Adobe lightroom ebook for digital photography

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The Adobe® Lightroom™ eBook for Digital Photographers By Scott Kelby ............................................... Publisher: New Riders Pub Date: March 21, 2006 Print ISBN-10: 0-321-43736-5 Print ISBN-13: 978-0-321-43736-5 Pages: 177 Table of Contents | Index You've just downloaded the brand-new, free Beta version of Lightroom, the revolutionary new workflow application from Adobe. Now what? Pick up this ebook, written by best-selling author Scott Kelby, to give you all the dirt you need on Lightroom to allow you to work faster, smarter, and more creatively. You'll learn the essential shortcuts you need to know to save hours every week, the best ways to import and organize your images, which tools and features to really hone in on to get the most out of this application, how to manage your photos like a pro, plus all the inside secrets on processing raw images. You'll also learn how to use Lightroom together with Photoshop to get the best, most efficient workflow, along with the best images. Finally, the book is loaded with tips, tricks, and insights that will absolutely transform the way you work with digital images! The Adobe® Lightroom™ eBook for Digital Photographers By Scott Kelby ............................................... Publisher: New Riders Pub Date: March 21, 2006 Print ISBN-10: 0-321-43736-5 Print ISBN-13: 978-0-321-43736-5 Pages: 177 Table of Contents | Index You've just downloaded the brand-new, free Beta version of Lightroom, the revolutionary new workflow application from Adobe. Now what? Pick up this ebook, written by best-selling author Scott Kelby, to give you all the dirt you need on Lightroom to allow you to work faster, smarter, and more creatively. You'll learn the essential shortcuts you need to know to save hours every week, the best ways to import and organize your images, which tools and features to really hone in on to get the most out of this application, how to manage your photos like a pro, plus all the inside secrets on processing raw images. You'll also learn how to use Lightroom together with Photoshop to get the best, most efficient workflow, along with the best images. Finally, the book is loaded with tips, tricks, and insights that will absolutely transform the way you work with digital images!

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Transcript of Adobe lightroom ebook for digital photography

Page 1: Adobe lightroom ebook for digital photography

The Adobe® Lightroom™ eBook for Digital Photographers

By Scott Kelby

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

Publisher: New Riders

Pub Date: March 21, 2006

Print ISBN-10: 0-321-43736-5

Print ISBN-13: 978-0-321-43736-5

Pages: 177

 

Table of Contents  | Index

You've just downloaded the brand-new, free Beta version of Lightroom, the revolutionary newworkflow application from Adobe. Now what? Pick up this ebook, written by best-selling authorScott Kelby, to give you all the dirt you need on Lightroom to allow you to work faster,smarter, and more creatively. You'll learn the essential shortcuts you need to know to savehours every week, the best ways to import and organize your images, which tools and featuresto really hone in on to get the most out of this application, how to manage your photos like apro, plus all the inside secrets on processing raw images. You'll also learn how to use Lightroomtogether with Photoshop to get the best, most efficient workflow, along with the best images.Finally, the book is loaded with tips, tricks, and insights that will absolutely transform the wayyou work with digital images!

The Adobe® Lightroom™ eBook for Digital Photographers

By Scott Kelby

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

Publisher: New Riders

Pub Date: March 21, 2006

Print ISBN-10: 0-321-43736-5

Print ISBN-13: 978-0-321-43736-5

Pages: 177

 

Table of Contents  | Index

You've just downloaded the brand-new, free Beta version of Lightroom, the revolutionary newworkflow application from Adobe. Now what? Pick up this ebook, written by best-selling authorScott Kelby, to give you all the dirt you need on Lightroom to allow you to work faster,smarter, and more creatively. You'll learn the essential shortcuts you need to know to savehours every week, the best ways to import and organize your images, which tools and featuresto really hone in on to get the most out of this application, how to manage your photos like apro, plus all the inside secrets on processing raw images. You'll also learn how to use Lightroomtogether with Photoshop to get the best, most efficient workflow, along with the best images.Finally, the book is loaded with tips, tricks, and insights that will absolutely transform the wayyou work with digital images!

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The Adobe® Lightroom™ eBook for Digital Photographers

By Scott Kelby

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

Publisher: New Riders

Pub Date: March 21, 2006

Print ISBN-10: 0-321-43736-5

Print ISBN-13: 978-0-321-43736-5

Pages: 177

 

Table of Contents  | Index

    Copyright

    Acknowledgments

    Other Books By Scott Kelby

    About the Author

    An Unexpected Q & A Section

    Chapter 1.  Importing Getting Your Photos into Lightroom

      Getting Your Photos Into Lightroom

      Where Your Photos Wind Up

    Chapter 2.  Navigation Finding Your Way Around

      Working with Lightroom's Modules

      Putting the Focus on Your Photos

      Adding Your Studio's Identity to Lightroom's Interface

    Chapter 3.  Library Organizing Your Photos

      Separating the Keepers from the Losers

      Sorting Your Photos in the Grid View

      One-Click Sorting by Using Collections

      Staying Organized by Assigning Keywords

    Chapter 4.  Quick Develop Making Minor Adjustments

      Using Quick Develop for Quick Fixes

      Editing Multiple Images the Easy Way

    Chapter 5.  Develop Making Serious Adjustments

      The Basic Adjustments Aren't Basic

      Using the Tone Curve

      Converting to Black and White, and Split Toning

      Adjusting Individual Colors Using HSL Color Tuning

      Sharpening and Reducing Noise

      Fixing Problems Caused by the Camera

      Cropping and Straightening

      Overcoming Color Problems Inherent in Some Cameras

      Creating Your Own Presets

      Jumping from Lightroom to Photoshop and Back

    Chapter 6.  Slideshow Sharing Your Photos Onscreen

      Getting Photos Into Your Slide Show

      Customizing the Look of Your Slides

      Customizing the Background

      Adding and Editing Drop Shadows

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      Adding Text to Your Slides

      Saving Your Custom Layout as a Template

      Playing Your Slide Show

      Exporting Your Slide Show to the Web

    Chapter 7.  Print Printing Your Photos

      Printing Essentials

      Printing Contact Sheets (or More Than One Photo on One Page)

    Inside Back Cover

    Index

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CopyrightTHE ADOBE® LIGHTROOM™ EBOOK FOR DIGITAL PHOTOGRAPHERS

Published byNew Riders

Copyright ©2006 by Scott Kelby

First edition: March 2006

All rights reserved. No part of this book may be reproduced or transmitted in any form, by anymeans, electronic or mechanical, including photocopying, recording, or by any information storageand retrieval system, without written permission from the publisher, except for the inclusion ofbrief quotations in a review.

Composed in Cronos and Helvetica by NAPP Publishing

Trademarks

All terms mentioned in this book that are known to be trademarks or service marks have beenappropriately capitalized. New Riders cannot attest to the accuracy of this information. Use of aterm in the book should not be regarded as affecting the validity of any trademark or servicemark.

Lightroom is a registered trademark of Adobe Systems, Inc.

Photoshop is a registered trademark of Adobe Systems, Inc.

Windows is a registered trademark of Microsoft Corporation.

Warning and Disclaimer

This book is designed to provide information about Adobe Lightroom for digital photographers.Every effort has been made to make this book as complete and as accurate as possible, but nowarranty of fitness is implied.

The information is provided on an as-is basis. The author and New Riders shall have neitherliability nor responsibility to any person or entity with respect to any loss or damages arising fromthe information contained in this book or from the use of the discs or programs that mayaccompany it.

The Adobe Lightroom eBook for Digital Photographers Team

CREATIVE DIRECTORFelix Nelson

TECHNICAL EDITORSCindy Snyder

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Kim Doty

PRODUCTION EDITORKim Gabriel

PRODUCTION MANAGERDave Damstra

COVER DESIGNED BYJessica Maldonado

COVER PHOTOS COURTESY OFiStockphoto.com and Scott Kelby

9 8 7 6 5 4 3 2 1

www.newriders.com

www.scottkelbybooks.com

Dedication

For the cutest little baby in the whole wide world, Kira Nicole Kelby.

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AcknowledgmentsFirst, I want to thank my amazing wife Kalebra. We've been married 16 years, and just looking ather still makes my heart skip a beat, and again reminds me how much I adore her, how genuinelybeautiful she is, and how I couldn't live without her. She's the type of woman love songs arewritten for, and I am, without a doubt, the luckiest man alive to have her as my wife.

Secondly, I want to thank my 9-year-old son Jordan, who spent many afternoons pulling meaway from writing this book so we could play Shadow the Hedgehog or head to the putt-puttcourse. God has blessed our family with so many wonderful gifts, and I can see them all reflectedin his eyes. I'm so proud of him, so thrilled to be his dad, and I dearly love watching him grow tobe such a wonderful little guy, with such a tender and loving heart. (You're the greatest, littlebuddy.)

I also want to thank my newborn daughter Kira Nicole Kelby for being such a little sweet-ie. Mywife and I knew we were having a baby girl, we just didn't realize that she would in fact be "thecutest little baby in the whole wide world."

I also want to thank my brother Jeffrey for being such a positive influence in my life, for alwaystaking the high road, for always knowing the right thing to say, and just the right time to say it,and for having so much of our dad in you. I'm honored to have you as my brother and my friend.

My heartfelt thanks go to the entire team at KW Media Group, who every day redefine whatteamwork and dedication are all about. They are truly a special group of people, who cometogether to do some really amazing things (on really scary deadlines), and they do it with class,poise, and a can-do attitude that is truly inspiring. I'm so proud to be working with you all.

Thanks to my layout and production crew. In particular, I want to thank my friend and CreativeDirector Felix Nelson for his limitless talent, creativity, input, and just for his flat-out great ideas.Thanks to my in-house editors Kim Doty and Cindy Snyder who put the techniques throughrigorous testing and made sure that I didn't slip any of my famous typos past the goalie. Also,thanks to Dave Damstra and his amazing crew for giving the book such a tight, clean layout.

Thanks to my compadre Dave Moser, whose tireless dedication to creating a quality productmakes every project we do better than the last. Thanks to Jean A. Kendra for her support, and forkeeping a lot of plates in the air while I'm writing these books. A special thanks to my ExecutiveAssistant Kathy Siler for all her hard work and dedication, and for showing great restraint whenher Redskins beat my Buccaneers in the playoffs.

Thanks to my Publisher Nancy Ruenzel, and the incredibly dedicated team at Peachpit/NewRiders. You are very special people doing very special things, and it's a real honor to get to workwith people who really just want to make great books. Also many thanks to the awesome RachelTiley, Ted Waitt, and to marketing maverick Scott Cowlin.

I owe a special debt of gratitude to George Jardine, photographic evangelist at Adobe, for all hishelp. Getting detailed information on a Beta version of anything is a challenge, but George wentout of his way numerous times, and the book is better because of it. Also thanks to Kevin Connorand John Nack at Adobe for their help, and for letting me unload on them because Beta 1 didn'tsupport music with slide shows.

Also thanks to my "Photoshop Guys" Dave Cross and Matt Kloskowski, for being such excellent

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sounding boards for the development of this book. You guys are the best!

Thanks to my friends at Adobe Systems: Terry White, Addy Roff, Cari Gushiken, Russell Brady, JillNakashima, Julieanne Kost, and Russell Preston Brown. Gone but not forgotten: Barbara Rice,Rye Livingston, Bryan Lamkin, and Karen Gauthier.

Thanks to my mentors whose wisdom and whip-cracking have helped me immeasurably, includingJohn Graden, Jack Lee, Dave Gales, Judy Farmer, and Douglas Poole.

Also, my personal thanks to Patrick Lor at iStockphoto.com for enabling me to use some of theirwonderful photography in this book.

Most importantly, I want to thank God, and His son Jesus Christ, for leading me to the woman ofmy dreams, for blessing us with two amazing children, for allowing me to make a living doingsomething I truly love, for always being there when I need Him, for blessing me with a wonderful,fulfilling, and happy life, and such a warm, loving family to share it with.

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Other Books By Scott KelbyThe Photoshop CS2 Book for Digital Photographers

The Photoshop Channels Book

Photoshop Down & Dirty Tricks

Photoshop CS2 Killer Tips

Photoshop Classic Effects

The iPod Book

InDesign CS/CS2 Killer Tips

Mac OS X Tiger Killer Tips

Getting Started with Your Mac and Mac OS X Tiger

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About the AuthorScott Kelby

Scott is Editor and Publisher of Photoshop User magazine, Editor-in-Chief of Nikon Software Usermagazine, and Editor and Publisher of Layers magazine (the how-to magazine for everythingAdobe).

Scott is President and co-founder of the National Association of Photoshop Professionals (NAPP)and is President of the software training, education, and publishing firm KW Media Group.

Scott is a photographer, designer, and award-winning author of more than 30 books, includingPhotoshop Down & Dirty Tricks, The Photoshop CS2 Book for Digital Photographers, PhotoshopClassic Effects, and is Series Editor for the Killer Tips book series from New Riders.

For the past two years, Scott has been awarded with the distinction of being the world's #1 best-selling author of all computer and technology books, across all categories.

Scott is Training Director for the Adobe Photoshop Seminar Tour and Conference Technical Chairfor the Photoshop World Conference and Expo. He's featured in a series of Adobe Photoshoptraining DVDs and has been training Adobe Photoshop users since 1993.

For more information on Scott, visit scottkelby.com.

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An Unexpected Q & A Section

Q. I didn't expect to see the book start with a Q&A section. Don't Q&A sectionsnormally come after a chapter, rather than before the first chapter?

A. Normally they do. That's why this one is so unexpected. But there is a reason it'shere. It's here to take up pages. You see, authors are paid on how many pages theywrite, regardless if the pages are actually necessary or if they even relate to the topicof the book. So, I thought I'd just pick up a few extra bucks right up front and add aQ&A.

Q. Really?

A. Of course not. That's not the way book publishing really works. It's unfortunate,because us authors could really cash in, but sadly, you don't get paid on how manypages you write. You get paid on how many books you sell, and how many books yousell is dependent on three factors: (1) how many times you can work naughtydouble-entendre phrases into your text, (2) how many times you can work Frenchwords into your text, like "double-entendre," but mostly it's (3) how useful peopleactually find your book.

Q. So how useful is this book going to be?

A. That depends on whether the person who bought the book (that's you by the way)takes the time to read the introduction. You see, the introduction of the book iswhere the author bares the soul of the bookwhere he (or she) shows how to get themost out of the book, so readers really maximize their experience. The authoraddresses common concerns, gives tips and ideas on how readers should best usetheir time, and generally tries to help readers connect with the book.

Q. But this book doesn't have an introduction. Why not?

A. It's because no one reads the introduction of books anymore. No, they'd rather turnright to the first chapter and fumble around on their own, stumbling from project toproject, rather than spending just two minutes to find out how the book was written,why it was written that way, what to look out for, and what to avoid.

Q. Are people really that shallow?

A. Yes. But not you. You're not like that. You know why? Because you're reading theintroduction right now. Oh sure, it's called "An Unexpected Q&A Section" but comeon, have you ever heard of an unexpected Q&A section? Especially one that comesbefore the first chapter? You knew this was a ruse to get you to read the introductionbut you kept on going. I like you, kid. You've got moxie.

Q. What exactly is moxie?

A. Moxie is an industrial-strength abrasive cleaner that removes lime, rust, and scalefrom a variety of surfaces.

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Q. I have that? I have moxie?

A. I'm not 100% sure.

Q. Is the rest of the book like this?

A. Thankfully, no. The rest of the book is pretty much step-by-step, without straying toomuch from the path. That's why, in this unexpected Q&A, I stray quite a bit from thepath. You see, when you write step-by-step books, there's no room for your ownwriting style to come through. It's pretty much "Go under this menu for this" and"click on that button for that." It's just so "to the point." So, in a step-by-step booklike this, I only get two real writing outlets which keep me from climbing into a towerwith a high-powered rifle and picking off pedestrians. They are: (1) this unexpectedQ&Atroduction, and (2) the chapter intros for each chapter, which by the way, havelittle to do with what's actually in said chapter.

Q. But the rest of the book is regular?

A. Absolutely. Thanks to my strict regimen of high fiber. Sorry, that was lame.

Q. Okay, I've been pretty patient now, where are those "helpful tips" you weretalking about earlier?

A. Oh those. Well, here's one: Where should you start? That might seem like kind of a"duh" question, with the answer being "Start at Chapter 1, followed by Chapter 2,and so on." However, if you've read any of my other books, you know I generallywrite books that are "jump in anywhere" types of books. That's because those booksare written on applications that have been around a while (like Photoshop), so manypeople who buy a Photoshop book have a specific topic they're hoping to learn, forexample, sharpening. So, they buy the book and jump straight to the Sharpeningchapter, and that's okay in those Photoshop books.

Q. But this isn't a Photoshop book, right?

A. Right. Adobe Lightroom is a workflow tool. It's designed to take you through theprocess of importing your photos, sorting them, processing them (in your digitaldarkroom), viewing them in their final version, and then printing them. Lightroomhas been designed that way, as a workflow tool, from the very beginning. So, Irecommend that you learn it that wayin order, starting with Chapter 1 and workingthrough the book in order.

Q. But what if I bought the book specifically just to learn the Slideshowfeatures?

A. Too bad, you have to read Chapters 1 through 5 first.

Q. Are you serious?

A. Of course not. These are just guidelines, not steadfast rules carved into stone. So, ifyou're kind of loose with money, and getting a good value by learning in the mannerthe author suggests isn't of interest to you, then just jump in anywhere. Again, I'mkidding (kind of). However, I do recommend learning Lightroom's workflow in order.It's the way the program was designed, and if you learn it that way, you'll have abetter understanding, but heyit's your bookif you decide to hollow out the insides to

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safely store your valuables, I'll never know. You'll feel guilty as hell, but again, I'llnever know.

Q. I hate that word "workflow."

A. Everybody does, but that's not a question. Can you restate it in the form of aquestion?

Q. Yeah, whatever. Here goes: Don't you hate that term workflow?

A. Not at all.

Q. I thought you said everybody hates it?

A. You can't believe everything you read. Okay, I do hate that term, because it makesthings sound like work. There's definitely a flow to working in Lightroom, but Iwouldn't call it "work." Workflow just means "The order in which you do things."Since there are no officially sanctioned guidelines for what a proper workflow is,workflow then is a personal preference. It's the order in which a particularphotographer has chosen to manage and process his or her photos. Most everyphotographer has his or her own workflow method.

Q. So whose workflow is right?

A. Mine.

Q. Really? You've got the right workflow?

A. Well, it is for me, but it might not be for you. By the way, if it's not right for you,that's okayit just makes you wrong (kidding). Actually, it's trueeveryone's workflow isdifferent, but with Lightroom, Adobe went a long way toward helping photographersby leading us through what they, and many photographers around the world, feel is asensible and quick way to work with digital images. That's what Lightroom is allabout, and I'm here to help you through that process as best I can. So, from here onout, I'm Mr. Serious, but I do appreciate you taking the time to read this unexpectedQ&A and hope you'll join me for some unexpected chapter intros between all theStep One, Step Two stuff. See you there!

Q. So we're pretty much done here?

A. Yup. Now turn the page, before I start tearing up.

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Chapter 1. Importing Getting Your Photosinto Lightroom

Now, do we really need an entire chapter just on importing photos? Nope. We could just skip it,

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but then the book would start with Chapter 2, and you'd be sending emails to the book's publishercomplaining that your book is missing Chapter 1. See, that's the key word theremissing. Youwouldn't think I intentionally skipped ityou'd think that there must have been some mix-up at theprinting plant, and your copy accidentally wound up without a Chapter 1. So, you'd take it back tothe bookstore and you'd ask for a replacement copy. You'd get home and find out that, onceagain, Chapter 1 was missing. Then you'd start to think that this is no coincidence. It must besome sort of a printing conspiracy (orchestrated by a covert government agency), and that rightnow, somewhere in the Midwest, there's an unmarked warehouse chock full of Chapter 1s. You'dthen start to call me names. Unspeakable names. Names that would make you feel ashamed anddirty, but you'd do it anyway because you'd feel so certain that this was all part of a carefullycrafted strategy designed to keep you from knowing the contents of Chapter 1. Obviously, there'ssomething in Chapter 1 that "they" don't want you to know. Suddenly that missing Chapter 1 isworth fighting for. You deserve a Chapter 1, and to know exactly what's in it. So, because I careabout you, my reader, the way I do, I stood up to "the man" on your behalf and demanded thatthis book have a Chapter 1, and that it would be on importing photos, because there's more to itthan it first seems. See, it all makes perfect sense once you look at it calmly and logically.

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Getting Your Photos Into Lightroom

This is where it all startsbringing your photos into Adobe Lightroom so you can begin organizing,editing, and printing them. Lightroom is set up to let you import from two different sources: (1) itlets you manage photos that are already on your computer, and it gives you a number of optionsof just how it does that; and (2) it lets you import photos directly from your digital camera or amemory card reader. If you're smart about importing now, it will save you a lot more time andtrouble, and make managing your images that much easier.

Step One

First, we'll start with importing photos that are already on your computer (my guess is, youprobably already have at least some, if not more, already on there). To begin importing, first clickon the Library link (found along the top-right side of the Lightroom window), and then click theImport button on the lower-right side of the window (shown here circled in red).

Step Two

Lightroom needs to know where the photos are on your hard disk, so when you click the Importbutton an Open dialog appears from the top of the Lightroom window (as shown here). Navigateyour way to the folder of images you want to import and click the Import button (of course, youcan import individual photos, not just folders, but for our example we're importing a folder ofimages with six photos inside).

