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Synchronizing Catalogs in Lightroom CC

Lesson 13 from: The Ultimate Lightroom Classic CC Workflow

Jared Platt

Synchronizing Catalogs in Lightroom CC

Lesson 13 from: The Ultimate Lightroom Classic CC Workflow

Jared Platt

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Lesson Info

13. Synchronizing Catalogs in Lightroom CC


Class Trailer

File management and the Library Module


Intro and File Management


File Organization and Lightroom Workflow Overview


Workstation Diagram and File Flow


Converting From a Previous Lightroom Workflow


Lightroom CC Tour: Folders and Collections


Lightroom CC Tour: Publish, Histogram and Quick Develop


Importing Images into Lightroom CC


Rules for Selecting Images in Lightroom CC


Organizing Photos in Lightroom CC


Keywording in Lightroom CC


Using Facial Recognition in Lightroom CC


Working With Catalogs in Lightroom CC


Synchronizing Catalogs in Lightroom CC


Using Lightroom Mobile


Publish Services in Lightroom CC


Lightroom Workflow Q&A


Tour of The Develop Module in Lightroom CC


New Features in the Lightroom CC Develop Module


Camera Calibration


Calibrations and Custom Profiles in Lightroom CC


Calibrations in Lightroom CC: Comparing RAW and JPEG


Rules for Developing in Lightroom CC


Understanding Presets in Lightroom CC


Making Presets in Lightroom CC


Syncing Presets in Lightroom CC


Working with Photoshop and Lightroom CC


Using the Lightroom CC Print Module


Setting printer profile in Lightroom CC


Comparing Prints from Lightroom CC


Finalizing the Job in Lightroom CC


Archiving the Job in Lightroom CC


Importing Back from the Archive


Building a Proof Book in Lightroom CC


Building Albums with Smart Albums


How to Create a Portfolio in Lightroom CC


Advanced Search in a Portfolio in Lightroom CC


Scott Wyden Kivowitz Interview on SEO


Optimizing Image Metadata in Lightroom CC


Publishing a Blog Post From Lightroom CC


Making Slideshows in Lightroom CC


Lightroom CC Workflow Recap


Developing, Presets and Printing in Lightroom CC

Day 3

Lesson Info

Synchronizing Catalogs in Lightroom CC

We now have our renamed images were already to go, um, and now I want to talk about the process of sending these out as a catalog bring in the back as a catalog. I want to show you all the things that we could do with catalogues and with collections that's that's our goal right now. So I am going to pretend that this is a wedding or a very large event that I can't I mean, these are all exactly the same, so this literally I need to highlight all these images and adjust them, and they will be done so there's no reason to outsource these images, but I want you to show you the process of taking a catalogue and sending it out or taking it with you and then bringing it back and updating this catalog because there will be times where you want to use that. For instance, um, if you're going on a long trip and you want to work on your photos, but you're going to need to do stuff with them while you're there and you're going to need to post him and you're going to need to do stuff like that, you ...

