem in the Keywordlng panel when uSing these modes. When you enler 11 new keyword, you use tf1e > key to signify that tf1is keyword is a child of the following keyword (such as ChiCago > Illinois> USA > Pidces). ThiS estabhshes the hierarchy. ilnd as I

elCplalned. when you use the Enter KeywOtds mode, all you Will see IS the fllst keyword; the parent keywords Will be f1ldden. However, If you apply a keyword !.hat IS identical to anotf1er keyword where both hilve different parents, you will then see the> hierarchy appeilr in the Keywords dialog. To gIVe you iln eXilmple of why tf1ls is the case, Figur. " .311 In Emer Keywords mode, yeu won't always sÂŤ the iwyword hilmlfchY(Qs used w~ typing In" new ~eyword} un/en lhereare Iden/leal

repeated twice. ThiS is because my Wile Camitla IS both 11 makeup arttst

keywords but wlrh dlffermt parents.

two separate con tex ts. llghtroom IS able to differentiate between the

take a look at Figu re 4.36,

In

whICh you see the Keyword Camilla

as well as bl"lng -someone I know. ~ I can add the keyword Camilla In Camillil l know and the Camllla I work With.

150

CHAPTER 4

MANAGING PHOTO S IN T H E LIBRARY MODULE


m;]

2.

r---, "'~ ~-,

~'''''''.

~

'"

You can enter the keyword or keywords you wi~h to apply In the empty field 111 the tool bar, and as you enter each keyword, lIgh troom will autocomplete the text by refefenang previous or recently used key.vords In the database. Aiternatlllely, you can choose Metadata

0-

Set Ke)Word Shortcut, or press IXIShiII®

(Mac) Of lfillShift l KI (PC) to open the Set Keyword Shortcut dialog and enter the keywords there.

3.

The Painter tool is now ready for use. BaSically, you just click or drag with the Painter tool anywhere In the Grid view. In this

eJlample I used the Painter 1001 to ·palnt- the keywords entered In Step 2, When you have finished using the Painter 1001 and want to milch out of "paint " modE", click: In the empty area of the tcolbar where the Painter tool normally lives, or use the IxlAll l KI (Mac),

(C1rINAlIIKI (PC) shortcut.

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Custom filter settings We touched on wOIking with the Custom filters

In

the previOUS

chapter. where I showed how you can save custom filter settings via the Filmstnp. Such custom Filter settings afe also accessible via the Filter

bar. You can also save more detailed filter settings that make use o f

Meladata fitter terms, whICh In turn can be a<:cessed via the filmstrip. In figure 4.56, I crealed a fil ter search for photos that matched the keyword Jobs (to select aJi client lob photos), where the File type was a ?SO file (which IS what I generally use when eclitlng retouched master imagE's)' that had a star rating of two stars or higher. I then clICked the Custom filters menu to save thiS as a new preset setting. named it Client select masters, and clicked Create. I was then able to use this custom filter whenever I needed to access a shortlist of all my clien t retou ched master Images.

. '

I

,

,

o

,

_00' ....

'.0.... ___ ......... , __

Doifto_~

_F_'CIIofttoolocl- .....:,.

--, ,

--

Flg,.Ir. '-.56

â&#x20AC;˘ TINs shows

Ih~CuSlom

( .... ) E-

'i

fillers menu oplions, where you COli soveo

filler bar serllng os 0 new P(~.

Empty field searches Let's go back now to the Text hlter section of the filter bar, where In the Search target section you can choose to search by caption. In the accompanying Rules section you find rules such as Is Empty and Isn't Empty, and for keyword searches, Are Empty and Aren't Empty. The purpose of these rules IS to let you search for photos where no captIOn or keywords have been added, or alterna tively select only those photos that do have captIOns titles or keywords (note that when either of these rules is selected, the field search is overridden and the search field box dimmed), Let's now look at how and why you would want to use an - empty field" search.

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2.

I clicked the Attribute tab and applied a two-star filter to show only the two-star Of htgher Images. I also clicked the Metadata tab to reveal the Metadata filter opllOns and used a Dale panel to search for photos th at had been shot

In

2007 only. And lastly. I

used a File Type panel to search for the Photoshop Document (PSD) File Types. ThiS resulted In a filter selection that showed only the PSD file format photos that had been shot dUring 2007 that had been rated with two or more stars.

3.

Even so, I stili had 34 Images to choose from. I used a Key.vord panel to select Souchern, which IS an awards entry categOfY keyword. ThiS now filtered the catalog to show photos taken for the speCIfied client that had been shot dUTIng 2007 that had a rat ing of two stars or more, that were PSD fil~ only, and that also had the keyword Southern> Awards categories> Jobs.

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169


-'''''"" ..... , II 1'<

_

0--..路. .'__ ..... . . _. . .

,.

3.

Now let's look at what happens when 81nclude Develop settings 10 metad ata IOside )PEG, TIFF and PSD flles 8 IS disabled and 8AutomatICaily w rite chang~ into XMp 8 is sWItched on . Any edIts made in Lightroom Wilt automatically get saved to the Lrgi'l troom ca talog as well as to thl' frll'~' XMP ml'tadata spacl'-alt the settings, that IS, except IOf the Develop settIngs. whICh WIll be saved to the propnetary raw and DNG files, but not to the JPEG, TIFF, or PSD files. In this SCl'nario, all ml'tadata infOfmation will bl' saved to all tyPI'S of files (with thl' l'xcepllon of thl' Dl'Velop settings not bl'mg wrllll'n to JPEG, TIFF, or PSD files that havl' bl'l'n edltl'd In lIghuoom). Propnetary rirW and DNG files that have bl'en edited In Lightroom will prl'sefVl' theIr appl'arancl' whl'n vlewl'd In Brldgl', and will open as expected VIa the Bndge Camera Raw dialog. But with JPEG, TIFF, or PSD files the Develop settmgs won 't be transferred and because of thIS t hey WIll open from BrIdge dIrectly Into Photoshop WIthout opl'nrng via thl' Caml'ra Raw dialog. Thl' downsldl' IS tha t such Images may not always look the '>amI.' In other programs as they did In Ligh troom. It all depends on whether you want to use the Dl'Vl'lop module to modify thl' JPEG, TIFF, or PSD Images as you would do With the raw Images. Overall thiS IS probably the most uSl'ful configuration to USI', becausl' it prl'serves thl' informational metadata in non-raw files that have been modified In Ughtroom and aVOids non-raw fi ll'S opening up via the Camera Raw dialog .