[View full size image]

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Step Three

Once you click the Import button in the Open dialog, the Import Photos dialog appears (shownhere). This is a very important dialog for two reasons: (1) you need to make some simpledecisions on how you want your imported photos treated, and (2) you can save yourself a lot ofwork down the road if you spend a few extra moments here now. We'll start in the top-left cornerwith File Handling (your first important decision).

[View full size image]

Step Four

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Here's a close-up of the File Handling pop-up menu. You have four options here. The first,Reference Files in Existing Location (shown here), lets you leave the photos right where they areon your computer, but now you can manage and edit them using Lightroom. If you choose CopyFiles to Lightroom Library (also shown here), it makes a copy of your photos and moves theminto one central folder called the Lightroom Library. So this way, you'll have your original files andthen an additional copy. Personally, I don't like this option because it just eats up space on yourcomputer's hard disk. Another option here is Move Files to Lightroom Library, which doesn't copythem, it just picks up the images and moves them into the central library.

Step Five

The last option, Copy Photos as Digital Negative (DNG) makes a copy of your photos and putsthem into the central library but it changes their file format to Adobe's DNG (digital negativeformat, which is an open source archival format for RAW images. For the full scoop on the AdobeDNG file format, visit www.adobe.com/products/dng/main.html).

Step Six

So which is the right choice here? There really isn't a right choice. It's up to you how you want tomanage your images: Do you want all your photos in one location, like in the Lightroom Library

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(shown here, which is in Hard Drive:Users:Home: Pictures:Lightroom:Photos on your Mac)?Here's another question: How do you feel about having multiple copies of the same photo on yourhard disk? Personally, I'm always fighting the battle of too little free hard disk space, so I don'tcopy my images into the Lightroom Library. Of course, I could use the Move Files to LightroomLibrary option (so there would only be one copy on my hard disk), but I guess I'm just used tothem being where they already are. See what I mean? You have to make the choice that you'remost comfortable with.

Step Seven

Once you get past the only hard part of this dialog (deciding where, or where not, to move yourfiles), you can start to put this dialog to work. One of the most important things you do fororganizing your photos is to give them usable names, and luckily there's an option that lets youautomatically give your files custom names as they're imported. To enter the custom name youwant, turn on the Rename Files checkbox and then click directly on the downward facing arrowson the right (as shown here) to reveal the Rename Files options.

Step Eight

Once you reveal the Rename Files options, you'll see a Name field, and a collection of tokens(think of these tokens as naming templates). You start the renaming process by typing in a

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name. When you look in the Name field, you see a light blue pill-shaped token called Filename.That represents the image's current name. To get rid of the current name, just click directly onFilename and hit Delete. Now the Name field is blank, so just type in the name you want for allyour imported photos. Then, from the Tokens field, you can add a sequential number by clicking-and-dragging the Seq# (001) token up to the Name field, after your name. You choose thestarting number by typing a number in the First Sequence Number field.

Step Nine

By dragging Seq# (001) after the name, Lightroom will automatically number your photos,starting with the number you entered in the First Sequence Number field (so your files would benamed "BrochureShots61," "BrochureShots62," etc.). By the way, you can choose how manynumbers you want for your sequence by clicking directly on the right side of the Seq# (001)token and choosing your desired numbering schedule from the pop-up menu.

Step Ten

Just to see how it works, drag the Date token up to the Name field, then click-and-hold on theright side of the Date token (on the down-facing arrow) and a pop-up menu will appear withdifferent date formats. Choose Date (YY), which adds just the last two digits of the year to theend of your filename (so now your files would be named "BrochureShots6106," for the 61st shotfrom 2006). Now, here's where the tokens are really handy. Since you don't want the numbers torun together, just click on the Date token and drag it to the first position in the Name field (so thedate comes first, before the name), then from the Date token pop-up menu, choose the full yearformat (as shown here). So now, your files will be named "2006 BrochureShots 61." By the way,to put a space between formats, just press the Spacebar between each token.

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Step Eleven

The next section down in the Import Photos dialog gives you the option of segmenting the imageseither by folder or date. We'll look at what the folder segmenting means first. Let's say you'reimporting a folder of photos, and inside that folder there are three other folders of photos, andinside one of those three there's yet another folder with photos. When you turn on Segment By, itkeeps all those photos grouped together when they're importedit doesn't just pretend that thereare no folders and lop them all into one big folder in Lightroom (actually, Lightroom calls theseimported folders "shoots"). So in short, when Segment By is turned on and Folder is chosen fromthe pop-up menu, we import everything in folders, just as they are on your computer.

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Step Twelve

If you choose Date in the Segment By pop-up menu, it separates your imported photos intogroups by date. So if you import a folder, and some of the photos were taken on the 14th ofJanuary, and some were taken on the 24th, they'll be imported as two subgroups within the sameshoot. The Organization pop-up menu simply lets you choose the format for how the date forthese will be displayed within Lightroom. By the way, Segment By is turned on by default. If youdon't want segmenting at all (so everything from this import will all be together in the sameshoot), you can just simply turn off the Segment By checkbox.

Step Thirteen

The next field down lets you embed your copyright information (or other metadata) directly intothe document itself. From the Metadata pop-up menu, choose New. In the resulting NewMetadata Preset dialog, just type in your copyright info in the Copyright field, give it a New PresetName, click Create, and that info will automatically be embedded into every imported photo forthis shoot. Simple enough. By the way, you can see this embedded copyright info later, in theimage's metadata fields, once the photos are imported into Lightroom. And if you want to use thesame info for future imports, it is now in your Metadata pop-up menu under the preset name youassigned.

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Step Fourteen

On the right side of the Import Photos dialog is a preview of the images you're about to import.To see the individual images, just drag the slider to the right. Directly under that slider is a fieldfor naming the shoot you're about to import (again, Lightroom calls each group of images youimport a shoot), and if you chose segmenting it automatically puts the folder name (or date) inthe Shoot Name field, but you can always just click in the field and type in a new name for theshoot if you want. This won't change the name of the individual imagesjust the shoot name.Below the Shoot Name field are fields where you can embed keywords for this shoot (to makesearching for images easiermore on this later) and any custom name you want embedded intothe images. Now, before we look at where your imported photos appear within Lightroom, weneed to briefly look at another scenariowhen you're importing photos directly from your digitalcamera's memory card (rather than importing photos already on your computer).

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Step Fifteen

If you already have Lightroom open when you plug in your camera or card reader, by default theImport Photos dialog will appear automatically. There's only one real difference when importingphotos from your memory cardthe File Handling options are limited. That's because the photosaren't on your computer, so you can't just point to them using the Reference Files in ExistingLocation option or Move Files to Lightroom Library because they're not on your computer to moveyet. So, there are just two choices: (1) Copy Files to Lightroom Library, or (2) Copy Photos asDigital Negative (DNG) (if they're in RAW format). However, another great feature lurks here, andthat's the ability to make a backup copy of your imported photosjust turn on the Backup toSecondary Location checkbox (as shown here). You can back up to a different location, externalhard disks, or servers by clicking the Choose button and choosing a new backup destination.

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Tip

Once you click the Import button in the Import Photos dialog, your photos startimporting (whether from your memory card or from a folder on your computer). Butwhat if you change your mind and want to cancel the import before all the photos aredone importing? Just press Command-Option-A to bring up the Activity Viewer. You'llsee a status bar showing the import in progress. To stop importing photos, just click thered X button (as shown here).

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Where Your Photos Wind Up

Once you click the Import button in the Import Photos dialog, your photos are imported intoLightroom, right? Right. But exactly where are they? They're in two different places, andunderstanding the difference between these two areas is important.

Step One

Remember how I mentioned that your images come in as shoots? Well you can quickly find justthe photos you imported in two ways. The first is to find your shoot and click on it. You do this onthe left side of the Library module, in the Browse by Shoot panel. Just scroll down until you seeyour named shoot, then click on it (as shown here), and the photos from that shoot appear inyour Library window.

©SCOTT KELBY

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Step Two

Want an even quicker way to see the photos you just imported? In other words, do you want tosee them now, without having to dig through the Browse by Shoot panel, which can be quite longonce you've imported a number of shoots? The top panel on the left side of the Library module iscalled Photo Library and if you look in that panel you'll see a one-click button to get you to yourlast imported photos. It's called Show Previous Import. Click on it, as shown here, and they'llappear.

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Step Three

When you import your photos, their home within Lightroom is the Library. This Library holds allyour imported photos (not only the ones you just imported). In fact, if you browse through ashoot, click on a photo, and hit Delete, it only deletes the photo from that shootit doesn't delete itfrom Lightroom because that photo is still in the Library. If you really want a photo to becompletely deleted from Lightroom, in the Photo Library panel, first click on Show Entire Library(which is your master collection of photos), then click on the photo you want to delete, and pressthe Delete key on your keyboard. Now it's really gone. For good.

©ISTOCKPHOTO/DOUGLAS FREER & FEDOR PATRAKOV

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Step Four

So now you knowyou can delete a shoot (click on the shoot then hit the minus button at the topright of the panel), but that doesn't delete the photos from Lightroomit just deletes the shoot. Toactually delete the photos themselves, click on Show Entire Library, click on the photo, orCommand-click on multiple photos, and hit the Delete key. If you want to see where a photo inyour Library resides on your hard disk, press-and-hold the Control key, click on the photo'sthumbnail, and a contextual menu will appear. Choose Show in Finder (as shown here) and a MacOS Finder window will open with your image file. Now you can copy that file to disk, delete it, etc.,like you would any other file in the Finder.

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Chapter 2. Navigation Finding Your WayAround

Although Adobe Lightroom seems like just one application, it's actually more like four mini-applications in one. Well, they're not mini, because that makes them sound like they're small ordon't have as many features, but that's certainly not the case, because some of Lightroom'smodules are large and complex. Now, I don't mean large and complex like it's a bad thing. That'sthe good large and complex. It's more like a compliment. For example, if you were having dinnerat a friend's house, and he or she brought out a delicious-looking appetizer, you might smile andsay something like, "Hey, that seared yellowfish tuna with Asian cucumber salad looks very largeand complex." See, it's a compliment. By the same token, Lightroom may sometimes seem largeand complex (in a good way) because it has four different modules. Adobe uses the term"modules" because it sounds so mysterious. For example, "I wonder what's in that module? Couldit be a radioactive isotope?" It could be, especially if this was an episode of Fox's 24, where

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virtually every object has a reasonable possibility of being radioactive. Another reason Adobechose to use the technical-sounding word modules, rather than calling them regular everydaywords that we all understand like "sections" or "areas," is because the term modules sounds morelarge and complex, and as we learned earlier, that's a compliment.

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Working with Lightroom's Modules

Lightroom has four separate areas (Adobe calls them modules because an in-house committeedecided that would be the stuffiest, most engineering-like name possible). You're going to bemoving between these four modules quite frequently so we might as well learn the best ways toget where we want to go, and know why we want to go to each area in the first place.

Step One

The name of each module is listed in the top-right corner of the Lightroom window, but thosearen't just names they're links, so click right on them to move from module to module (go aheadand click on them now, just so you'll see what I mean). Now, clicking on them is the slow way, soinstead try using the keyboard shortcuts: Command-1 takes you to the Library module (which iswhere you do two things: [1] sort and organize your images, and [2] do basic color correctionsand adjustments). Press Command-2 to switch to the Develop module, and press Command-3 toswitch to the Slideshow module. If I have to tell you what Command-4 does, I'm not sure you'reready for software of any kind. To jump back to the last module you were at, press Command-/(forward slash). If you switch modules by accident, just press Command-Z to put you right backwhere you were. So, from here on out, let's use the keyboard shortcuts to jump from module tomodule, simply because it's quicker (and time is money, and all that jazz, right?).

©ISTOCKPHOTO/TRACY HEBDEN

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Step Two

Now, click on any photo thumbnail in the Library and then press Command-2 to switch to theDevelop module. You can see that everything looks different in this module, except for onethingthe filmstrip running along the bottom of the window. That filmstrip stays there no matterwhich module you're currently using. Press Command-3 and then Command-4, and you'll see thefilmstrip is still there. This is one of my favorite features of Lightroom, because you always haveaccess to all the photos in the current shoot you're working with. So, if you want to fix the color ofa different image, or use a different image in your slide show, or print a different image, the otherphotos are right there, one click awaywithout having to go back to the Library module.

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Step Three

While we're on the filmstrip, you can change the size of the thumbnails by clicking on the lettersin the bottom-right corner of Lightroom's window. Clicking on XS gives you extra small thumbnails(as shown here) and clicking on XL gives you huge thumbnails (you can imagine what S, M, and Ldo).

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Step Four

If you've got more photos than can be displayed at one time in the filmstrip, there are two waysto move through them: (1) click-and-drag the shuttle control (shown here) in the direction youwant to go, or (2) click-and-drag the gray scroll bar at the bottom center of the window. In theLibrary and Develop modules, you can move individually from photo to photo in the filmstrip byusing the Right and Left Arrow keys on your keyboard.

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Step Five

Now we're going to look at how Lightroom organizes its controls. Photoshop (and most otherAdobe programs) uses floating palettes, but Lightroom uses these handy expandable panelsinstead of palettes, and I have to sayI love 'em. I always know where they are, they're notfloating in front of my photos, and they tuck out of the way when I don't need them. Theycouldn't be simpler to useyou just click on the panel header, and its contents expand into view.Here on the left, you see the Library's panels all neatly tucked away. Click once on the Browse byShoot panel header and the contents expand (as shown on the right).

Step Six

So, now you know how to expand one panelwant to know how to expand them all? Just press-and-hold the Command key, then click on any panel header, and they all expand (popdownwhatever). If this causes your panels to extend down so far that you can't see them all, agray scroll bar appears on the left side of the panel area (as shown hereit extends along the leftside down to the word "Violins." To scroll down farther, you'd click-and-drag the bar downward).To tuck them all back up, do the same thingpress-and-hold the Command key and click on anypanel header.

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Step Seven

To view just one panel and have all the rest close automatically (which is great for clearing all theclutter), press-and-hold the Option key and then click on the panel header (as shown here).

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Step Eight

The little - (minus) and + (plus) signs on the right side of some of the panels are there to let youcreate or delete new things within that panel. For example, if you want to remove a particularshoot, you'd click on that shoot (you can see the Glassware shoot is selected here) and then clickon the minus sign (as shown) to delete it. Of course, it brings up a warning dialog asking if that'swhat you really want to do (as shown here) just in case you clicked the minus sign accidentally. Ifyou click the plus sign, it just brings up a dialog for you to name your shoot (more on managingyour shoots in the next chapterfor now we're just learning how to get around).

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Step Nine

If you want a larger preview of your image, you can make a few moves that will enable yourpreview to jump to a larger size. For example, here I have switched over to the Develop modulefor a single-image preview in the center of the module. To hide just the filmstrip, click on thedownward-facing arrow at the bottom center of the Lightroom window, and the filmstrip tucks outof the way (as shown here). It'll stay like that until you click the arrow (which is now upward-facing) again.

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Step Ten

You can also resize the panels on the left and right sides of the window. For example, to make thepanels on the right larger or smaller, click-and-drag within that black divider line between thephoto preview and the panels (as shown here). Just click-and-drag in the direction you want to go(in the example shown here, I clicked-and-dragged to the left, in toward the photo, which madethe panels wider).

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Step Eleven

Now try the left panel. Click-and-drag the divider between the left panel and the photo preview tothe right a bit, to make that panel larger, and as you do you'll see that the preview adjusts itsposition, and gets larger or smaller to compensate for your new layout. If you're working withimages that have a landscape orientation, making the panels as thin as possible will have a bigdifference in the size of your preview.

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Step Twelve

If you want to work with one of the side panels hidden, just click on the arrow on the far edge ofeach panel, and they'll stay tucked away until you click on them again (in the example shownhere, I hid the adjustment panels on the right).

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Step Thirteen

By default, Lightroom is like many other Macintosh applicationsit floats in its own separate window

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(as shown here). However, there are two different modes that let Lightroom take over as much ofyour screen real estate as possible. It's great for an application to do this because it makes yourphotos the real star of the show.

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Step Fourteen

To see the first mode, press the F key on your keyboard and the window expands to fill the entirescreen. This is different than clicking the green zoom button in the title bar on the top-left cornerof the floating window (you can see that green Mac OS X window zoom button in the screencapture in Step Thirteen), because although that expands your window as far as possible, it's stilla window. You can still see the Mac OS X window title bar across the top of your screen and youcan click-and-drag the window as you normally would. Instead, when you press the F key, it tucksthat title bar away. It's no longer a floating window and gives you the maximum amount ofworking space. Well, almost.

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Step Fifteen

If you press the F key once again, you have even more focus on your working area. Now even themenu bar at the top of the screen is goneit's a wall-to-wall application.

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Step Sixteen

Now I know what you're thinking, "But what if I need something that's in Lightroom's menu bar?"(See, I knew you were thinking that.) Just move your cursor up to the top of your screen and the

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menu bar will temporarily pop down (as shown here). What's nice is, it doesn't shrink or move thework area downit literally pops down over the work area (you can see it's cutting off the top ofthe letters in the words "Adobe Lightroom" in the top-left corner of the screen). If you like thisfull-screen uncluttered look, then you're really going to love what's coming next.

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Putting the Focus on Your Photos

Picking the right photo is an art and Lightroom gives you some of the best options for viewingyour photos, and making them the star of the show, while the software's interface and panels cankind of "step off stage," if you like. You've got a lot of choices, including some I've never seen inany application before, and I think you'll be surprised at how clever some of them are.

Step One

Press Command-1 to switch to the Library module, then double-click on one of your photothumbnails. Press the F key twice, so Lightroom takes up the full screen. Now, press the Tab keyon your keyboard and you'll notice that the panels on both sides of your photo are tucked awayout of sight, putting your photo on center stage. I love this view because the filmstrip is stillvisible and you can view other photos in this unobstructed view by just clicking on them in thefilmstrip (or using the filmstrip shortcuts we learned earlier).

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Step Two

If you just want to see your photo, all by itself, without any distractions whatsoever, then pressShift-Tab, which not only hides the panels, but hides the filmstrip at the bottom as well (as shownhere).

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Step Three

What's nice about this mode is that although your image is center stage, to get to either of thehidden panels on the sides, just move your cursor over to where the panels used to be and theypop right out. In the example shown here, I moved my cursor over to the right side of the screenand the panels pop out from the right side. Move your cursor away (back near the center of thescreen) and the panels tuck back out of sight.

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Step Four

Now, what if you want the panels to stay open and not pop back out of sight when you move yourcursor over to them? Just click directly on the little left-facing arrow that appears on the far right-center of the Panels area (circled in red here) and the arrow flips to the right (as shown) lettingyou know that the panels on that side are now locked into place. To have them tuck back inagain, click the same arrow. You can lock down either the left or right set of panels by clicking ontheir respective side center arrows.

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Step Five

Okay, press the F key and then Shift-Tab to get back to the regular floating window mode. Clickon a different photo in the filmstrip (just so we don't get bored looking at the same photo overand over again). Now we'll use one of the out-and-out coolest view features in Lightroom (or inany program for that matter). There are actually really two view modesthe first is called Dimmode. Just press the L key and everything but your photo is dimmed, leaving your photo at fullbrightness.

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Step Six

So, we've dimmed the screenbig deal, right? Well, the big deal part comes in when you find outthat although the panels, filmstrip, and controls are all dimmed, they're also still active. Try itwhile we're in this dimmed modego ahead and click on a different photo in the filmstrip and itappears. Click on a control in one of the panelsopen a panel, close a panel, move a sliderit allworks even though it's dimmed. How slick is that? And if that weren't enough, there's yet anothermode.

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Step Seven

The other mode is called Lights Out, where everything is blacked out (not just dimmed, butblacked out) except for your photo. You get into this mode by pressing the L key again (sonormally, to get here you'd press the L key twice). Although you can't see the panels and filmstripin this mode, you can switch to the next photo in the filmstrip by pressing the Left and RightArrow keys on your keyboard.

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Step Eight

While you can't see any options in Lights Out mode, you still have access to them. Just move yourcursor to the top of the screen, and the menu bar pops down and stays there until you move yourcursor away. To temporarily access all the panels and filmstrip, move your cursor to the bottomof the screen, and you temporarily enter the regular view mode, so you can see the filmstrip andmake selections from it. When you move your cursor back upward, you re-enter Lights Out mode.(Note: This temporary view will only work if your filmstrip is minimized before entering Lights Outmode.) To leave Lights Out mode completely and return to the regular view mode, press the Lkey again.

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Adding Your Studio's Identity to Lightroom's Interface

There may be another application that has this feature, but I sure haven't seen it. It's called theIdentity Plate, and what it does (among other things that you'll learn later on in this book) isreplace the Adobe Lightroom nameplate (which appears in the upper-left corner of the window)with either your name, your studio's name, or even a graphic of your logo. It really does a greatjob of giving the appearance that you're using a program created especially for your studio.

Step One

Here's the standard Adobe identity nameplate that appears in the top-left corner of the Lightroominterface. To customize this nameplate, go under the Lightroom menu and choose Identity PlateSetup.

Step Two

This brings up the Identity Plate Editor (shown here). The first thing you need to do is turn on theEnable Identity Plate checkbox in the upper-left corner of the dialog. Now, whatever you enter inthe name field (the large black text field on the left) will appear where "Adobe Lightroom" used toappear in the Lightroom window. By default, whatever you enter in the name field appears in thefont Zapfino, but you can change that (as you'll soon see). By the way, if you change the font,you can also change the fonts the module names are displayed in (in the text field on the right),so that they either match or at least complement each other.

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Step Three

If you want to change the typeface, just highlight the type (you can choose different fonts fordifferent words, as shown here where I'm using the same fonts Adobe does: Minion and Myriad)and then click the Font Panel button, which appears under the type field on the left side of thedialog. This brings up a Font panel where you can choose your type-face, size, and color.