will want to put them on your travel drive. But you will not be able to just use your smart previews because you actually have to post the final files when you're on the road for instance I am here for a week I do have clients at home and so there are things that I have to do at night after I teach here to post images so that's why I have several jobs sitting on this that are actually the full job all right, so I've got a need to send these out but they're in my working catalog and I want to take them with me so the way I do that is I collect them from within my catalog I checked them out so to speak so I'm the library in I'm gonna check out a job to you you're going to take it with you you're gonna work on it when you come back you have to check it in with me and I will bring it back into my library all right got it analogy works all right, so I am going to go into whatever job I want to send out now I could right click the entire job, but if I do that I'm sending out all one hundred eighty images the j pegs the rods that I didn't choose all that stuff don't need it all I need is the twenty four that I'm that I want so I'm going to right click that job I don't need to right click the whole job I just need to right click the folder that I need to work on I am going to export this folder as a catalog when I export that folder is a catalogue I'm in a name it so I'm just going to say work on jackson's images and then I'm going to go and find the folder that it exists in the job so I'm going to go to jackson's baseball portrait and I'm gonna put it in a folder there so that I congratulate and drag it off if I have the disk already attached which it is over here I could just send it directly that disk but if I'm prepping and I want to put it somewhere that's a good place to remember everything that we make for a job goes where it goes in the folder for the job itself even if it's a duplicate that I'm going to use later so if I'm creating things that I'm going to be putting you know you're going to use some other time make him put him here and then drag him to where they'd go if I've already got the drive attached which I do then instead of putting it in this folder I can send it directly over to that drives so I'm going to go to my work and catalogue drive and it's work on these jackson images I need to export the available previews and the negative files I don't need to send out the smart previews because I have the original files with it so there's no reason nowthe smart previews I've got the full files and I'm in hit export it is now exporting the files you can see there is it's exporting the original files it won't take very long and done okay so now that that's done that set of files will go with me somewhere so now we have to put on our pretend caps I've just closed my light room and let's pretend that I went on the road and now I'm somewhere else and I don't have access to the original files I just have this drive with me that's all I have with me and I'm going to go into that same ah working catalog which is actually this one inside of that working catalog I'm going to go look for that work on these jackson images which is that one right there and there's the catalogue and there is the photos they go with the catalog their duplicates I'm going too double click this and now it's opening up its own catalogue with these files turned this off continue okay cell every time you make a new catalogue and light room c c it wants to ask you do you want to sink this to light room mobile if you sink this one it will unsinkable the other one and so you can only have one thing sink that time so keep your working catalogs sink toe lighter mobile that way you can utilize it toe work or if you wanted link your portfolio catalog toe like ra mobile keep that locked to light her mobile but don't keep sink you know changing all ones could literally remove everything from here and we'll start a new synchronization catalog sister situation so I just I keep it on my working catalog because that's where I use it most okay so now I got this set of photos and they're available to me now I also could have sent this out as a catalogue let's say I was gonna put it on my laptop and I didn't need to send out the files I didn't need to work on the files whatever um before I got home but I wanted to work on it I could also send that whole thing out as a small catalogued with the smart previews and it would be a much smaller catalog but if I were doing that you know why wouldn't I just have it? You know just work on the original working catalog um this also works if I'm sending it to outsourcing so when I outsource I outsource to shoot not at it so I I create a catalogue for them with smart previews I don't send in the originals just the smart preview and I upload that to them and it doesn't take very long because just a little tiny bitty smart previews they work on it and then they send it back so let's pretend that I'm on the road or I'ma shoot dot edit guy or I'm your assistant or I'm somebody other than or in a place other than the studio where these originated and now I'm working on him and I'm working in a catalogue that is on ly this job so this the only job that exists see that that's it okay, I'm gonna highlight all these images I'm going to go in the developed module, which we will talk more about the develop module in the next four segments uh tomorrow so in the developed module I'm gonna work on these images so I'm going to take the exposure up just a little bit and I'm gonna take the contrast up a little bit take the highlights down so that we get a little bit more flesh tone on him I'm gonna take the shadows up just a little bit blacks down just a little bit and then I'm going to go in and work on this there we go that looks how does that look like pretty good mind looks better, but um let's see and now I'm going to do something interesting to these so why don't we go to, uh my outsource pack and we'll do kind of ah color portrait film that kind of makes it a little nicer and then I'm going to add a bleach bright to it and then I'm gonna add some green to it so that it's a little grittier there like that for you guys to say I don't know which is more valid the people on the web for you guys I don't know which which one looks more like my monitor I'm not sure but um