The Adobe· Photoshop· Lightroom· 2 Book The Complete Guide fOJ" Photogrllphen;

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.

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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

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Tradem arks Adobe, ltghtroom, .lnd Pt.otoshop are l'e9islered uademarks of Adobe System~ Incorporated in t~ United States andlor o ther (ounlri('S. A ll Othel Irademarb are the property of their re5pe<trve owners

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-IO- 0-)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 ...... . .......... , ........ . .......... , ........ . 1 0

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

Customizing th~ Id~ntity 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 contact sheet prints . . ..... . .. . ..... . .... . ........ . 32

Reviewing the final shortlist in Survey mode ... ......... . 33

Dimming the 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 through the book ........ , ... , ...... , ........ . ... , .... .41

CO NTENTS Lx

xii CO NTENTS

General and EX1F metadata items ... . ........ . .......... 128

FiJe Name ... . .... . . ... .. .. .... . . . .... . . .. .. ......... 128

Sidecar Files .......... . ................... . .......... 128

CopyName . . ........ . .......... . ........ . .......... 128

Metadata Sta tus ..... , ........ , ........ , ........ 130

Cropped photos . .... . .......... . ... . .... . .......... 131

Date representation. , . . . ..... . ....... , . . . ..... 131

Capture time editing, .......... , ........ , ....... ,., 132

Camera mode l and serial number . ..... ... ...... . . 133

Artist EXIF metadata .. , .. .. .... . ..... . .. ... .. .. .... 133

Custom info rmation metadata ...................... . .... 134

Metadata presets . ... ... ...... . . ... .. . ... . .......... 135

Edi t ing and delet ing meta data presets ... ..... . . 136

IPTC m e tadata 136

An effic ient way to add metadata .... , . . . ........ 139

Metadata editing and target photos . ........ . .......... 140

Mail and Web links., ........... .. .... . . , ..... .. .... 142

Copyright stat us ..... . . . ........ . .................. 143

Keyword ing and Keyword List panels. ....... , ........ 144

Three ways to add new keywords .... ' .......... 144

Applying and managing existing keywo rds ...... 146

Autexomplete options ....... , ........ , ...... . 146

Remo ving keywords . .......... . ........ . .......... 148

Keyword hierarchy .............................. 148

Impo 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 ... .............

The Painter t ool .. , ... .

Photo filtering and sea rches ... ' ... .. ... .. ....

.. 153

.. 154

... ..... 157

Fitter bar... . ........ .. .. ' ... . ....... . . . .. ... 157

The Fil ter bar layout, .. ' ....

Text f ilt er searches . ..... .... .. . . .. ..... '. , .. ' .... '

...... . ........ 158

158

Search rules ........ ' .... ' ......................... 159

Combined search rules . .. ........... , .. .. ... 160

Fine·tuned te xt sea rches ....... . ........ . ......... 160

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 treating Develop presets _ ...... _ ...... J61

Underst anding how presets work . . ..

How to prevent preset ,ontamination.

. .. . J 63

.. . ....... 364

Reset settings ........................ 367

How to set default camera Develop settings ... , ........ 368

7 Th .. art of black and whit .. 371

Black and white conversions .......... . . . . . . . . . . . . . . . . . . . . . ... 372

Slack and whi te Develop controls ...................... 372

Black and white conversion options. ... . .. . ..... , .. , .... 374

How not to convert .... . ..... . .. . . . .. . ..... . .. . ... 374

Grayscale adjustments ............................ , .. , .... 375

Temperature slider conversions ....... . .... . ... . _ . ....... 376

Auto grayscale plus whi te balance adjustments , ..... 378

Manual grayscale adjustments _ . .. .. .. _ . . ... . . _." _ .. __ .. 382

Grayscale slider tip .... _ . .......... . .. . ... __ ' ....... 383

81ack and white infrared effect ., , .. 384

Fine-tuning black and whi te images ... .. ........ . .. ... ...... 388

Split Toning paneL, ................... . .................. 388

Split toning a color image ............... . ....... 390

HSl panel: desaturated color adJustments . .... , ........ 392

The HSl grayscale method .... , . ... . .... , .. . .. 393

8 Sharpening and noise reduction 397

Capture sharpen for a sharp start ........... . .............. 398

Output sharpening .. , ..... _ .. ....... . . . . .. . . . . . . . . . . ... 399

Default Detail panel settings . . , ............. , .... 399

Sharpen preset settings ................................... 399

Sharpen - Portraits ........ , .. , . , . ........ ,.. , .. 400

Sharpen -landscapes .. . ..... . . , ..... . ..... , . ...... 401

Sample sharpening image .. . ... . .. .. .. . ... ... .. ... . . .. ... 402

CO NTENTS xvii

xxii CO NTENTS

Appendix B Lightroom settings 559

Lightroom settings and templates .. . . . . . . . . . . . . .. " .. . .. .... 560

The lightroom preference f ile ...... , ........ , ........ 560

AW!S5i ng saved template settings ... , ....... , ........... 561

The Lightroom catalog folder . ... .. ................... 562

The catalog database filL .......... . .... ..... ........ . . . 562

Journal file ...... . . , ................. . . , ................... 564

lightroom previews data ................ " .... . .......... 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 the 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 for 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 588

Colorcontrols

The Develop module's Image adjustment controls are easy to access,

and presSing (Q) al\vays takes you directly to the Develop module.