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Step Four

Here's how the new nameplate will look within Lightroom once you click OK, if you just edit thetype and change the font.

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Step Five

If you prefer to use a graphic, rather than just text, then turn on the Use a Graphical IdentityPlate radio button above the name field. Then click-and-drag your graphic (most popular fileformats are supported) right into the name field (or click the Locate File button). Just make surethe graphic is not more than 60 pixels high.

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Chapter 3. Library Organizing YourPhotos

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The first module you wind up using in Adobe Lightroom is usually the Library moduleit's whereyou go to sort and organize your photos. Now, here's the thing. While what you're supposed to dohere is organize your photos, very few people have the intestinal fortitude to actually do ittoactually go through all their images, and tag each and every one with keywords and custommetadata. My hat's off to these meticulous people (freaks), but I'm not one of them. That'sbecause as soon as I import my photos, I take a quick look at 'em, separate the good from thebad, and then start messing with the good ones in the Develop, Slideshow, and Print modules.Those are the party modules. That's where the fun is, so I hang out there (it's kind of like theRain® Nightclub in Vegas, only without all the celebrities, flashing lights, music, and liquor. Okay,there's some liquor, but not all that much). You know who uses the Library module to its fullestextent? People who have a metabolic predisposition to become serial killersthem and molecularbiologists. I don't know why. Anyway, maybe I'm just speaking for myself here, because honestly,I couldn't keep track of all my photos if they had my name and phone number embedded in themwith a microchip tracking device. I guess it's because I don't care about my bad photos. I onlycare about my good photos (you know, the ones that are "large and complex"), so I don't want towaste my time tagging photos I'm probably never going to use for anything other than my workin molecular biology.

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Separating the Keepers from the Losers

One of the most important parts of the digital photography workflow happens right after you'veimported your photos, and that is sorting the "keepers" (your best shots from a shoot) from the"losers" (the shots that hopefully will never be seen by anyone, including your dog). Photo editing(separating the good from the bad) is an art. In fact, many people make their living at magazinesas professional photo editors, and luckily this is an area where Lightroom really shines, because itmakes what could be a task into an awful lot of fun.

Step One

Sorting takes place in the Library module, so if you're not already there, press Command-1. Thenin the Browse by Shoot panel on the left side of the module, click on one of your recentlyimported shoots (as shown here). We'll start by finding the keepers in this shoot. We do this bystarting in the Grid view, which displays small thumbnails of all the shoot's images in the Previewarea in the center of the screen.

©ISTOCKPHOTO

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Step Two

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Here's a close-up of just the Preview area in Grid view. The size of the thumbnails in the Grid viewis determined by the Grid Size slider (shown circled here in red). To shrink the size of thethumbnails (and fit more thumbnails within the grid), drag the slider to the left. To make thethumbnails larger, drag it to the right.

©ISTOCKPHOTO

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Step Three

To check the sharpness of your image, you're going to want to zoom in close, and to do that you'lluse Lightroom's Loupe view. To view your image in Loupe view, just double-click directly on thatphoto's thumbnail, or select an image and press either the Loupe view button found beneath thePanels area on the left side of the window or the E key (the Loupe view shortcut). This makesyour selected photo fill the Preview area (as shown here). If you want to view other photos whilestill in Loupe view, just use the Left and Right Arrow keys on your keyboard.

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Step Four

If you want to zoom in even closer, just click your cursor right on the spot where you want tozoom in to, and your image instantly zooms in to give you a 1:1 view of that area. To quicklyzoom back out to the standard Loupe view, just click anywhere on the image.

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Tip

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To return to Grid view (and see all your thumbnails again), just press the G key on yourkeyboard (of course, you could also click the Grid view button that appears under thePanels area on the left side of Lightroom's window, but pressing the G key is faster).

Step Five

Besides just clicking to zoom in on a photo, there's another way to inspect your photo up close,and that's to pan around your zoomed-in image by clicking-and-dragging the zoom square. Thezoom square appears in the smaller preview window at the top right of Lightroom's interface. Justclick within the square and drag it around in the preview window. As you drag, the area thatappears within the zoom square is displayed at full 1:1 size within the center Preview area.Remember, if you want to return to the standard Loupe view, just click anywhere on the imagewithin the center Preview area.

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Step Six

Now that you know how to view your image up close (again, that's critical for viewing thesharpness of your photos), it's time to get down to business and find those keepers. We do this inCompare view (C), and if you're already in Loupe view (in other words, there's only one imageopen in the Preview area), you're just one click away. Just press-and-hold the Command key andin the filmstrip, click on the photo that you want to compare with the photo you currently haveonscreen. Once you click that photo, the two images appear side-by-side onscreen (as shownhere), so you can easily make comparisons.

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Step Seven

Want to add a third, fourth, or more photos to compare onscreen? Just press-and-hold theCommand key and click on those photos in the filmstrip as well, and they'll join the two photosalready being viewed in Compare view.

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Step Eight

Stuffing all these photos onscreen at the same time can get pretty crowded. That's why I

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recommend hiding the panels and the filmstrip (press Shift-Tab) when reviewing more than twophotos at one time in Compare view. The photos are then large enough for you to really makesmart decisions on which ones make the cut.

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Step Nine

All right, now that you've got your photos onscreen at a decent size (thanks to having the panelsand filmstrip hidden), how do you remove one of the photos under review when it doesn't makethe cut? You can do it one of two ways: (1) move your cursor over the photo you want to removefrom contention and click on the tiny X that appears just below the photo's lower-right corner, or(2) press-and-hold the Command key and click on the photo you want to remove. Now, I'm downto just three photos (as shown here).

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Step Ten

So, that's the processto remove a photo from the Preview area in Compare view, Command-clickon it. To add another photo to be compared (while you're in this panel-and-filmstrip-hidden view),move your cursor down to the bottom of the screen (so the filmstrip temporarily appears, asshown here) and Command-click on any photo you want to add. Now, there's another way toenter this Compare view, and that's to enter it directly from the Grid view, so first let's get backto the Grid view by pressing the G key, then press Shift-Tab to bring back your panels andfilmstrip.

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Step Eleven

To enter Compare view from here in Grid view, you have two choices: (1) you can Command-clickon the thumbnails of the photos you want to compare, then press the letter C, or (2) Command-click on the photos you want to compare, then press the Compare view button on the lower-leftside of Lightroom's window.

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Step Twelve

One last thing about Compare view while you're in Compare view there are going to be timeswhen you need to take a closer look at one of the photos you're comparing. No sweat, just clickon that photo, press the letter Z, and it takes you to a zoomed Loupe view of the photo. Onceyou've seen what you needed to see, press the letter Z again, and you'll return to Compare viewwith the same photos selected. Pressing the letter Z is the shortcut for toggling between azoomed Loupe view and the previous viewin this case you toggled between Compare view and azoomed Loupe view.

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Sorting Your Photos in the Grid View

The Grid view in the Library module is where most of your sorting will take place and there are afew key things you need to know about the sorting process that will keep you from pulling yourhair out. Here's how to start managing your images with ease.

Step One

Lightroom automatically sorts your photos in the Grid view, either by the time and date they weretaken or by star ratings you assign to your photos. By default, it sorts by time and date, but youcan choose whether you want your photos to appear in ascending order (starting with the mostrecently taken photo in the top-left corner of the Preview area, followed by the next most recent,etc.), or you can go under the View menu, under Sort, and choose Descending (as shown here) tohave the oldest photo in the first position.

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Step Two

The other method of sorting (since you can't just drag the thumbnails into the order you want atthis point in Lightroom's development) is to give your photos a 1- to 5-star rating (with 5 beingthe best). Assigning ratings is easyjust click on the thumbnail, then press either 1, 2, 3, 4, or 5 onyour keyboard to assign a rating. When you do this, you'll see a message appear near the bottomof the Preview area confirming that your rating has been applied (as shown here). To remove arating, press the 0 (zero) key.

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Step Three

Now, you're probably wondering why you just assigned a star rating and yet your photo didn'tjump to the top? It's because you have to change your sorting choice to sort by rating. To dothat, go under the View menu, under Sort, and choose Rating (as shown here). Now, if you wantyour highest-rated photos to appear first (at the top left of the Preview area), then you'll alsoneed to make sure the sort is set to Descending (also found in the View menu, under Sort), so the5-star photos appear first, and then the photos sort in a descending order down to 1 star (withthe unrated photos appearing after the 1-star photos).

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Step Four

To save time, you can rate more than one photo at a timejust press-and-hold the Command key,click on all the photos you want to have the same rating (as shown here), and then press thenumber key on your keyboard for the rating you want them all to have.

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Step Five

Another way to apply ratings to photos is to make the star ratings visible under each photo'sthumbnail, and then click directly on the rating you want to apply. To have the ratings appearunder the thumbnails, click on the View Options panel header on the left side of the Lightroomwindow and the view options will appear (as shown here). Once the view options appear, makesure the Show Extras checkbox is turned on, and then turn on the Rating checkbox to make thestar ratings appear below the thumbnails. When you move your cursor over photo thumbnails inthe Preview area, photos that haven't been rated yet will have five tiny dots below them. To add a4-star rating to a photo, click on the fourth dot. To give a photo a 3-star rating, click on the thirddot, and so on. To remove a rating, click on the small circle to the left of the first star.

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Step Six

Using ratings can be really handy for sorting your images because once you've assigned ratings,you can use the Minimum Rating slider (shown circled in red here) so that only your highest-ratedphotos are displayed. The slider appears in the Search panel, just below the Search field, andwhen the slider is all the way to the left, all your photos, regardless of their rating, are displayed.As you click-and-drag the slider to the right, it raises the minimum rating. So, click-and-drag theslider to the right until it shows a 4, and then only your 4-star or higher rated photos will still bevisible in the Preview area (as shown).

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Step Seven

You can also apply ratings in Loupe view and even in Compare view, by clicking on the dots in theInfo panel on the right side of the Lightroom window (circled here), or by pressing a number keyon your keyboard. In Compare view, you can also click on the dots beneath each image. Sinceright now we're narrowing your photo selections by using the Minimum Rating slider set to 4 ormore stars, when you're in Loupe or Compare view, only the photos that currently have a ratingof 4 stars or more will appear in the filmstrip.

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Step Eight

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One last thing before we leave this section. If you want to rotate the orientation of your photos(while you're in Grid view), you have two choices. First, turn on the Rotation checkbox in the ViewOptions panel. Then when you move your cursor over a thumbnail in the Preview area, two smallrotation icons will appear in both lower corners of the thumbnail (I've blown up two thumb-nailshere, so you can see them better). Click on the left rotation icon and the photo rotates counter-clockwise. Click the right rotation icon and it rotates clockwise. My advice? Leave this turned off,because there's a better wayjust press-and-hold the Option key and click on your thumbnail andeach click rotates your thumbnail by 90°.

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One-Click Sorting by Using Collections

When you're sorting your photos, there are going to be plenty of times where you just want tofocus on a particular group of images. Maybe it's all your best shots from a shoot, or maybe it'sall your black-and-white shots, or maybe you want to decide which photos you want print.Luckily, you can make all of these groups of photos just one click away by using collections (whichare there every time you fire up Lightroom) or Quick Collections, which are temporary collectionsyou use just when you need them.

Step One

Another way to quickly separate out your best photos is to create a Quick Collection of just thosephotos. Here's how it's done: As you're looking at your photos (in any viewGrid, Loupe, orCompare), when you come across one you like, just press the B key on your keyboard and thatphoto is added to your Quick Collection (it's like flagging your best photos). If you have the QuickCollection Marker checkbox turned on in the View Options panel, you'll see a black dot appear inthe upper-left corner of your thumbnail (circled here in red) to let you know that it was added toyour Quick Collection.

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Step Two

Now, to see just the photos you've flagged, click on Show Quick Collection (as shown here), whichappears in the Photo Library panel on the top-left side of the Lightroom window (or just pressCommand-B). To remove a photo from your Quick Collection, just click on the little black dotagain, or click on the photo and press the letter B again, or just click on the photo and press the

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Delete key on your keyboard (don't worry, this only deletes the photo from this QuickCollectionnot from your Library of photos).

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Step Three

Quick Collections are great for helping you quickly rate your best photos. Now that your bestphotos from your shoot are in this Quick Collection, you can instantly give them all a 5-star ratingby simply pressing Command-A to select all the photos, then pressing the number 5 to assign a5-star rating to them all. Another cool thing about using Quick Collections is that once you've gotone, you can create an instant slide show of just those photos by going under the Library menuand choosing Impromptu Slideshow. In just seconds, you'll see a full-screen slide show withtransitions (to cancel this slide show, press the Esc key).

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Step Four

Once you've used the trick above to quickly rate your best photos, you can then clear yourtemporary Quick Collection (so you can use it later for sorting other photos). You can do this byeither clicking on Options, in the bottom-left corner of Lightroom's window, and choosing ClearQuick Collection from the pop-up menu, or just pressing Command-Shift-B. You can also use theOptions pop-up menu to add photos to your Quick Collection, but using the keyboard shortcuts isjust so much faster.

Step Five

Quick Collections are temporary collectionsjust a tool to help you temporarily sort your images orto make an impromptu slide show. But if you've come up with a Quick Collection that you'd like tokeep for future reference, just transfer it to a regular collection so it's always just one click away.Here's how: Go to the Browse Collections panel (it's in the group of panels on the left side ofLightroom) and click on the large + (plus sign), as shown here circled in red. This brings up theCreate Collection dialog where you can name your new collection (as shown). Enter a name andclick the Create button.

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Step Six

Now, if you're not still viewing it, press Command-B to jump back to your Quick Collection. PressCommand-A (the shortcut for Select All) to select all the photos in your Quick Collection. Next,click-and-drag on any one of those photos and they all drag together as a group (you'll see a tinythumbnail appear as you drag that shows a stack of photos, as shown here circled in red). Click-and-drag this group of photos over to the Browse Collections panel and drop (release the mousebutton) them right on the collection you created in the previous step.

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Step Seven

Now, just to make sure that the transfer from your Quick Collection to a permanent collection

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worked, it's not a bad idea to quickly click on Show Entire Library in the Photo Library panel (soyou see all your photos). Then, in the Browse Collections panel, click on your new collection (asshown here), just to make sure your photos really made it in there. I know, it's kind of paranoid,but just because you're paranoid doesn't mean they're not out to get you. But I digress. Onceyou've confirmed that your photos made it into your new collection, you can clear out the QuickCollection by pressing Command-Shift-B or by choosing Clear Quick Collection from the Optionspop-up menu on the bottom left of the Lightroom window.

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Step Eight

There are a few things you'll want to know about collections. First, as long as you're in the Gridview, you can add photos to your collection by just dragging-and-dropping them right onto yourcollection. To remove a photo from your collection, click on it and press the Delete key. This onlyremoves the photo from your collectionnot from your main Library. If you do, in fact, want toremove a photo both from the collection and from your Library (meaning you're going to movethe photo to the Trash and delete it for good), then press Command-Delete. You'll get a warningdialog (as shown here) just to let you know this photo is really going away for good. To delete acollection, click on the collection, and then click the (minus sign) on the right side of the BrowseCollections panel. To rename a collection, just double-click directly on its name in the BrowseCollections panel.

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Staying Organized by Assigning Keywords

One of the biggest challenges in managing thousands of images is finding the exact photo (orphotos) right when you need it. Luckily, you can stay totally organized, and find the right photosfast, by simply applying keywords to your photos. It takes just a small amount of time up front,but it can save you hours every week and potentially extend your life by several years byremoving a special level of frustration and stress that appears after searching for hours to find aphoto you know is in there...somewhere. Ask your doctor.

Step One

To create a keyword, go to the Browse Keywords panel (on the left side of Lightroom's window)and click on the large + (plus sign), as shown here. This brings up the Create Keyword dialogwhere you can type in the keyword you want to assign to one or more photos in your Library,then click the Create button to create this keyword.

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Step Two

You can assign a keyword to a photo in the same way you add a photo to a collection. In Gridview, just drag-and-drop a photo from the Preview area right onto the keyword you wantassigned to it in the Browse Keywords panel (as shown here). You can do the same select-multiple-photos-and-drag-and-drop trick as you did with collections.

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Step Three

Unlike collections, there's another way to assign keywords and you might actually like this waybetter (I certainly do). Instead of dragging the photos to the Browse Keywords panel and tryingto hit that thin little panel, you can actually drag the keyword itself and drop it on your photos, asshown here (a thick black border appears around your thumbnail letting you know you'vetargeted that photo). I like this method better because thumbnails make a much larger and easiertarget to hit. You can still select multiple photos (Command-click on them) and drag-and-drop thekeyword on any selected photo, and they'll all be tagged with that keyword.

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Step Four

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Now when you want to instantly see the photos that are tagged with a particular keyword, justclick on that keyword. In the example shown here, I clicked on Acoustic and now only the guitarslabeled acoustic in my Library appear.

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Step Five

Of course, the real strength of keywords is when you add more than just one, so you can quicklydrill down and find just the photos you're looking for. For example, here I've added 10 morekeywords, and dragged-and-dropped them on the appropriate photos. So, if for example, Iwanted to see just my bass guitars, I'd click on the Bass Guitars keyword (as shown here) andinstantly all my bass guitars, and only my bass guitars, are displayed. Even better, since you canassign multiple keywords to photos, my first bass guitar images show up not only under BassGuitars, but also under Black Guitars and Flat Views.

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Step Six

Another advantage of creating and assigning keywords is that now you can search your entirelibrary by simply typing in a name. For example, want to find all the guitars that are red? Go tothe Search panel (shown circled here) and just type in "red." Now every red guitar shows upinstantly. This keywording is great for tagging photos of family members (for example, my son isnamed Jordan, so I can instantly find every photo of Jordan just by typing his name in the Searchfield).

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Step Seven

Just a reminder, you can save yourself some time by assigning some of your keywords when you

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first import your photos. For example, if you were importing a shoot of just one guitar, you couldautomatically tag all those shots with descriptive keywords from right within Lightroom's ImportPhotos dialog (shown here). There's a Keywords field for typing in the keywords you want (it'scircled here in red). Just type in your desired keywords, separated by a comma, and once they'reimported those keywords will be added to your Browse Keywords panel to make sorting easy,plus you can use the Search field to find images tagged with those keywords.

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Step Eight

To see the keywords you have assigned to a photo, just go to the Info panel, on the right side ofLightroom's interface under the Histogram (you may have to scroll the panels down a bit to revealthe Info panel). In the Info panel, you'll see a field that not only lists the keywords assigned tothe currently selected photo, you can also add additional keywords by just clicking in theKeywords field (shown circled in red) and typing in your desired keywords. Also, keywords thatyou enter in this field are automatically added to the Browse Keywords panel. Once you get in thehabit of adding keywords to photos, you'll be amazed at how quickly you can get right to thephoto (or photos) you're looking for.

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Chapter 4. Quick Develop Making MinorAdjustments

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I know we'd like to think that every shot we take is worthy of the same level of careful colorcorrection and individual selective sharpening, but the sad reality is some of our photos just don'trequire it. Not every photo we take is destined to hang in some famous gallery. Some photos, likethose taken for insurance claim purposes after a fender bender in your car, will only wind upbeing shown in some of the smaller galleries, fetching only a few hundred dollarsperhaps athousand on rare occasion but they have little chance of competing with your more seriouspieces. It's those instances where you have to decide, "Do I really need to go into the Developmodule and process the living daylights out of this puppy or can I just click a few buttons here inthe Library module's Quick Develop panel and be done with it?" It's an age-old question, but youcan make the decision easier if you take the time to ask yourself a few questions beforehand.First, ask yourself this, "When this shot of my dented fender is displayed, will it be exposed tohigh ultraviolet light content, and will that affect its overall sale price?" If the answer is "No," thenyou can safely correct this photo using the Library module's Quick Develop panel. However, if theanswer is "Yes," then in order to maintain consistent color rendition you need to give carefulconsideration to the spill and angle of the fill lights in the gallery and whether using an undimmed,low-voltage 20W dichroic lamp will minimize any potential fluctuation in the color temperature. Bythe way, I have no idea what any of that means.

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Using Quick Develop for Quick Fixes

Some photos need lots of work, and usually the more important the photo, the more tweaking itgets. But when you've got photos that need just quick minor adjustments, you can do them fromright within the Library module itself using the Quick Develop panel, which gives you simple one-click adjustments for everything from Exposure to White Balance to black-and-white conversions.When you need minor simple changes, this is where to start.

Step One

The Quick Develop panel appears just below the Histogram on the right side of Lightroom'sinterface. If you only see the words Quick Develop but don't see a list of controls under it, justclick in the bar with the words Quick Develop (as shown here) and the controls will pop down.

©SCOTT KELBY

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Step Two

There's a Preset pop-up menu at the top of the Quick Develop panel, but most of these presetsare special effects, like sepia tone effects, grayscale conversions, etc. More on these later, but fornow we're going to focus on the most likely adjustments your photos are going to need: WhiteBalance and Exposure. Since the photo we're using is so underexposed, we'll start by adjusting

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the Exposure first.

Step Three

Each of the Quick Develop adjustment setting controls has three buttons: the left arrow decreasesthe adjustment, the right arrow increases it, and the center button resets that particularadjustment to how it was set before you made any adjustments. We'll start with the Exposuresetting, so click the right arrow once. You can see the image now appears somewhat brighter.Each time you click the right arrow, the overall exposure of the photo will get brighter. I had toclick on the right arrow six times to get the exposure just about right (as shown here).