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CHAPTfR4

MANAGING PHOTO S IN T HE LIBRARY MODU LE


Sort functions

NOTE

If you are viewing a folder, a filtered folder View, or a collection, you

y.... can on.,.. d.ag and drop phoiO.

can manual~ sort the Image order by dragging and dropPing photos eitner in the Grid View or via the Filmstrip, Sorting tne photos manual~

In Ihe G.1d o.

.Ingle foIder ..1ew o•• collect ion 10

will default the sort order menu to a User Order sort setting, and the

..Iect~d. You cannol d •• " and drop

User Order sort will remain In force after you eKit a particullir Folder or Colle<:tion VIf!W. But as soon as you sWitch to any other sort order

F~ .... trip

..1ew when a

grouped foldet1 Or filte, MIe(UOn, thai >PIOn ... ort tlwon 0 '" folder.

menu optIOn, such as Capture Tirne, the previOUS User Order sorting will be 1051. The Sort menu also resolves some of the poss.ble contradictions the way color labels are Identified

In

In

Bridge and llghtroom. Instead

of haVing a single sort optlon of sorting by color labels. there are two options: Sort by label Color and SOft by label Text And the reason for thiS is as follows:

_,Il0l_ ...

""-~'"'

--

:oJ.,

. I..~

e ~,

e•

" ... 10

;:::~

1.

..

• •

.'-..._---_.

:::---'.,",

In lightroom, the defau lt color label set uses the following text descriptions alongside each label: Red, Yellow, Green, Blue, Purple (to access the dialog shown here, 90 to the Library module Metadata menu ~ Color label Set:::;.. Edit). OK, this IS not a particularly Imaginative approach, but the label text that IS used here neatly matches the label text descriptions that were used in Bridge CS2 (as included with the CS2 Creative SUite). Note that the ughtroom dialog shown here says. ·11 you Wish to maintain (ompatibillty with labels in Adobe Bridge, use the same names in both applications.· So lar, so good. II you follow t his advice, l lghlroom can be compatible with the CS2 version of Bridge because both programs use identical color label tex t description s.

THE ADOBE PHOTOSHOP lIGHTAOOM 2 BOOK

187


GPS metadata and linking to Google Earth If you have GPS metadata embedded

In

an Image file, lightroom wJlI

NOTE John H .... 10 pwdun managltt" fo r

let you hnk. dlfe<tly to Google Maps and locate eKa<:tly where that

Photo.hop.nd

pho tograph had been taken . Bu t In order 10 pull off this trick you will

a bIog titio-d "JolIn H.... on Adobe"

need to find a way to embed GPS metadala In your Image capture flies. This IS not as difficult as you migh l lmaglne, since there are now several GPS devices capable of captunng the GPS coordinates at the lime of capture and then synchronizIng the GPS data With your capt ure images via post-processing software. For example, according to John Nack~ blog. lobo AG T.., has announced phOloGPS, a S 149 device tha t SIts in the hot shoe (i.e., the mounting pomt lor a flash ) of a digital SLR .

~.nd

Iblo~... dobe.comJj .... d<)..

... r1t~.

" 10 full

of lou of Inte~.tlng beckg,ound

tn' _lion on ......' h 90in9 on "'Adobe• •• weM •• offering off-top;.: pcKu .uc h u lin ... to Inte .... Ung phatog,.phy Web .ilK.

Post-processing software synchronizes data captured by the device With the corresponding Images. In the follOWing steps, I have used a set of images With embedded GPS metadata. kindly prOVided by Ian lyons to demonstrate how llghtroom can use such meladata to link 10 Google Maps. By the way, you (an see more o f lan's photographs taken around the Falklands and Antarctica on his Compu ter Darkroom Web site.

1.

Here is a library View of lan's photographs shOWing a selection of Images shot around the Falklands and South Georgia Islands.

THE ADOBE PHOTOSHOP LlG HTROOM 2 BOOK

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3.

Click the .mow next to the GPS metadata and (providing you have a live Internet connection) this will take you directly to Google Maps, pinpointing exactly where the photograph was taken. If Google Maps will allow you to, you will often be able to zoom in further, to get a closer look at the location where the photograph was taken.

''''--1-, ,

..". .--

,

OI .M _ _ - .-~

,

.

-... 4.

If you happen to have the Google Eanh program installed on your compu ter, you can also copy and paste the GPS coordinates and use the more eKtenSive navigatIOn tools to explore the scene where the photograph was taken. In this example I tilted the View to a ground路level View of the site where Ian look hi5 photograph.

THE ADO BE PHOTOSHOP lIG HT ROOM 2 BOOK

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Export and import summary You use the File

Q

NOTE

Open Catalog. command to load individual catalogs,

but Lighll00m can only run one catalog at a lime There IS nothmg to stop you from utilizing multiple catalogs. but a single catalog IS probably all that you really need, even if you have a very large collection of

photograph!> to manage. A ca talog export is always a one-way process. You can only create new catalogs and you can'l get a catalog export to add to an eXisting catalog The File

Co

Import from Catalog command is the me<;hanlSm used to

import catalog information from a catalog and add it to an existing catalog. Depending on the catalog you are Imporllng from, you can

TIM Adobo Ph<!loohop Ughl l'OOrn

end'""e. ~."_nl pe ....IU you 10 In"d lIghlroom on .... aln compute. and • • e«Ind.ry «Impute, ouch.t;o i41plop. This Is MOUle k Is lecognlzed

that. lot 01 Adobe product '''''omen

reg,,"""

won. on mo.e than one compute •. Another """,,I thing 10 know ;. th .. rOll CiOn u<e • 'ingle lIghtroom Ikame 10 run ;0 Mac..nd

1''''9'.''''