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

image adjustment controls In the Develop module can also be applied

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

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

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

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 wel l 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 pointing 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 current

versions of Bridge and Photoshop. The same IS true of labels and meta­

data, 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 transferred

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 confl ICts and lets you decide (see the accompanying

Note on updating settings In Ll9htroom).

NOTE ..... Ado"'" C ..... ~r .. R_ .... J"""'~nt

_ de In o ne Ado"'" program will

always pr ... iew ld.ntkaUy In any

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

.ltt,ed ouulcl. Ugh troom, a wI.n·

Ing ud<omalion mar. win altrl ),0"

and lei yo .. dedde whethe r t o , titk

wit h t h~ ~urr.nl r_g~ "lUng 01

updot.the n_ one .1... wa •• pp!;"d

out , ld,llghlroom.

THE ADOBE PHOTOSHOP lIG HTROO M 2 BOOK 5

NOTE ll9hl.CHlm 11, now enablHl fo.

M · blt p<ocen1n<J In both the MIC

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

vaBlo ns of th .... ftw •••. Inl<,1

MfC IGtnwlll nted 10 lollow 1M

I .. Olruc;llo .. o In Fill"" 1.410 t~ble

the p'''9,.m in 6.-blt mode, while

Window. VI,t, .... nwlll nINd to

download or In.t.llihe 64-blt no_

.Ion of the p'0'il •• m.

Llqhlroomwll1.h .. be IOble,o go

beyond 1M 4 Gil RAM limit Ihel Wn

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

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

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

Ifyou.(omputt. II 'lOpeblt of

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

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

. _. ," . .,. .... _ .. __ .... '-.-.-

- -5':::::::"!'" -; ... ~---::':'::; - , " __ " __ "'" -_ .. __ .... --., .. -~ ...... ".--__ LoLL 7

.-. . .. . _-.-

. ' 7 7 , .-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.

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

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

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

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

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

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

it. If you have an earher version of Llghtroom on your computer. the

Llghtroom Installer Will automatically overWllte the older program. The

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

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

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

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

would IIk.e Light/com to run a verification prOCE'SS to test thE' IntE'gllty

of the current catalog.

:-_'0 __ · -· ""'" . -· - " ' . .-• s.

LR

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

• ... I' 00 )

Figura 1.2 1~ Ut}hlroom ImEallo rion d/olOt} on r~Moc .

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

__ a.~ .. "vn 1

Figura 1.3 The Ugh/room InS/ollorlon dlo/og (It! /~PC.

10 CHAPTER 1 INTRODUCING ADOBE PHOTOSHOP LIG HTROOM

f) I') ,, - I4P1.td.".,g. l~ (Ret/II

1/"" "" .. ,'\ . ~. c" , ,Plt010GRAI'tIY lIU .- .

---', -----

-- .- I __ .. ~. ,~_---"

-- -3. 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

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 the appearance of the module 5elector by choosing a

new replacement font In any Size you like. And If you chck the lIt tle

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

actIVe and non-actIVe modules.

4. Now let's see hOYl the top panel looks after customlzmg the

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.

(\ 1"1 n C~

I. ' .. '

NOTE

'. . - ­~~ -

• 1

' SO file, un only be ""dtd vie the

Identity PI..e Edito. ""n-g the M.~

OS ve .. lon of Llghl.oom.

G •• phle.' leIeMlly PI.ltI un be

mo •• thIn 60 plnk .. It Fo. p.ln.

wo.kyou w," p.ob.tbly w.nt to

crUle Idtnilly Pt..1 g •• pllk, Ihl.

ue biqge.,h.n60 piKe ls.

THE ADOBE PHOTOSHOP lIGHTROOM 2 BOOK 15

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

(ontent area

The Conlent area Is the central

section o f the Interface where

you can view the photos you

are working on. 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.

the photos lifE' d ispu-yed lit /I

fiNo·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 screen pages

will look before you output them

from Ughtroom.

f il ler bar

This Is new to Llghtroom 2 and

appears at the top of the Content

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

sKtlon now allows you to carry

out more detoliled seolrches by

using the custo mlzable panels In

t he Browse secUon to search fo r photos using additional search

criteria, such as by a specific

Date, Camera type, or Lens type.

You ca n use the m 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.

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 1_"'_ ...... . . .

tt; -mg" ............ ,_., .. " , .. ,,, , .. ,,. - .. Fig!! •• 1.111 The $fotUI indkolOf

show, Iheprog~, ofbockground proCfmes such os Imporrlng Images or

fflnde,lng pflIvlt'W$.

2. 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 status 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 capture 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 th is 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).

