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lightroom Magazine - Issue 32, 2017

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LIGHTROOM
THE ADOBE PHOTOSHOP LIGHTROOM HOW-TO MAGAZINE ®
®
MAGAZINE
®
LIGHTROOM LABORATORY
Sometimes your camera just doesn’t do justice to a scene.
Learn how to bring those dull photos back to life. p16
ISSUE 32
WITH THE DYNAMIC
DUO OF LIGHTROOM
AND PHOTOSHOP
ANYTHING
IS POSSIBLE
LIGHTROOM Q&A
Scott Kelby answers all of your questions about the
latest update to Lightroom Mobile. p48
PHOTO BY SCOTT KELBY
AN OFFICIAL PUBLICATION OF
Watch How Zach Got the Shot
The Rapid Box™ Duo
Portable Speedlight Modifier
NEXT STOPS: LOS ANGELES | SAN FRANCISCO
Los Angeles, CA | 08.14.17
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THE ADOBE
PHOTOSHOP
LIGHTROOM
HOW-TO
MAGAZINE
®
®
®
ISSUE 32
EDITORIAL:
Scott Kelby, Editor-in-Chief
Chris Main, Managing Editor
Kim Doty, Associate Editor
CONTRIBUTING WRITERS
GRAPHICS
Jessica Maldonado, Art Director
Margie Rosenstein, Senior Graphic Designer
Angela Naymick, Senior Web/Graphic Designer
MARKETING
Rachel Scott
Kleber Stephenson
Melissa White
TOM BOL
is a is an editorial and commercial photographer specializing in
adventure sports, portraits, and outdoor lifestyle photography.
His images and stories are used worldwide. You can see more
of his work at www.tombolphoto.com.
SEÁN DUGGAN
is the co-author of Photoshop Masking & Compositing,
Real World Digital Photography, and The Creative Digital
Darkroom. He leads workshops on digital photography,
Photoshop, and Lightroom. Learn more at SeanDuggan.com.
WEB
Adam Frick
Yojance Rabelo
Aaron Westgate
MARTIN EVENING
PUBLISHING:
Scott Kelby, Publisher
Kalebra Kelby, Executive V.P.
Jean A. Kendra, Business Manager
is a photographer with a background in commercial studio
photography. He’s also an experienced technical reviewer,
who has over the last two decades authored 25 books on
Photoshop and Lightroom.
SEAN MCCORMACK
ADVERTISING:
Jeanne Jilleba, Advertising Coordinator
800-201-7323 ext. 152
HOW TO CONTACT KELBYONE:
U.S. Mail: 1 18 Douglas Road East
Oldsmar, FL 34677-2922
Voice: 813-433-5000 • Fax: 813-433-5015
Customer Service: info@kelbymediagroup.com
Letters to the Editor: lightroom@photoshopuser.com
Help Desk: kelbyone.com/my-account/helpdesk
COLOPHON:
Lightroom Magazine was produced
using Adobe Photoshop CC 2017 and
Adobe InDesign CC 2017. Roboto was used for
headlines and subheads. Frutiger LT Std for text.
is the author of The Indispensable Guide to Lightroom CC.
Based in Galway, Ireland, he shoots subjects from musicians,
models, and actors to landscapes and architecture. Learn more
at http://lightroom-blog.com.
SERGE RAMELLI
is a cityscape and landscape photographer who hosts a weekly
show where he shares his best photography tricks and postprocessing techniques. He specializes in HDR, black-and-white, and longexposure photography of some of the nicest cities in the world.
ROB SYLVAN
is the Lightroom Help Desk Specialist for KelbyOne, on staff at the
Digital Photo Workshops, and author of Taming Your Photo Library
with Adobe Lightroom and Lightroom 5: Streamlining Your Digital
Photography Process. Learn more at www.lightroomers.com.
An official publication of KelbyOne
This seal indicates that all content provided herein is produced by KelbyOne, LLC
and follows the most stringent standards for educational resources. KelbyOne is
the premier source for instructional books, DVDs, online classes, and live seminars for
creative professionals.
Cover photo:
Scott Kelby
All contents ©COPYRIGHT 2017 KelbyOne, LLC. All rights reserved. Any use of the contents of this publication without
the written permission of the publisher is strictly prohibited. Lightroom Magazine is an independent journal, not affiliated
in any way with Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Illustrator, InDesign, Lightroom, and Photoshop
are registered trademarks or trademarks of Adobe Systems, Inc. in the United States and/or other countries. All other
trademarks mentioned belong to their respective owners. Some of the views expressed by contributors may not be the
representative views of the publisher. ISSN 2470-7031 (online)
Martin Evening
10
Developing the Shot
BLUEBELLS IN DOCKEY WOOD
Serge Ramelli
16
Lightroom Laboratory
HOW TO BRING A DULL PHOTO BACK TO LIFE
BY SERGE RAMELLI
Rob Sylvan
22
Under the Loupe
LR AND PS: A POWERFUL EDITING TEAM
BY ROB SYLVAN
Sean McCormack
30
Maximum Workflow
CAPTURE MONKEY
BY SEAN MCCORMACK
Tom Bol
40
Photography Secrets
THE PRIME PORTRAIT
BY TOM BOL
Scott Kelby
CONTENTS
BY MARTIN EVENING
48
Questions & Answers
BY SCOT T KELBY
Seán Duggan
52
Tips & Tricks
BY SEAN DUGGAN
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Lightroom Magazine
A Note from Scott |
A FEW WORDS FROM THE EDITOR
FROM APPS TO
LIGHTROOM UPDATES
but most times before I can even get in there to answer
questions, someone from the Community (usually one
of our designated Community Leaders) has beat me to it.
They’re incredibly helpful and super responsive, and the
Community has become that vibrant, friendly, welcoming place we had envisioned, free from the attitudes and
arrogance that plague so many online communities. I’d
like to thank our awesome members for that, and for
keeping it such a positive, helpful, and uplifting place.
As for Lightroom on the desktop, Adobe’s Tom Hogarty
on the official Lightroom blog discussed what the team
is focusing on for the next major desktop update, and he
made it clear that they’re focusing on making Lightroom
really speedy. Even with speed being their focus (and in
my opinion, this speed initiative is time well spent), they
usually have a few other cool features up their sleeves.
(I have no idea what they are at this point, and of course,
if I did, I couldn’t reveal them anyway; they make us sign
a blood oath, and they take the keys to our cars.) No dates
for the release yet, but it can’t come soon enough for me.
If you want to stay up to date on everything we’re
doing for you (member benefits, contests, member spotlights, the latest product reviews, etc.), make sure you
check out the KelbyOne Insider blog. This blog is exclusively for our members, and if you check in on a daily basis,
you’ll always be on top of what’s going on (including any
special deals or discounts just for members).
Whew! There’s a lot going on, and a lot more to come.
We’re only halfway through 2017, and between what
Adobe is cooking up, and the behind-the-scene initiatives
we’re working on for our members for the second half of
the year, it’s a great time to be a Lightroom user. Thanks
for checking out this issue, and we’ll see you online.
All my best,
Scott Kelby
KelbyOne President & CEO
Editor & Publisher, Lightroom Magazine
K E L BYO N E .CO M
A lot has happened in the Lightroom world since last issue,
but before I get to that, I have some news that will make
a bunch of our members very happy: The new KelbyOne
app (for watching courses, and most importantly, taking
courses offline so you can watch them when you don’t
have a fast Internet connection, like when you’re flying,
commuting, or Lightrooming out in the woods) is here,
and yes, it’s available for both iOS and Android! This is
a completely new version from the ground up, and it’s a
huge improvement all the way around. Download it now
from the Apple App Store or Google Play. (Thanks to all
the members of the KelbyOne online community who put
the beta through its paces and helped squash bugs. You
guys were awesome!)