Window. venlon OIIM You don' need 10 bII)I. sep."a.e lken....

either Import the complete catalog contents (Images and metadata), or choose to simply update the metadata InfOl"mauon (Without Importmg any photos). There is an example coming up on pages

208--211 thaI

shows how to export a catalog from a main computer, Import thiS catalog to a laptop, make some metadata edits to the catalog, and then reimport the reVised catalog back to the Original computer again

Copying a catalog to another computer If you are running lIghtroom on more than one computer, there are bound to be times when you might Wish 10 access the same pho tos across both machines . As I explained earher, Ughlroom works by exphcllly Importmg master photos Into the catalog and from there keeps a record of where each file IS and stores the InformatIOn about the photos, such as the Develop settmgs and metadata Within a central database, referred to here as the catalog. Once upon a time you would have had to think In terms of u€'al.!ng duplicates of all you r Imag€' fi l€'s If you wanted to work With them on IwO or more computers stored In dllfel€'nt 10catJons. But cataloging programs like Llghtfoom don't need to access the onglnal images In OI"der 101" you to search lor pho tos, make editing deciSIOns such as Image ratmgs, edit the metaclata, 01" create shdeshows. llghtroom makes use of Ih€' previews to do all thiS, and therefore the master photos (or nega\lVi?S as they are referred to here) don't aways have to be present.

THE ADOBE PHOTOSHOP lIGHTROOM 2 BOOK

207


How to merge two catalogs into one

NOTE n... "-9.

c.ta!og "..,. ,hown h•••

",III ~ you Iynch ron/ze mettodtt • ...nlngs luch.o. ' PK .....

tad.,.,

uy",..r<k,

~

•• I~,

.ond

o.v.lop

M1't1lwls from OM UIlIog 10 .n.oIM. .nd bkk ~.In. H_ r, you c..n't use this method 10 ..... ot other

For a 10\ of lIghtroom users, one catalog is all you really need. For example. I have one main catalog that I use for storing everything that I Import Into the compu ter: work and personal proJe<!S alike. If I

wanted to, I could spill off the work and personal photos into separate catalogs, but what works for me 15 to keep all the current photo files from the last 2-3 years on my main computer, stored on Internal, hard

LlglKroom lettinglluch.o. o.¥ ..lop

drives. The files I store here are backed up to two large external disks

o. Print modul•• ett ln\l"

that can eaSily be stored IJway from the computer for safe keeping. At the same lime, I have a large collection of other hard drives that are used to stOfe an archive of everything that was sho t prior to 2-3 years ago, plus I use this setup to archive a lot of the raw files from shoots where I am unlikely to have to access the onglnal raw files in a hurry. There is no pOint cluttenng up the main catalog With all the Image files that are mainly kept off·llne, and at the same time I don' t like hClVlng all those additional hard drives powered up constantly so that once or twice a year 1 can access the files on them. Furthermore, there are an awful lot of duplicate version files in thiS archive from pre.llghtroom days. when I tended to generate new verSion copie'S from a Single master. The solution I have adopted has been to keep separate catalogs for these two setups. whICh helps keep the main catalog looking tidier. But what if I wanted to work with the contents from both catalogs at once? There are time'S where It IS not convemen! to have to keep SWitching from one catalog to the other and I need to see eve'Ythll1g that IS on all disks . I might also wan! to reconcile the keywords between the two catalogs and I can do thiS kind of tll:iymg up If I work on a merged ·uber" catalog The next example uses the catalogs shown

In

Fig ure 5.10.

.B

LR

.B

LR

In rh~ following $ r~p$ /'11~ show/nt} 1011 how I (,eored a mOJr~r, merf}ed (0 /0101) rho / cOIJId ~ used ro Inr~"hong~ updates with 11'10 wOcotolog.s: my main (ompuler dOIOlxl1~ (Ololog and on on::fIj~ ( 0/0/01) of oH·lin~ phoros.

f lg ur. 5 .10

212

CHAPTERS

WORKING W ITH CATALOG S


Steps for getting accurate color

NOTE v.... don'll'IHd 10 boo <0"' ....... wllh RG8 WOOOpacH Of PI'O~"'t .... hen

wo,klng In Ughtroom. R_ filH

Calibrating the display

don't hlv.. ""',...., .nd u.. <olor

The color management sys tem In llghtroom requIres no configuration,

IMn.gtmem of thew iii" Is IItndled b~

as llghtroom au tomatICally manages the colors Without you haVing to

d.e Inlefn.l._ pl'O<Hoin9 engine plus .ny ulib,-';on .dju.tmenu that

worry about profile mismatches, which color space the Image IS In, or

mlghtlH! IppUed.1n lhe Ule of plnl

what the default wOIkspace IS. There may be problems with mISSIng

~•

profiles, bu t this only applies to imported files where a conscious deci-

.,p<>rtod intO Ughlroom,

the profile . Kognltla n Is ..... ndled

sion has been made to not color manage an Image Apart from t hese

.uto rMIlcilly.

rare Instances, you can rely on ligh troom to manage the colors per-

TIM Ima~ file you IN WO'~1n9 o n In

fectly from Import through to export and print. HQ<Never, you do need

Ughtroom ,.on bot Iny colo'Of>KI And w ill be colo. man.ged accordingly.

p .... kMd lhe Imag.. has In Itmt..dd..t p.ofi~. lflhe Ima~

1'0"'" wor+Jng

to give important considerallon to the moMor display and ensure that it is property calibrated and profiled before you can rely on it 10 judge colors, because you want the mooltor to show as accurately as possible

on hi' flO embedded ptOfile. the

what you are likely to see In pnnt Calibrating and profiling the display

."'.... lIon Is the .. me .. with Iny

IS essential. and It does not have to be complica ted or expenSIve. So if

"' .... lOft ..... pno9 •• m, _Old .. II ..... h •• 10 b • ...ado a< 10 .... ","1 1M colo ..

you want to get the colors fight and want to avOid disappOintments,

In the file act ...1Iy mun. Whe~.r

you should regard the follOWing pages as essential reading.

Llght .oom encounl~. file with ..

mining PI"'''', It wlll ........... lh .. Im.,e 10 be In.n fAGB color.pau. The ..... no w.mlng rndlutlon,ln Ught room olhe< , ...... the Ippel' .nu

oft"" Image 1tH1f. 50 Ifth.. colo .. of ..

