Other Customizations And Preferences For Your Workflow
Lesson 6 from: Combining Lightroom CC and Photoshop CC for a Seamless WorkflowJan Kabili
Other Customizations And Preferences For Your Workflow
Lesson 6 from: Combining Lightroom CC and Photoshop CC for a Seamless WorkflowJan Kabili
Lesson Info
6. Other Customizations And Preferences For Your Workflow
Lessons
Class Introduction
05:17 2How To Move Photos From Lightroom To Photoshop
14:07 3Add Text And Re-Edit In Photoshop And Lightroom
19:02 4Remove Content Using Photoshop Content Aware Tools
13:11 5Combine Images In A Composite In Photoshop
15:39 6Other Customizations And Preferences For Your Workflow
10:22Lesson Info
Other Customizations And Preferences For Your Workflow
Now. This time, this is the special case where we use edit original rather than edit a copy with light room adjustments. It just so happens that that's the only way to be able to access the layers when you get back to photo shop. So if you did edit a copy with light room adjustments, you remember that the photo would be flattened. This time we edit original, we click at it, the file opens and Photoshopped. And sure enough, there is my type player, and I can do whatever I want to it. I could if I double click the Big T. By the way, it's a shortcut for selecting that layer of text drag over the layer, and now I could change the color click in the color box for the type Tool Options bar. And here's another cool thing. If you move the color picker that opens out of the way, you can choose a color from inside your image by just clicking on it like dark gray, that kind of grayish blue or hear a light blue. That's kind of need her here. A green Let's do Do you like green? Yeah, I like the gra...
y. No, I like the Blue Sea. This is right. What do you guys did this to, like, the blue? I like the great. We'll go with Blue because it's different and then we'll click. OK, and of course you could change. You could say, you know, France instead of Paris. Whatever you want to change about the text, you could warp the text with the cool warp text thing. I like this thing. This is kind of fun. Whatever you want to dio. But we'll just go and will accept our changes we've made by clicking the check mark. Now, how do we get back to light room file? Save that is not nothing new there. Look at this files called Edit Tiff. We're gonna go to file save. We're gonna go back to light room. And now what are we gonna find in light room? Are edit tiff file. We put the name up so you can see has changed. We didn't It didn't make us a new file. It's just this is a way to get back and edit the one that's already been to photo shop and change it. So it's the same file and didn't go back as many times as you want, as long as you use the edit original method of getting back. So that's how you do that. Now there's one piece hanging over and that is I mentioned. Some people prefer that what they get out of Photoshopped be a Photoshopped document file a PSD rather than a tip. Maybe you're more familiar with that. You just like it for some reason. So if you prefer that, let me show you how you can customize late room to give you back a PSD rather than a tiff. And there's some other cute little customizing things you can do in the same place in light room. I'm gonna go up to the light room menu on a PC. You would go to the edit menu, I believe, and from there I'm going to choose preferences in light room preferences. There's a tab for external editing, and you're only really interested in this first section up here, where you can see the properties that you can change about how the image will look when it opens from light room into photo shop. Now none of these is crucial because you can change most of them in Photoshopped like color space. Say you don't want the color space of the photo to be pro photo RGB you make you usually are creating things for the Web. Perhaps maybe you would prefer the default be that photos open in photo shop in S RGB, which is the best color space for items you're making for the Web. You could change that, but then it's OK. Don't worry, because you could always change it again in photo shop, using the really lovely color settings in Photoshopped that really are dense and difficult. But if you know how to use them, you can change. You know this is not written in stone. It's just how the fire will initially open into Photoshopped. If you are creating for the Web, perhaps you don't need files that air 16 bits because most Web browsers still don't display 16 bit files. It's probably enough to have an eight bit file, so you might choose that will save you a little, you know, maybe processing because you have a smaller file opening in a photo shop. You can change the resolution if you like. So if you're making for the Web you don't need to 40 pixels per inch. It doesn't make really matter what you put when you're creating for um, excuse me when you're creating for the Web resolution isn't relevant. It's only really relevant when you're creating for print, because Web files are measured in pixels, so pixels per inch is not an issue. So just leave that and don't rebounds it. So in other words, you can change all that and the big one that most likely you're gonna want to come here, if at all to change is that you'd rather have PSD files coming out of photo shop when you go through round trip editing rather than tips. And that's where you choose that. So all that you can customize you also could customize down here something that I think is really good. Stack with original. When I say good, I mean, I like the fact that by default, the photo that comes from Photoshopped will be in a stack with the original that was in light room because imagine like I was showing you three photos in a folder. Imagine you had 300 photos in that folder and you got one back from Photoshopped. You don't have to look throughout the 300 to find that one that came from Photoshopped. So if you leave Stack with