24 CHAPTER 1 INTRODUCING 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

pan£>! 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 ------------------------------------

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

I ..

FI5I ur.1.17 Youconla~your

favorife Develop ~trIng~ such a, camera' ipl!Cllic Dew/op serrings as II presel.

THE ADOBE PHOTOSHOP lIGHTROOM 2 BOOK 29

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 •• 1 II'.Y In.' "d oloolld bl.cIL

Dimming the lights

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,

34 CHAPTER 1 INTRODUCI NG ADOBE PHOTOSHOP 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.

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

will.ko kt you .pply oIlier type'

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

d.rbn, booS! 1M '1Iu"lion, .dd

d •• My. O. (010,111 portlonl of.

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

mode II well.

14. Once you have decIded which photos have made the final shonhsl, the next stage is to take them through to the photo finishing stage

before making d final print output. The Develop tools In Ughtroorn

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

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

Basic panel settings and adjusted the Tone Curve to get the opti.

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 INTRODUCI NG ADOBE PHOTOSHOP LI GHTROOM

Working through the book This more or less concludes the introduction to working with

Lightroom . In the remainder of the book you will explOfe edch aspect

of the program In greater depth. llghtroom has been designed almost

exclUSively for digital photographers. This makes my task slightly eaSier,

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 ~unreasonable 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

program and have focu~ on diSCUSSing what Llghtroom does best:

managmg, editing, and printing photographs. And If you really want

to know more about how Ligh troom works, I have reserved a techmcal

section at the back of the book in the appendICes to elaborate on fea­

tures 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.

Ub rilry Shortcut s

•

Flgur. 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.

To lind oul all 11M! lalHI n_. about

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

hup:lJllghtroo .... n.w •. com.

TH E ADOBE PHOTOSHOP lIGHTROO M 2 BOOK 41

t wo' • , Ic-_ .. _,,,, , __ .... _!it

_ .. 0.-_ ,I/· ar

!! IMI/OI ..

g-~ ... - .. - ........ "

,,- C ,.01, __

COfI'I' 10 IIKkup fokWr Iocalion

---4. You can also speci fy a secondary folder to copy the Images to.

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

( c-. .. )

Figur.2.2 If you havr a large

numbel af/mages lo lmpofl, Ihf'

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.

s.

46 CHAPTER 2 IMPORTING PHOTOS

Check the "Backup to· check box and then click the Choose

butlon to specify a backup folder. This optton should be manda·

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

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

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.

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

After you have configured the Import Options and clICked the

Import button, lightroom Imports the fi les from the 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 sta­

tus ,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 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

organized as they afe added to the catalog. very often I prefer to import aU the files from a ,ard and group them uSing the "Into one

folder ' method of organization (Figure 2.5). By checking the ~Put in

subfolder~ option, you can create a unique folder (or match an existing)

folder destinatIOn.

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

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

o ·" .... ' •. 0 -Fig"". 2.5 "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.

Alternatl~ly, you can select one of the "By date" 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 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) .

...... _, SotI1OO1 • n '"" z007

R/Io '1M t! " c- , , Ie. __ · __ Ie

0 "'''''''"

!!I AI 0.. .. U. 00"" @J 2CI01J01 09 I!!I 100',"- 10

PI _'/Moll

f'i'I DM~ '" .. , • :.:0" " +,' -, ...

_ _ " _ttl<

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.

Which Islhe ...... foldltt' organlDllon

~hodl lf you Ire !el.I"'n tl9O<Ot.L1

In Ipplying keyword meaad"110

-I")' 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 ...

by Ev,nl > NIIM of couple, by PIoK,

) Loc .. ion. o. do you .... I foIde.

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

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

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

.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

I ppn>a<h 10 folde. orglniu,ion for

th ...... who <egull,1y Ippty u)"Words

10 eN thli. pholo$:.

"_"",,ll_2I to_· IOM/ __ U ·l ' .. _ IOM.~", n ,1/

to_ 1OM/1I/1' ,,_I_m ,," .. - ....... "." "~IOMDtt"

f lgur.2.6 The Imporl Phoros Organ/It ~u orrell you a ,hoke 01 waY' roorgDnlzfl lhtlmporred Imog:n wlrhln rht dtsrinallon folder. You can segnwm rhe Imports In/O OM fallk, os shown in FIQure 2.5, Of use OM of lnt dole U'gmenr options shown here.

THE ADOBE PHOTOSHOP lIGHTROOM 2 BOOK 51

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

be!ol .. .,. to build \lp • Llghtroom

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

~"'I 0I.1t ... 1n9 Ughl room, you will

... ,n, IO.cid Imagu 10 th,lIb,.ry

th.t •••• I ,~~y On )'OU' (ompute'

,yul!tn. You don't h.ve 10 lOudly

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

...... di.k driYe for (am ••• Imports

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

elMs nol ... lIy .... "" how youdilti

.re currflllly of'9lnized. 8 .. ically,

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

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

to add •• k Ung 1m~'IO .llghtroom

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

.nd ... e 'l' Im.age 10 • _folde.

loudon.