Choosing a display

Rn

The chOICe of dISplay bOils down to Cathode Ray Tube (C or liqUId Cryslal Display (LCD). The better CRT displays have mostly been

plnk ,,1., 1"'691 )'Ou OM In Ughuoom

discontinued and are hard to come by now, although there are a few

don' ....teh rOil ....",,1npectltlom,

good-quality CRT displays such as the Sony Arllsan that you may fi nd in

II; (ouid be

dIM ' 0 .on I..... "'" filot

"'wing .. milling lmlge profile. To p ........llhb from o«u.ringin the fint p ....... I UIgIlUllhM you chKlI your PI>oIOioliop Color St1t!l>gs .".. ~fI1UI~

tN.t )'Ou h.ve the color .... "ag..... nt .wltc~

0 " ... tn.t Pholo 0h0p will

'''''.\'$ t"'~ • profile In the fi'" th.t . ' e ","ved 0'" of it. Ttl...,lftt w.~

to do this Is to c' -•••

G_,..'

use. But apart from that your chOICes these days are restricted to LCD displays, and the quafr ty can vary greatly. There are different classes of LCD displays starlmg WIth budget-priced screens (such as those used on laptop computers), to !arge-sc.reen professlonalLC D displays oHering a hl9h degree of color accuracy and Wide color gamuts, such as the Elzo ColorEdge CG301W and the NEC lCD3090 . Both these displays are easy to calibrate and profile, plus the large 3D-Inch screen sI ze means they are comfortable to work With. As wlIh all things in life, you gel

PII.pooe <010. leltJng. 0. benltl' lIill,

what you pay for. Since the monitor IS what you WIll spend all your

o ne of tM Prep.... color HttingS In

time looking at when making cri tical Image adjustments, 1\ IS POin tless

the Colo. Senlng. di<olog.

to cut corners w hen chOOSing a display, Just

as It IS pOintless to SCrimp

on bUying anything but the best-quality lenses for your camera.

228

CHAPTfR6

DEVELOP MOD ULE IMAGE ED IT ING


.'-.'-... .'-'.'-"-

.-_........---

> â&#x20AC;˘. ' -

~---.H_ â&#x20AC;˘

s.

I

If you are calibrating an LC 0 display, then simply skip this, and proceed to the next step

In

whICh II senes of colO( patches flash

on the screen. The calibration deVice measures these patches and uses them to build the monitor profile. The profile measurement process takes a few minutes to complete. so you need to make sure that your screen saver doesn't kick

In

while the calibration

1$

underway ! For example, the settings on an LCD laptop In batterypower mode may automatically dim the display halfway through the profiling process and adversely affect the results of the profile measurement. One way to ensure this does nol happen is to keep the mouse cursor mOVIng every 30 seconds or so (outSide of the area being measured of course) until the process is complete. At this stage you can dick to save the monitor profile that has been generated, and It w ill automatICally be configured as the new monitor display profile.

THE ADOBE PHOTOSHOP lIGHTROOM 2 BOOK

233


0-

F

l

.oW

1.

I now wanted to apply some tonal edits. I clicked the Auto Tone button followed by the Exposure, Snghtness, Cont rast, and Vibrance buttons circled here. This combinatIOn of adjustments did a lot to ImprO'le the appearance of all the selected photos.

4.

However, when looking as the group of Images I notICed that

there were two pictures In the middle of the selectIOn thai needed to be made lighter Ihan the rest . There was no need to deselect the selection of photos. I double-clicked on the photo to work In Loupe view, where the Quick Develop controls can be applied one

image at a time. In this example I added more uposure, more Bnghtrless, and more Vibrance.

238

CHAPTER6

DEVELOP MOD U LE IMAGE ED ITI NG


Quick Develop cropping The Crop Ratio menu options (Figure 6.5) can be used to apply 11

preset crop ratIO that evenly trims the photos al either side. Image

...... ."

cropping is something lhal you usually want to apply carefully 10

'" '"

photographs Individually, but I would say that hCMng a qUick way to change the aspect ratio of a bunch of pictures might be more useful for someone like a school photographer who wants to qUickly prepare

Ix '0 I.S .11

11 set of portraits to 11 new fbc:ed aspect raM seiling. You can also erellte your own Custom Aspect RatiO (fOP settings for use in the Quick OevÂŁ'lop panel (figure 6.6), In Figure 6.7 I selected the 8.5 x 11

proportional crop and applied tt to the selected photograph. Flgure6.5 TheQuI"cOeve/opcrop menu options (on/oln 0 I/SI of pre,eU. You (on odd 10 rhls Iisl by click/fig Enler

_-..1.."

I.

ilOIlO

GD

Custom to odd up to /llnen_clls/om crop proporl/otls fa the list. f igure 6 .6

Th~ Enf~,CUJfom

AJpecf Rar/a dialog.

Figure 6.7 Shawn here /J a phorll9roph la whkh I app/~a 8.S 11 I r proportlanal crop fa a IandJCaIWlmage fhaf ariglnally had a narma/l:J aJpecf rolla.

240

CHAPTfR6

DEVELOP MODULE IMAGE ED ITING


(am~ra @!X

osur@!s

A typical CCD or CMOS senso r In a d igital camera Is capa ble of recording over 4,000 levels o f Informa tion. If you are shooting In raw mode, the ability to record all these levels very much depends o n a careful choice of exposure. The Idea l camera e~po sure should be bright enough to record all the tonal Informa tion without clip ping Important highlight detail. This Is because half thE' levels Informatio n is recorded In the brightE'st stop ra nge . As shown In Figure 6.22 , fo r each stop decrease in e~posure, the number o f levels that can be recorded are potentially halved. The upshot of this Is that you do not want to deliberately unde re~pose an Image unless to do o the rwise would result In the lo ss of Important highlight detail. Deliberate undere~posure will have a dramatic Im pact on the deep shadow detail, since reilltively fewer levels are left to record the shlldow Info rmation. Figure 6.23 shows how you can easily lose detail In the shadow areas due to an undere~posure at the capture stage. If you are shooting raw, it 15 unwise to place too much emphasis on the camera histog ram. It Is ben to either trust the e~posure system In the camera to get It right or rely on the histogram In llg huoom.