original check marked here that the one comes from Photoshopped will be in a nice little stack with the original and be easier to find. And I also usually believe the template name at its default. This is why, when you bring back from Photoshopped, it has the word edit on it, because this file naming convention is telling the programs to do that. But you could change that. This is just like file naming when you import in light room. It's got a 1,000, options of different ways You could set up file naming. Personally, I'm not a fan of changing file names. I know that a lot of professional photographers have, like a file naming system they like to use. But I think for non professionals, changing file names can get you in trouble in leg room because you know what I have. It happens. You end up importing the same photos a bunch times, especially if you don't clear your cards on your camera in between shoots, and you don't know that you imported the file whose name you changed because it has a new name and light room may not know you're importing the same file either if you change the name of the one that was already in there, so I just usually leave that. But I show it to you anyway, so that you know where the edit came from on the files that go through round trip editing. So that is in a nutshell. What I had to show you today. Now, as I said, I could keep talking up here for a number of hours because there are so many other situations where you might want to do what I showed you today. And so if you do have the bonus materials, I urge you to take a look at those and they'll give you some other ideas of times when you might. I want to go from like, room to photo shop in back to see if I can mention a few for those that you don't have the bonus materials. Some other things you might do while compositing. That's a large field, right? I just showed you how to cut out something from one image and put it into another. But there other kinds of composites you can do a layer mask composites, where you use ingredient on the layer mess to blend one photo with another. That's a time when you might want to go from light room to photo shop. You could make a um, you could maybe take a photo and add a texture on top and then use layer blend modes to blend the texture into the photo. Another kind of composite. Also, you would have to go to photo shop to do that. You can't put two images together, even in their textures. You can't do in light room. You might have something like a border like this grungy border that I have, and I want to add that to a photo. Can't do it in like room. But I could take this and another photo over the photo shop. I could use that command that we saw to take the two images over which is at it in openness layers and Photoshopped, which would be lit up if I'd selected to images and do a composite that way. So other kinds of composites. You certainly would go to photo shop for From light room. Um, other things you can do in Photoshopped that you won't find in light room are, um, kind of practical filters that are in photo shop, like the Blur filters in Photoshop that you can use to make the background of a photo look like it's shallow depth of field. That's the reason to go to photo shop. Or, um, there is the liquefy filter in Photoshop. I don't know if you ever used it. It's kind of a fund filter. It used to be well. Now it's more practical because it has a face aware feature in it that can recognize eyes, mouths and noses and facial shapes and allow you to do things like that or like that. Or, you know, however you want to do so you have that capability. That's a photo shop. Only thing, not white room. If you're doing portrait retouching and you know how to use those features in a subtle and tasteful way, you might want to check out that in photo shop. And there are many other things, and so I urge you to take a look at the hand out if you have it, or just kind of do a little research online and see if you can find other situations where you might like to take your photos from light room to photo shop. Using the methodology that I showed you today, I hope it's been helpful. I hope I haven't overwhelmed you with information. I hope I've given you enough information and I hope to see you again here, back at creative life in the future as you go from ah, light room to photo shop. And then when you go back and save is a tiff, does the meta data transfer back into the new file the meta data that you had in the metadata? Well, yes, it does. So metadata are things like the shutter speed with which you shot the photo. Yes, and the name of the photo and any edits that you've done. That's all metadata. And yes, it does go back with the photo. But as we saw the way the metadata that you've added during editing goes back changes depending on whether you're using the edit in command or the light room adjustments command on a non raw file or whether you're started with a raw file as the way explained
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
a Creativelive Student
She is a wonderful instructor--very clear and concise--and offers so much information in a short time. Great!
Makinde Ilesanmi
This course was very useful. I enjoyed every bit of it, and Jan did a good job explaining [in simple terms], the interaction between LR and PS. Definitely a 5star
Art-is-Life
Even though I've never worked with Lightroom, the instructor was very clear about how to use the basic tools and move from LR to PS. She explained things well, didn't rush through so fast that it was impossible to follow her (as I have found with some of the other instructors on creativelive.com.) She seemed to have goals that filled the time without having to rush through or talk a mile-a-minute. I've been using PS for more than 25 years and am so used to it, I was reluctant to try Lightroom. From what I learned in the session, I'm confident I have enough knowledge to begin using its basic functions in conjunction with PS.