If you are Hning 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

k d>oone "Imp!>t1. Phol.,. '" thM C ..... nt Loutlon- and ulect the 10f>­

...... 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

Importing existing photos from folders

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

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

the *Add photos to catalog Without moving" option is the fastest and

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

want to Import and make a backup copy of the original master file'S at the

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

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

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

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

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

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

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

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

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·edi ted. layered PSD or TIFF files that have been created

from the lightroom catalog master photos. As I work on the selected

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

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

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

---- ... __ .. --... _-_.---~------"

'"-,----,.. ---------E· .. ·-·-· '-----.--

• • I "

'.- :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 IMPORTING PHOTOS

Importing folders into Lightroom via Bridge

- , ,."

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,

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>ity_

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.

THE ADOBE PHOTOSHOP LlG HTROOM 2 BOOK 61

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

be hlndled cOmpletely ."tomatlc.lolly.

But of co,,_, Ihl"9' (an newrbe

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

KHP In mind thllN)'O" "peI.lethe

Dev.lop _in'1'''~ in t .... Auto

Import, )'0" need 10 .nelKt them

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

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

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.

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

~uupply la pow ... l .... cam«.

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

"7 " ,_ '.'_ .... ___ .' ,_

__ .. ~T -:':':':' :'="=" :~:-='.:(il~'~;;)~' ." , -. ~-~

'" _ ' ;, IOS,' • 'I -., ;, ", ,-. .... , '.' Fe F" Lf ... cr ,T .

I - •

Ol lI __ l

S. The Auto Import Settmgs dialog can be used to configure the

Import settings for the automatically Imported files. These Will be

applied to all the Images that are about to be captured 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 Fi le 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, Q:oo""'+F

----.-•

15. After you have done that go to the Auto 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 selec­

tions 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 tools you can use to refine your image

se lections, through the 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 your favorites.

You can then decide which photos you wish to keep in the

lightroom catalog and how you should handle th ose images

that have been left unmarked or marked as rejects.

ex,

You un " ... d.ag a nd d,op 10

~ .... nge llte ..... oe order In boIhlM

Libr.ry Grid and FUmotl'ip.

,~-

C')l .... o...tn-0',1 dD .... ", ' ..

(", L • • d f i ",

c. ,.,., _0 SIttioot. Co_",_1SO 1;0, ,."

~.-ISO SIIH<I ,.1." r«ol tMovIh

ror ... '''' """" , .... Co, 'E~"' '''' [>, 1M" '~'~O"'." --

Flgur.'.1 TM kl~ options (Jvol/obl~ In CDmpoct C~I/ ExtroJ In

Ih~Llbrory V1m' Opt/om I7N!nu.

Exploring the Library module

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 orientation 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, select 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 Fig­

ure 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 "Tint

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,

-- ----I!_ .... _____ _

... .... ----~--.. -~­.-~T . _

--- --!! - - ' .. - '"-:;0' :';;:;:---" ,,_ ,, __ .. ___ .of

., ' ... '-oi ___ _

---, ~--­"--­"---

--­~, ...

flgur.).8 Thl/!: Ub,ory VlI/!:W Opttons dialog.

16 CHAPTER3 NAVIGATING THE LIBRARY MODULE

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/«tlon a( pho/a$..

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

THE ADOBE PHOTOSHOP lIGHTROO M 2 BOOK 81

Flgur.l .:U I-Ierels o l'lewof fhe Nol'lgOfor ponel. showing 01/ Ihe ovallDblecul fom Zoom vlew opflon!. Thq con range from 1:4 (25':16) 10 8:1

(800'*) and all the way up 10 / / :1, 8ul

OJ In the mov~ Thl5 15 Spinal Tap, I suspectlhe reo/zoom value herflIJ In fo(/ , IDJer/a 10;/.

NOTE 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 .... where you

d id< will .Iw~ be (l!1\" .. d on lhe -_.

Loupe zoom views

As mentioned earlier, t here are actually four different Loupe views and

the NaVigator panel displays a zoom View readout of each In the top·

right corner. They are in Older of magntficatlon: Fit View, which magni­

fies the standard Loupe View to fi ll t he available Content area both

horizontally and ver tically; Fill View, which magnifies the standard Loupe

view to fill the Width of the available Content area on-screen, croppmg

the top and bottom of the pICture as necessary; close-up Loupe VIew,

whICh o ffers a standard 1: 1 View; and lastly, the fourth close-up view

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

the range of the close-up Loupe view by selecting a zoom view from

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

that the Loupe zoom essentially o ffers two zoom modes: a standard

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

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

of the custom magnified ViewS. The zoom View modes you select via

the Navigator panel will establish how L'9ht room behaves w hen you

use either a single chck or the

zoom ViewS.

Loupe view shortcuts

to toggle between the two

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 (Mac) 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", buttons, 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.