Okay, now on to all the Lightroom news. We’ll start
with the big news, which is that Adobe released a major
update to Lightroom Mobile. The new version gains the
Adjustment Brush, the full Detail panel (including Sharpening and Noise Reduction), and other features, along
with the iPad version getting an interface update. (Note:
The Android tablet version still has the old original interface, and it doesn’t have all the new features quite yet
either. It’s coming—it’s just not here yet.)
Our job is to get you up to speed fast, so on the day the
updated version of Lightroom Mobile was released, we
did a Members-Only Webcast showing the new features
and taking your questions live. The very same day, we
released my full-length course called Lightroom Mobile
from Start to Finish based on the brand-new version.
Anytime a new course goes online, you’ll notice a
“Discuss this Course” button where you can join other
KelbyOne members from around the world discussing the
class. I’m there, too, answering questions about the class,
7
Lightroom Magazine
Benefit Spotlight
L I G H T R O O M M AG A Z I N E › I S S U E 3 2
KELBYONE APP: UPDATED APP NOW LETS
YOU TAKE TRAINING COURSES OFFLINE
8
If you haven’t heard yet, we just released an updated
version of the KelbyOne app for watching all of your
favorite training courses on your mobile devices. This
brand-new, from-the-ground-up version includes
the ability to download as many courses as you wish
(depending on the amount of space on your device,
of course) to watch them offline. This is perfect for
when you’re somewhere with a spotty Internet connection, or no Internet connection at all, for example,
in a plane, train, or automobile (but not while you’re
driving!). Or, perhaps, when you’re in a cabin, deep
in the woods, and you just have to know how to capture that beautiful sunrise coming up over the lake,
and then edit your images in Lightroom Mobile.
In conjunction with the KelbyOne Mags app that
we also recently released, you can now take your video
courses, as well as copies of Photoshop User and Lightroom Magazine wherever you go. So visit the Apple
App Store or Google Play, using the links below, and
download our latest apps today.
Apple App Store:
KelbyOne app
KelbyOne Mags
Google Play:
KelbyOne app
KelbyOne Mags
And don’t forget to give us your feedback and suggestions on the KelbyOne Community, and if you like
the apps, be sure to leave a review at the app stores. n
Watch What’s Trending on the
KelbyOne
Channel!
First Look: Lightroom Mobile 2017 New Features
Photo Tip Friday: Dave Cross
"Head Swap in Photoshop"
Photo Tip Friday: Scott Kelby
"Fine Adjustments in Lightroom Mobile"
Photoshop Buried Treasure: The Tree Maker Filter
Lightroom Tips | Photoshop Tutorials | Photography Tips
“Photo Tip Friday” Quick Tips | Online Class Trailers | Full Episodes of The Grid
Developing the Shot | BY MARTIN EVENING
BLUEBELLS IN
DOCKEY WOOD
Spring is one of my favorite times of the year, especially now
that I live in the countryside and am more readily able to
appreciate the changing seasons. Near to where we live is
a place called Dockey Wood, which always has an amazing
display of bluebells in the springtime. Bluebell woods are a
fairly common sight in Europe, although bluebells can also
be found in some northern U.S. states. What I love about the
winter months are the misty mornings, which are perfect for
landscape photography.
Lightroom Magazine
shadows using positive Shadows adjustments. With this
composite I did the opposite, because I wanted to expand
rather than compress the overall tone range. I also found it
helped to use a maximum positive Clarity adjustment to add
more midtone contrast.
With a foggy scene such as this, you might think it appropriate to use the Dehaze slider. But remember, Dehaze is
designed to get rid of haze, which would have ruined the
atmosphere in this scene! And, not wanting to be the idiot
photographer who trampled over the delicate bluebells to
remove the fallen branches, I used the Spot Removal tool to
do the job instead. At the time I took these photos, the light
reflecting off the bluebells gave the mist a bluish haze. Therefore, the adjusted white balance and final color treatment
got the photograph to match more closely how I remembered the original scene. Let’s take a closer look at the steps
I used to create and edit this panorama in Lightroom.
Step One: Here you can see the 12 images I captured that
I wished to merge together. These were shot with the camera
mounted on a tripod using a 70mm lens setting. In
this instance, I first shot a sequence of six shots of the
trees going from left to right, followed by a further
six shots of the ground, sweeping from right to left.
I selected all the photos in Lightroom and chose Photo>Photo
Merge>Panorama (Control-M).
K E L BYO N E .CO M
A couple of years ago there was a heavy mist one day at a
time when the bluebells were in flower, but the beech trees
had yet to fully come into leaf. Dockey Wood was an amazing,
enchanting sight that day. I photographed the woods using
a Canon EOS-1Ds Mark III with a 70–200mm f/2.8L IS II lens,
with the camera mounted on a tripod. As it was quite early,
there were only a few other people about, although not all
seemed to appreciate the beauty of the moment. “It’s not very
good weather for photography is it?” said a visitor, who hung
around by the entrance for a few minutes before leaving.
Most of the pictures I took were shot as single-frame
exposures. To capture this particular view, however, I chose
to shoot a series of photographs using a long focal length
lens and stitched them together later using the Photomerge
feature in Photoshop. I was pleased with the result, but even
so, I noticed on close inspection how the Photoshop Photo­
merge method resulted in some of the branch twigs not
aligning correctly, and I had to retouch the image further
in Photoshop. When the Photo Merge Panorama feature
was added to Lightroom, I was keen to reprocess the photos to see if I could improve upon my previous stitch. The
end result from a Panorama Photo Merge is a DNG RAW
image, so I knew this would offer me more options at the
postprocessing stage.
With landscape scenes, you usually compress the highlights with negative Highlights adjustments and expand the
11
Lightroom Magazine
Step Two: This opened the
Panorama Merge Preview dialog where there are three projection methods from which to
choose. For this kind of image,
where the subject was an elongated panorama, the Cylindrical
method is usually the best one
to choose. (See “Creating Photo
Merge Panoramas” at the end
of this article for more on the
projection methods.) I left the
Auto Crop option unchecked
and clicked Merge.
L I G H T R O O M M AG A Z I N E › I S S U E 3 2
Step Three: Once the Photo
Merge process had completed,
Lightroom added the merged
panorama image to the same
folder as the source files in the
Lightroom catalog. In the Develop module (D), I selected the
Crop Overlay tool (R), added a
custom crop to trim the left and
right edges, and pressed Enter to
commit the crop.
12
Step Four: In the Basic panel,
I adjusted the Tone sliders to
add more contrast. I did this
by setting the Contrast slider
to +38, and then dragging the
Highlights slider to the right,
and the Shadows slider to the
left. I also Shift-Double-clicked
the Whites and Blacks sliders
to auto-set the white and black
clipping points, and then slightly
lowered the Exposure.
Lightroom Magazine
Step Six: In this step, I selected
the Graduated Filter tool (M) and
added a Graduated filter adjustment to the bottom of the photo.
(Start dragging where you want
the adjustments at 100%, and
stop dragging where you want
the adjustments at 0%.) Here,
I increased the Exposure and
reduced the Contrast to lighten the bottom of the image.
I also reduced the Clarity and
Saturation to effectively undo
the increased global Clarity and
Vibrance that had been added in
the previous step.
K E L BYO N E .CO M
Step Five: It usually helps to
add a little Clarity to landscape
images. Boosting the midtone
contrast can bring out more
detail in the midtones. With this
particular image, I found it helped
to set the Clarity to the maximum
+100 setting. This made the trees
in the foreground stand out more
against the foggy background.