I

I

,

I ,

2 'j

I

I

,

â&#x20AC;˘

f ig ure 6 .22

/fyou don'I oprlmlle rhe camero exposure, you moy be mining

'0

the opportunity record 0 t}reater number o( levels ~Io rhe lenSOr. The lop diogrom shaws hOlNo correc tly oprlmllefi elfposure makes maximum use ofrhe sensor's obWry '0 ~(){d the fullest omount of I~J In (olmallon possible. In rhe /ower dlot}rom you can

see how recordillt) the exposure JuS! one Slap darker Ihall Ihe Ideal exposure mulrs '" only holf OJ many I~s befllt} recorded by Ihe ~n!0r.

This lmor;le Is di~ided diQ9onolly. The rop sedloll ,nows fhe enhanced shodow derail us/nr;l (In opr/mum co~ el/POsur" seUlllr;l, and rhe bof/om secrlon shows rhe ~me scene coprured or minus /wo Sfops camero E'lfpoJure ond fhen processed 10 march rhe lumlnonce of Ihe normal eKpasure.

figur.6..23

Norlee rhor rherels more noise 000 less looo/ Illformal/oll /11 rhe uOOerelfposed

veniOll,

THE ADOBE PHOTOSHOP lIG HTROOM 2 BOOK

257


Understand In

Whlt~

Point

The White B;,lance slider controls In the B;,slc p;,nel h;,ve thegre"test Impact on the color ;,ppearance of an image (Figure 6 .291. The numbers used In the Temp slider refer to the temperature scale measured in degrees Kelvin, which in photography is commonly used when describing the color temperature of a light sou rce.

Figur.

The Whlre BalDnee slider m nflOJl ln rhe Bofle panel ollow you to monually odjust tfrf' while poin t In on /moge. The Tempero l uru lider odjUs l s a .2!1

Ihe while POln l from worm a fllfie/aJ lighting condlrJonl to cool dayllghl and beyond. The L/ghrlOOm illder reptnenfl thiS os a prog re311on going from blue to yellow. The 11nt i/lderollows you to

finr- fUne the white point for any green! mQgenlo bias In Ihe whi le poin t.

Artlficlallightfng, such as a tungsten lamp light source, has a color tempera tu re of around 2800-3200 K, whereas average daylight Is nollonally ra led as being 5000 K and overcast daylight is somewhere around 10000 K. Photographers often describe hlgher color temperature lightIng conditions as being cooler and the lower color temperature lighting condItIons as being warmer, because most people equate blue colors with coldness and reddish colors with warm th (although technica lly speaking, a bluer color temperature Is actually hotterl. The Temperature slider 5("le allows )'Ou to set what 路should be" the white point of the Image based on the Kelvin scale. The key point to em phasIze here is that the WhIte Balance co nt rols are used lo "asslgn" the white polnl as opposed to"creal lng" a white balance. 50me people get confused o n this point because they assume that If 3200 K equates to tungsten-balanced film and 5500 K equates to dayllght路balanced fi lm, they wrongly expect thai d ragg ing the Temperature slider to the right makes the Image cooler and dragg ing to the left makes It warmer. The o pposIte is true, because)'Ou are using the Temperature slider to aulgn a color temperature to the Image. Dragging the slider to the right WIll make the Image warmer a nd dragging to the left Will make It cooler. Try thinking of il this way: If you have a photogrllph i hot under average daylight conditions and assign Ihe Image a lower color temperalure more suited for IUngslen lighting condtuons, such as 3200 K, Ihen natuf,,11y enough, the co lors In the image will appear blue. ThIs Is the same as using II tungsten-ba lanced film emulsion to record a daylight scene. Tint adjustments The TInt slider adjustments can usually be quite mInor, except for those sItuations where the I['ifhl source emits uneven spectral wavelengths of light, such as when shooting under fluo rescent lighting. It Is hard to set an acc urate whIte point for these types of lightIng conditIons, but fluorescent lightIng condItions WIll usually require a heavy magetlla tint bias to Ihe while poInt 10 remove a green cast.

262

CHAPTER6

DEVELOP MODULE IMAGE EDITING


3.

I then used the EKposure slider to eKpand the tonal range This step sets the highlight dipping POint and lightens the image.

4.

The Recovery slider helps prevent any highlight clipping. If you hold down the fAll I key as you drag the Recovery slider, the Image IS displayed

In

Threshold mode. If there IS highlight dipping, you see

a posterized Image that shows where the highlights start to get dipped. If the highlights you see being dipped are specular (reflec路 tlVe) highlights, It is okay to clip them . But if the highlights con tain nonreflectrve highlight detail, It's best to nudge the Recovery slider more to the right to reduce such clipping.

TH E ADO BE PHOTOS HOP LlG HT ROO M 2 BOOK

269


Clarity slider

NOTE ca.rIry Is a hybrid

b.o~

on two .... ~.

rate «>nl ...1 enhnd ng te<hniqUfl. One is aloeal coM..., enh.na .... nl IlKhnlq ..., do-...1Hd by ThorN.

Knol~

The Presence section of the BasIC panel includes the Clarity slider, whICh is essenllally 11 mldtone COntrast adjustment slider. Clanty cleverly applies an odaptlVe con trast adjust ment that is Similar to the

using " low .mount .nd hlgtl ,.ellus Mttlng In the Photothop Unsh.orp M.. k fille<. The 0'1>.";, , midtone

low AmountJhigh Radius unsharp mask techniqu e re ferred to In the accompanying notf!. This is achieved by adding wide halos to the edges In the photograph, dnd these build up the contrast In the mldtone

cont •• " enhu...menl Pholothop t~hnique tfw,t w • • origl ..... 11y dev"ed

areas based on the edge detail in the photograph. The net effect IS that 1I pOSitive Clarity adjustment boosts the apparent (enlia.. ! In the

b~

M..: Holbert of Nllh [ditto ..... He

found I~ It MIpI'd him 10 bring out cmPft det.~ in his IndKIOpe print .. It hlnk II"\CKC pholog •• plI. un g.aln ftOM .-!ding • litt .. bit of Clarity..

mldtones, but Without affe<:tlng the overall global contrast. Normally,

you would want to stan around 10 and try not to overdo the effect. But as you increase the amount, the halos get Wider, streng thening t he mldtone con trast effect and making the mldtone areas 1001: sharper. You can see the halos forming as you drag the slider left and right.