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Step Four

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If you're squeamish about making your own adjustments, there is an Auto button (shown here),which applies an automatic adjustment, but it only applies the Auto setting to the Exposureitdoesn't affect the Brightness, Contrast, or Saturation settings. Now, I have to be honest withyouI'm not a big fan of this Auto setting (at this point anyway). The changes either seem toosubtle or too extreme, but so far I haven't had one that looked about right. Go ahead and open afew images, try the Auto button, and see what you think. If it works for you, don't be afraid touse it, but my guess is you're not going to fall in love with it. In fact, since the Quick Developpanel gives you kind of crude pushbutton adjustments, I doubt you'll use this entire section formuch more than adjusting snapshots from your vacation taken with your point-and-shootcamera, rather than images you're shooting with your D2X or 1D Mark II.

Step Five

The other three tonal controls in the Quick Develop panel work the same way, (meaning you clickthe right arrow to increase their effect, left to decrease, center button to reset). Under theExposure controls is the Brightness, which controls the overall brightness of the photo. Under thatis the Contrast, and increasing the Contrast setting does just thatit increases the contrast (asshown here), making the shadows darker and the highlights brighter.

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Step Six

The last control, Saturation, makes the colors more saturated each time you press the rightarrow, and less saturated when you click the left arrow. If you click the left arrow enough times,you'll remove all the color, making it a black-and-white photo. However, if that's what you're after(a black-and-white photo), you'll get better results by turning on the Convert Photograph toGrayscale check-box (circled in red here).

©ISTOCKPHOTO/PAULUS RUSYANTO

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Step Seven

By the way, don't worry about trying things like a grayscale conversion, or tweaking your colors,or any kind of tonal correction, because everything you do in Quick Develop is non-destructive.You're always just one click away from returning to the original unedited photo by clicking theReset button that appears at the bottom of the Quick Develop panel (it's shown circled in redhere).

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Step Eight

Another thing you'll wind up using a lot within Quick Develop is the White Balance control. The

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reason this control is so important is this: unless you go and set the white balance manually inyour camera to match the lighting conditions of where you're shooting, chances are your whitebalance is set to Auto. That means in challenging lighting situations, like this indoor shot underfluorescent lighting (which makes everything look kind of yellow), having the ability to fix yourwhite balance after the fact is huge. By default, As Shot (in the camera) white balance isdisplayed as the current White Balance setting. If you click on the White Balance pop-up menu (asshown here), you see the list of white balance settings you can apply.

©SCOTT KELBY

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Step Nine

If we had set the white balance to Fluorescent in the camera, we wouldn't have that yellow cast,but that's easy enough to fixjust choose Fluorescent from the White Balance pop-up menu (asshown here) and you can see how the yellow cast has been neutralized (which is fancy digital talkfor "it's gone"). Compare this photo with the one in the previous step, and you'll see how muchgood the right white balance setting can do.

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Step Ten

I mentioned earlier that the Quick Develop controls are kind of crude you can only click a fewtimes, and the photo either looks good or it doesn't. However, the Develop module of Lightroomis full-powered, containing all the RAW processing controls of Adobe Photoshop's Camera Raw,and more! So, if you make some adjustments in Quick Develop and you're not getting the resultsyou hoped for, you can keep the edits you've applied in Quick Develop and continue editing thephoto over in the more powerful Develop module. To do that, scroll down a little further in theQuick Develop panel and you'll see the phrase "Continue work in the Develop module." That's notjust a phrase, that phrase is actually a button you can click on (move your cursor over it andyou'll see it highlight). Click on that to continue editing your photo in the Develop module.

Step Eleven

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Okay, so now that you've had a chance to edit your images using Quick Develop's Exposure,Brightness, Contrast, and Saturation controls, along with setting the White Balance andconverting your images to grayscale, you're now ready to use the presets, which give you bothtonal corrections (like you've been doing) and some special effects. These are found at the top ofthe Quick Develop paneljust click anywhere to the right of the word Preset and a pop-up menuwill appear (as shown here) with a list of preset corrections and effects (put there by Adobe).

Step Twelve

Just so you can see how the presets work, go ahead and open a photo, and choose Sepia Tonefrom the Preset popup menu (as shown here), and you can see the instant results. The photo isfirst converted to a black-and-white, and then a sepia tint is added to the photo. There are nobuttons to push, no decisions to makeit's a preset. However, if you want to tweak the photo now,you canjust click on the Exposure arrows, or the Contrast arrows, etc. What's nice about this isyou can use the presets as a starting point, and then tweak the image to your liking with just afew quick clicks.

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Editing Multiple Images the Easy Way

With digital photography, and "free" film, we're pressing that shutter release more than ever andinstead of just editing 24 or 36 photos, we're importing and editing hundreds. That's why it's soimportant to be able to edit one photo and apply those same edits to dozens, or even hundreds,of photos taken under similar lighting conditions. Here are a few different ways to make an editonce and have it applied to as many photos as you'd like, quickly and easily.

Step One

If you want to make the exact same change to a number of similar photos, then this couldn't beeasier: you start by Command-clicking on all the photos you want to have the exact sameadjustments applied to (as shown here).

©SCOTT KELBY

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Step Two

Now, just head over to the Quick Develop panel and any changes you make here willautomatically be applied to every selected photo (here I just simply turned on the ConvertPhotograph to Grayscale checkbox, and all the selected photos are then converted to grayscale,as shown here).

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Step Three

More likely, you'll be performing your edits all on one photo, and then if you're happy with someor all of your edits, you'll choose which other photos you want to have those same edits appliedto. Start by choosing a photo and then make your adjustments in the Quick Develop panel (in theexample shown here, I increased the exposure and contrast by clicking on the right arrow buttonfor each setting three times. I changed the white balance to Cloudy by choosing it from the WhiteBalance pop-up menu, and then I lowered the saturation a bit to remove some of the green fromthe photo). Now, click on the Copy Settings button (shown circled in red here).

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Step Four

This brings up the Copy Settings dialog (shown here). This is where you get to choose which ofthe adjustments you applied to the first photo that you want applied to other photos you select.(Note: If most of the checkboxes here sound unfamiliar, it's because most of them are in the fullDevelop module, instead of just Quick Develop.) I want to apply just some of the changes I madeto the other photo, so first click the Check None button (so all the choices are unchecked), thenonly turn on the checkboxes for White Balance and Saturation, and then click the Copy button.Now, only those two edits are copied into memorymy exposure and contrast changes are ignored.

Step Five

Press-and-hold the Command key, go to the Grid view, and click on all the photos that you wantto have the same white balance and saturation changes applied to. Now, near the bottom of theQuick Develop panel, click on Paste Settings (it's shown circled in red), and just those twocorrections that you applied to the first image will now be applied to all your selected images (asshown here).

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Step Six

If you've got hundreds (or thousands) of photos to process, instead of copying-and-pasting yourchanges from one photo to a group of other photos (too slow), try Synchronize, which worksparticularly well when all your photos are in the same collection. Here's how it works: You click onthe photo that has the look you like (in this case, I just applied the Antique Grayscale preset toone image), then press Command-A to select all the other photos in your collection (or QuickCollection). You'll notice that your selected photo has a thicker white border around it, so youknow which photo is your source for the changes. Now press the Synchronize button (shown herecircled in red).

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Step Seven

As you can see, the Synchronize Settings dialog looks exactly like the Copy Settings dialog. In thiscase, since we used a preset, I'm not sure which settings where actually used, so click the CheckAll button (so we're sure we got everything), then click the Synchronize button (as shown here).

Step Eight

Now those edits are applied to every other photo in your collection (as shown here).

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Chapter 5. Develop Making SeriousAdjustments

Everything we have done up to this point every click of a button, every slide of a slider, everydrag of a dragster, has all been leading up to this one single moment. The moment when youleave the relative safety and comfort of the Library module and venture into a wild, untamedterritory that many seek but only few survive. This, my friends, is the Develop modulea scary andintimidating place with more complicated-looking buttons, checkboxes, and sliders than the SpaceShuttle and a 747 combined. Now, if you're thinking that all this looks too technical and advancedfor you, you're right. Nobody understands this module. I don't know what it does. Adobe doesn'tknow. I think a lot of the sliders are just put there for looks, and moving them doesn't actuallyaffect anything in the photo whatsoever. For example, try moving the Deflatulator slider all theway to the right. I'm not sure it really does anything, but it sure took the wind out of me. Okay,that was pretty lame, but waitI have more. Open an image shot in RAW format, set your

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Exposure and Shadows, then try dragging the Cutlery Sharpening Amount to 75%. I'll bet yourimage still looks dull, and it just doesn't cut it. Are you getting any of these puns? I hope you are,because I swear, they're cracking me up.

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The Basic Adjustments Aren't Basic

You use the Develop module when you've got some serious adjusting to do, so don't be fooledjust because the first adjustment panel on the right side is named Basic. Those "Basic" controlsare the same controls found in Adobe Photoshop's acclaimed Camera Raw plug-in, and give youthe same power the industry's top pros use to process their RAW images (but in your case, youcan also process JPEGs and TIFFs the same way). This panel should be renamed "Essentials" or"Critical" or simply "Start Here" because the term Basic is a bit misleading.

Step One

In the Library module, click on the photo you want to do some serious adjusting to, then pressCommand-2 to jump to the Develop module. We'll start with the Basic adjustments (make sureyou read the intro above so you understand that these are the most important, and most oftenused, adjustmentsnot basic ones). Like the Quick Develop panel, the Basic panel lets you choosea new white balance setting from the White Balance pop-up menu (as shown here).

©SCOTT KELBY AND ISTOCKPHOTO

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Step Two

The big difference between Quick Develop's White Balance and the Basic panel's White Balance is

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that here in the Develop module, you have more than just a pop-up menuyou can create customwhite balance settings using the two White Balance sliders circled in the close-up of the Basicpanel shown here. The Saturation slider looks like it's part of the White Balance controls, but it'snot (more on that in a moment).

Step Three

Adobe added a very helpful feature to the White Balance sliders, one that even Photoshop doesn'thave, and that is both the Temperature and Tint sliders give you a visual clue what the sliders do.For example, take a look at the Temperature slidersee the color bar inside the slider? That tellsyou which way the temperature of your photo will be affected if you drag in that direction. Here,we dragged the Temperature slider toward the yellow side of the slider, and as you can see fromthe photo, the entire photo is now warmer and more yellow.

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Tip

Even if you start by selecting a preset White Balance from the pop-up menu, you canedit that preset setting by moving the Temperature and Tint sliders.

Step Four

If you want to cool off the white balance a bit, rather than using the Tungsten or Fluorescentpresets on the White Balance pop-up menu, you can get just the amount of cooling you want bydragging the Temperature slider to the left, toward the blue (as shown here). Again, all you haveto do is look at the color there in the slider itself to see which way to drag. In most cases, you'lleither want to warm up an image (by dragging the Temperature slider to the right, towardyellow), or cool it down (by dragging the Temperature slider to the left). However, if you want tohave more of a green or magenta white balance (hey, it could happen), then use the Tint sliderand drag toward the color you want.

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Step Five

Don't ever hesitate to try different White Balance settings, because you can always return to theoriginal "as shot" setting by choosing As Shot from the White Balance pop-up menu (as shownhere). Plus, if all you've adjusted at this point is the White Balance, you can click the Reset buttonthat appears just below the panels themselves in the bottom right-hand corner of the Developmodule's Panels area (shown circled here). This Reset button is always there while you're workingin the Develop module, so anytime you need to start over just click directly on it and all your editsare undone. That's the whole non-destructive editing thing in action.

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Step Six

If you want a more precise way to set the white balance, try the White Balance tool (which lookslike an Eyedropper, and is located at the bottom of the Panels areait's shown circled here). Here'show it works: Click the White Balance tool, then move your cursor out over your image and clickon an area of your image that is a light gray (I clicked on the door on the left here). I know, you'dfigure that you'd click on something white, right? But that's the way it works, so click onsomething light gray. That's itit sets your white balance for you. If you don't like the way yourphoto looks after clicking, then either try clicking somewhere else (a different gray area) orchoose As Shot from the White Balance pop-up menu, then try again.

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Step Seven

The Saturation slider controls the overall saturation of colors in your document, so if your colorsare looking drab and washed out, you could "pump up the volume" by dragging the Saturationslider to the right (here I dragged it all the way to the right, and the photo is way oversaturated,as you can see). If you drag the slider to the left, it makes all the colors in your photo less intense(it desaturates them).

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Step Eight

If you drag the Saturation slider all the way to the left, it removes all the color, and gives you ablack-and-white image. However, this is not the method you'd want to use to create color toblack-and-white conversions because there are much better ways that give you much betterresults (as you'll see later in this chapter).

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Tip

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If you feel like the sliders in Lightroom are too broad and don't give you precise enoughcontrol, then you'll love the finer control you get by using "scrubby sliders." Just moveyour cursor directly over the numbers to the right of the sliders, then click, hold, anddrag left or right and the numbers will move one digit at a time.

Step Nine

The next important slider in the Basic panel is the Exposure slider (shown circled here), which letsyou set the white point for your image. Dragging the Exposure slider to the right increases theoverall exposure (as shown here, where the image is much brighter), and dragging to the leftdecreases the exposure. Again, you get a visual cue by looking at the sliders themselves, becausewhite is on the right side of the slider (indicating that dragging that way would make thisadjustment lighter), and black is on the left side of the slider (indicating that dragging to the leftwould make your image darker).

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Step Ten

To get the best possible highlights, our goal is to drag the Exposure slider as far to the right aspossible without blowing out the highlights (which causes loss of detail). To keep you from doingthat, Lightroom gives you two types of warnings. If you press-and-hold the Option key before youstart dragging the Exposure slider, your image turns black (as shown here) and as you drag tothe right (increasing the exposure) any colors that are blowing out (losing highlight detail) willappear. If you see red areas (as seen in this image), that lets you know that the red in the imagein that area is blowing out. If this is a sunset photo, and that red area appears in the center of thesun, you can pretty much ignore itthe center of the sun isn't supposed to have detail. But if yourelease the Option key and see that red area is an important area of detail in your image, thenyou know you've dragged too far. So, pull the Exposure slider back to the left a little.

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Step Eleven

There's another way to make sure you're not clipping off important detail in your highlights (orshadows), and that's to turn on the Highlights (or Shadows) clipping warnings. You turn these onright under the Histogram by clicking on either the word "Highlights" or "Shadows." In this case, Iturned on the Highlights warning. When you do this, you no longer have to press-and-hold theOption key while you drag the Exposure slider, but you get an entirely different type of clippingwarning.

Step Twelve

This clipping warning doesn't turn your screen blackit displays the full-color image, but it also nowdisplays any areas that are clipping (losing detail) in bright red (as shown here). If you turn onthe Shadows clipping warning, then any areas that have turned solid black (causing you to losedetail in those areas) will appear in bright blue. So, which clipping warning method should youuse? Whichever you're most comfortable with. The only advantage the pressing-and-holding-the-Option-key method gives is that you can see exactly which colors in your image are clipping (so ifonly a yellow area is clipping, you'll only see yellowif all the colors are clipping, you'll see white),so it does give you a little more feedback than just the red or blue warning.

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Step Thirteen

Now that you know about the different Highlights and Shadows clipping warnings (and whythey're so importantto keep us from overadjusting and losing detail in our images), we'll move onto the next slider, which is Blacks. This is what you use to set the black point in your image, and ifyou look at the slider, once again it gives you a visual cue on what happens when you drag in aparticular direction. Take a look at the Blacks slider. Which way would you drag to make theshadows darker? Right toward the black (hey, those visual cues save you a lot of guessing).

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Step Fourteen

If you press-and-hold the Option key while adjusting the Blacks (shadow) slider, the photo willturn white, and as you drag to the right, any areas that will turn pure black (and have no detail)will appear in black. If you see other areas in color (yellow, blue, green, etc.), that's telling youthat the yellows, blues, and greens in that area are being clipped to black. Now, in the imageshown here, the area inside of the doorway is clipping and the shadows in the windows areclipping. Those are areas that probably wouldn't have significant detail anyway, so I wouldn'tworry about those areas, but it's nice to be able to see what will turn solid black so you candecide whether you need to back off the amount of blacks or not. Again, you could also use theShadows clipping warning (below the left side of the Histogram) to warn you of clipped shadowareasit's up to you.

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Step Fifteen

The next control down is the Brightness slider, which lets you adjust the midtones in your photo.Look to the slider for a visual cue, and you can see that dragging to the right will lighten yourmidtones, and dragging to the left will darken them. You don't have the option of pressing-and-holding the Option key to see if you're blowing out the highlights or shadows when you'readjusting the Brightness. So, you could turn on the Shadows and Highlights clipping warnings thatappear directly below the Histogram. But if you move the midtones enough so that you get aclipping warning, your image will probably look so bad onscreen that the clipping warning isn'tnecessary.

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Step Sixteen

The last slider in the Basic panel is the Contrast slider and it does exactly what you'd expectwhenyou drag it to the right it adds more contrast to your photo by making the shadows darker andthe highlights brighter. In the image shown here, I dragged the Contrast slider quite a bit to theright, and you can see the photo has gotten really contrasty (and I'm not sure contrasty is reallyeven a word, but I'm counting on the book's editors not looking too closely at this step).

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Using the Tone Curve

If you're used to working with Photoshop's Curves, then this is going to throw you for a loop,because it's an entirely different (yet somewhat more intuitive) way of working with curves. Thefirst thing Photoshop users will notice is that you can't add points to the curveinstead theadjustments are made with sliders which control the angle of the curve. I know, it sounds freaky,but once you try it...you'll still think it's freaky, but it works. I don't think Dan Margulis (King ofCurves) would like it, but he doesn't like rainbows, or puppies, or sunny days, or....

Step One

If you scroll down from the Basic panel, you'll find the Tone Curve panel (shown here). First, youhave to get your arms around the fact that the only way to move the curve is to drag the sliders,so you can think of the curve as more of a histogramit shows you what's happening, it doesn'tmake things happen like the curve in Photoshop does. One of the slickest things about the ToneCurve is how you can determine the range of what those three sets of sliders control.

Step Two

You do that using the two Range sliders (those two sliding triangles under the Tone Curvegraphcircled here in red). Essentially, they let you choose where the black and white points are inyour photo (you determine what's a shadow, what's a midtone, and what's a highlight). For

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example, the Range slider on the left represents the shadow areas, and the area that appears tothe left of that triangle will be affected by the Shadows sliders. If you want to expand the range ofwhat the Shadows sliders control, click-and-drag the dark gray Range slider to the right. Nowyour shadow adjustments affect a larger range of the image.

Step Three

The area that appears between the Shadows and Highlights Range sliders (shown circled here) isthe midtones. Dragging that Shadows Range slider to the right decreases the space between theshadow and highlight areas, so your Midtones sliders now control less of a range. A histogramappears behind the curve, and if you compare it with the histogram shown in Step One, you cansee how moving the Shadows Range slider to the right has affected the midtones.

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Step Four

If you were to drag the Highlights Range slider to the right, you're limiting the control theHighlights sliders will have over your image. For example, if you moved the slider fairly far over tothe right (like I show here) and then you dragged the Highlights Compression slider all the way tothe right (as far as it will go) it will have hardly any effect on your curve (or on your image).Same thing with the Shadows Range slider. If you drag it far to the left, there's not much for theShadows sliders to affect, so changes you make with those sliders won't have much effect. Whatthis does give you is the ability to increase the control over any area that needs work, by movingthe sliders closer toward the middle when you need to really tweak your highlights and shadows,or farther apart when your midtones need some help.

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Step Five

Let's return those two Range sliders (the ones under the graph) to their default position byclicking the Reset button. By the way, if you press-and-hold the Option key while you're movingthose two Range sliders, you can get a clipping warning as well. Now let's start tweaking ourimage. We'll start with adjusting the Highlights and Shadows sliders since they pretty much workthe same way. When you drag the Highlights Compression slider to the right, this affects just thebrightest highlights in your image and pushes them toward white (you can see this expressed inthe curve shown here).

©SCOTT KELBY

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Step Six

Dragging the Highlights Luminance slider to the right pushes the quarter-tones in your phototoward white, as shown here where the top of the curve is starting to steepen (the way the ToneCurve is designed, it helps keep you from creating overly steep curves that could potentiallydamage your photo. That's one advantage for new users of Curves, because if you're inPhotoshop and you don't understand Curves well, you can really trash your image. But here inLightroom, it's harder to do much harm).

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Step Seven

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If you want to darken the shadow areas of your image, drag the Shadows Compression slider tothe left (as shown here) and you'll see the three-quarter-tone shadow areas of the curve start tosteepen, and the shadow areas are pushed closer to black. What you're basically doing is creatingthe classic S-curve that creates contrast, and the steeper the curve, the more extreme thecontrast. Dragging the Shadows Luminance slider to the left steepens the curve even further.Note: The two Range Sliders under the Tone Curve graph only affect the Luminance sliders for theHighlights and Shadows, and the Contrast slider for the Midtones.

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Step Eight

The last two slidersthe Midtones slidersadjust the midpoint of the curve and the slope of thecurve. For example, dragging the Brightness slider to the right (as shown here) opens up themidtone areas of your photo by brightening the quarter-tones and darkening the three-quartertones. You can see in the curve how the midtones have been affected. The Contrast slider addscontrast by steepening the position of the middle of the curve. Note: The Midtones sliders in theTone Curve panel have exactly the same effect on your photo as the Tone Brightness andContrast sliders in the Basic panel. In fact, when you move either the Brightness or Contrastslider in the Tone Curve panel, those same two sliders are moving in the Basic panel as well, sothere's no reason to do both.