AlternatIVely, you can sWitch to Survey View while In any module

at any t ime by using the@ key. Whenever 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

Conten t area.

88 CHAPTER3 NAVIGATING 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 promote thIS Candidate photo to be<:ome the new Select.

THE ADOBE PHOTOSHOP LlG HTROOM 2 BOOK 93

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

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

",hi" ullng, .. y .• 1:1 vlrM on lhe

01 .....

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

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 .

How to get the most outof working with two displays

NQVoI let's look at a few examples of how a secondary display can be

useful to you when working In Llghtroom. On the faCing page I have

suggested three ways that a secondary display can ease your workflow.

Figure 3.34 shows how you can have a selection of 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. With 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 photos 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

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

Ub<.ry "" EIWble filter!o !(>glllt' It on .ond off. or .... , ... oog (MKJ Of

(OrIN (PCI u.yboio,d .horWtL

Filtering photos in the catalog

Now that you have edIted your photos uSing a rating system of your

choice. you can start uSIng these ratings In conjunction with folder, ke'yWord, and other selections to refine your image ~le(tlOns and

retrieve pIctures qUickly.

The LJghtroom image catalog can be thought of as having a pyramid·

type structure 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 Library 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 of 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 CHAPTER3 NAVIGATI 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_

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.

-"--~-

--

._­"--w__ ... .-. 1 __ ~_ '01 __ __ ,

- .--­"--_.-_.-_. ,,_ I C ; __ >+D ---

... -_ .. ~ --

f igu re 30SS Yoo CDn cU5rDm/ze rhe

Llbrory grid cell vrew by preu/ng (jiQ) (MIK}, IC!iul (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.

THE ADOBE PHOTOSHOP lIGHTROOM 2 BOOK 111

NOTE n... gllM<.IIoH ....... k , ... , you

"'" ..... \O(cn.1vt Add to SelKtlon

commands 10 boJ lld 101. of diffetent

10.1 ..... 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 .....

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

" ' ...

• _ .... "

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. Ilhen opened the Edit menu again and chose Select by Color

label::;) Add to Selection 0 Green .

116 CHAPTER3 NAVIGATI NG THE LIBRARY MODULE

Figur. 4. I Hete If !Iu! defaull view of th~M"tadala pan ... llnformo tlon, which shawl jUl//1u! ballc "1 ... ln{o me/adoto,

TIu! action arrow bultonJ fhal app«lr In ! /I. Metodo/a p<lmol vttwS provl~ U~U,

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

Ih~ ~/ed ph% ~ongs 10.

Flgur.4.2 TheMe/ada/a vI~ opllom.

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 Preset menu with the 5ame

options as those found on the File Import menu (for more about creat­

Ing 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 Ti l le, Caption, Copynght, Creator, 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·

tlonal only and shows things like the file size dimenSions, the camera

used 10 take the photograph, camera sett ings. lens. and 50 fOfth .

Many of the Items In the Metadata panel have action arrows or other

buttons to the righ t of 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

one of the seven other Metadata panel layout VIf!WS Each photo can

contain a huge amount of metadata ini ormatlon. so If you want to

see everything, you can select the AU View. But If you want to work

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

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

alternatIVe Metadata panel View optIOns (figure 4,3 compares some of

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·edltable EXIF metadata, while the (PTC View

mode concentrates on displaying the (PTe custom metadata fields ooly.

The large Caption 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 In data entry mode. hitting Enter ()( Return now allows

you to add a carriage return In this field section rather than committing

the text.

126 CHAPTER 4 MANAGING PHOTOS IN T H E LIBRARY MODULE

Cropped photos

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

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

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

mode in the Develop module.

Date representation

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 fil ter 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 catalog filters on or off.

Figur. 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 lu~ 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~ I lmllo(

coplurr.

Flgu ... 4. 1 0 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',

Figur.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.

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

_.JI.ppllc" lo n u lllHl6etterFInde.

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

.nd Date T1me DIgitized biK" 10 !Mil

K{1I.ltlme1.: www.pllbilcspoloC • . nelI

A8etlerfinderAllributHi. II wo .....

with . f • • "'''9"' of me ;.,.t • ., ....

c.me •• r.w fonn.u..

THE ADOBE PHOTOSHOP lIGHTlmOM 2 BOOK 131

NOTE Mftadata ~.,. _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. 1 S n 1M I .... port sltg. or 'IN tM Met.,! .. ,. panel.

Metadata presets provide a useful way to batch-apply Informatlonal

metadata either at the Import stage or la ter via the Metadata 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 formation 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 con­

form 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. but 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 .21 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 phOtO.

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!!.

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---

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 calalog /0 show all photos lhol shiff(' 1M same keyword.

,,_,:,,2 •• _doIo"' .. L 4 ( c-o ) USi't ) 11M ..... . . .:.., .51 ......

Figure 4.27 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 ADOBE PHOTOSHOP lIGHTROOM 2 BOOK 145

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.

Figure 4 .34 When Eme,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.