1.

Here IS a SCfeen shot snowing a close·up 1:1 View of a photo. A

few adjustments have been made to the basic tone controls and sharpening has already been added via the Detail panel. You don't have to necessarily be Viewing the Image at 1:1 In order to evaluate the results, but this IS usually the best way to View your worl:.

274

CHAPTER6

DEVELOP MODULE IMAGE ED ITING


2.

I selected the photo with the (orrect-looking exposure and made th l~

the most selected Image. I then went to the Develop module and chose Match Total EXpo'Sur~ from the Settmgs menu_

3.

In thIS library Grid View you can see how the exposure appearance

of the other photos is now more evenly balanced compared to the library Grid VIf!W in Step 1.

THE ADOBE PHOTOSHOP LlG HTROOM 2 BOOK

283


4.

lastly, I adjusted the Shadows, which agam could be done by draggmg the Shadows slider and clicking on the curve to directly edit the shape of the tone curve, But in thiS case, I placed the mouse over a shadow area in the image and dragged the mouse upward to lighten.

Combining Basic and Tone Curve adjustments So far, I have shown you how Tone Curve adjustments are made m ISolatIOn. But m a typical develop seSSion, you will normally work. uSing a combination of both the BaSIC and Tone Curve adjustment panels. Over the next few pages, I provide a step-by-step example in which the Ba!>!c panel adjustments are applied first m order to correct the white balance, recover lost highlight detail, and Improve the overall con trast In the photograph. thiS IS followed by some Tone Curve adjustments to fine-tune the tonal balance and brmg ou t more detail In the highlights and shadows. You can do a lot to Improve the appearance of a photograph by making just a few BaSIC and Tone Curve adjustments. But with care ful use of these Develop module comfols, It IS poSSible to edit the tones in a picture so that you won't always have to apply localized adjustments to get the look you are aller.

288

CHAPTER6

DEVELOP MOD ULE IMAGE ED ITI NG


9.

In this final versIon, I rolled the mouse over the rocks and dragged downward to darken t he Shadows zone to -60%. At thIs stage, I had completed all the main Tone CU/ve adjustments and the Image now looked more promising than It had done at Step 6. But the Tone Curve editing didn't end there: I clicked on the Spilt Point sliders and dra99ed them to fine路tune the curve shape and achieve the exact tone mapping I was after. Finally, I added some Claflty and Vibrance. If you compare the version shown here With t he one In Step 6, the earlier vel"Slon IS perfectly acceptable, but the Tone Curve panel prOVides us with almost complele <ontrol lo shape the CUNe any way we like using Just the four Tone Range controls plus the Split PolOt adjustment shders.

THE ADOBE PHOTOSHOP LlGHTROOM 2 BOOK

293


• • • • •• . '• •

.'

.'

1.

I don't usually expect to see color fnnglng when I shoot uSing my 70-200 mm lens, but this IS a genuine example where color fringing was seen around the edges of the bnght pink Hower petals.

2.

• •• • •• , ••

This was resolved by adjusting the Chromatic Aberration sliders In the Detail panel. I adjusted both the RedlCyan and BluelYeliow sliders as shown here to remove the blue/purple fringe.

THE ADOBE PHOTOSHOP LlG HTROOM 2 BOOK

301


FIgu ,. 6 .54

EKomp~

of differeflt post-crop setrllllls opplled to fhe lmolle In FJllure 6.51.

THE ADOBE PHOTOSHOP LlGHTROOM 2 BOOK

309


Vlf!tN, or split honzontally, when uSIng a ToplBottom view. Meanwhile. the Split vi~ divide the image In half, displaying a Before vieYI on the left and an After vrf!tN on the nght (or a Before vIew on top and

You aon o.. ~,h IKotwHn th~ b.fo . ~

an After View below [Figure 6.6 11). Al ternatlvely, you can repeat click

.nod .ft~r "enlonJ In lhe Delftlop

the BE"fore/After button to cyclE" through all the available VI~. You can use the [Yl key to toggle the standard LeftIRlght View mode. press

IAIIIVIIO toggle th e standard Toplaon om view mode, and press [Shl/IIlY) to then go to a Split screen version of either of the abO'ie (presslng@

moduli bygolng 10 IheVi ........ nu

.nod ,1>0001"9 hfo ... 1 Aftfi Q hfo ... Onl)'. Or, use tIM bIocksln" kt~ ill

. ho<lc ..... t o qukkl)' t0991e ~et<1 Ihne two view;"", modes.

returns to the default Loupe mode VIew). While you are In any of the Before/After View mod~, you can also zoom In to S(roil the Image and compare the results of your adjustments up close.

These rwo screen SholS show you rhe rwo main viewing modes for comporlr19 ~fo(1! and afr~ wrslons of an Image. The lop Image sho Wli a phologroph In lhe Bl!foffljAfrer tefl/Rlghr view mode ond the oottom lmogt In Ihe Befotl!/Aher Top/lloltom Split vJtw mode.

Figure 6 .6 1

THE ADOBE PHOTOSHOP LlGHTROOM 2 BOOK

315


Synchronized spotting If you h..... mad. .. ulKdon 0' 1n'It~$

vI. the Alnut.'p Co, In , ....

Libr.ry Grid view) you c. n .ko UH

u.. IConoIlillil!l (MK).[c-. 15111100 IPC) ftwrt<UC 10 open lhe Synchronize

SetU"9' d~lo9>

One of the best things about the Spot Removal feature is that you can continue to edit the tones and colors In the photograph and the spotting adjustments update ac(()(dingty, As you will read later, you (an also synchronize the settmgs In one image w ith others from the

same sequence; thiS Includes synchrolllzmg spot removals_ So If you get the spotting work fight for one Image, you can use a synchronization to copy the spot removal work to aU the other pICture'S. There are two ways you (<!In do thiS. One method IS to apply the Spot Removllilool on one photo and synchronize the spotting With o ther photos later. Or,

you can Auto Sync a selection of photos and update all the selected images at once as you retouch the most selected photo .