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Page 115: Adobe lightroom ebook for digital photography

Converting to Black and White, and Split Toning

Since Lightroom is an application just for photographers, you knew it had to have a great way toconvert color images to black and white. Luckily, not only does Lightroom have a powerfulconversion tool, it takes things one step further with its built-in split toning. This lets you addsubtle tints to your black-and-white highlights and shadows to give your converted photos evenmore depth. Here's how they both work.

Step One

If you don't want to mess with anything, and get a pretty darn good conversion to black andwhite, move your cursor over to the Presets Browser panel on the left side of the Develop module.Then, just hover your cursor over Grayscale Conversion (which is graphic designer speak forBlack-and-White Conversion. I have no idea why, in a program for photographers, they don't justcall it Black-and-White Conversion, but... well...don't get me started). In a few seconds, you'll seea preview (the thumbnail just above the Presets Browser panel) of how your converted photo willlook.

©SCOTT KELBY

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Step Two

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The reason this preset conversion usually looks good is because (and this will only make sense ifyou're a fairly advanced Photoshop user) it creates a conversion that's similar to using theLightness channel of a color image in Lab mode (see, I told you you'd need to be advanced inPhotoshop to get that). If you're not, just understand that it does a good quality conversion foryou. To actually apply that conversion to your image, click on the Grayscale Conversion preset (asshown).

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Step Three

Even if you don't want to use this one-click Preset Browser method, I recommend that you do itat least once (how about now?), and then look over in the Grayscale Mixer panel, on the rightside of the Lightroom window. This is where you'd go to manually create a grayscale (black-and-white) conversion. When you click the Grayscale Conversion preset it moves the Grayscale Mixersliders into a position that would make a nice grayscale conversion (one similar to Photoshop'sLab conversion, which is very popular with photographers). If you want to tweak the imagefurther, just grab a Grayscale Mixer slider and start-a-tweakin'. So, now you know anothermethodthe one-click preset, and honestly, it ain't bad.

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Step Four

As you can see, turning on the Auto checkbox in the Grayscale Mixer panel gives you a differentconversion, which in some cases will look better, but again it's up to you to decide if you like itbetter or not. But here's the thing: with one click (clicking the Grayscale Conversion preset) youget a pretty good black-and-white conversion. Click once more (the Auto checkbox in theGrayscale Mixer) and you get a different version, so now you can choose between the two anddecide which you like best.

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Step Five

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To further fine-tune your black-and-white conversion, of course you can drag the Grayscale Mixersliders (to the right to make that color channel lighter, and to the left to make it darker), or usethe Exposure and Blacks sliders in the Basic panel. For a quick way to see your photo with somesubtle tone changes, scroll back up to the White Balance pop-up menu in the Basic panel and trydifferent white balance settings. Even though your image is now black and white, you can stilleffect subtle changes in tone by choosing different White Balance settings from the pop-up menu(as shown here).

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Step Six

There's one more control that can come in real handy for getting those nice high-contrast black-and-white conversions (after you've done all the other things I've just outlined). Go back to theBasic panel and increase the overall contrast by dragging the Contrast slider to the right. I know,that probably seems obvious (dragging the Contrast slider to add more contrast), but sometimesthe most obvious things get overlooked because we think to ourselves, "This must becomplicated." Take a look at our black-and-white conversion now, after I dragged the Contrastslider to the right (as shown here). So now you've got a number of different ways to convert toblack and white, or you can stack them one on top of another, trying one method, then addingthe next one, and then the next, etc.

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Step Seven

Now that you've got a black-and-white photo, you can add a split toning effect (if you like). Withsplit toning, you apply one tint to the highlight areas of your photo and a different tint to theshadows, and if done right (in other words, subtly), it can add some nice depth to your photos.You start by going to the Split Toning panel. If you drag the Highlights Hue slider to the right (asshown here), not a dang thing happens. That's because you also have to increase the Saturationamount (on the slider directly below Hue) or you don't see anything onscreen, because theSaturation slider is set to 0 (zero).

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Step Eight

Because you need two different sliders to make this work, you'll want to know about this trickthat makes the Hue slider work. If you press-and-hold the Option key while you drag the Hueslider, it temporarily shows you the tint color as if the Saturation amount was set to 100%. Now,I have to tell you, this makes everything look too colorful (as shown here), and the key to thiseffect is subtlety, but it beats the heck out of guessing, or having to use two sliders to see onetint.

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Step Nine

Once you find your tint, here's what you have to do next: release the Option key and your photoreturns to a regular black-and-white photo, but your Hue slider is in the right position. Now youjust slowly drag the Saturation slider to the right to bring in the tint in the highlights. Again, thisshould be subtle (notice the subtle blue tint in the photo shown here).

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Step Ten

Since you used the Hue slider in the Highlights section, you've just affected the highlights in yourimage, and split toning is about two tintsone in the highlights and one in the shadows, so nowyou're going to do the same thing in the Shadows section of the Split Toning panel. Press-and-hold the Option key and drag the Shadows Hue slider to choose the tint you want for your shadowareas (in this case, I chose kind of a sepia tone). Again, your color will look too intense (as shownhere), but don't forget, this is just because it's simulating what the hue would look like if thesaturation was set at 100%.

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Step Eleven

Release the Option key and, again, your photo returns to black and white, but your Hue slider isset at the tint you wanted. Now slowly drag the Saturation slider to the right to bring the tint intothe shadow areas (as shown here).

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Tip

If you're not going to be using the Presets Browser panel on the left side of Lightroom'sinterface, then you might as well tuck it out of sight, which gives you a much largerPreview area for your photo (especially when the photo is in landscape orientation). Justclick anywhere along the far-left edge of Lightroom's interface and that panel and itsoptions will be tucked away. To bring it back, just move your cursor back over thatarea.

Step Twelve

Now, in our example, we used blue for the highlights and a sepia tone for the shadows, but youcan just as easily switch the two and apply blue to the shadows (as shown here) by dragging theShadows Hue slider to the blue area of the slider and dragging the Highlights Hue slider to thesepia tone color. Other popular split toning combinations are to use cyan in the highlights andblue in the shadows; yellow in the highlights and green in the shadows; or red in the highlightsand yellow in the shadows. It's worth trying at least a few of these combinations to find out whichwork best with your photo.

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Page 124: Adobe lightroom ebook for digital photography

Adjusting Individual Colors Using HSL Color Tuning

Since Lightroom doesn't have selection tools (like Adobe Photoshop has), how do you tweak orchange just one individual color? You do it using the HSL Color Tuning panel, which lets youadjust individual colors within your image. This is great for removing obvious color casts, repairingskin tone problems, or just changing the color of an object within your photo. Don't let all thesliders throw you offthis is easy stuff.

Step One

We'll start with one of the most useful things about HSL Color Tuning, and that's the ability to fixphotos where the skin tone is too red. In the shot shown here, the model is oversaturated withred, so in the Develop module scroll down to the HSL Color Tuning panel on the right. There arethree sets of sliders: the Hue sliders let you adjust the hue range of each individual color, theSaturation sliders let you control how vivid the color is, and the Luminance sliders control theoverall lightness of each color.

©ISTOCKPHOTO

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Step Two

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Since what we want to do is lower the intensity of the red in the photo, just go to the Saturationsliders, and drag the Reds slider a little bit to the left. Moving just this one slider lowers thesaturation of just the reds, and instantly gives her a more natural skin tone. If you had too muchyellow in a photo, you'd do this same thinggo straight to the Saturation sliders and drag theYellows slider to the left. If a photo with a blue sky needs to be bluer, go to the Blues (and Cyans)Saturation slider and drag it to the right.

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Step Three

Another area where HSL Color Tuning comes in handy is changing the color of individual objects.This is especially helpful because Lightroom doesn't have a set of selection tools (like Photoshopdoes). For example, let's say you want to change the color of the stripes on the blanket the babyis lying on. By the way, that's not just a baby, that's SuperBaby 2.0my little daughter, KiraNicole, and that's her big brother Jordan watching over her just after her birth. Now, back to ourstory. So, we want to change the color of the cyan stripes on the blanket without disturbing therest of the color in the image. This is when you'd use the Hue sliders in the HSL Color Tuningpanel.

©SCOTT KELBY

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Step Four

Since the blanket is light blue (almost cyan), to change the hue of the cyan in the photo, you'd gounder the Hue sliders and drag the Cyans slider either to the left (toward green) or to the right(toward blue). Look at the color bar that appears within each slider and you'll see which coloryou'll get when you drag the slider. If you want the stripes to look more purple, just look at theBlues Hue slider. If you drag the Blues slider to the right (as shown here), now the Blues in thestripes turn purple. It's easy if you remember to look at the photo for the color you want toadjust, then look at the color bars in the Hue section. The Luminance sliders control the lightnessof each color, so if you want a color darker or lighter, this is the place to go (again, look at thecolor gradient on the sliders for clues).

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Page 128: Adobe lightroom ebook for digital photography

Sharpening and Reducing Noise

Although the controls for sharpening your image and reducing noise are not as powerful as theones in Photoshop CS2 (like the Unsharp Mask filter and CS2's Noise Reduction filter), they're atleast as powerful (and have pretty much the same functionality) as those in Photoshop CS2'sCamera Raw plug-in.

Step One

Sharpening is applied in the Develop module's Detail panel. So, on the right side of the Lightroomwindow, scroll down to the Detail panel, and you'll see a Sharpen slider (as shown here). In theexample shown here, the slider is set to 0 (zero, the default setting), with no sharpening applied.To add sharpening to your image, just drag the slider to the right.

©SCOTT KELBY

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Step Two

In the example shown here, I dragged the slider all the way to the right so you could easily seethe effects of sharpening. Now, if at some point you're going to take your image into Photoshopfor further editing, I'd recommend applying the sharpening in Photoshop instead of here inLightroom, for two reasons: (1) Photoshop offers better sharpening with more control, and (2)

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sharpening should be added as the last thing you do to the photo before you save it. So, if you'refor sure going to Photoshop at some point, personally I'd skip the sharpening here.

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Step Three

Another downside of sharpening in general is that if your photo has any noise in it (thoseannoying red, green, and blue spots that sometimes appear in shots taken either in low light, witha high ISO setting, or with a really cheap digital camera), adding sharpening makes that noisestand out even more. That's why you'll be glad there's a De-noise slider. It's in the Detail panel aswell. Here it's set at 0, so the noise in this image is very visible in the roof, in the white areaabove the doors, on the doorsheck, it's visible everywhere.

©SCOTT KELBY

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Step Four

To lessen the noise, just drag the De-noise slider to the right (as shown here) until the noise is nolonger visible. You can see that the red, green, and blue spots are nearly gone just by draggingthe slider to the right. If the noise in your photo seems to mostly be in just shadow areas (or it'shigh ISO noise), then instead of using the De-noise slider, leave that set at zero and try theSmooth slider instead (it's right above the De-noise slider). However, be careful not to overdo theSmooth filter, because it can tend to make your entire photo look soft if you apply too much. So,it's okay to use Smooth (in fact, sometimes it works best), just keep an eye on the rest of yourphoto when you do.

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Page 132: Adobe lightroom ebook for digital photography

Fixing Problems Caused by the Camera

Believe it or not, there are two whole panels just for this. The first panel does two things: (1) ithelps you deal with problems caused by some digital camera lenses (the cheaper the lens, themore likely you're going to encounter problems), and (2) it helps hide any color fringe thatappears on edges within your photo (called chromatic aberrations). The second panel helps youaddress any miscalibration in your camera (some cameras produce photos that always have ablue or cyan tint, some always have a red tint, etc.).

Step One

First, we'll look at reducing color fringe using the Lens Corrections panel (shown here). Colorfringe usually appears as a color lineusually red, green, or blue that sometimes appears along theedges of objects.

©DAVE MOSER

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Step Two

If you zoom in tight on the bike rider's arm, you can see there is a line of red fringe along therider's left arm (as shown here). Finding out the color of the fringe is the first step in reducing the

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fringe (we'll need to know this for our next step).

Step Three

Once you've identified which color the fringe is (red, in this case), find that color in the ReduceFringe section of the Lens Corrections panel (if the fringe is red or cyan, you'll use the top slider;if the fringe is blue or yellow, you'll use the next slider down), and then you'll drag away from thatcolor (as shown here, where we're dragging to the right, away from the Red side and toward theCyan side). That's how easy it is to reduce color fringe.

Step Four

Here's what the arm looks like (zoomed in tight again), and as you can see, we've been able toreduce the red fringe quite a bit. Now on to the other most common lens problemvignetting.

Tip

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Another way to get finer control of the sliders in the Develop module panels is to makethe panels widerthen the sliders are longer and the controls are not as broad when youdrag them. Just click directly on the three dots that appear to the immediate left of thepanels and drag to the left to drag the panels out wider. Now try the sliders and you'llsee what I mean.

Step Five

Edge vignetting is where the corners of your photo look darkened or shadowed (as shown here)and what the Lens Vignetting adjustment in Lightroom does is basically lighten those corner areasso the vignetting isn't noticeable. The reason there are two controls is so you can control theamount of correction and adjust how far in toward the center of your photo the corners will bebrightened.

©ISTOCKPHOTO/VASCO MIOKOVIC

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Step Six

To remove the edge vignetting, scroll down to the Lens Corrections panel, and simply drag theAmount slider to the right until the corner vignetting disappears (as shown here).

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Step Seven

Although the Lens Vignetting controls are used for removing lens vignetting, they can also beused for adding a darkened edges effect, which makes it look like a soft spotlight has been aimedat the center of your photo. For years, I've been adding this effect to my photos manually inPhotoshop, but once Adobe included the Camera Raw plug-in with Photoshop (with its built-inVignetting controls), I started using it there instead. Now, you've got the same control inLightroom. To darken the edges, just drag the Lens Vignetting Amount slider (shown here) to theleft. The farther to the left you drag, the darker the edge areas of your photo will appear.

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Step Eight

As I mentioned earlier, the Midpoint slider determines how far in toward the center of the photoyour darkening extends, so if you drag the Midpoint slider to the left (as shown here) it enhancesthe spotlight effect by putting the focus on the center of your photo.

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Cropping and Straightening

You should be happy that Lightroom now has the ability to crop and straighten photos, becausewhen it first came out (Beta 1), it didn't have either. We would all just sit around and say stufflike, "I love this program, but I can't believe you can't crop a photo." I guess Adobe heard ourplaintive wails because in Beta 2 they added cropping, and although it's an entirely different wayof cropping than in Photoshop, you might find that you like it even better. Hey, I said, "you mightfind," so it gives me a pretty big out if you don't like it.

Step One

To crop your photo, click on the Crop icon (circled here in red) and two things happen: (1) acropping border appears around your photo, and (2) the Crop & Straighten panel appears in thelist of panels on the right side of Lightroom. (Well, it doesn't "appear." It basically scrolls downthere in a jiffy.)

©SCOTT KELBY

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Step Two

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To crop your photo, just grab one of the corners (or the sides, or anywhere on that border forthat matter) and drag inward. As you drag, you'll notice that a grid appears dividing your croppedarea into thirds, giving you a "rule of thirds" overlay as you drag (how sweet is that?!). If youpress-and-hold the Shift key while you drag, the cropping border will stay proportional. If youdon't press-and-hold the Shift key, it's a freeform crop, and you can move any side, top, orbottom without disturbing the other sides.

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Step Three

Once you let go of the borders, you can reposition your photo within the cropping border bymoving your cursor inside the border (as shown here), and just clicking-and-dragging the photoaround right where you want it.

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Step Four

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You also have the option of using preset crop sizes by choosing them from the Crop & Straightenpanel's pop-up menu (as shown here). When you choose one of these presets, your croppingborder resizes to fit your choice, and the area that falls inside that border will be the size youchose (so, for example, here we chose 4x6, so the area inside the cropping border will be exactly4x6"). If you choose Enter Custom from this pop-up menu, it brings up a dialog where you cantype in the cropping aspect ratio you'd like.

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Step Five

If at any time you want to cancel your cropping, just press the Reset button in the Crop &Straighten panel (as shown here).

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Step Six

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If you need to straighten your photo, you do that in a similar way. You can do it while you'recropping by just moving your cursor outside the cropping border, and you'll notice it turns into acurved, two-headed arrow. Just click, hold, and rotate. A grid will appear over your cropping areato help you with visually straightening your photo. You can also just drag the Straighten SettingsAngle slider in the Crop & Straighten panel (as shown here). No matter which method youchoose, as you rotate the photo, Lightroom automatically adjusts the size of the photo, so thatwhen you're done straightening there are no white gaps in the corners (like there would be if youdid this in Photoshop. Very helpful).

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Step Seven

Once you're done with your cropping and straightening, you can just move on with your work,and from now on, only the cropped and straightened view of your photo will appear. For example,when you return to the Library module, you can see that the thumbnail (top center) now displaysjust your cropped and straightened version.

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Step Eight

Now, because of the non-destructive nature of Lightroom, this crop can always be removed, andyour original photo brought back unscathed by going back to the Develop module, scrolling downto the Crop & Straighten panel, and clicking the Reset button to the right of the Show CropOverlay checkbox. If you just want to change your crop (rather than remove it), then turn on theShow Crop Overlay checkbox, and your cropping border returns over your photo for easy editing.

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Step Nine

Once your cropping edits have been made, just turn off the Show Crop Overlay checkbox (asshown) and the newly cropped version now appears, and you can then return to working asnormal, all with the peace of mind of knowing that this cropping is not destructive and can beundone at anytime (in Lightroom).

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Overcoming Color Problems Inherent in Some Cameras

Some cameras (okay, a lot of cameras) put their own color signature on your photos. Somecameras produce every shot with a slight red color bias, some have a slight cyan color bias, somehave a different color balance, and if your camera does any of these, you can compensate for thatin Lightroom's Camera Calibration panel.

Step One

There are two parts to the Camera Calibration panel (shown here). The first (topmost) slidercontrols any tint in the shadow areas of your image, and this may be enough to calibrate theimage for your camera if your tint problems appear in just the shadow areas. If your problemsappear in other areas, then you'll have to go on to the next set of calibration sliders.

©SCOTT KELBY

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Step Two

There are three sets of sliders (for the Red, Green, and Blue Primaries). The top slider in eachcolor controls the hue, and the slider below each controls the amount of saturation. In thisexample, the camera gives each photo a bit of a cyan cast, so in the close-up of the CameraCalibration panel shown here, we're dragging the Blue Primary Hue slider away from cyan, and to

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reduce the overall saturation of cyan, we're dragging the Blue Primary Saturation slider to the leftjust a little bit. At this point in the Beta development cycle of Lightroom, you can't save thesesettings for your particular camera and apply them with one click, but it appears as though that'sAdobe's intent in a future release.

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Creating Your Own Presets

Lightroom comes with a handful of presets. The real power of presets, though, is not just to usethe ones Adobe included in Lightroom, but to create and apply your own custom presets, so youcan correct your photos, your way, with just one click. It may sound complicated, but it's mucheasier than you'd think.

Step One

First, just for example purposes, let's create a one-click preset that makes a split-toned black-and-white conversion. So, click on a photo, turn on the Grayscale Mixer checkbox, turn on theAuto checkbox, then go to the Split Toning panel, make the highlights a yellow hue, and increasethe Saturation a bit. Then for the shadows, set the Hue to blue, and increase the Saturation (asshown here). Then increase the Contrast quite a bit in the Basic panel. Basically, just tweak thesettings until you have something you like.

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Step Two

To save these exact settings as a preset, click the Add Preset button on the lower-left side ofLightroom's interface (below the Presets Browser). A dialog will pop up where you get to

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determine which of Lightroom's Develop module settings will be copied into this preset (and youget to name your preset here as well). In the example shown here, I only left checked the areasthat I adjusted, and I recommend that you do the same so you always get just the results yousee onscreen, and not any other settings you didn't want applied.

Step Three

When you click OK in the Save Named Settings dialog, it adds your newly created preset to thePresets Browser (as shown here, where our new preset appears at the bottom of the list).

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Step Four

Now let's put our preset to work. First, open another image that you want to apply this sameeffect to. In the example shown here, once I opened the photo I wanted, I needed to do a quicktone correction, so I first clicked on the Lightroom Defaults preset that appears in the PresetsBrowser. It's fine to choose a preset first, because if you apply one preset, adding another preseton top of it doesn't erase what you did previously, so the split toning preset I'm about to applywill be added on top of the tone correction preset I just applied here.

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Step Five

Now click on the split toning preset you created a few steps back (it appears in the PresetsBrowser, as shown here). It immediately applies the grayscale conversion, the added contrast,and split toning effect, just as you had created earlierall with just that one click. That's what is sogreat about creating your own custom presets.

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Step Six

Another nice thing about creating your own presets is that you now have access to them while

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you're in the Library module in the Quick Develop panel. Just click on the Preset pop-up menu anda list of all your presets appear, including the one you just created (as shown here). Nice.

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Jumping from Lightroom to Photoshop and Back

While Lightroom is great for organizing your photos and processing RAW images, it's notPhotoshopit doesn't do special effects, or photo retouching, or one of the bazillion (yes, bazillion)things that Adobe Photoshop CS2 does. So, there will be numerous times where you'll want totake your photo and jump directly over to Photoshop to do some retouching, and then jump rightback to Lightroom. Luckily, the two applications were born to work together.

Step One

To edit the photo you're currently working on in Photoshop, just go under the Photo menu (ineither the Develop module or the Library module) and choose Edit in Adobe Photoshop CS2 (asshown here). This will bring up a dialog (shown in the next step) that asks how you want to editthe photo.

©SCOTT KELBY

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Step Two

The first two choices, Edit Original and Edit a Copy, ignore any of the changes you've made thusfar in Lightroom (these two choices are not available if your photo is in RAW or DNG format). If

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you pick the third choice, Edit a Copy with Lightroom Adjustments (as shown), then it creates acopy of your photo (so you're not editing the original), but that copy does contain any edits youmade to the photo in Lightroom. So, if you adjusted the white balance, or shadows, or exposure,all those changes will be applied to the copy that will open in Photoshop.