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,

Figur. " .311 In Emer Keywords mode, yeu won't always s« the iwyword

hilmlfchY(Qs used w~ typing In" new ~eyword} un/en lhereare Iden/leal keywords but wlrh dlffermt parents.

A tab-delimited file IS iI plain telCt fi le With a tab between each mdented

level in the telCt. Tab-delrmi ted hies 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' ControlledVocabulal)'.com Web Site, from

whICh you can purcha~ 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 computer systems Of

ca talogs by selec-tJng ~Export keywords. -

Implied keywords

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 Keyword l~st menu IS

set to display Enter Keywords (Figure 4.14), you can edit tf1e keywords

In th is mode but the ImpliCit keywords w ill be hidden (althougn they

Will nonetheless remain effectIVe wf1en conducting searches), If you

select Keywords & Parents or Will ElCport (Figure 4.15), you Will see

a flattened list of keywords tf1at Includes the Implici t 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

tf1 is 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 wi ll then see the> hierarchy appeilr in

the Keywords dialog. To gIVe you iln eXilmple of why tf1ls is the case,

take a look at Figu re 4.36, In whICh you see the Keyword Camilla

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

as well as bl"lng -someone I know. ~ I can add the keyword Camilla In

two separate contexts. llghtroom IS able to differentiate between the

Camillil l know and the Camllla I work With.

150 CHAPTER 4 MANAGING PHOTO S IN T H E LIBRARY MODULE

• m;] r---, "'~ ~-, ~'''''''. ~ '"

2. 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 .

THE ADO BE PHOTO SH OP lIGHTROOM 2 BOOK 155

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 of

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

retouched master Images.

' .. -I , , ,

--, , --- •

_00' .... '.0 .... ___ Doifto_~ ......... , __ _F_'CIIofttoolocl- ... ..:,. o

Flg,.Ir. '-.56 TINs shows Ih~CuSlom 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 alternatively 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.

( .... )E- 'i

THE ADOBE PHOTOSHOP lIGHTROOM 2 BOOK 165

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 that 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.

THE ADOBE PHOTOSHOP LlGHTROOM 2 BOOK 169

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

,. 0--.. · ... ' __ ......... _ ......

3. Now let's look at what happens when 81nclude Develop set-

tings 10 metadata IOside )PEG, TIFF and PSD flles 8 IS disabled

and 8AutomatICaily w rite chang~ into XMp8 is sWItched on .

Any edIts made in Lightroom Wilt automatically get saved to the

Lrg i'ltroom catalog 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 fi les 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 they WIll open from BrIdge dIrectly

Into Photoshop WIthout opl'nrng via thl' Caml'ra Raw dialog. Thl'

downsldl' IS that such Images may not always look the '>amI.' In

other programs as they did In Lightroom. 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 .

182 CHAPTfR4 MANAGING PHOTO S IN THE LIBRARY MODU LE

Sort functions

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

can manual~ sort the Image order by dragging and dropPing photos

eitner in the Grid View or via the Filmstrip, Sorting tne photos manual~

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

User Order sort will remain In force after you eKit a particullir Folder

or Colle<:t ion VIf!W. But as soon as you sWitch to any other sort order

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 In

the way color labels are Identified 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_ .. . I .. ~ :oJ. -- , 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 (om­

patibillty with labels in Adobe Bridge, use the same names in both

applications.· So lar, so good. II you follow this advice, l lghlroom

can be compatible with the CS2 version of Bridge because both

programs use identical color label text descriptions.

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

In Ihe G.1d o. F~ .... trip .. 1ew when a

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

.. Iect~d. You cannol d •• " and drop

grouped foldet1 Or filte, MIe(UOn,

thai >PIOn ... ort tlwon 0 '" folder.

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 let you hnk. dlfe<tly to Google Maps and locate eKa<:tly where that photograph had been taken . But In order 10 pull off this trick you will

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 capture

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 . 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 of 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.

NOTE John H .... 10 pwdun managltt" for

Photo.hop.nd ~.nd ... r1t~.

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

Iblo~ ... dobe.comJj .... d<) .. " 10 full

of lou of Inte~.tlng beckg,ound

tn'_lion on ...... ' h 90in9 on "'­

Adobe • •• weM •• offering off-top;.:

pcKu .uch u lin ... to Inte .... Ung

phatog,.phy Web .ilK.

THE ADOBE PHOTOSHOP LlG HTROOM 2 BOOK 191

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

computer, 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·level View of the site where Ian look hi5 photograph.

THE ADOBE PHOTOSHOP lIGHTROOM 2 BOOK 193

Export and import summary You use the File Q Open Catalog. command to load individual catalogs,

but Lighll00m can only run one catalog at a lime There IS nothmg to

stop you from uti lizing multiple catalogs. but a single catalog IS prob­

ably 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

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 photos

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 your 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 photos,

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.

NOTE 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

Window. venlon OIIM 1''''9'.'''' You

don' need 10 bII)I. sep."a.e lken ....