,.

Make sure the photo that has had all the spotting work done to It IS the one that IS the most selected, or ~targe l ' photo (the one with the lighter gray border). Then dick the Sync button.

---

--'-.--, .. . '-

!<:-;-....... , c_

,

D

2.

"---, -"

-'-......---.--

----,-

-;.'~'~-

__

ThIS o~ns the SynchronIZe Settings dialog. If you first chck the C heck None bUllon, then check the Spot Removal check box and d kk the Synchronize button. Lightroom Will synchronize the spot removal settings across all the selected Images.

324

CHAPTfR6

DEVELOP MOD ULE IMAGE ED ITING


4.

All Will become even clearer if you hold dO\l~n the mouse over the ellipse CIrCle and drag the ellipse overlay away from the pupIL

Basically the ability to resize the shape of the red eye correction and repoSItion it provides you with 11 lot of scope to fine-tune any red eye adjustment.

Localized adjustments

NOTE M",h 1M. bHn mild. oh'" Edit plug,'" •• (hlt~u"I"'t w ••

Inucwluc..clln Ap<r<1u .. l. l lN1 . 11ows y.,.. to .pply imog.e edit.> .",h •• dodge end bum. But Apertu ••

_hlev .. thit; by fi.,1 <ruling_ TIfF ~iI. ~H>ion of the

..... lIe. p'WlIo. Thn

pnwidft • bMk. rnoct.l pIlcoti editIng .IWironme<ol witMn Aperture. It

let's now take a look: at the true stars of Llghtroom 2: the Adjustment brush and Graduated Filter tools. These are not Just tools for dodging

and burning, because you have a total of seven effects to choose from, not to menl ion dual brush settlnqs and an AUIO Mask option. Just like the Spot Removal and Remove Redeye tools, the Adjustment brush and Graduated Filter tools are comple tely nondestructive There is no need for Llghtroom to create an edit copy of the master image fi rst (if that IS what you want to achieve, then you can always use the Edit In

......uld be vlewl'll •••Imply offering

Photoshop command discussed In Chapter 9). Tht> unique thing abou t

en elt • •".tW. IO Itditlng In PholOShop

these tools is that when localized adjus tments are applied to an image.

(w ...... yo .. an "(liS IhI,d. ~rty

pl"",.Im •.

the adjustments are saved as instruction edits that au toma tically update as you make f urther adjustments to the 1001 and o ther Develop module settings. You can even synchronize Iocahzed adjustment work across multiple Images uSing the Sync Settings command.

330

CHAPTER6

DEVELOP MODULE IMAGE ED ITING


Hand-coloring in Color mode

NOTE .h.o ~. I"'bIe when you edllihe colw owelehfl UHd In . he Split Toning

The Color effect allows you to brush with color on your photographs and can be likened to working with the Brush tool In Photoshop w ith the Color blend mode. There are lots of potential uses for this tool:

pen.! I"" C"'pt. , 7j.

you could use It to make someone's half a differen t shade of COIOf or

Ttw colo. plcloo • • hown he ... k now

change the eye color, or you might want to cool an area of the picture such as in the Graduated Fil ter example later, where I used a blue Color Graduated Filter to make the sky bluer. In the example shown You un use tIM color plcke, 10 w mple nOli"'. from , .... remp or p ..... l_

ImAge, but f.om enywhere on the Oftktop. The Irkk Ii 10 dkk InIM

color remp. hold lhe mouse bunon dow ....nd dr~the <UfWt .nyw......

you HUlo .....,p1•• _

colo •.

here, I started with an Image that had been convened to black and white by desaturating the colors. The main thing to pOint out here IS that I used the Adjustment brush in Color mode with Au to Mask selected. Although the previewed Image was In black and white, It did not matter whICh black and whi te conversion method was used, since Ughuoom alwa~ references the underlying color data when calculating the Auto Mask. The Auto Mask feature was therefore able to do a good Job of detecting the ma~ edges based on the underlying coloo of 1he flower heads, stems. and leaves.

1.

]]8

CHAPTER6

ThiS photograph was converted to monochrome by desaturating all the Saturation sliders In the HSl panel (yoo (auld also drag the BaSIC panel Saturation slider to zero, or convert to grayscale). I selected the Tint effect and clICked on the main color swatch to open the color pICker shown here and selected a green colot to pam1 With .

DEVELOP MODULE IMA GE ED ITING


4.

Next, I selected a Color effect, ~mpled a blue color to use as t he color eHect, and added a new Graduated Filter by dragging from the top of the photograph downward to the horIZon. As you would expect, this made the sky appear bluer In color.

S.

l astly. In the Graduated Filter tool Edit (Sliders) mode. I lowered the Brightness 10 -25 and boosted the Saturation 10 59.

Clid.. on th. cltdotd .wltch 10 go from

the Button edit mod. (w~ .. you Cln or>ly "'J",I;II .Ingle .tied) 10

t~

SIIden edit rnocM I hown In Step S.

344

CHAPTER6

DEVELOP MODULE IMA GE EDITING


Easing the workflow Making virtual copies As well as making snapshot verSions, you can also create virtual copies of your master photos by gOing to the Library module and choosing Photo 0 Create Virtual Copy ~ â&#x20AC;˘ [Macl. GCUlI ' (PCIJ. This creates a 'I1rtual copy version of a master Image that Will au tomatically be grouped in a Slac k w ith the master photo (see Figures 6.85 and 6,86). As the name suggests, you are making a proxy version of t he master. FIgu re 6.85 Vlrrucrl topy Imallts clIe eru romer rlcerlly Slacked wlrh the mosrer Ii~. Whell Viewing III rhe LIbrary Grid view or filmstrip, you cerll Iftl which lmagts Ote virtual cOplts by the IUrtled¡

POIl# bodge In the bottom-left comer.

It may took and behave tlke a separate photo bu t IS In fact a virtual representallon of the master that you can edit In Llghuoom as If It were a normal Image.