I also increased the Vibrance.
13
Lightroom Magazine
Step Seven: Next, I selected
the Spot Removal tool (Q) and
carefully added brushstrokes in
Heal mode to selectively remove
the fallen branches that could
be seen popping up through
the bluebells. Lightroom can be
quite an effective tool for such
retouching. While it’s not as
fast as using the Spot Healing
Brush in Photoshop, the edits
are all nondestructive.
L I G H T R O O M M AG A Z I N E › I S S U E 3 2
Step Eight: To finish, I adjusted
the White Balance Temp slider in
the Basic panel to add a slightly
cooler white balance. I then
went to the Split Toning panel,
where I adjusted the Highlights
and Shadows Hue and Saturation sliders to add a blue tint.
14
Lightroom Magazine
Lightroom CC users can use the Photo Merge menu to
create panoramas, as well as HDR merged images where
the output is a RAW DNG file. This allows you to effectively
preserve the RAW editing capabilities of the original RAW
files. This means that, as new RAW processing tools are
added to Lightroom, you can use these to continue editing
DNG photo merge images.
To achieve a successful panorama photo merge, there
must be a sufficient overlap between the photographs you
capture. If not, you’ll see an error message informing you
that Lightroom was unable to merge the photos. How much
of an overlap depends on the lens angle: With a standard
or a long focal length lens, there should be at least a 25%
overlap; with wide-angle lenses, you need more, maybe as
much as a 40–50% overlap.
There are three projection methods to choose from. If
the end result will be a wide panorama—and especially
if there’s a horizon line—choose the Cylindrical option. If
you’re stitching several rows of images to produce a squarer
format image, choose the Spherical option. For architectural
subjects (such as the example shown below), choose the
Perspective option. Although the preview may well show
a distorted perspective view, you can easily correct this in
Lightroom using the Transform panel controls.
Checking the Auto Crop box applies an automated crop
to the processed image that trims the unwanted transparent areas; however, by adjusting the Boundary Warp slider
you can warp the image shape so that it expands to fill the
bounds of the frame. This wouldn’t work so well for the
architectural example shown here, but can be very effective
with most landscape panorama photo merges. n
K E L BYO N E .CO M
Creating Photo Merge Panoramas
ALL IMAGES BY MARTIN EVENING
15
Lightroom Laboratory |
BY SERGE RAMELLI
HOW TO BRING
A DULL PHOTO
BACK TO LIFE
I love shooting sunsets; it’s the best time of the day to shoot.
Every place looks so much better during sunset or sunrise,
and that’s why most of my photos have a nice sky and a
touch of magenta. Unfortunately, the camera doesn’t always
do justice to the photo. It doesn’t capture all the colors and
details of the sky, and it can be disappointing when you arrive
back home and you don’t know how to re-create the feeling
you had when you were on the spot. If that has happened to
you, this article is for you. I’ll show you simple steps to bring
your photos back to life!
Lightroom Magazine
Step One: This is a photo I took of the
Pont Alexandre III in the beautiful city
of Paris. The sun was to the right and
very red, but as you can see, the light is
pretty boring in the image, even though
it was really beautiful when I was there.
Step Two: The first thing you can do
is some basic retouching in the Basic
panel. In this example, I brought down
the Highlight to –100, opened up the
Shadows to +100, boosted the Whites
to +55, and lowered the Blacks to –24.
K E L BYO N E .CO M
Step Three: You can set the White Balance drop-down menu to Shade to give
the image more of a sunrise feel. I personally love magenta, as it adds to the
sunset mood even more, so try setting
the Tint to +35.
17
Lightroom Magazine
L I G H T R O O M M AG A Z I N E › I S S U E 3 2
Step Four: To make the photo more dynamic, use the Crop Overlay tool
(R) to crop it so it’s more panoramic. The dead tree and boat don’t add
anything to this photo, so I decided to crop them out. Also, use the Spot
Removal tool (Q) to remove any other elements, such as sensor dust, that
distract from the message.
18
Step Five: Now we can start bringing the sunset back! You can see in this
photo that the sky was red around the bridge and bluer at the top. To enhance those colors, we can start at the top of the photo with a Graduated Filter (M). Once you set the gradient, add some blue by lowering the Temp slider
to –12 and some magenta by setting the Tint slider to 7. I set the Contrast
to 12 and the Clarity to 13, and I also lowered the Exposure to –0.52 to add
some drama. Tip: In this image, when I lowered the Exposure, it darkened the
statue in the foreground, so I opened the shadows to 100 in the Graduated
Filter so the statue wasn’t affected by the Exposure change.
Lightroom Magazine
Step Seven: This is the fun part—bringing the sun back! Select the Adjust­
ment Brush (K), and set its Size pretty big. Set the Feather slider to 100,
and both the Flow and Density to around 80 so you can’t see the brushstrokes. If you’re crazy about colors like me, you can even set the Saturation
to 25. With the Tint and the Temp set to around 75, paint over the sunset
on the bridge.
K E L BYO N E .CO M
Step Six: Now to close the top of the photo you can add a second Graduated
Filter. Click the word “New” at the top of the Graduated Filter panel, drag a
new gradient on the very top, and just lower the Exposure to –0.41 to darken
the top edge.
19
Lightroom Magazine
L I G H T R O O M M AG A Z I N E › I S S U E 3 2
Step Eight: Click New in the Adjustment Brush panel, and play around with
the Flow, Density, Temp, and Tint sliders to create a more gradual red-to-blue
gradient in the sky.
20
Step Nine: A cool tip is to turn on the lights on the bridge. You just have
to create a new Adjustment Brush, set the Flow and Density to 100, Temp
to 46, Tint to 52, Exposure to 2.00, and Saturation to 22, then make your
brush very small to fit in the lights. Now click just once on each light to fake
the appearance of light. If you think it’s too noticeable, you can make it
less bright by bringing down the Exposure. In this image, it adds that little
midnight-in-Paris touch.
Lightroom Magazine
Step 10: For the final touch, you can create
another Adjustment Brush and do some
dodging and burning. In this example, I set
the Flow and Density to around 90, boosted the Exposure to around 0.52, and then
brushed over parts of the photo to make
them brighter and more interesting. Here
I’m showing the red mask overlay so you
can see where I brushed on the photo.
K E L BYO N E .CO M
Before
And here’s the before and after. Quite a
change! Now you can see that it isn’t dull
anymore. This is a pretty cool trick and
I hope it will be useful for you guys! n
After
ALL IMAGES BY SERGE RAMELLI
21
Under the Loupe |
BY ROB SYLVAN
LIGHTROOM AND
PHOTOSHOP: A POWERFUL EDITING TEAM
As more people sign on to the Creative Cloud Photography
plan to primarily use Lightroom, I often encounter questions
about how to use Lightroom and Photoshop together, or
even the need for using Photoshop at all. It’s a testament to
how far Lightroom has come that the mother of all imageediting programs has taken a backseat for so many new
users. While I’ve certainly seen a decrease in the amount I use
Photoshop (thanks to Lightroom), I still use it every day, and
couldn’t imagine not having it as part of my workflow.