THE ADOBE PHOTOSHOP lIGHTROOM 2 BOOK 207

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

LlglKroom lettinglluch.o. o.¥ .. lop

o. Print modul •• ett ln\l"

How to merge two catalogs into one 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

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

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 shot 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 Figure 5.10.

.B .B

LR LR f lg ur. 5 .10 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.

212 CHAPTERS WORKING WITH CATALOG S

NOTE v .... don'll'IHd 10 boo <0"' ....... wllh

RG8 WOOOpacH Of PI'O~"'t .... hen

wo,klng In Ughtroom. R_ filH

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

IMn.gtmem of thew iii" Is IItndled

b~ d.e Inlefn.l._ pl'O<Hoin9 engine

plus .ny ulib,-';on .dju.tmenu that

mlghtlH! IppUed.1n lhe Ule of plnl

~ • .,p<>rtod intO Ughlroom,

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

.utorMIlcilly.

TIM Ima~ file you IN WO'~1n9 on In

Ughtroom ,.on bot Iny colo'Of>KI And

will be colo. man.ged accordingly.

p .... kMd lhe Imag .. has In Itmt..dd..t

p.ofi~. lflhe Ima~ 1'0"'" wor+Jng

on hi' flO embedded ptOfile. the

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

"' .... lOft ..... pno9 •• m, _Old .. II .....

h •• 10 b • ...ado a< 10 .... ","1 1M colo ..

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

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 ..

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

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

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 Pholo0h0p will

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

w.~ to do this Is to c'-••• G_,..' PII.pooe <010. leltJng. 0. benltl' lIill,

one of tM Prep .... color HttingS In

the Colo. Senlng. di<olog.

Steps for getting accurate color

Calibrating the display

The color management system In llghtroom requIres no configuration,

as llghtroom automatICally manages the colors Without you haVing to

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

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

profiles, bu t this only applies to imported files where a conscious deci­sion has been made to not color manage an Image Apart from these

rare Instances, you can rely on ligh troom to manage the colors per­fectly from Import through to export and print. HQ<Never, you do need

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

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

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

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

you should regard the follOWing pages as essential reading.

Choosing a display

The chOICe of dISplay bOils down to Cathode Ray Tube (C Rn or liqUId

Cryslal Display (LCD). The better CRT displays have mostly been

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

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

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 sIze means

they are comfortable to work With. As wlIh all things in life, you gel

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

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

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

.'-­.'-­.-.. -.'-'­.'--"-

- > •. '-

~---.- ... --.-_ ..... -H _ •

I s. 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 battery­

power 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, Contrast, 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 ULE IMAGE EDITI NG

'" '" ... ... ." Ix '0 I.S .11

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

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

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

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 Oev£'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.

_-..1.." I. ilOIlO

GD

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 EDITING

(am~ra @!X osur@!s A typical CCD or CMOS senso r In a d igital camera Is capable of

recording over 4,000 levels o f Information. 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 Ideal camera e~posure should be

bright enough to record all the tonal Information without clipping Important highlight detail. This Is because half thE' levels Informatio n is recorded In the brightE'st stop range . 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 undere~pose an Image unless to do o therwise would result In the loss of Important highlight detail. Deliberate undere~posure will have a dramatic Impact 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 histogram. It Is ben to either trust the e~posure system

In the camera to get It right or rely on the histogram In llghuoom.

figur.6..23 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. Norlee rhor rherels more noise 000 less looo/ Illformal/oll /11 rhe uOOerelfposed

veniOll,

I I

I , , 2 ' j

I I

, •

f igure 6 .22 /fyou don'I oprlmlle rhe camero exposure, you moy be mining the opportunity '0 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.

THE ADOBE PHOTOSHOP lIGHTROOM 2 BOOK 257

Figur. a .2!1 The Whlre BalDnee slider

m nflOJl ln rhe Bofle panel ollow you to

monually odjust tfrf' while poin t In on

/moge. The Tempero lurulider odjUs ls

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.

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 source.

Artlficlallightfng, such as a tungsten lamp light source, has a color tempera ture 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 condit ions 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 warmth (although technica lly speaking, a bluer color temperature

Is actually hotterl. The Temperature slider 5("le allows )'Ou to set what ·should be" the white point of the Image based on the Kelvin scale. The key point to emphasIze 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·balanced fi lm, they wrongly expect

thai d ragging the Temperature slider to the right makes the Image cooler and dragging 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-balanced 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 accurate 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·

tlVe) highlights, It is okay to clip them . But if the highlights contain

nonreflectrve highlight detail, It's best to nudge the Recovery slider

more to the right to reduce such clipping.

TH E ADOBE PHOTOSHOP LlG HTROO M 2 BOOK 269

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~

using " low .mount .nd hlgtl ,.ellus

Mttlng In the Photothop Unsh.orp

M .. k fille<. The 0'1>.";, , midtone

cont •• " enhu .. .menl Pholothop

t~hnique tfw,t w • • origl ..... 11y dev"ed

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..