Step Three

When you click the Edit button, it launches Adobe Photoshop CS2 and opens your photo withinPhotoshop. Now you can make your edits (in this case, I applied a quadtone effect to my photo inPhotoshop CS2 to add depth and make it look warmer overall). When you're done editing inPhotoshop, close the file and save your changes (that's important). Now, when you return toLightroom and look in the Library, you'll see you now have two versions of your photothe original(shown in the second row down, on the far left), and the edited version with the quadtone effectapplied in Photoshop (circled in red here). Notice that the edited version has the word "Edit"added after its name.

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Step Four

If you want to quickly compare the original with your version just edited in Photoshop, click on theoriginal, press-and-hold the Command key and then click on the edited version. Then click on theCompare button on the bottom-left side of the Lightroom Library module, and both photos willappear for your review (as shown here).

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Note: The only reason we have two copies of our file is because we chose to work on a copy in theEdit Photo dialog that appears in Step Two. If you have a JPEG or TIFF file and choose to work onthe original, then you're doing just that working on the original in Photoshop. So when you returnto Lightroom, you've edited that one original photo.

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Chapter 6. Slideshow Sharing YourPhotos Onscreen

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It's kind of funny that in this digital day and age, we still use the term "slide show," even thoughtraditional slides are nearly as outdated as records. For example, my 9-year-old son has neverseen a record album. For him, music has always come from either CDs or iPods. Although I havemany photographic slides, my son has never seen a real slide show using real conventional colorslides. But it's not just him. I speak at conferences and tradeshows, and if I walked into the roomwhere I was scheduled to speak and asked the class moderator where the slide projector was,he'd look at me like I was from Mars. Yet, Adobe Lightroom still uses this term. So, today, in thisvery book I'm suggesting that not only should we, in the photography industry, use a differentterm for what was previously called a slide show, but I actually want to propose the new term. Ihave crafted a new word that I feel better represents the experience of viewing photographicimages onscreen, and thus I'm quite certain this term will be quickly and unilaterally embraced bythe worldwide photographic community. It's "flobotnor" (flow·bot·nore). So, once it's officiallyadopted (any day now, I'm sure), you'll see future releases of Lightroom where the Slideshowmodule will have been renamed the Flobotnor module. Of course, you'll have the satisfaction ofknowing that not only were you there when it all happenedyou helped shape modern history.These are amazing times, my friend. Amazing times, indeed.

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Getting Photos Into Your Slide Show

Well, the first step is figuring out which photos you want to include in your slide show, and easyways to add photos to it, and delete photos from it. Lightroom gives you lots of different options,so we'll start here and build on it as we move through this chapter.

Step One

There are a number of different ways to get the photos you want into a slide show. You start inthe Library module by going to the Grid view and Command-clicking on the photos you want inyour slide show (you can also Command-click on the thumbnails right in the filmstrip at thebottom of Lightroom's window). Once the photos you want are selected (as shown here), pressCommand-3 or click on the Slideshow module in the upper right-hand corner of the Lightroomwindow (as shown).

©SCOTT KELBY

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Step Two

Once you switch over to the Slideshow module, the photos you selected now appear in SlideshowGrid view. These are the photos that will appear in your slide show. If you look at the filmstrip atthe bottom of the window, you'll see all the photos in the collection or shoot you chose your

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photos from. A thin white line appears around the photos that you selected to be in your slideshow.

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Step Three

To remove a photo from your slide show (in this case, the flowers), just Command-click on itwithin the filmstrip and it's removed from the Grid view (but that photo will still appear in yourfilmstrip, just in case you need it again).

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Step Four

To add a photo from the filmstrip to your slide show (in this case, the boats), just Command-clickon its thumbnail and it's added to the Grid (as shown here).

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Customizing the Look of Your Slides

The defaults are okay, but after you create a slide show or two with them, you're going to besaying stuff like, "I wish I could change the background color" or "I wish I could add some text atthe bottom" or "I wish my slide show looked better." (Note: You're not saying you wish yourphotos looked betteryou wish your slide show looked better.) Well, this is where you start tocreate your own custom look for your slides, so it looks just the way you want it, every time.

Step One

Once the photos you want in your slide show are in place, now it's time to focus on the look ofyour slide show. Lightroom comes with several pre-designed templates, and you can apply any ofthem by just clicking on them in the Template Browser on the left side of the Lightroom window(as shown here, where I've clicked on the Default template, which puts your photos over a graybackground with a thin white border and a hard drop shadow, and makes your Identity Plateappear in the upper-left corner. More on this later).

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Step Two

If you move your cursor over each template name in the Template Browser, you'll see a preview(up in the preview window above the Template Browser) of how a slide in your slide show will lookif you use that particular template. Besides the Grid view, there's also a Slide view so you can seeyour slide layouts up close. To switch to Slide view, either double-click on a slide, or click the Slidebutton (shown circled here). Once in Slide view, click on the EXIF Metadata template to put yourphoto on a black background with your photo's metadata printed below it.

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Step Three

If you decide that you'd prefer to create your own custom look for your slides, rather than usingAdobe's templates, then you might as well tuck the Template Browser out of sight so you have alarger work area. To do that, just click once on the far-left side of Lightroom's window (as shown)and the panel will tuck itself away. Look how much larger your work area is now, and all theessential adjustment panels are still on the far-right side of the window. Now, let's get tocustomizing your look.

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Step Four

To create your own custom look, you can use the current template as a starting place (if youlike), or you can switch to a different template and use that (if you move your cursor to the leftside of the screen, your Template Browser will pop back out). For our example here, we'll just usethat EXIF Metadata template as a starting place to customize our slide show. First, let's look atsizing your photos on the slide (basically, determining how large your photos will appear). You dothis by clicking-and-dragging on the margin grid lines that appear around your photo. If you click-and-drag inward, it shrinks your photo (as shown here).

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Step Five

You can move the margins by dragging them, or you can use the Margins sliders in the SlideLayout Tools panel (shown here). As you can see, the margins are all set at exactly the sameamount201 pixels. That's because by default they're linked together (see the checkbox at the endof each Margins slider? They're all checked, so your margins move as one unitif you click-and-drag one margin, they all move in unison. Same thing with the slidersmove the Left Margins sliderand all the other Margins sliders move as well).

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Step Six

Now, what if you want to change just one margin's size while leaving the other marginsunchanged? Then just turn off the Link checkbox beside the margin you want to adjust. Forexample, if you want to create more room below your photo (so you can create a gallery printeffect), turn off the checkbox beside the Top slider (as shown here), then within the Slide viewarea, click on the top margin grid line and drag it straight upward. As you can see, this gives youa smaller margin at the top of the slide, and the photo increases in size until it hits the side andbottom margins. Remember, as the margins get smaller, the photo gets larger (and vice versa).By the way, anytime you want to hide those margin grid lines, just press Command-Shift-H.

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Step Seven

Now, there's still that EXIF data under the photo. Before you delete all that text (you'd just clickon it, then press the Delete key on your keyboard), you'll want to know how to edit that text, incase on a different project you actually do want that info to appear on the slide. First, click on theblock of text you want to edit (as shown here). When you do this, the controls that appear belowthe slide become active. These controls let you decide which text is visible and where it winds upon your slide.

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Step Eight

On the bottom-right side of the Slide view area are some controls for the placement of your text.For example, if you want your text to appear on the edge of your slide, it's a two-click process:(1) click directly on the words Edge of the Slide, then (2) pick a black dot in the nine-dot grid tothe right of your placement choices. You use these dots to choose on which edge your textappears. By default, your text appears on the edge of the slide in the same grid position it was into begin with (that's why the lower right-hand corner dot was filled in). If, instead, you wantedthat text to appear on the upper left-hand corner of the slide, you'd click the upper-left grid dot.

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Step Nine

Now let's change the position of the text. In the Placement controls, click on Outside the Image soit appears just outside the edge of your photo, then click the right-center dot (on the dot grid) soyour text appears centered on the right side of your image. If you need to rotate your text, thenyou'll use the Rotate Left and Rotate Right buttons to the right of the dot grid (shown circledhere). By default, the Auto Rotate checkbox is turned on. While your text is highlighted, click theEdit button at the bottom left of the Slide view window. This brings up the Edit Text Adornmentdialog where you can change the font, font style (bold, italic, etc.), and point size using the popupmenus in the center of the dialog. To change the color of your type, click on the button to theimmediate right of the Point Size pop-up menu.

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Step Ten

Okay, so now that you know how to work with type on your slide, let's get rid of those blocks oftype. Click on either one and then press the Delete key on your keyboard. Now click on the otherblock, and delete it as well. You'll also need to click on the rating stars (if your image had any) inthe upper-left corner of the photo and delete them. Now there should be no text visiblejust yourphoto, with a thin white stroke around it, on a black background, with no visible text (and, ofcourse, the margin guides are still visible).

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Step Eleven

Let's hide the margin guides from view (press Command-Shift-H), so now you see just your photoon a black background. However, the reason your photo has that thin white border around it isbecause that feature was included in the EXIF Metadata template we originally started with (youcan see the white border in the previous step). To turn off this thin white border, go to the ImageSettings panel on the right side of the window and turn off the checkbox beside Stroke PhotoBorder (as shown circled in red here).

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Step Twelve

While we're up there in the Image Settings panel, turning off the Stroke Photo Border checkbox,

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take a look at the checkbox right above it called Zoom and Crop Photos to Fit Grid Cells. Here'swhat this very handy checkbox does: First, go back two steps and look at how the photo doesn'tfill the margins on the sides. Although the photo touches the top and bottom, there's an emptygap on the left and right sides. Turn this check-box on, and your photo will increase in size(zoom) until there are absolutely no gaps whatsoever, as shown here (make the margin guidesvisible by pressing Command-Shift-H, then turn on the Zoom and Crop checkbox, and you'll seewhat I mean). The little lines that appear above the top and bottom margins when you click onthe image show the area of your photo that extends beyond the margins, but is hidden from view.

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Customizing the Background

I don't want to say the background is as important as the photo, but it's important enough that ifyou don't use one that complements the photo, it can pretty much wreck your slide show. Luckily,Lightroom gives you lots of control over how the Backdrop (that's what Lightroom calls it) behindyour photos looks. Unfortunately, it doesn't come with a built-in "good taste" button, but if youstick with classic backgrounds (like black, white, or gray), you can have your Backdrop supportand complement your photos, instead of competing with them.

Step One

The background on our slide is black (because we started customizing a slide by using the EXIFMetadata template as our starting place). But you can change that to any color you'd like (like anice gray perhaps) by going to the Backdrop Settings panel and clicking on the black color swatchto the right of the Set Backdrop Color checkbox (as shown here). This brings up the Colors panelwhere you can choose which color you'd like (for a light gray, just drag the slider up above thecenter, as shown here). Now hide the margin guides to see how things look.

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Step Two

Another built-in background choice found in the Backdrop Settings panel is the Color Wash. Whenyou turn on the Apply Color Wash checkbox (as shown here), it applies a diagonal gradient asyour background. Luckily, you have lots of control over how that gradient is applied, as well asthe color of the gradient (as you'll see in the next step).

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Step Three

The colors that appear in this gradient come from two places: (1) the first color comes from thecurrent color chosen as your Backdrop color in the Backdrop Settings panel (look at the first smallcolor swatch), and (2) the color set as your Color Wash color (which by default is set to a darkgray). So when you first apply this Color Wash, you get a gradient that goes from a light gray to adark gray. If you want to change the light gray color to say...red, then click on the tiny colorswatch next to the Set Backdrop Color checkbox, choose a red from the Colors panel, then closethe panel by clicking on the round red button in the top-left corner. As you can see, this red-to-gray color gradient looks really awful. Luckily, it's not permanent.

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Step Four

To change the gray part of the gradient, click on the gray color swatch to the right of the ApplyColor Wash checkbox and when the Colors panel appears, pick a more suitable color to go with

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red. I picked white here, but what this really tells us is that red to white makes a pretty stinkybackground gradient. You'll certainly want to pick two colors that don't get in the way of yourphotography (which is why the gray gradients work so well). You can also change the angle of thegradient by using either the Angle slider or the Angle wheel (they're tied together, so it doesn'tmatter which one you choose). Here I moved the angle so the white is on the left, and itgraduates over to the red. Yecch!

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Step Five

Besides the solid color Backdrop and the Color Wash, you can also add an image as thebackground for your slides by turning on the Apply Image to Backdrop checkbox (circled in redhere). For example, I imported two wedding photos into Lightroom: a photo of the bride andgroom, and a close-up photo of a rose that I want to use as a Backdrop image. You can see themboth in the filmstrip at the bottom of the Slideshow window.

©STOCKPHOTO/SANDRA O'CLAIRE AND ROB SYLVAN

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Step Six

Now all you do is click-and-drag the rose photo from the filmstrip and drop it on the graybackground that's currently surrounding the photo (as shown here), and that photo becomes theBackdrop. My only problem with what you see here (besides the total cliché cheesiness) is thatthe background photo tends to overwhelm the subject. It should be a background element notcompeting with the foreground, but luckily there are two ways to have it take a step back fromthe front of the stage.

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Step Seven

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The first is to lower the Opacity setting of the Backdrop image using the slider at the bottom ofthe Backdrop Settings panel (as shown here, where I lowered it to 30%). This kind of fades theBackdrop photo a bit, and lets the main image stand out more. But there's another method I likeeven better, and that's to create a backscreened effect (as shown in the next step).

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Step Eight

To create the backscreen effect, click on the Set Backdrop Color swatch, and when the Colorspanel appears, choose white, and then close the panel. Use the Opacity slider (at the bottom ofthe Backdrop Settings panel) to lower the opacity of the Backdrop image to 50%. You can seehow much different this looks, as opposed to just lowering the opacity of the Backdrop imageitself. A third option is to use the Color Wash, and lower the opacity of it, so your tinted Backdropimage graduates from one color to the other (it looks better than it sounds. Unless you pick redand white, of course). Now let's look at adding and editing a drop shadow behind your photo.

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Adding and Editing Drop Shadows

Lightroom has the ability to add soft drop shadows behind your photos with just one click.However, what if you don't like the direction your shadow is casting? Or what if you think theshadow is too soft (or not soft enough), or it's not close enough to the photo (or it needs to befurther away), or it's too dark (or too light)? Do you see where I'm going with this? That's right,although you add the shadow with one click, you're surely going to want to mess with it onceyou've added it. Here's how.

Step One

As long as your photos don't take up the whole slide, you'll be able to add a shadow behind yourphoto that casts onto your Backdrop. You do this by turning on the Cast a Shadow Behind Imagescheckbox (as shown here) in the Image Settings panel. There are four controls. Opacitydetermines how dark your shadow looksthe lower the number the lighter (and more transparent)your shadow will appear. Offset determines how far away the shadow will appear from the photo.The Radius slider controls how soft the shadow will be (the higher the number, the softer theshadow), and Angle determines where the light source is coming from, which determines whichdirection the shadow falls.

Step Two

The default shadow is fairly hard-edged, fairly dark, and appears quite close to the photo itself (asshown here). By the way, as a rule of thumb, the closer the shadow appears to the photo, thecloser the photo is to the background. So if you move the shadow farther away, it makes thephoto appear as though it is farther above the background.

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Step Three

Generally, I like drop shadows to be softer and a little further away. I also lower the opacity quitea bit because I like the shadow to be so subtle that you barely notice it's there. In fact, if theperson doesn't actually notice the shadow, I like it best. I feel like it should create a subtle depth,and not really be part of the composition. But hey, that's just me. So, if you feel like I do (andPeter Frampton does), then increase the Radius (to make the shadow softer), increase the Offset(to move it farther away), and lower the Opacity (to make it lighter), as shown here.

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Step Four

Another look you might try is to turn off the white stroke around the photo (as shown here) byturning off the Stroke Photo Border checkbox that appears above the Shadow controls. Thismakes your shadow stand out a little more while still maintaining a decent degree of subtlety.

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Adding Text to Your Slides

Adding text to your slides isn't hard, but I have to say I've never run across an application thathandles text the way Lightroom does. It's not hard, but it's not real obvious either, so this tutorialwill certainly come in handy when it's time to add some type.

Step One

Adding text to your photos is easy, it just takes a minute or two to understand how Lightroomhandles text. Once you get that, it's fairly easy. The first thing we'll look at is how to add yourIdentity Plate text to your photo ( remember we talked about this briefly in Chapter 2, where weshowed you how to customize the program by replacing the words "Adobe Lightroom" with yourname or the name of your studio?). To have your Identity Plate added to your slides, go to theOverlay Options panel and turn on the Show Identity Plate checkbox. You'll see the text that'sentered in your Identity Plate appear in the top-left corner of your slide (as shown here), usingthe default Identity Plate font, Zapfino.

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Step Two

If you're wondering how to change what appears on your Identity Plate, just go under theLightroom menu and choose Identity Plate Setup to bring up the dialog you see here. Highlightyour name in the name field (as shown here). Then you can choose a different font or change fontsizes by clicking on the Font Panel button (as shown), which brings up the Font panel with a list ofyour installed fonts.

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Step Three

Another way to quickly edit the text and font that appears in your Identity Plate is to click on thepop-up menu that appears immediately to the right of the Show Identity Plate checkbox in theOverlay Options panel. Choose Edit from the pop-up menu that appears. This brings up theIdentity Plate Editor dialog where you can edit your text or access the Font panel. Another thingyou can do in the Overlay Options is control the Opacity and Scale (size) of your Identity Platetext. In the example shown here, I lowered the opacity to 44% to make the text lighter, and thenscaled the text down in size using the Scale slider (as shown here). I also clicked-and-dragged theIdentity Plate text itself and I moved it above the top-left corner of my photo.

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Step Four

If you don't want to use the whole Identity Plate thing, and you just want to add regular text,then turn the Show Identity Plate checkbox off, and instead click on the Add Text button thatappears on the left side of the Slide view window under your slide (as shown here).

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Step Five

This brings up the Add Text Adornment dialog (shown here). You just type in the text you want toappear on your slide in the field at the top, and you get a preview of how your text will look at thebottom of the dialog. You can choose your font, style, font size, and color here as well. Now, onefeature that isn't in Lightroom is the ability to add spacing (positive tracking) between letters, so Ipulled a fast one hereI just typed the first letter, hit the Spacebar two times, then typed thesecond letter, hit the Spacebar two times, and so on. So, the letters appear to have positivetracking (extra space) between them.

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Step Six

There are also some things here to help you automate at least part of the process. For example, ifyou wanted to add the year after your text, just click-and-drag the light blue Date (YYYY) tokenup after your text and it automatically adds the year the photo was taken (as shown here). Theonly problem is, it adds it directly next to your last typed letter, so there's no space between thedate and your text. But there's a way around that.

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Step Seven

Just click your cursor between the last letter you typed and the Date token, and then press theSpacebar. In this case, because I manually added so much space between the letters, I pressedthe Spacebar four times to add more space.

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Step Eight

If you wanted to add the month and year, you would just drag another Date (YYYY) token up tothe text field at the top, but drag it so it appears before the year token. By default, all datetokens are year tokens, but if you click on the downward facing arrow that appears on the rightside of the token, a menu pops up and you can choose Date (Month), as shown here. So, now itwill add the month and year after your type. Again, you'll need to click your cursor and add someextra space between your Date (Month) and Date (YYYY) tokens. I also added a large dashbetween my text and the date, with four spaces on either side. When the text looks the way youwant it, click the Create button.

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Step Nine

By the way, before I clicked the Create button, I clicked on both of the Date tokens and hit theDelete key on my keyboard. I didn't actually want them on my slides, but I wanted you to knowhow they work. See, I care. Once your text appears, you can click-and-drag it where you want itto appear or you can use the Placement controls at the bottom right of the Slide view. To use thePlacement controls, under Placement, click on Outside the Image to put your text outside thephoto, but inside the slide area. Then click on the bottom-center dot (in the nine-dot grid to theright) so the text will appear centered under your photo.

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Step Ten

So, what's the advantage of doing it this way, using the Placement controls, rather than justdragging it where you want it? Well, if you use the Placement controls, and then you wind upresizing your image (by dragging the margin guides), your text automatically moves right alongwith your photo. Here I clicked-and-dragged out the margins, making the photo larger, and thetext moved down right along with it. You may prefer the freewheeling drag-it-where-you-want-itstyle, but at least you know there is another option, and why it exists. By the way, to get theclean, uncluttered look you see here, I turned off the drop shadow and the border stroke, so it'sjust the photo on the Color Wash backdrop.

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Step Eleven

So you can see how easy it is to change your setup, let's tweak this layout. First, go to theBackdrop Settings panel, turn off the Apply Color Wash checkbox, and change your Backdropcolor to white. Now, your text is white against a white background, and you can't see it. So clickwhere your text was (centered under the photo) and the text controls will become active. Click onthe Edit button to get the Edit Text Adornment dialog. Click on the color swatch (to the right ofthe Font Size pop-up menu) and choose black from the Colors panel. Press Change to finalizeyour edits. Then, click-and-drag your text down just a bit, so it's no longer using the Placementcontrols.

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Step Twelve

Grab any margin guide and drag inward, shrinking your image and leaving more room on thebottom. Now you can drag your text down further. Then, go to the Slide Layout Tools panel, turnoff the Top Link checkbox, and click-and-drag the top margin up to create a gallery print effect. Inthe Image Settings panel, turn on the Zoom and Crop Photos to Fill Grid Cells checkbox, so yourphoto completely fills the margins. Then turn on the Stroke Photo Border checkbox, but changethe stroke color to black by clicking on the color swatch to the right. Lastly, in Overlay Options,turn on the Show Ratings checkbox, and any star ratings you assigned (in the Library module),will now appear in the upper left-hand corner of your photo. You control the stars' size using theScale slider, and change the color by clicking on the color swatch to the right.