So wha t IS the difference between a virtual copy and a snapshot? A snapshot IS a saved history sta te that's a variation of the master. You have the advan tage of synchroniZing specific edit adjustments across all the snapshot versions but lack th e potenOal to create multiple

Once you h~ve ~re~ted 0'" 0. mo ...

ver-;Ions as dist inct entit Ies that behave as If they were real copies

vlltlial coplto., 1'0" un d..n ch oo 14

of the master Image, A virt ual copy is therefore like an independent

the new Set Copy tIS Master ~om .... nd to m.ke ."1 vin .... alp)'

verSIOn of a snapshot, because w hen you create a virtual copy, you

ve ..1on

of." Im~ IMcom.. u.. new

have more freedom to apply different types o f edits and preview these

.... >1 ...

ve .. ion r.nd .... ke the old

edits as separate image versions. You could, for example, create varIOus

.... n .. ' v.... ion. virtu.' copy).

black and white renderr ngs and expenment With alternative crops on each w tual copy version. Figu re 6.87 shows how you mIght use the Compare View mode to compare vlnual copy verSions o f a photo alongSide the master version. Virtual copies also make it possible for you to (fea te collections t hat have different settings, For example, you could use t he Create Virtual Copy command to create black and white verSions as w E'll as colOfized verSIons from a master Image. and then segregate these Virtual COPIE'S into separate collections. You also have t ne freedom to modify the metadata in indiVidual copie'.l. For example, you may want to modify and remove certain metadata from a Virtual copy verSIon so that when you create an export from the virtual copy. you can con trol w hICh metadata items are vISible In the exported file. Let's say you are running a location scouting selVlCe and send out images to dents that show the propertIes you recommend as photographIC locations. You would normally store all relevant metadata about the location such as the address and zip code, but you would wan t to remove such commerCIally senSl t!Ve Information when distributIng these Images to prospective dents.

]50

CHAPTfR6

DEVELOP MOD ULE IMAGE ED IT ING


To add a new folder to the Presets list, right-<lic k anY'Nhere inside the Presets folder to open a contextual menu like the one snovm in Fig ure 6.9B. and choose New Folder, whICh opens the New Folder dialog (Figure 6.99). GIVe the folder a name and It will appear added to the Prrosets list. You can now organize your prf>SeU by dragging them Into the folders that you have just created.

Auto Tone preset adjustments The Auto Tone opt ion is potentially useful for Ihose l imes when you wanl to Include an Aulo Tone adjustment as part of a prese t. In some instances this might be considered a useful Item to include In a preset because you can get lightroom to combine an autocorrection in com路 binatlon With olher types of Develop adjustments. On the other hand, because It can lead to different tone settings being applied to each image, this might not always produce the resul ts you were after, even though the Auto Tone logiC has been Improved In lightroom 2. So Just be aware of this when you Include Auto Tone In a saved Develop preset setting and that t he resul~ may sometimes be unpredictable.

The art of creating Develop presets Develop presets have proved incredibly popular. Lots of lightroom

You ca n UJr If!(> con/utual mmu 10 Imporl newp,tstIS. If you hove bam Som l 0 Devtiop p~1 0' hovr Jusr downloockd one, un~ rhe contextual mmu shown here ro sl!lft:l f igur.6.98

Import ond Ihm IocOII! Ihl! prl!Sl!r (or

pmtls) you wish /0 odd.

users have got Into shanng their preset creallons. If you are looking for Inspiration, VISit RIChard Earney's Inside Vgh /foom site where there are lots of different prf>Sets Ihal you can download and Import into the Develop Prese~ panel: http://lnslde路lighiroom.coml. While It is Impos+ Sible to encapsulate a complete Develop module look In a Single prese t, it seems to me thaI the best way to use Develop

prese~

is to break

them down into smaller chunks. In my expeflence the trick 15 10 save as few settings as possible when you create a Develop preset. What we

Youcan alSOU$tthe oOovrcOfllrx'uol mtnu /0 odd 0 ntw foldr' 10 IheP~U IIsl.

f lg ur. 6.99

often see are Develop preseu where the creator checks too many boxes and ends up With a preset that adjUSts not Just the settings 1\ needs to adjust, but other settings as well. In many cases It IS not always obVIOUS which settings a Develop setting is meant to be altenng, and applying the preset overwrites settings that It shouldn't. Or the crea tor Includes White Balance or Exposure settmgs that may have been relevant fOf the pICtures the creator tested the setling With, but are not necessaflly SUIted for other people's photographs. On the next page I prOVide a quick guide for creating neally trimmed Develop presets.

THE ADO BE PHOTOSHOP lIG HT ROOM 2 BOOK

361


--"'--_.... ._ -

0 ___ ,

1'!!! _ J _

,"

.

....._ _ _ _ •••••••

'f _

D, ..

_"' . ... _ ..-

_ _..... _

- ---,-

2.

•_ _ ...

1-

.. - 4 ..... 1

---I

Go to the Lightroom Presets preferences and make sure that -Make defaults specific to camera ISO setting- is checked. It IS Important that you do this first before proceeding to the next step. You can also check "Mak.e defaults specific 10 camera serial number- if you want the settings to be camera body specific.

0-"'_' tI" 1"_"'''''" ... ,,. ,__ ""101_., ..._..... t._.._. .

_ ""-._.__ .. _

3.

.... - eo-"""" ...... _ • "" ... ............._

....... D"Il,.

"'="'"

Now go back to the photos you worked on at Step 1 and select each In turn . As you do so, choose Develop

0

Set Default Settings.

This WI!! open the dialog shown here, where you need to chck the Update to Current Settings button. Do thiS and Llghtroom automatically mak.es this the default setllng f or all newly imported photos that match the same cn tena of matching camera model, serial number, and ISO settmg. Bu t remember that you have only created what amounts to a default setting. If you were to choose a speci fic setting In the Import Photo dialog. or apply a Develop set, ling later that mdudl"d Sharpening. NOise RedUction. or Cal,bratJon subsettlngs. those settings would override the camera default setting values.

THE ADOBE PHOTOSHOP lIGHTROOM 2 BOOK

369


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The Complete Guide for Photographers  

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