Lightroom Magazine
External Editing Preferences
In Lightroom, go to Lightroom (PC: Edit)>Preferences, click
on the External Editing tab, and you’ll find the default preferences for copies created when being sent from Lightroom
to Photoshop. The typical Lightroom to Photoshop workflow
starts in Lightroom, where you use the Develop module to
its fullest, and then, if needed, you send a copy with Lightroom adjustments to Photoshop. It’s at this point (and only
this point) that these external editing settings come into
play. I find the default settings are perfect for my workflow,
Step One: In the middle section of the External Editing
preferences, click the Choose button to the right of Application and navigate to the Photoshop executable file. This is
found in the Applications folder (PC: Program Files). Once
selected, you’ll see a prompt informing you that Lightroom
has already chosen Photoshop as an editor, but click Use
Anyway to override.
but you have the option of changing the File Format, Color
Space, Bit Depth, and Resolution. For File Format you can
choose either TIFF or PSD (they both work fine, but PSD files
do tend to result in smaller file sizes with multi-layer images). The ProPhoto RGB color space at 16 bits is intended to
preserve as much of the data in the image as possible when
sending the copy to Photoshop. This does result in a larger
file, so if file size is a concern, you can choose 8 bit Adobe
RGB as a good alternative. (Note: You can always start with
a 16 bit ProPhoto RGB file to retain the data while editing, and then convert to 8 bit Adobe RGB in Photoshop to
reduce file size at the end of the session.)
Another alternative to consider is setting up an Additional
External Editor preset for Photoshop with the 8-bit Adobe
RGB settings if you want to be able to choose either option
from the outset. Here’s how to do this:
K E L BYO N E .CO M
As much as I love Lightroom, I think you’d be missing out
on some real image-editing power if you’ve written off Photoshop from your workflow. Lightroom was designed to be
a front end to Photoshop, so let’s look at some of the ways
you can leverage it for your benefit.
23
Lightroom Magazine
Step Two: Configure File Format, Color Space, Bit Depth,
and Resolution as desired.
Step Three: Click the Preset drop-down menu and choose
Save Current Settings as New Preset, and give it a meaningful
name (e.g., Photoshop 8 bit Adobe RGB) when prompted.
Step Four: Close the Preferences to return to Lightroom.
L I G H T R O O M M AG A Z I N E › I S S U E 3 2
Edit In
24
If you go to the Photo>Edit In menu, you’ll see the top option
is Edit in Adobe Photoshop CC, and below that will be the
program you’ve selected under the Additional External Editor preference. Each of these options has keyboard shortcuts
associated with them, and these are shortcuts you should
learn. The preset you created will appear further down the
menu list, along with any other third-party external editors
you may have installed (and I have a few). Aside from the
Photo menu, you can also Right-click a photo to access the
same Edit In menu options.
Depending on the file type you’ve selected in Lightroom,
there are two behaviors that can occur when sending a
photo to be edited in Photoshop. The first behavior is if you
have a RAW photo selected in Lightroom and use the Edit
In>Edit in Photoshop CC 2017 option (or its shortcut), then
a copy of the photo (based on your primary external editor
settings) is sent to Photoshop. For example, here’s a RAW
photo where I’ve completed my processing in Lightroom,
and now I want to send it to Photoshop to use the Content
Aware technology to remove the guy in the background.
When it first appears in Photoshop, I’ll still see the original RAW file extension in the file’s title bar because this
photo hasn’t yet been saved to my hard drive. It only exists
in memory until I use the File>Save command in Photoshop. Once saved, the file extension will change to the file
type I’ve designated in my external editing preferences,
and the copy will be added automatically to my catalog
and appear in the same folder as the source photo. Once
my edits are done in Photoshop, I’ll save the photo again,
close it, and return to Lightroom.
The second behavior is if you have a non-RAW photo
(JPEG, PSD, TIFF, PNG) selected and use the Edit In>Edit in
Photoshop CC 2017 (or its shortcut) option. In this case,
Lightroom has to ask you a question before it can proceed.
When you start with a RAW photo (my previous example),
the only thing Lightroom can do is send a copy with Lightroom adjustments because Photoshop can’t open a RAW
photo. With a non-RAW photo selected, however, Lightroom needs to know if you want to Edit a Copy with Lightroom Adjustments, Edit a Copy, or Edit Original. Your choice
depends entirely on your reason for heading to Photoshop.
If you have a non-RAW photo selected that you’ve just
edited in the Develop module, and you want to apply
those edits to a copy, and then edit the copy in Photoshop, you’d choose the first option. Note that if you have
a layered file selected, the copy sent to Photoshop will be
flattened first before the Lightroom edits can be applied
(the original is untouched).
If you have a non-RAW photo selected, and you want to
duplicate it, and edit the duplicate copy (think alternative version), then you’d choose the second option. This will duplicate
the selected photo (without applying any Lightroom edits),
and open the copy in Photoshop. Layers are preserved. I don’t
use this option often, but it’s handy when you want to duplicate the original and edit from there in Photoshop.
If you have a non-RAW photo selected, and you just want
to open it back into Photoshop (without applying any additional Lightroom edits), then you’d choose the third option.
This is just like using the File>Open menu in Photoshop. This
is the option I use when I need to re-open a layered photo
back into Photoshop to continue editing with layers intact.
Note: There isn’t a Photoshop command to switch back
to viewing Lightroom; however, both operating systems
have shortcuts for switching between open programs that
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you can utilize. On Mac, hold the Command key and press
Tab to switch between programs; on Windows, hold the Alt
key and press Tab to do the same.
Using the Edit In>Edit in Adobe Photoshop CC command
is the most common Lightroom-to-Photoshop workflow,
but there are other options at the bottom of that Edit In
menu that are incredibly useful for other situations. Two of
L I G H T R O O M M AG A Z I N E › I S S U E 3 2
Open as Smart Object
in Photoshop
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If you have a need to maintain maximum flexibility in your editing, then
consider the Open as Smart Object
workflow. When you open as a smart
object, a full-resolution copy of the
selected photo is embedded in a special layer called a smart object. This
gives you a protected version of the
photo that you can always go back
to and re-edit, and if you start with
a RAW photo in Lightroom, you have
the full RAW original embedded in
that smart object layer. For example, at
the last Photoshop World, I snapped a
photo of a model in the Partner Pavilion as I rushed to a class. Due to my
haste, the photo was a bit soft. Previously, I’d have simply deleted it, but
then I remembered the Shake Reduction filter in Photoshop and wondered
if it could save my mistake.
By opening it as a smart object
(note the special icon it has on the
thumbnail in the Layers panel) into
Photoshop, I keep all the data of my
RAW original plus all the edits applied
in Lightroom. At any point in my editing session, I can double-click the
smart object icon and open the RAW
copy into the Camera Raw plug-in
and further tweak the edits I made
in Lightroom, right down to re-cropping, changing the camera profile,
or whatever setting I choose. This is
a separate copy from the original, so
nothing I do here affects the original
RAW photo back in Lightroom.
those options, Merge to Panorama in Photoshop and Merge
to HDR Pro in Photoshop have become much less useful
since Lightroom gained the Photo Merge options for both
Panoramas and HDR, but keep these options in mind for
cases where Lightroom’s results aren’t as good as you need,
and give Photoshop a try. That said, Open as Smart Object
and Open as Layers still have their places.
More importantly, I can apply filters to my smart object,
which become smart filters. Why smart? Filters applied to
a smart object are re-editable, meaning I can apply a filter,
then later on edit that filter’s settings by double-clicking the
smart filter in the Layers panel to open the image back into
that filter. And this is all nondestructive since my photo is
embedded in the smart object. This gives you a lot of freedom to experiment, try different levels of adjustment, and
then refine those adjustments later.
Smart filters also come with a mask, which means that
you get even more control over the final results of the filter
by painting on the mask to reduce or even remove the effect
from regions of the photo. In my example, I ended up using
the Shake Reduction (Filter>Sharpen>Shake Reduction) to
reduce the blur, and Face-Aware Liquify (Filter>Liquify) to
enhance her expression. I painted black on the mask to
bring back the original blur in the out-of-focus areas behind
the model.