Clarity slider The Presence section of the BasIC panel includes the Clarity slider,

whICh is essenllally 11 mldtone COntrast adjustment slider. Clanty cleverly applies an odaptlVe contrast adjustment that is Similar to the

low AmountJhigh Radius unsharp mask technique 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

areas based on the edge detail in the photograph. The net effect IS

that 1I pOSitive Clarity adjustment boosts the apparent (enlia .. ! In the

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, strengthening the

mldtone contrast 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 evalu­

ate the results, but this IS usually the best way to View your worl:.

274 CHAPTER6 DEVELOP MODULE IMAGE EDITING

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 drag­

gmg 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 contrast 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 careful 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 EDITI NG

9. In this final versIon, I rolled the mouse over the rocks and dragged

downward to darken the 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·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 the 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 Spli t 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 fring­

ing 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

an After View below [Figure 6.611). Al ternatlvely, you can repeat click

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

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.

Figure 6 .61 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.

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

.nod .ft~r "enlonJ In lhe Delftlop

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.

THE ADOBE PHOTOSHOP LlGHTROOM 2 BOOK 315

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>

Synchronized spotting 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 EDITING

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

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

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

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

pl"",.Im •.

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 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 completely 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

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

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

the adjustments are saved as instruction edits that automatically update

as you make further adjustments to the 1001 and other Develop module

settings. You can even synchronize Iocahzed adjustment work across

multiple Images uSing the Sync Settings command.

330 CHAPTER6 DEVELOP MODULE IMAGE EDITING

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

.h.o ~. I"'bIe when you edllihe colw

owelehfl UHd In . he Split Toning

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

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 •.

Hand-coloring in Color mode

The Color effect allows you to brush with color on your photographs

and can be likened to working with the Brush tool In Photoshop with

the Color blend mode. There are lots of potential uses for this tool:

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

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

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 Auto 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. 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 .

]]8 CHAPTER6 DEVELOP MODULE IMAGE EDITING

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 Ihown In Step S.

4. Next, I selected a Color effect, ~mpled a blue color to use as the

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.

344 CHAPTER6 DEVELOP MODULE IMAGE EDITING

FIgure 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.

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

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

the new Set Copy tIS Master

~om .... nd to m.ke ."1 vin .... alp)'

ve .. 1on of." Im~ IMcom .. u.. new

.... >1 ... ve .. ion r.nd .... ke the old

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

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 ~ • [Macl. GCUlI ' (PCIJ. This creates

a 'I1rtual copy version of a master Image that Will automatically be

grouped in a Slack w ith the master photo (see Figures 6.85 and 6,86).

As the name suggests, you are making a proxy version of the master.

It may took and behave tlke a separate photo but IS In fact a virtual

representallon of the master that you can edit In Llghuoom as If It were

a normal Image.

So what IS the difference between a virtual copy and a snapshot? A

snapshot IS a saved history state that's a variation of the master. You

have the advantage of synchroniZing specific edit adjustments across

all the snapshot versions but lack the potenOal to create multiple

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

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

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

have more freedom to apply different types of edits and preview these

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

black and white renderrngs 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 of a photo

alongSide the master version. Virtual copies also make it possible for

you to (feate collections that have different settings, For example, you

could use the 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 tne 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 control 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

want to remove such commerCIally senSl t!Ve Information when distribut­

Ing these Images to prospective dents.

]50 CHAPTfR6 DEVELOP MOD ULE IMAGE EDIT ING

To add a new folder to the Presets list, right-<lick anY'Nhere inside the

Presets folder to open a contextual menu like the one snovm in Figure

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 preset. 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·

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 the resul~ may sometimes be unpredictable.

The art of creating Develop presets

Develop presets have proved incredibly popular. Lots of lightroom

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·lighiroom.coml. While It is Impos+

Sible to encapsulate a complete Develop module look In a Single preset,

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

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 creator 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.

f igur.6.98 You ca n UJr If!(> con/utual mmu 10 Imporl newp,tstIS. If you hove bam Soml 0 Devtiop p~1 0' hovr Jusr downloockd one, un~ rhe

contextual mmu shown here ro sl!lft:l

Import ond Ihm IocOII! Ihl! prl!Sl!r (or pmtls) you wish /0 odd.

f lgur. 6.99 Youcan alSOU$tthe oOovrcOfllrx'uol mtnu /0 odd 0 ntw foldr' 10 IheP~U IIsl.

THE ADOBE PHOTOSHOP lIGHTROOM 2 BOOK 361

._ - - • __ ... ' f _ ---0 ___ , ," 1'!!! _ ..... ____ ••••••• D, .. "'--_ .... _"' . ..-J _ __ ..... _ . ... _

1- .. -4 ..... 1

----,- ---I

2. 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"_"'''''" ..... t._ .. _ ... ... ,,. , __ ""101_., ... _ - eo-"""" _ • .... _ ...... ""-- "" ... _ .. _ ............. _ ....... D"Il, . ._._- "'="'"

3. 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 for all newly imported

photos that match the same cntena 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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