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Saving Your Custom Layout as a Template

Now that you've taken all this time to create your own custom look, you want to make sure youdon't have to jump through all these hoops the next time you want the same look. The solution?Save this "look" as a template. Then, the next time you want this custom look for your slideshow, you're just one simple click away.

Step One

First, go and make the Template Browser visible again by clicking on the thin black border on thefar-left side of the Lightroom window. Click on the Grid button (as shown here) and you'll see thatthe custom layout you created earlier has automatically been applied to all the other photos inyour slide show. Now, let's save this layout as a template so we can apply it later to othercollections of photos.

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Step Two

Click on the Add Template button at the bottom-right corner of the Template Browser. This adds anew line to the Template Browser list, and the text field is already highlighted for youall you haveto do is type in a name (as shown here). That's ityou created a template. Now, let's put it to use.

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Step Three

Go back to the Library module and choose a different set of photos (in this case, I chose twophotos that we added a split toning effect to earlier in the book). Now switch to the Slideshowmodule and click on the Default template in the Template Browser (as shown here), which addsthe default slide layout.

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Step Four

To apply your new custom template to these photos is now a one-click processjust click on yournamed template (as shown here). Remember what we went through to create this whole thing?Now you're applying it with just one click. Life is good. Again, you get an instant preview (up inthe preview window above the Template Browser) of how any of these templates would look onyour photos by just hovering your cursor over the templates in the list. Sweet.

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Playing Your Slide Show

Okay, you've spent all this time customizing your slide show so it looks just the way you want ittonow it's time to see what it actually will look like. Luckily you can choose from seeing either asmall preview, or you can have the whole full-blown, full-screen slide show play right on yourscreen. Here's what you need to know to take the final stepplaying your slide show.

Step One

First, I have some wonderful news: although you can't just drag-and-drop photos into the orderyou want them when you're in the Library module's Grid view, you actually can do that here inthe Slideshow module. So let's start therein the Slideshow Grid view, click-and-drag the photosinto the order you want them to appear in your slide show.

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Step Two

If you scroll down to the bottom of the Slideshow panels, you'll find the Playback Settings panel(shown here). This is where you set how long each slide will appear onscreen (using the topslider) and how long the dissolve transition between slides will last (using the bottom slider). Ifyou don't care which order your slides are displayed in, you can turn on the Randomize Slidescheckbox.

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Step Three

If you want to add music to your slide show (and believe me, you do), then in the PlaybackSettings panel turn on the Play Music checkbox, and click-and-hold on the down-facing arrow tothe right of the checkbox. What appears is a pop-up menu of the playlists in your installation ofApple's iTunes software, where you can choose which playlist you'd like to play during your slideshow. By the way, if you don't have Apple's iTunes software (which means you don't have aniPod, which means you may well be the only person left on earth without an iPod, which is justsad), then you can go and download it (free) from Apple.com.

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Tip

Unfortunately, you can only choose playlists of songs, not individual songs, to add toyour slide show. So if you want just one song to play, create a playlist in iTunes withjust that one song.

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Step Four

To see a preview of how your slide show will look, click the Preview button that appears below thepanels on the right side of the Lightroom window (as shown here). The preview appears in thecenter, where the Grid used to be. (Note: If you want a larger preview of your slide show, justhide the Template Browser before you click the Preview button.) To quit Preview and return toSlide view, press the Esc key on your keyboard. If you have added music to your slide show,clicking the Preview button will launch iTunes.

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Step Five

Directly under the Preview button is a set of controls for moving through your slide show, andthey're pretty much like any standard video controls. You've got (from L to R) a Rewind to theBeginning button, a Rewind button, a Play (full screen)/Escape button, a Pause/Play button, and aFast Forward button.

Step Six

Here's the larger preview layout with the Template Browser panel hidden. Okay, so you've chosenthe photos, applied your template, watched a preview of your slide show, tweaked any other

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things that needed tweakingnow it's time to see your slide show in its full-screen glory. To dothat, just click the center Play button (on the right side of the window, as shown here).

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Step Seven

When you click that Play button, your slide show appears full-screen (as shown here) and movesautomatically through the rest of the slides based on the settings you chose in the PlaybackSettings panel. You can also use the keyboard shortcut Command-Return to start the full-screenslide show. To pause a running slide show, press the Spacebar, and to resume, press theSpacebar again. To exit the full-screen slide show and return to the Slideshow module at anytime, press the Esc key on your keyboard (go ahead and hit Esc now to exit your slide show).

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Step Eight

Let's finish up by doing a quick variation on the slide show we've created. Go back to theBackdrop Settings panel and change the Backdrop color to black. Then scroll back up to theImage Settings panel and change your Stroke color to a medium gray. Next, click directly on yourtext to select it and then click the Edit button. In the Edit Text Adornment dialog, click on thecolor swatch and choose white for your text color. Now, make the Template Browser panel visibleand click the Add Template button, then name this template "Gallery Print Black," and pressReturn. Now, run your slide show using this new modified look. See how easy it is to change thelook of your slide show? And better yet, we've saved this new look as a template so we can applyit in the future with just one click.

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Exporting Your Slide Show to the Web

Well, this really should be called "exporting your slide show to a webpage or to a PDF foremailing" but I couldn't fit all that. The reason exporting is important is because without it youcan only show slide shows from within Lightroom. That's great if the person you want to showyour slide show to is sitting right beside you, but what if it's a client across town or across thecountry? Ahhh. See, you knew you'd need this one day. Luckily, Lightroom does all the hardwork. In fact, it actually builds the HTML webpage for you. Sweet!

Step One

To export your slide show to another format (so you can show your slide show outside ofLightroom), click on the Export button (as shown here), which appears below the panels on theright side of Lightroom's window.

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Step Two

This brings up the Export dialog, shown here. The Choose button (up top) lets you choose whereyour slide show will be saved (I chose my Desktop so I could find it easily). When you export, allyour files wind up in a folder, and the next field down lets you choose the name of the folder thatLightroom creates for you. So, go ahead and type in what you'd like that folder to be named (asshown here).

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Step Three

The next section down is for people who manage their own websites manually, and want totransfer (via FTP) this new Web-based slide show directly to their Web server. If you're askingyourself, "What's an FTP server?" or "Why would I want to do an FTP transfer?" then you can skipright over this part of the dialog, and move on to the next step.

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Step Four

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The section at the bottom of the Export dialog is pretty important because this is where youchoose which kind of Web-based slide show you're going to create. The Slideshow Format pop-upmenu is where you make that choice. The default choice is HTML, which creates a standardwebpage using the standard Web formatting, or you can choose PDF or Flash. You get to choose aQuality setting for your images, and if you want your slide show to be an exact size, then go tothe Size section (bottom left of the dialog), turn on the Constrain Size checkbox, then type in thesize (in pixels) you want for your slide show. There's also a Render Slides with Adornmentscheckbox that lets you choose whether or not you want text added in the slide show to appear onyour slides. If you click OK at this point, Lightroom will create a folder on your Desktop with allthe necessary files to make a webpage. If you want to see a preview of your finished webpage,double-click on the file in that folder named index.html and it will launch your Web browser andopen that page (shown here). The finished page doesn't have dissolve transitions (you'll need tochoose Flash from the Slideshow Format pop-up menu for that).

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Step Five

If you choose PDF as your Slideshow Format, the Quality and Size sections are still there, but inthe Settings section (on the right) you have some new controls: one for Full Screen, if you wantyour PDF to go full screen while playing, and another to determine the duration of the slide show.If you click OK at this point, Slideshow saves a PDF to your Desktop, ready to be emailed (youjust attach it to your email like any other photo) or uploaded to a website where people candownload it. Note: The slide show only works if the person you're sending the PDF to opens it inAdobe's Acrobat Readerit won't play as a slide show with transitions in Apple's Previewapplication, even though it reads PDF files.

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Step Six

Here's one of the benefits of Adobe's acquisition of Macromediathe ability to save your slide showin Flash format for the Web. From the Slideshow Format pop-up menu choose Flash, and in theSettings section on the lower right of the dialog a number of new settings appear. There are threefields that let you type in information that you want to appear on your Flash-based webpage. TheDraft Mode checkbox uses the preview files to make your slide show, rather than the full high-resimages, so it's much faster. The same duration slider that was there for the PDF export is here forthe Flash slide show as well. If exporting to a Flash-based website is what you're looking for, thenjust click the OK button (as shown here).

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Step Seven

When you click OK, Lightroom gathers everything together for you and puts it neatly in yournamed folder. Here's a look inside that folder (the one I saved to my Desktop) and inside it you'llsee a file named index.html. That's your web-page. Although you'll need to upload the entirecontents of this folder to the Web, if you just want a preview of the final page (before you uploadit), double-click on the index.html file and it will open in your Web browser.

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Step Eight

Here's a look at the final Flash-based webpage. You can see the title you entered in the Exportdialog now appears at the top of the page. Visitors to your page can click on individual thumbnailsto see the image, or they can press the Play button to see the Flash-based slide show. There'seven a button (in the bottom-right corner of the page) for viewing the slide show in Full Screenmode.

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Chapter 7. Print Printing Your Photos

It could be argued that this is the single most important module of all Lightroom's modules,because it's all about "the print." Everything we do is, ultimately, to produce a final printed image.In fact, one of my friends, the award-winning nature photographer Vincent Versace, has a sayinghe's quite fond of: "We are in service of the print." He must be right, because he's a brilliantphotographer, and one heck of a Photoshop instructor, too. However, Vincent himself will be thefirst one to tell you he's a better chef than he is a photographer. Now, if you've seen any ofVincent's photography (some of his original prints go for upwards of $5,000 a pop), you knowhe's got to be one hell of a cook. Vincent has invited me over to his house for dinner on numerousoccasions, but I've never gone. You know why? Because I'm afraid Vincent will slip hallucinogenicdrugs into my food. Why do I think that? It's because I think Vincent slips hallucinogenic drugs

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into his own food. Always. So, it only stands to reason that if he's cooking dinner, I'm going towind up singing "Purple Haze" while staring intently at a ball of yarn. Maybe that's why everybodyloves Vincent's cooking so much. By the time the main course comes around, they're all hoppedup on crank and everything tastes yummy. Of course, I could be wrong. But if you get a chanceto hear Vincent speak at a conference, see if you don't subscribe to my "don't eat the browniestheory" afterwards. However, I think Vincent's statement that "We are in service of the print" hassome merit. Not that I really understand it, but I've noticed it really starts to sound good after afew appetizers.

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Printing Essentials

Ahhh, finally we get to move from just viewing our photos onscreen to actually printing them out.Luckily, Lightroom has about the best printing setup of any program I've ever seen. We're goingto start with using one of the built-in printing templates. I'm generally not a big fan of the defaulttemplates that ship with any program, but Adobe broke the mold a bit with the templates in thePrint module and provided some very useful templatesat the very least, ones that can be easilytweaked to fit your needs. So, we'll start here.

Step One

Printing is done in the Print module, so press Command-4 to switch to the Print module. You don'teven have to have a photo selected to enter the Print module, and the reason isyou've got thatnice filmstrip across the bottom, so you can choose which photos you want to print right fromthere. Start by clicking on the Maximize Size template in the Template Browser (as shown), thenclick on a photo in the filmstrip, and that photo now appears as large as possible on the page tobe printed.

©ISTOCKPHOTO/ANDRZEJ BURAK

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Step Two

If you want to print more than one photo, press-and-hold the Command key and, in the filmstrip,click on any other photos you want printed (as shown here). As you click on other photos,Lightroom automatically adds pages for you (the number of pages you're printing appears directlybelow your current photo, so it shows that you're looking at the first page of six to be printed). Ifyou press Command-A (Select All), then it would automatically add as many pages as necessary.To remove a photo from your print selection, Command-click on it in the filmstrip.

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Step Three

This is more of a timesaving shortcut than a step, but you know that number of pages appearingunder your main photo? Well if you have just a small number of photos set up for printing (like wedo here), you can view those pages by using the left and right arrows on either side of the pagenumbers. However, when you've got a lot of photos, you can jump forward or backward muchfaster by placing your cursor right over the first number (your cursor will change into a text I-beam cursor) and then click, hold, and drag to the left or right to quickly jump through the pagenumbers. It makes getting to photo page number 42 much, much faster. Now, back to our storyalready in progress.

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Step Four

Remember when we chose the Maximize Size template? Well, what that template does is it triesto print your photo as large as possible, and to do that it had to turn your photo sideways, so itprints wide, rather than trying to fit on a tall page. So how did it know to do that? Because theoption Rotate Photos to Best Fit Cells was turned on. If, instead, you wanted to print your widephoto on a tall page (like the one shown here), you'd go up to the Image Settings panel (topright) and turn off the Rotate Photos to Best Fit Cells checkbox (as shown heremore on thisfeature later when we get into contact sheets). All right, so far we learned how to print one ormore photos, and how to change the photo's orientation on the page. Now, it's resizing time.

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Step Five

Before we head straight into the sizing issue, I do want to mention that by default there are twoonscreen rulers that appear on the left side and bottom of your photo (as shown here). Thedefault unit of measure is inches, although the bottom side of the ruler is always in centimeters (Ihave no idea why). If you want to change the top measurement, go to the Page Layout Toolspanel, and next to the Show Rulers checkbox, you'll see the word "Inches." Click-and-hold on thatword and a pop-up menu of units of measurement appears (as shown here)just choose yourdesired unit from this menu.

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Step Six

By the way, if you find those rulers distracting, you can turn them off (as I have here) by turningoff the Show Rulers checkbox in the Page Layout Tools panel. Now, first off, how do we determinehow large a print we're going to print? That is actually done not in Lightroom, but in the PageSetup dialog for your printer. Conveniently, Adobe added a Page Setup button (shown circledhere) at the bottom of the Panels area on the right side of the window, so click that now and wecan set up the size of the paper we want to print on.

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Step Seven

Once you click that button, the Page Setup dialog will pop down from the top of Lightroom'swindow. From the Settings pop-up menu at the top of the dialog, choose Page Attributes. In theFormat For pop-up menu, choose your printer (in the dialog shown here, I picked my personalprinter, the Epson Stylus Photo R2400, which I think is the best pro-quality 13x19" printer outthere). The Paper Size pop-up menu is where you ultimately choose which size paper you'll beprinting to, so go ahead and choose that from the menu (here I chose to print 8x10" borderlessprints). Also, for orientation, choose Portrait (the first icon from the left) because you can autorotate your photos to print correctly in Lightroom.

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Step Eight

Now click OK, and you're set (you can turn the Rulers on for just a second or two to confirm that,yes indeed, you are printing 8x10s, but that's only necessary if you're fairly paranoid). Now let'sget to sizingchoosing how large our photos will appear on our 8x10" prints. There are two ways todo this: The first is to go to the Page Layout Tools panel and use the Margins sliders. As youchange the margins, the size of the photo changes to accommodate the new margins. In thisinstance, I dragged the Top Margins slider to the right a little bit (increasing the top margin) andthe top margin moved down. I then dragged the Bottom Margins slider further to the right andyou can see how the photo resized (which created lots of space below the photo).

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Step Nine

As you move these Margins sliders, the photos resize live onscreen, so you can always see exactlywhere, and how large, your photo will be. Here I increased the left and right margins (by draggingtheir sliders to the right), and you can see how it repositioned the image on the page.

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Step Ten

Okay, are you ready for a "Gotcha!"? If you drag all of the Margins sliders back to 0 (all the wayto the left) your photo doesn't always jump back up to size. Why? I have no idea, but it justdoesn't sometimes. So if you decide you want to start over, you may really need to start overgoback over to the Template Browser and click on the Maximize Size template (as shown here).Now your photo is back up to filling as much of your 8x10 as it can. Well, technically, you could fillmore of that 8x10, right? Because there are white margins on each side of the image. If youreally wanted to fill every square inch, then you could turn on the Zoom and Crop Photos to FillGrid Cells checkbox at the top of the Image Settings panel.

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Step Eleven

When you turn on the Zoom and Crop Photos to Fill Grid Cells checkbox (as shown here),Lightroom zooms in until the photo fills as much of the cell area as possible (in this case, thewhole page because you chose the Maximize Size template). Now, once your photo is zoomed inlike that, if you move your cursor over the image, your cursor turns into a Grabber Hand (asshown circled here). This lets you click-and-drag to move your image around within the borders ofyour page (or cell), so you can position it (basically cropping it) just the way you want it. So nowthat you see how Zoom and Crop works, turn that checkbox off for now.

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Step Twelve

The second method of sizing and setting your margins is to just click-and-drag the margins rightwhere you want them. Now, we started with the Maximize Size template and our margins are atthe very edge of the page so, for example, if you had a printer that required a 1/4" margin at thetop, you'd move your cursor to the very top of the page, and you'd see it change into a bar withtwo arrows. Just click-and-drag downward and the margin line will appear, and your photo willshrink to accommodate this new height restriction. As you drag, the exact position of this topmargin appears in inches (shown circled here) so you can easily see how far you're draggingdown. That's pretty darn slick.

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Step Thirteen

Here, to add more space at the bottom, grab the bottom margin (which is at the very bottomedge of the page) and drag upward (as shown here). Again, you'll see a measurement as to howfar you're dragging up appear right above the margin line as you drag. As you can see here, thephoto resizes accordingly.

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Step Fourteen

Are you ready for another "Gotcha!"? Okay, so you're dragging the bottom margin upward, thephoto is scaling down in size as you drag, and all of a sudden the photo flips over on its side (asshown here). Why is it doing that? It's because the Rotate Photos to Best Fit Cells feature isturned on, and when you dragged upward far enough that the photo would actually be larger ifprinted sideways, Lightroom automatically flipped it. Depending on how you look at this, this iseither utterly brilliant or incredibly annoying. Either way, it's easy to changejust turn off theRotate Photos to Best Fit Cells checkbox in the Image Settings panel (go ahead and turn that offnow, so we can increase the margins and shrink the photo's size a bit more).

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Step Fifteen

Now grab the side margins (remember to click-and-drag from the edges) and drag them inwarduntil there's a nice open area below your photo (as shown here).

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Step Sixteen

Now that we have that big open area, we can add some text there. In the Panels area on theright, scroll down to the Overlay Options panel, and turn on the Print Identity Plate checkbox. Thismakes your Identity Plate text visible, as shown here (if you can't see your text, try dragging theScale slider to the right, as shown here, to make your text bigger. Also, if your text appears inwhite, choose Edit from the pop-up menu that appears to the right of the Print Identity Platecheckbox. Then highlight your text, click on the Font Panel button to bring up the Font panel, clickon the color swatch at the top left, and choose black as your text color).

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Step Seventeen

Click-and-drag your Identity Plate text down so it appears under your photo in the open area ofspace (as shown here). Now, so we can get a good clean look at our photo layout before we printit, go ahead and hide the page margins by turning off the Show Guides checkbox in the PageLayout Tools panel (as shown here).

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Step Eighteen

Now remember, although we're setting up this one photo for printing, this layout you just createdis also applied to any other photos you have selected. So, go ahead and press Command-A toselect all your photos in the filmstrip, then click the right-facing arrow below the center Previewarea (as shown here) to move through your group of photos to be printed. As you can see, theyeach have your custom layout.

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Step Nineteen

Click to move on to another photo, and let's tweak things a little while we're here. One thing I liketo do with the Identity Plate is to lower the Opacity setting to around 40% (as shown here in theOverlay Options panel), so the text looks gray and doesn't draw as much attention or compete asmuch with the photo. Another option you might like (depending on the photo and thebackground) is to have Lightroom automatically add a thin border around your photo. To do that,turn on the Print Other Options checkbox (in the Overlay Options panel) and then turn on theBorder checkbox below that (as shown here). If you want the photo's name, caption, date, orEXIF data also printed on the photo, turn on the Print Photo Information checkbox, also in theOverlay Options panel, and turn on the checkboxes below it for the data you want to print.

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Step Twenty

Now that we've gone through all this trouble to create a custom layout for our printing, let's saveit as a template so the next time we want this exact same layout, it's just one click away. Belowthe Template Browser on the left side of the window, click the Add Template button (as shownhere), which adds a template to the list with the text field already highlightedjust type in thename you want. Now, we're ready to print (well, once we tweak a few settings, anyway).

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Step Twenty-One

Before we actually hit the Print button, there's a couple of controls you'll want to adjust in thePrint Job Settings panel. First, there's the Print Resolution setting. The default resolution is 240dpi, but you can raise or lower that amount by clicking directly on the number and dragging yourmouse to the left or right (240 dpi is fine for printing an 8x10 to a color inkjet printer). In theColor Management section, for Profile, ideally you'd want to load a profile of the exact paperyou're going to be printing on (download these from the paper manufacturer's web-site). Ifyou've downloaded the printing profiles from the Web (they're free), click-and-hold where it saysManaged by Printer and a pop-up menu will appear. Choose Other from this menu.

Step Twenty-Two

A Printing Profile dialog will pop down from the top of Lightroom's window. Click on the pop-upmenu in this dialog and a list of your installed printing profiles will appear. I'm printing to anEpson Stylus Photo R2400, and I'm printing on Epson's Premium Luster paper, so I downloadedand installed Epson's free profiles (the installation only took a double-clickit does the rest foryou). Now the SPR2400 PremiumLuster profile appears in my profile list (as shown here). Bychoosing this, you're letting Lightroom manage your color, instead of your printer (which is whatyou want). If you want the best results from your printing, you'll definitely want to download,install, and use these profiles.