While it would have been preferable to nail the focus correctly (obviously), I was impressed by how much I could to
do to correct my mistake in Photoshop. (I imagine I’m not
the only one to have made such a blunder.) Once all my
edits are complete, I save and close, just as before, to return
to Lightroom where both the original and the edited copy
are found.
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Lightroom Magazine
Open as Layers in Photoshop
L I G H T R O O M M AG A Z I N E › I S S U E 3 2
A more common use for Photoshop is to create a composite
image from two or more photographs. If you have all the
photographic elements together in Lightroom, you can save
yourself some time by selecting them all in Grid view (G),
then use the Edit In>Open as Layers in Photoshop menu
(this menu will be disabled if only one photo is selected).
Each selected photo is then rendered (with Lightroom
adjustments) and added to individual layers within a single
file. Here’s a simple example of two photos where I want to
combine the best elements in each into a composite. The
first is of a model who was illuminated by flashlight while
standing on the beach. The second is a longer exposure of
the stormy sky behind her taken a moment later.
With the two layers open in Photoshop, I can simply
apply a linear black-to-white gradient on a layer mask
to blend the two together for a much more compelling
28
There’s so much more you can do with the dynamic duo of
Lightroom and Photoshop, but I hope this gives you a taste
of what’s possible, and inspires you to try it yourself. n
ALL IMAGES BY ROB SYLVAN
photo. While in Photoshop, I can also take advantage of
the retouching tools to remove distractions and otherwise
improve the image. Just as before, save and close from
Photoshop to save the copy to the same folder as the
source photo and add the copy to the catalog.
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Images by: Neil Simmons, Jim Garner, Steve Harrington, Annie K Rowland
Maximum Workflow |
BY SEAN MCCORMACK
CAPTURE MONKEY
Here at “Maximum Workflow,” we often deal with the larger
companies who make software and hardware add-ons for
Lightroom. This time around, we’re looking at the work of a
solo developer, Capture Monkey by Jarno Heikkinen. From
his website, he provides a set of useful free and commercial
add-ons to Lightroom. In this article, we’ll walk through a
number of them.
Lightroom Magazine
Before You Begin
One thing I recommend for all Lightroom plug-ins that use
the Plug-in Manager is that you create a folder in which to
keep all of your downloaded plug-ins. This prevents you
from losing access because you cleared your downloads
folder to make space. Personally, I have a folder called
“LR Plugins” that I keep in my Documents folder. As I automatically back up this folder, it means that I can get them
back quickly should anything happen.
Step One: In Lightroom, open the Plug-In Manager from
the File menu.
Lightroom presets are great, but sometimes the effect can
be a bit strong, and there’s no way to reduce this directly in
Lightroom. You could note the settings before applying a
preset and change each setting individual, but this can be
tedious and you may not get an exact reduction.
Roll on The Fader. This plug-in takes the preset and
allows you to fade the effect evenly across all of the settings
within the preset.
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The Fader
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Step Two: Click the Add button at the bottom left. Navigate to where you downloaded The Fader plug-in file, select it, and click
Add Plug-in.
Step Three: Make sure the plug-in is
enabled, and click Done.
Step Four: From the File>Plug-In Extras
menu, choose The Fader.
Step Two
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Step Three
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Step Four
Lightroom Magazine
Step Five: In The Fader dialog that appears,
select the preset Folder and the Preset you
wish to fade. Use the Opacity slider to apply
the settings. At 0%, you’ll have the current
look with no settings applied; at 100%, the
preset is fully applied; while 150% pushes
the settings half again from the full preset.
Take note of any caveats on the Capture
Monkey download page, as well.
Red/Blue Swap
A key tool in the creation of false-color infrared photographs is the Channel Mixer adjustment layer in Photoshop. First, let’s take a
quick look at how this is done in Photoshop:
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Step One: With your infrared file open in
Photoshop, apply a Channel Mixer adjustment layer from the Create New Adjustment
Layer icon (half-black, half-white circle) at the
bottom of the Layers panel.
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Step Two: In the Properties panel, select
Red from the Output Channel drop-down
menu. Set the Red slider from 100% to
0%, and then set the Blue slider from 0%
to 100%.
Step Three: Now select the Blue Channel
from the Output Channel menu. Set Blue
from 100% to 0%, and Red from 0%
to 100%. That’s it.
Step Two
Step Three
This gives the sky a blue color and gives a
typical false-color look. There’s no equivalent in Lightroom, but Jarno has a way
around that. He’s created a Camera Profile
for a huge range of cameras that does this
swap automatically. Appropriately titled
RedBlueSwap, this profile will get that
false-color look quickly in Lightroom.
Step One: Download the plug-in file, quit
out of Lightroom, and copy the profiles in
the following place:
L I G H T R O O M M AG A Z I N E › I S S U E 3 2
Mac: Click on the Go menu in the Finder, hold the Option key to reveal the
Library option in the menu, and then
select Library. Now navigate to /Library/
Application Support/Adobe/CameraRaw/
CameraProfiles.
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PC: C:/Users/[username]/App Data/Roam­ing/Adobe/CameraRaw/CameraProfiles
Step Two: Restart Lightroom.
Step Three: With your photo selected, go
the Camera Calibration panel in the Develop module.
Lightroom Magazine
Step Four: From the Profile drop-down
menu, select RedBlueSwap. Done!
Now, you can edit away; just remember that
red and blue are indeed swapped! Obviously, the effect isn’t identical, but it gives
you a better start than Lightroom can give
without the profile.
LR/Instagram
Instagram is probably the biggest mobile
platform out there right now, and that’s part
of the downside, too. There are no desktop
apps, or even a way to upload to Instagram
from your desktop browser. LR/Instagram
is there to solve that problem for you.
Step One: Using the Plug-in Manager as
per The Fader above, add the LR/Instagram
plug-in.
Step Two: In the Library module, go to the
Publish Services panel and click Set Up to
the right of LR/Instagram.
Step Four: Under Preferences, set your
Upload Limit to prevent uploading too many
photos. To keep files on Instagram, leave
the When Removing Photos, Do Not Delete
from Instagram option on. If you want to
pad out a border, choose Force Padding
to Square. From the Padding Border Color
drop-down menu, choose Black or White.
Choose the type of caption you want from
the next menu. These options will use existing metadata, or a custom metadata panel,
which we’ll see soon. Set the remaining
settings such as Output Sharpening and
Watermarking to taste, and click Save.
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Step Three: Enter your login details and
click Login. The plugin will authenticate
with Instagram.
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Your first account is now set up and ready
to go. You can Right-Click on the plug-in in
Publish Services and choose Create Another
Publish Service via “LR/Instagram” to add
another account. Let’s get a photo up online.
Step One: In the right-side panels in the
Library module, choose Metadata. From the
panel header drop-down menu, choose LR/
Instagram at the bottom of the menu.
Step Two: In the Plug-in Manager, we went
with the Caption #Hashtag option, so enter
the caption and hashtags here. For the GPS
data, I dropped the photo on the hotel in
the Map module. You can also use template
tags to draw from existing metadata. Available tags are listed here. Add curly brackets
{ } around them.
L I G H T R O O M M AG A Z I N E › I S S U E 3 2
Step Three: Drag the photo to the LR/Instagram account in the Publish Services panel.
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Step Four: While there is a postprocess
action to force a crop, it will also crop watermarks, so I recommend cropping in Lightroom instead. Use a virtual copy if you don’t
want to crop the original.
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Step Five: Select the Instagram Photos collection nested below LR/Instagram in the
Publish Services panel, and click Publish.
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Step Six: To see the photo on Instagram,
Right-click on the thumbnail and choose
Show in Instagram.
Comments and Likes don’t appear to be
downloaded into Lightroom. Changing a
shot will mark the photo to republish, but
you can’t replace the photo on Instagram.
Republishing will allow you to change the
caption, though.
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Lightroom Magazine
Focus Mask
Do you ever wish that you could tell at a
glance what’s in focus on a photo without
having to zoom in to check? Well, Focus
Mask aims to help with that. This plug-in
shows a red mask over the in-focus areas
of the photo. Now it’s not an indicator of
sharpness, just the areas that are in focus.
Step One: Install the plug-in as we did with
the others.
Step Two: Select the photos to check. From
the File>Plug-In Extras, or Library>Plug-In
Extras menu, choose Focus Mask.
Step Three: A window will open showing
previews of the photos with a red mask over
them to indicate focus. You can also change
the flag on an image under its thumbnail.
L I G H T R O O M M AG A Z I N E › I S S U E 3 2
Step Four: Focus Mask uses Lightroom’s
internal previews, so you must have at
least Standard size previews generated in
advance. The masks are stored in their own
folder and can be purged (Clear Focus Mask
Cache) from the Preferences settings in the
Plug-in Manager.
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Lightroom Magazine
Leak Lite
Leak Lite is a fun Develop plug-in that
creates the effect of having light leak into
a camera. Generally, this results in overex­posed areas and whacky colors.
Step One: Install the plug-in.
Step Two: In the Develop module, go to
the File>Plug-In Extras menu, and choose
Leak Lite.
Step Three: To get an idea of the different
effects available, click Shuffle.
Step Four: Experiment with turning on and
off options from Exposure, Saturation, Clarity,
Sharpness, Color, and Curves.
The Others
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That’s just a basic look at some of the available plug-ins from Capture Monkey. There
are plenty more; for example, Gradient
Map allows you to edit the Tone Curve in
Lightroom in a different way, making for
a powerful color-grading tool. There’s also
the Preset Ripper that can read embedded
metadata from another file and turn it into
a preset to reuse.
Each plug-in is $10, but $25 will pay for a
license for all of them, which is a bargain. n
ALL IMAGES BY SEAN McCORMACK
39
Photography Secrets |
BY TOM BOL
THE PRIME PORTRAIT:
THE DIFFERENCE BETWEEN
F/2.8 AND F/1.4
My lens assortment has grown and evolved throughout my career. I started
with all prime lenses, as they were optically superior during that time. But
zoom quality improved, and I started using two main lenses: 24–70mm and
70–200mm, both f/2.8. Optically, they were sharp, and the convenience
of zooming through the focal lengths was terrific. Every five years or so, a
sharper, quicker auto-focus version would come out, and I’d be first in line to
upgrade. With these two lenses, I was good to go.
But reviewing images after assignments and travel workshops, I realized I was missing something. I longed for
the silky, soft bokeh that only a fast prime could produce.
Wouldn’t my f/2.8 zoom lenses produce about the same
quality of bokeh as f/1.4? Would using a fast prime lens
for my portrait create a better shot?
Obviously, there are a lot of differences beside maximum
aperture between zooms and primes. Size, weight, cost,
sharpness, and focal range all come into play when deciding
which lens to use. But one simple fact remained: Most of my
prime lenses were two full stops faster than my zooms, and
this would affect background quality and image separation;
but by how much.
Cree Bol
Lightroom Magazine
K E L BYO N E .CO M
Cree Bol
Scenario One: I really wanted to focus on bokeh quality at different apertures for this shoot. With that in mind,
I decided to use a selection of prime lenses at f/5.6–f/1.4.
I also wanted to see what other advantages or disadvantages might crop up between apertures. I chose an alleyway
with lots of depth to best illustrate bokeh differences.
We were shooting in mid-morning light with bright sun
overhead. Every photographer knows that bright sun isn’t
ideal for portraits, so to deal with the harsh light, we broke
out one of my favorite lighting accessories, the Sun-Swatter
(made by California Sunbounce Pro). The Sun-Swatter is a
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L I G H T R O O M M AG A Z I N E › I S S U E 3 2
4x6' overhead diffusion panel that can be held easily and maneuvered by one
person. Even in windy conditions, this scrim is terrific for producing beautiful
soft, diffused light. We placed our model, Katrina, in the middle of the alley
with rows of flowers and light posts behind her for the first image.
I started shooting at f/1.4 using my 85mm. This lens is one of my favorite
prime portrait lenses, and looking at the LCD, I was elated to see the painterly
quality of the background shooting at f/1.4. I was using my Nikon D500 in
aperture priority mode for the images. I started to change aperture settings,
shooting at f/2.8, f/4, and f/5.6.
Hands-down, the mood, quality, and separation of f/1.4 were preferable
to f/5.6. But when comparing f/1.4 to f/2.8, there was less difference. The
f/2.8 version had a little more detail, but what I really noticed was the bokeh
quality. The f/1.4 image looked softer and a better choice for a flattering portrait. Since I was shooting in available light using the Sun-Swatter, changing
exposures was easily accomplished by simply changing the aperture setting in
aperture mode. But my shutter speeds were around 1/3200. Shooting flash
was going to require some special techniques.
42
f/5.6
f/4
f/2.8
f/1.4
Scenario Two: One reason I drifted away from shooting
portraits at f/1.4 outdoors was the challenge of using flash.
Speedlights could work at 1/3200 in High-Speed Sync
(HSS) mode, but power output was greatly reduced. Two
things changed that made shooting HSS portraits with
speedlights much easier. First, softboxes started accommodating multiple speedlights to overcome the reduced
power output in HSS mode. And second, wireless flash
Lightroom Magazine
WR-R10 radio transmitter to my D500. Using this radio
transmitter, I didn’t have to worry about line of sight to my
flashes, or interference from the sun.
Using a variety of apertures with the softbox, once again
I discovered shooting at f/1.8 was preferably to shooting at
f/2.8. Even though there was just over a one-stop difference,
the background looked better wide open. But is this enough
to justify paying big bucks for a prime? I wanted to try one
more scenario before I made my decision.
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Cree Bol
using a radio signal became standard, allowing hassle-free
flash triggering in bright sunny conditions.
To further explore the prime lens question, I decided to
photograph Katrina using a 30" FourSquare softbox and
a 50mm f/1.8 prime. The FourSquare box allows up to four
speedlights to be used; I used three Nikon SB-5000s with
dome caps attached inside the softbox. The dome diffusers spread the light throughout the softbox for clean, even
lighting when the flash exits the softbox. I attached my
f/5.6
f/4
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L I G H T R O O M M AG A Z I N E › I S S U E 3 2
f/2.8
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Scenario Three: Speedlights have approximately 60 watts of power, so
using three SB-5000s roughly equates to 180 watts of power. I wanted
more power so I could use a larger softbox and underexpose the ambient
light for better separation. For this task, I set up my Elinchrom ELB 400
(using a Quadra HS head), specifically designed for Hi-Sync photography.
Unlike HSS, which uses a strobic flash mode, Elinchrom Hi-Sync retimes
the shutter and flash pop to ensure flash at very fast shutter speeds. I’ve
found that by using this setup, I can shoot at 1/4000 with beautiful light
on my subject. I attached a 39" Elinchrom Rotalux Octa softbox to the
HS head, and used the Elinchrom EL-Skyport Plus HS transmitter to trigger
the strobe. I switched up lenses again, this time using a 35mm, f/1.4 prime
lens. We moved locations to another alley with gritty brick walls to illustrate
changes in bokeh.
Once more I photographed Katrina using apertures from f/1.4–f/5.6.