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Step Twenty-Three

For the Rendering Intent, if you're printing to a color inkjet printer (and I imagine that you are), Irecommend choosing Perceptual from the pop-up menu (as shown here) because it seems to givethe most consistent color.

Step Twenty-Four

We're going to skip Draft Mode printing for now (we'll talk about that in the Contact Sheetsection), but we can discuss Print Sharpening. This is a modified Unsharp Mask that you can add ifyou feel your images need additional sharpening. The Low setting (the default) works pretty wellfor images 8x10" or smaller, but if you're printing larger images, you'll probably need to use

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Medium (for 13x19") or High (for 16x20" or larger). You choose these by turning on the EnablePrint Sharpening checkbox, and then clicking directly on the word Low and a pop-up menuappears (as shown here). Okay, we're almost done. Click the Print button that appears under thePrint Job Settings panel.

Step Twenty-Five

When the Print dialog appears, choose your printer from the Printer pop-up menu at the top ofthe dialog (here I've chosen my Epson R2400 again).

[View full size image]

Step Twenty-Six

From the third pop-up menu down, choose Print Settings (shown circled here) to make theprinting options visible. (The choices on this menu may vary depending on your printer, so if youdon't have Print Settings, look for the menu or menus that will allow you to make the followingchoices.) For Media Type, choose the exact paper you're going to be printing on (if you don't see

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your paper here, you probably haven't gone to Epson's, or your paper manufacturer's, websiteand downloaded the profile for your paper). For Mode, choose Advanced, and for Print Qualitychoose the highest quality your printer will allow. Don't click the Print button quite yetthere's onemore dialog to go.

[View full size image]

Step Twenty-Seven

Again, from the third pop-up menu down, choose Color Management, and then turn your printer'scolor management off (as shown here). This is critically important, because you've chosen tohave Lightroom manage your color. If you let Lightroom manage it one way, and then also letyour printer manage it another, there's almost no chance that what you see onscreen and whatcomes out of the printer will match. The key to color management is consistency, so you'll needto turn your printer's color management off, as shown here.

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Step Twenty-Eight

Now you can click the Print button, and as long as you started out with a calibrated monitor, andyou followed the steps shown here (including downloading and installing the proper profiles), thenwhat you see in print will match what you saw onscreen, and life is good.

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Printing Contact Sheets (or More Than One Photo onOne Page)

I really can't explain why, but to this day getting multiple photos on one page has always been astruggle. I mean, we can send men to the moon, but...(don't get me started). Anyway, the goodnews isLightroom has changed all that, and I doubt there's a program on the planet that does abetter job of creating contact sheets than it. Finally, printing multiple photos (or the same photomultiple times) is done right. This is a great day in the land of digital photography, so please joinme in raising a glass to those valiant engineers who made the undoable, doable.

Step One

To get a feel for how this all works, in the filmstrip select a number of different photos, and thenclick on the Maximize Size template so your photo takes up the entire page. With this one-photo-per-page setup, even though you have a number of photos selected to print you only see the firstphoto to be printed (as shown here).

©ISTOCKPHOTO

[View full size image]

Step Two

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If you want to print more than one photo per page, you can set that up in the Page Layout Toolspanel, shown here. You get to choose how many rows and how many columns you want printedon your page (using the Page Grid sliders); you get to determine the space between them (usingthe Cell Spacing sliders); and you get to determine how close to the edges of your page thesephotos get (using the Margins sliders).

Step Three

Let's start by adding two photos to the same page. Go to the Page Layout Tools panel and in thePage Grid section, click-and-drag the Rows slider to the right until you see two photos appearonscreen (Lightroom updates live as you move the slider, which really makes this process veryeasy). Here you can see the results of dragging the Rows slider to the right just a little bityouhave two rows of photos, each in its own adjustable cell. Now, as you can see, although there's alittle white margin on the sides of the two photos, in the middle they're touching. You may be finewith them touching, but you might also want some room between them.

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Step Four

Now, it's helpful if you start thinking about your two photos as if they were in individual cells (kindof like cells in a spreadsheet) because that's how Lightroom treats them. For example, to addsome space between your two photos you'd need to increase the spacing between the two cells.You do that (get ready for a shocker) using the Cell Spacing sliders. In this case, you need toincrease the Vertical spacing, so click-and-drag the Vertical Cell Spacing slider to the right just alittle bit (as shown here). As you drag it, you'll see the spacing increase live, so you can see justhow much you want. By the way, we started this project with four photos, each on its own page.Now, you've got only two pages, with two photos on eachall the pages update automatically asyou add rows and columns, and change the spacing.

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Step Five

So, now you have space between your photos, but if you look back at Step Four, you can see thatthe photos still touch the top and bottom of the page. If you want to put a little margin in there,you'd move the Margins sliders, so grab the Bottom Margins slider and drag it a little bit to theright (as shown here) and drag the Top Margins slider to the right the same amount. Of course, ifyou don't feel like dragging sliders, you can just drag the margins themselves, right on the page(as shown earlier in the book).

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Step Six

Now, let's put four photos on the same page. Just slide the Page Grid Rows slider over until yousee four photos. Now, notice that we're down to just one page. We started with four photosselected one on each pagethen we added a row, which gave us two photos on two pages, andnow all four photos are on one page, so there's only one page to print. Let's look at some optionsfor what we can do with our multi-photo page.

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Step Seven

If you scroll up to the Image Settings panel and turn on the checkbox for Zoom and Crop Photosto Fill Grid Cells, it zooms in on your photos so they fill as much of the cells as possible (as shownhere). When this option is turned on, you can reposition your photos within each cell by justmoving your cursor over the photo, then clicking-and-dragging it around within the cell until it'scropped the way you want it. Now, let's turn that feature off again (in other words, uncheck thecheckbox).

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Step Eight

If you want the same photo to appear multiple times on the same page, then you'll want to go tothe Image Settings panel and turn on the checkbox for Repeat One Photo Every Cell Per Page (asshown here). That gives you the look you see here. Now, you might be wondering to yourself,"Why in the world would I want to do that?" Well, with this photo of a flower you might not wantto, but if it was a portrait of your daughter, and you wanted to quickly create some wallet-sizephotos and print them all on one page, it would make perfect sense. Okay, now you can turn offthat checkbox, too.

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Step Nine

Go back to the Page Layout Tools panel and drag the Page Grid Rows slider back to 2, so you onlyhave two rows again. Of course, besides adding vertical rows, you can also add columns (so youhave rows of photos side-by-side). To do this, in the Page Grid section, drag the Columns sliderover to the right until a second column appears (as shown here). So, you're still displaying fourphotos per page, but now you've got two columns.

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Step Ten

Now let's add some more rows, so we can add more photos on the same page. Drag the Rowsslider until you have four rows again, giving you the layout you see here (four rows in two neatcolumns). The reason I was able to add more rows and have them automatically fill up withphotos is because when you weren't looking, I went to the filmstrip and selected more photos,until I had 15 selected in all. So, if you don't have at least 15 photos selected, go ahead and do so(by the way, if you don't have 15 photos handy, you're just not shootin' enough).

[View full size image]

Step Eleven

If you want to turn this multi-photo page into a contact sheet, then there's another option you'llwant to use. Scroll down to the Overlay Options panel and turn on the checkbox for Print PhotoInformation, then directly under that turn on the checkboxes for Name (to have it print the nameof the photo under each image) and Dates (if you also want the date the photo was takenincluded). In the example shown here, both the file's name and date are displayed under eachphoto.

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Step Twelve

If you're just going for the artistic effect, then you might want to turn off the Print PhotoInformation checkbox, and instead turn on the Print Other Options check-box, then turn on theBorder checkbox below it, which puts a thin black border around all your photos (as shown here).You may also want to scroll back up to the Page Layout Tools panel and turn off the Show Guidescheckbox so you can see an uncluttered view of your multi-photo layout (shown here). Okay, onto more contact sheet stuff.

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Step Thirteen

If you're going to be creating contact sheets, you should consider using the contact sheettemplates Adobe included with Lightroom, at least as a starting place until you create your own.Start by clicking on the 4x5 Contact Sheet template (as shown here). By the way, that doesn'tgive you 4x5" photos. It creates a grid that is four columns wide by five rows deep (as shownhere).

©ISTOCKPHOTO

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Step Fourteen

What's nice about using this 4x5 Contact Sheet template, besides the fact that it takes just oneclick to get to four columns by five rows with some decent cell spacing already in place, is the factthat it's set up to put the image names under the photos as well. It's just darn handy. My onlygripe is that the photos print right to the edges of the page (you can see that in the previousstep), so I usually wind up increasing the margins a bit (as shown here), so they're not rightsmack up against the edges. Once you've tweaked these margins a bit, I'd recommend clickingthe Add Template button (on the left side of the window, at the bottom of the Template Browser)and saving this setup as your own custom 4x5 contact sheet. That way, you won't have to tweakthe margins every time.

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Step Fifteen

There are some other nice printing templates here (they're not all contact sheets). Try the onecalled 4 Wide (as shown here) which gives you four nice wide rows, zoomed and cropped, andincludes your Identity Plate at the bottom (as shown here), ready to print. Also try the one calledFine Art Mat, which I particularly like for photos you plan on framing. Okay, just to show you howeasy it is to tweak a template, click back on your custom 4x5 contact sheet (the one you justsaved as a template in the previous step), then go to the Page Layout Tools panel and decreasethe number of columns to just three, so you get the layout shown in the next step.

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Step Sixteen

Okay, one last thing. Now we've got a nice contact sheet ready to print, but isn't it going to take along time to process and print 15 high-resolution photos (even if they are on one page)? Nopeinfact it's going to print so fast you'll be stunned, because you're going to scroll down to the PrintJob Settings panel, and at the bottom you're going to turn on the checkbox for Enable Draft ModePrinting (as shown here). Now, instead of rendering 15 high-res photos to create these smallcontact sheet thumbnails, Lightroom instead uses the lower resolution preview versions, whichdoes two things: (1) it makes your contact sheet print in a fraction of the time, and (2) thephotos still look absolutely crisp and clear, because you don't need any more resolution forimages this small.

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Inside Back CoverThe Adobe® Lightroom™ eBook for Digital Photographers

The best way to organize, correct, print, and show your digital images

Digital photography has made shooting photos more fun than ever, but the process of sorting,managing, editing, and printing those images had still been too time consuming, too complicated,and too much of a hassle. Then came Adobe Lightroom, the workflow application for professionalphotographers, and all that changed.

Award-winning, best-selling author Scott Kelby (Editor-in-Chief of Photoshop User magazine)shows you how to unlock the amazing power of Adobe Lightroom and really start using it like apro. This isn't just a book of theory and technical jargon, this is a step-by-step, project-basedbook that will teach you not only exactly how it's all done, but the precise order it should be donein (it makes a big difference in both your efficiency and in the final print).

This is the book that will show you, in plain English, how to put Lightroom to use today in youreveryday work. You'll learn:

How a few extra steps on import can save hours later on.

When it's okay to quick-edit photos, and when you need "the big guns."

Essential shortcuts to speed your work and make you even faster!

The easy way to process RAW photos, which controls you need to learn, and which ones youcan usually ignore.

How to quickly sort your images, get down to the "keepers" fast, and how to deal with therest.

How to manage your photo library so the photo you need is always just two clicks away.

How to create your own custom slide shows with your studio's branding.

How to create gallery prints, custom contact sheets, and your own custom templates towork faster and smarter than your competition.

Plus dozens of little tips, tricks, insights, and workarounds to give you a serious competitiveadvantage.

Page 239: Adobe lightroom ebook for digital photography

[View full size image]

If you're ready to start using Lightroom like a pro, there's no easier, faster, or more fun way thanwith the book you're holding right now. If you're one of those people who learn by doing, thenthis is definitely the book for you.

Page 240: Adobe lightroom ebook for digital photography

Scott Kelby is Editor-in-Chief of Photoshop User magazine, President of the National Association ofPhotoshop Professionals, Training Director for the Adobe Photoshop Seminar Tour, and one of theleading seminar instructors in the country today. Scott is author of the best-selling booksPhotoshop Classic Effects, Photoshop Down&Dirty Tricks, and The Photoshop CS2 Book for DigitalPhotographers. His easygoing, plain-English style of teaching makes learning Photoshop andLightroom fun. He trains thousands in his live seminars each year and knows firsthand whichtechniques are in hot demand, and now he shares them here in his latest book.

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

4 Wide template

4x5 Contact Sheet template

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

Activity Viewer

Add Text Adornment dialog

Adobe Lightroom

     Identity Plate feature

     importing photos into

     jumping to/from Photoshop

     locating photos in

     module navigation

     screen modes

Adobe Photoshop

     editing photos in

     jumping to/from Lightroom

Apple iTunes software

ascending order sort

Page 244: Adobe lightroom ebook for digital photography

Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

Backdrop Settings panel 2nd

backgrounds for slide shows

     color selection for 2nd

     images added to

backing up photos

Basic panel

     Blacks slider

     Brightness slider

     Contrast slider

     Exposure slider

     Saturation slider

     White Balance sliders

black-and-white conversions

     Quick Develop panel

     Tone Curve panel

Blacks slider

Brightness setting, Quick Develop

Brightness sliders

     Basic panel

     Tone Curve panel

Browse by Shoot panel

Browse Keywords panel 2nd

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

Camera Calibration panel

cameras

     fixing problems caused by 2nd

     importing photos from

Cell Spacing sliders

clipping warnings 2nd 3rd

collections

     adding photos 2nd

     creating

     deleting

     Quick

     removing photos 2nd

     renaming

Color Management 2nd

Color Wash

colors

     adjusting individual

     fringe reduction

     slide show background 2nd

Colors panel 2nd

Compare view

     applying ratings in

     entering from Grid view

Compression sliders 2nd 3rd

contact sheets

     setup process for

     templates used for

Contrast setting, Quick Develop

Contrast sliders

     Basic panel 2nd

     Tone Curve panel

controls

Copy Settings dialog

copyright information

Create Keyword dialog

Crop & Straighten panel

cropping photos

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

date settings 2nd

Date tokens

De-noise slider

descending order sort 2nd

Detail panel

Develop module 2nd

     Basic panel

     Camera Calibration panel

     Crop & Straighten panel

     Detail panel

     entering from Quick Develop panel

     grayscale conversions

     HSL Color Tuning panel

     Lens Corrections panel

     Photo menu

     preset creation

     Presets Browser panel 2nd

     Reset button

     Split Toning panel

     Tone Curve panel

Digital Negative (DNG) format

Dim mode

draft mode printing

drop shadows

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

edge vignetting

Edit photo dialog

Edit Text Adornment dialog 2nd 3rd

editing

     multiple images

     photos in Photoshop

     text in slide shows 2nd

Enable Draft Mode Printing checkbox

EXIF Metadata template 2nd 3rd

Export dialog

exporting slide shows

Exposure setting, Quick Develop

Exposure slider, Basic panel

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

File Handling pop-up menu

files

     copying to Library

     naming and renaming

filmstrip

Fine Art Mat template

Flash-based slide shows

folders, importing photos in

FTP Transfer dialog

full-screen slide show

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

Grayscale Conversion preset

grayscale conversions

     Quick Develop panel

     Tone Curve panel

Grayscale Mixer panel

Grid view

     applying ratings in

     Compare view from

     keyboard shortcut for

     Slideshow module and 2nd

     sorting photos in 2nd

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

hiding panels

Highlights clipping warning 2nd

Highlights Compression slider 2nd

Highlights Luminance slider

Highlights Range slider

Histogram

HSL Color Tuning panel

Hue sliders

     HSL Color Tuning panel

     Split Toning panel

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

Identity Plate

     adding to slide shows

     contact sheets with

     printing photos with

Image Settings panel

     Print module

     Slideshow module

images [See photos.]

Import Photos dialog 2nd 3rd

importing photos

     backup process

     file handling options

     folder options

     from memory cards

     keyword assignments

     locating imported photos

     Metadata options

     previewing images

     renaming options

     stopping import process

     stored on your computer

Info panel

iTunes software

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

keyboard shortcuts

     Grid view

     module navigation

keywords

     assigning 2nd

     creating

     searching

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

Lens Corrections panel

     Lens Vignetting sliders

     Reduce Fringe sliders

Lens Vignetting sliders

Library module

     collections in

     Compare view

     copying files to

     Grid view 2nd 3rd

     keywords used in

     locating photos in

     Loupe view 2nd

     Photo menu

     Quick Develop panel

     sorting photos in

Lightroom [See Adobe Lightroom.]

Lights Out mode

locating photos

Loupe view

     applying ratings in

     Compare view from

Luminance sliders

     HSL Color Tuning panel

     Tone Curve panel 2nd

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

Margins sliders 2nd 3rd

Maximize Size template 2nd

memory cards, importing photos from

Metadata pop-up menu

Midtones sliders

Minimum Rating slider

modules [See also specific modules.]

     navigating

multiple image editing

music in slide shows

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

nameplate

navigating modules

New Metadata Preset dialog

noise reduction

numbering photos

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

Opacity setting, Identity Plate

Overlay Options panel 2nd 3rd

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

Page Grid Rows slider 2nd

Page Layout Tools panel 2nd 3rd 4th

Page Setup dialog

panels

     expanding

     hiding

     minus and plus signs

     resizing

     viewing

panning photos

Paste Settings button

PDF slide shows

photos

     backing up

     cropping

     editing multiple

     importing

     numbering

     previewing

     printing

     rating

     renaming

     resizing

     rotating 2nd

     sharpening

     sorting

     straightening

Photoshop [See Adobe Photoshop.]

Playback Settings panel 2nd

playing slide shows

presets

     creating your own

     Crop & Straighten panel

     Grayscale Conversion

     Quick Develop panel 2nd

Presets Browser panel 2nd

previewing

     imported photos

     resizing images for

     slide shows

Print dialog

Print Identity Plate checkbox

Print Job Settings panel 2nd

Print module

     Image Settings panel 2nd

     Overlay Options panel 2nd 3rd

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     Page Layout Tools panel 2nd 3rd 4th

     Page Setup dialog

     Print Job Settings panel 2nd

Print Other Options checkbox

Print Photo Information checkbox

Print Resolution setting

Print Settings pop-up menu

printing

     contact sheets

     Identity Plate text 2nd

     multiple photos per page

     paper selection for 2nd

     printer selection for

     saving custom layouts for

     selecting photos for

     setting options for

     sharpening photos for

     sizing photos for

Printing Profile dialog

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

Quick Collections

     adding/removing photos

     assigning ratings to

     clearing out

     permanent collections from

Quick Develop panel 2nd

     Auto setting

     Brightness setting

     Contrast setting

     Develop module access

     editing multiple images

     Exposure setting

     grayscale conversion

     presets 2nd

     Reset button

     Saturation setting

     White Balance control

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Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

Randomize Slides checkbox

Range sliders

rating photos

Reduce Fringe sliders

renaming

     collections

     files

Rendering Intent options

Reset button

     Crop & Straighten panel 2nd

     Develop module

     Quick Develop panel

resizing [See sizing and resizing.]

Rotate Photos to Best Fit Cells feature

rotating

     photos 2nd

     text

Rows slider 2nd

rulers 2nd

Page 261: Adobe lightroom ebook for digital photography

Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

Saturation settings, Quick Develop

Saturation sliders

     Basic panel

     HSL Color Tuning panel

     Split Toning panel

screen display modes

scrubby sliders

Search panel

searching keywords

segmenting photos

Sepia Tone preset

shadows

     clipping warning 2nd

     drop

Shadows Compression slider

Shadows Luminance slider

Shadows Range slider

Sharpen slider

sharpening images 2nd

Show Crop Overlay checkbox

sizing and resizing

     panels

     photos 2nd

     thumbnails

Slide Layout Tools panel 2nd

slide shows

     backgrounds for 2nd

     controls used for

     customizing slides for

     date display in

     drop shadows in

     exporting

     Flash-based

     full-screen

     Identity Plate in

     music added to

     PDF format

     playing

     previewing

     Quick Collections

     removing photos from

     saving custom layouts

     selecting photos for

     templates for 2nd

     text used in 2nd

     Web-based

Page 262: Adobe lightroom ebook for digital photography

Slideshow Format pop-up menu

Slideshow module

     Backdrop Settings panel 2nd 3rd

     Image Settings panel

     Overlay Options panel

     Playback Settings panel 2nd

     Slide Layout Tools panel 2nd

     Slideshow Grid view 2nd

Smooth slider

sorting photos

     collections for

     Compare view

     Grid view 2nd

     keywords for

     Loupe view

     star ratings for

Split Toning panel

star ratings

Straighten Settings Angle slider

straightening photos

Stroke Photo Border checkbox

Synchronize button 2nd

Synchronize Settings dialog

Page 263: Adobe lightroom ebook for digital photography

Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

Temperature slider

Template Browser 2nd

templates

     contact sheet

     saving custom layouts as 2nd

     slide show

text

     adding

     deleting

     editing 2nd

     printing

     rotating

thumbnails, resizing

Tint slider

tinting photos

Tone Curve panel

     grayscale conversions

     Highlights sliders

     Midtones sliders

     Range sliders

     Shadows sliders

type [See text.]

Page 264: Adobe lightroom ebook for digital photography

Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

Versace, Vincent

view modes

Page 265: Adobe lightroom ebook for digital photography

Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

Web-based slide shows

White Balance controls

     Basic panel

     Quick Develop panel

White Balance tool

Page 266: Adobe lightroom ebook for digital photography

Index

[SYMBOL] [A] [B] [C] [D] [E] [F] [G] [H] [I] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [V] [W] [Z]

Zoom and Crop feature

zoom square