One difference for this shot was that I underexposed the background by
one stop, which further emphasized the separation shooting at different
apertures. I made an interesting discovery using a wide-angle prime at
f/1.4: Shooting wide open made a bigger difference when compared to the
other prime lenses in my testing. Why? Because more of the background
f/1.8
Lightroom Magazine
my subject’s eyes were sharp while her nose and ears were
slightly blurred due to the extreme shallow depth of field.
f/5.6
f/4
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Cree Bol
was visible behind the subject, and
changes in depth of field and bokeh
were more obvious. In other words,
the background made up more of
the image using a wide-angle lens.
I liked the f/1.4 images much more
than I did the f/5.6 shots when
shooting with a wide-angle prime
lens. Combined with the softer
quality of light using the larger softbox, these images were my favorite
from the shoot.
Another point became very
obvious during this shoot: Photographing at f/1.4 requires perfect
focus technique. I needed to put my
focus point right on my model’s eye;
otherwise, I would have soft images.
If she wasn’t facing the camera, I knew one eye would be
slightly softer than the other. Shooting tight with an 85mm,
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f/2.8
f/1.4
Do you really need that f/1.4 prime lens for the best portrait? The answer is, “It depends.” Based on my testing, I
found I really preferred the bokeh using my 35mm wideangle prime at f/1.4 compared to f/5.6. Using my 85mm
prime at f/1.4 vs. f/5.6, there was also bokeh difference; but
with less background visible at 85mm with tight head shots,
I’d probably be just fine using my trusty 70–200mm shooting at f/2.8. Yes, I like the bokeh better at f/1.4 using my
85mm, but investing in this prime lens if you already owned
a 70–200mm f/2.8 might make you pause. On the other
hand, if you like shooting environmental portraits, I really
preferred the bokeh at f/1.4 using the 35mm prime, and
purchasing this lens was an easier choice for me.
Another point worth mentioning is that f/1.8 primes
are almost $1,000 cheaper than their f/1.4 counterparts.
There’s only a 2/3-stop difference, which means there
won’t be much difference in depth of field. But not all
bokeh is equal, and individual lenses produce different
qualities of bokeh.
As photographers know, depth of field and bokeh are
just one part of getting a great portrait. Cameras, lenses,
and flash are tools that help bring our vision to reality. Subject, location, rapport, and emotion are also critical aspects
of good portraiture. But now that I own a couple of prime
lenses, I can’t blame my equipment for a bad shot. It’s up to
me to create the evocative portrait of my subject. n
L I G H T R O O M M AG A Z I N E › I S S U E 3 2
Time to Prime?
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ALL IMAGES BY TOM BOL EXCEPT WHERE NOTED
10 Years and Counting!
Join us on October 7, 2017 for the 10th Anniversary of Scott Kelby’s Worldwide Photowalk® as fellow
photographers and enthusiasts from around the world meet up at a designated location in their town to walk
around and take photographs, socialize, make new friends, win prizes and be a part of a great cause. Each
walk consists of 50 walkers or less and all ages are welcome so bring the entire family! We even have a special
Youth Photo Contest designed specially for kids and teens. It’s a great way to get the entire family out of the
house to enjoy nature, socialize and capture amazing pictures. And, best of all — It’s FREE!
Get more details about registration, deadlines and the contests!
www.worldwidephotowalk.com
Lightroom Magazine
Questions &Answers
SCOTT KELBY
L I G H T R O O M M AG A Z I N E › I S S U E 3 2
Q.I have an Android phone and I downloaded the
latest update to Lightroom Mobile, but there are
features Scott showed during his Members-Only
Webcast that I can’t find, and I’m pretty sure I have
the latest version. Are they hidden?
A.They’re not hidden. There are still a few features that
haven’t made their way over to the Android phone version update yet (and sadly, it’s worse for the Android
tablets—they don’t even have the new user interface
the Android phone has, not to mention the missing
features). According to Adobe, they’ll be added and
updated, but while we’re still in this transition to the
new user interface and added features, the Android versions aren’t quite yet in parity with the iPhone versions.
48
Q.I tapped on the Selective Edits icon, and tapped on
the Light panel to start making my edits, but all of
my sliders were grayed out. Is something wrong?
A.Nope, it’s just that the local adjustment tools here work
a bit differently than they do in Lightroom on the desktop. When you tap on the Selective Edits icon, all the
sliders are grayed out (as shown below left) until you tell
Lightroom Mobile which of the selective editing tools
(Brush, Radial Gradient, or Linear Gradient) you want to
use. To do that, click the large + sign icon near the topleft corner of the screen and a blue menu will pop out to
the side with those three choices. Tap on the tool with
which you want to work, and now all your sliders will be
activated and ready for you to make changes.
Q.I added some adjustment pins using the new
updated version, but I can’t figure out for the
life of me how to delete a pin. A little help?
A.Adobe seems to be standardizing a few things in
Mobile, and one of them is that if you see three
dots anywhere in the app, that’s a pop-up menu. In
this case, when you have any adjustment pin active,
tap the three dots in the top-right corner, and from
the pop-up menu that appears, choose Remove
Brush (as shown above), Remove Radial Gradient, or
Remove Linear Gradient, depending on which tool
you’re using.
Q.When I choose the Brush tool and lower the Exposure, the image starts darkening even before I’ve
painted anywhere. Am I doing something wrong?
A.Not at all. This is another difference in how the Brush tool
works here in mobile versus how it works in the desktop
version of Lightroom; but I have to tell you, I wish they
changed the desktop version to work the way the latest mobile version does. When you darken that Exposure,
it’s giving you a live preview of how dark the image will
be when you paint. Lightroom desktop doesn’t do that:
You darken the Exposure (without having painted), and it
doesn’t do anything. You don’t get a preview, so you’re
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just getting the amount. On mobile, that preview is
priceless, and it goes away automatically when you let
go of the slider. Now when you paint, it paints the same
amount of darkness you saw in that preview. Again, I’d
love to see Adobe add that feature to the desktop version. I predict that once you get used to it, you’ll want it
on desktop Lightroom, too!
L I G H T R O O M M AG A Z I N E › I S S U E 3 2
Q.When I paint with the Brush tool, I can’t see
what I’m painting because of the red tint. Is there
a way to turn that off?
A.You bet. That tint overlay is on by default (it’s off by
default on the desktop version), but luckily it’s pretty
easy to turn off—just click the three dots up in the topright corner and choose Never Show Red Overlay (as
shown below). If you change your mind later and want
to see it, come back to the same three-dot menu and
turn it back on. (Note: If all the sliders are set to 0, you’ll
still see the red overlay even if you turned on the Never
Show Red Overlay option. Once you adjust a slider,
you’ll no longer see the red overlay when you paint.)
50
Q.I have images that I want to sync to Lightroom
Mobile, but they’re in different catalogs (and
when I try to sync a second catalog, I get a
warning that says I can only sync one catalog
with mobile). How can I get those images from
the other catalog to sync?
A.
Here’s what I’d do: Open that second catalog
in Lightroom; Right-click on the Collection you
want to sync in the Collections panel; and from
the pop-up menu that appears, choose Export
this Collection as a Catalog. Then switch back to
the catalog that you’re already syncing, go under
the File menu, choose Import from Another
Catalog, and import that catalog (which will be
just that one collection you exported). When that
collection appears in the Collections panel, click
on the little square sync button to the left of
the collection’s name. So, in short, you need
to move the collections you want to sync into
that one main catalog and sync them once
they’re there.
Q.I can’t figure out how to do a before/after of my
edits. It’s always been a three-finger tap, but that
doesn’t work anymore. Is the before/after feature
still there?
A.It is, but it now has its own icon. It’s the split-in-half
square logo that appears in the bottom-left corner
when you’re editing on a tablet. Tap-and-hold on that
icon to see the before view, and you’ll see the word
“Before” appear at the top of the screen.
Q.I read that in Lightroom’s built-in camera, you can
turn on a highlight warning that will put a “zebra”
pattern over highlight areas that will be clipped
before you take the photo. First, how do you turn
on this warning, and then, if you see this warning,
what can you do to fix it before you take the shot?
A.Okay, this one’s a little hidden (well, both of these are,
so don’t feel bad). First, let’s look at how to turn the
“zebras” on. When you have Lightroom’s camera open
(click the camera icon at the bottom of the screen
when you’re in Collection view or inside a collection),
tap the three dots up in the top-right corner, and a
menu slides out to the left. Tap on the icon that looks
like a pyramid, and it turns the zebra highlight warning on (the icon will flash yellow and then a line will
appear below it to let you know that it’s on).
Then, if you see a zebra warning over an area that
will be clipped, tap anywhere on screen and slide to
the left to use Exposure Compensation to lower the
exposure until the zebras go away. You’ll see the
amount of compensation appear at the top of the
screen. Hopefully, it won’t take more than a little
lowering of the exposure, but if you have to lower
it to the point that it’s trashing your overall exposure,
you might be better off just lowering it a little, and
then using the Highlights slider to fix the clipping after
the fact in the Edit mode. The Highlights slider leaves
your overall exposure intact, and just adjusts the very
brightest highlights, so that might be a better solution
if the overall photo starts to look way too dark. n
Discuss this Issue
ALL IMAGES BY SCOTT KELBY
K E L BYO N E .CO M
Lightroom Magazine
51
Lightroom Magazine
Tips &Tricks
SEÁN DUGGAN
Hard Drive Status
If you use, or have used, your Lightroom catalog with a
number of different hard drives over the years, you may
end up with a list of several different hard drives in the
Folders panel in the Library module. Only the drives with
the small green indicator “light” and their names in light
gray are currently connected and seen by Lightroom. If
you see a drive name in light gray with an orange indicator light, it just means that drive is getting low on space.
Drives without an indicator and with their names in black
are offline (not connected to the computer).
You can still look at cataloged images that are on an offline drive (assuming there are previews for the files), and
you can even add metadata such as keywords, flags,
ratings and color labels, and also group them into new
collections. You won’t be able to work on them in the
Develop module, however, unless there are smart previews present for those files. (See Issue 26 of Lightroom
Magazine for more on smart previews.)
Connected HD
(low on space)
Connected HDs
Offline HDs
(not connected)
L I G H T R O O M M AG A Z I N E › I S S U E 3 2
Removing Empty Folders/
Removing Offline Drives
52
In the Folders panel, if you click the small disclosure triangle to the right of the drive name to open it and you
see folders with 0 images in them, simply select the folder
or folders (if more than one, click the first and then Shiftclick the last to select all of them), then Right-click one
of the selected folders, and choose Remove. Once the
empty folders are removed from the Lightroom catalog,
that hard drive will no longer appear in the list. Of course,
since the drive isn’t connected to your computer, those
folders, if they still exist, will still be on the hard drive;
Lightroom will just no longer reference them.
Lightroom Magazine
Reconnect Offline Drives
Before Removing Folders
If you still have a hard drive that Lightroom lists as offline
(and it still has the same name), plug it in and see if the
images and folders show up. If so, and you’re in a mood
to clean things up, then you can move the files to a location on your main image archive drive that makes more
sense (move the folders/images within Lightroom, not in
the Finder/Explorer view, so Lightroom doesn’t lose track
of them). If some folders still show up as missing and you
know that they were temporary for projects long since
completed, as is the case with the view of my Travel Blue
hard drive shown below, then you can remove the folders
and not worry about them.
and MOV files or as combined MOV + JPEG. You’ll see
the file format listed when Expanded Cells are used
(View>View Options, click the Grid View tab, and select Expanded Cells from the Show Grid Extras dropdown menu). Another giveaway that MOV video files
are from Live Photos is that they will all have a duration
of 2 or 3 seconds.
Setting Import Preferences
for JPEGs + RAW (or MOV) Files
If you use the Live Photos feature on the iPhone 6s and
later, you probably have a lot of very short video clips cluttering up your catalog. Depending on how you feel about
these short clips, you may or may not want to keep them.
When you take a photo on an iPhone with Live Photos
turned on (look for the yellow concentric circles at the
top of the Camera app screen), a JPEG and a MOV file
are created. Both of these are copied to your catalog
when you use Lightroom to import from your iPhone.
Sometimes they show up as bright green while at other
times there may be a preview. Depending on how you
have a certain preference configured will determine
whether they show up in your catalog as separate JPEG
K E L BYO N E .CO M
Dealing with iPhone Live Photos
in Lightroom
The easiest way to deal with Live Photos from your iPhone
is before and right after you import them. To ensure that
they appear as separate JPEG and MOV files (thus making it easier to deal with them), go to Lightroom (PC:
Edit)>Preferences, and in the Import Options section of
the General tab, click the checkbox for Treat JPEG Files
Next to RAW Files As Separate Photos. This setting will
work for any new imports. For previous imports, there’s
another step that we’ll get to in a bit.
53
Lightroom Magazine
Live Photo Video Clips:
To Keep or Not to Keep?
Whether you choose to keep all or some of the Live
Photo video clips will likely depend on the specific
moment they contain. Even at only 3 seconds, some
may record the expressions and voices of people you’re
close to that have special meaning for you. Others are
essentially still photos with only a bit of motion that may
not be significant. But knowing how to deal with Live
Photos in your Lightroom catalog will help you keep it
well organized so you can preserve the important clips
and delete the rest (and probably reclaim a lot of hard
drive space in the process!).
Right-click on the folder and choose Synchronize. Since
synchronizing a folder is just another type of import
process, Lightroom will now see the JPEGs in the folder
not as sidecar files, but as different files. Click Synchronize to update the folder and separate the JPEGs from
the MOVs.
With the JPEGs now seen as separate files, use the
Metadata search method mentioned earlier to show only
the video files in the folder, select the 2- and 3-second
MOV files you don’t want, and delete them.
Filtering to Show Just
the Live Photo Videos
After an import from your iPhone is done, make sure
you’re active on either the Previous Import in the Catalog
panel, or on the folder where the new photos have been
copied. Activate the Metadata filter in the Grid view (G) of
the Library module. Click on one of the search parameters
in the columns at the top and choose File Type, then select
Video. Now you’ll see only the videos in that folder. Select
all the 2- and 3-second videos that you don’t want to
keep (make sure they’re just the MOV files and not JPEG +
MOV), press Delete (PC: Backspace), and click Delete from
Disk to delete them from the hard drive.
L I G H T R O O M M AG A Z I N E › I S S U E 3 2
Using RAW + JPEG when
Importing Live Photos
54
Separating Existing JPEG and MOV Files
The Import Option Preference mentioned earlier only
works for new imports. If you already have Live Photos
that show up in your catalog as JPEG + MOV, you have
to separate them another way. Make sure that you have
the Treat JPEG Files Next to RAW Files As Separate Photos
option turned on in the general Preferences, and then
If you do shoot RAW + JPEG and ordinarily like to have
them grouped together and only show up as a single file
in your catalog, then you have two options. You can leave
the Treat JPEG Files Next to RAW Files As Separate Photos
preference unchecked and then try to remember to turn
it on specifically for iPhone imports; or for Live Photos that
do get imported as MOV + JPEG, you can use the synchronize method mentioned above. n
ALL IMAGES BY SEÁN DUGGAN
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