okay so now I'm going to go in and grab a vignette and I'm going to creative and yet based on where he is so I'm just using this we'll talk about these tomorrow but I'm creating a this is called a radio filter and you can see that aiken you know, move the vigna around based on him and then I'm going to extend the bottom of this what you do by holding the option key down and I'm just going to pull that down that looks pretty good and then I'm also going to go into the brush tool and this just kind of a precursor of what we're going to talk about. So inside of the vignette here I can go into the brush tool here and I can negate what I've just done down here so that we don't lose his hand in the vigna and we don't lose the glove in the vigna so so we basically if you look at the see how the overlay shows you where it's burned here but it's not burning here so I'm removing the vignettes effect from the glove there go okay, so that has completely synchronised across all of these images so all the images have all the same effect to him. The only problem is that I just realized that I synchronized the vignette across all of those so I'm going to go in on all the other ones where we don't need that vigna I'm gonna highlight all of that I'm going to go back to the vignette itself so let's go back into this vignette click on that oh well see, I must have turned the I was shooting this way and I turned the camera and so the vignette happened over here so we're gonna go that's funny so we're going to take this vignette out and then we're going to start that vineyard over I shouldn't have I shouldn't really tweaked that vignette like that but uh let's felt about a little less and if I hold the shift key down then it will increase the vigna all sides at the same time there we go there so now it is that's good I like that so we've done all the adjusting so now I'm going to quit I'm done with that job, then when I get home and I go back into my working catalog and I am back to our catalog that we've been working on so now I'm sitting back pretend caps on I'm sitting back in my chair at my studio and I opened up my catalogue toe work on the images and nothing has happened to them there because it's a different catalog different brain same image is different catalog but doesn't know what I've done all I need to do now and so again if I had sent these off to shoot dot at it and they were working on him and they'd send him back to me then I would simply bring those in and what they did in california is gonna happen here to me in arizona this is arizona right now okay or if I had been in ten bucks to with my own photos and I bring him back and I want to bring it back in I want to do the same thing I want to bring him in so either you outsource to someone else we're outsourcing to yourself but you're taking him away coming back with them so I'm going to go up to my file menu and I'm going to import from another catalog remember we talked a little bit about this earlier about bringing other catalogues into a clean catalog this is the same thing just him his import from another catalog I have to find that catalogues so I'm going to go to the working catalog drive where I put that um little job that I sent out click on that catalog has been returned to me and by the way, when shootout at it sends it back to me they don't have to send back any of the previews or anything all that to do is send back this one catalog file which is four megabytes and if they zip it it's like kilobytes it's nothing and so they literally comes like that download so I click on that and I choose it and now it says what do you want me to do? This is the options metadata developed settings on lee do you want me tio bring in any new negative files there aren't any new ones but if there were it would suck those in on dh then I've got a choice I can preserve the old settings is a virtual copy if I don't trust what was done but I trust what's being done so I'm gonna uncheck that and I'm gonna hit import and now I'm gonna watch the changes occur and you can just see all of these changes occur say let's look at that see how that's done so we'll go to the develop module you can see all the changes have been done and now it's just a matter of proving those changes maybe spraying a style or two on him and then sending him off to a client putting him in a proof book whatever self is that clear enough as to how you get a catalog out and how you get a catalog back in it's a matter of synchronization of those two catalogs the first one you're sending it out you're making catalog and it's going out but when it comes back in order to bring the change is back in all you have to do is tell light room look at that catalog and any images that are exactly the same in this catalogue bring those changes in and overwrite the changes that I have here at that point once you're done with that then you can go over to the working catalogue find that job that you sent off and hit delete it's no longer necessary and now I've got all of those changes inside of here claire ok, yeah, I had one question about if you're moving it out to your portable drive the collection creating the catalog there the only reason you need the negative files is if you actually have to export your final product from while you're on the road otherwise all you need is the smart previews is that correct? Absolutely correct okay and even if even if you were wanted to be on the road and just needed to blawg or send facebook you could do that with just the smart previews keep in mind I send all of my work to shoot dot at it who are doing critical adjustments to everything on my files and they only need the smart previous the on ly purpose of having the full files with you is to literally send a sixteen by twenty print or a you know, full size printable file out for print that's the only reason you need those which has dramatically changed what we need to do, um, when it comes to taking files with us, this this drive a fairly small secure of fairly small, solid state drive can do pretty much everything I needed. And by the way, there are a lot of drives that could hold and how's your entire catalogue on an s s d that fits right in here, those ss these air pretty fast and pretty big, so you could have a catalogue on that if you wanted me the size of these catalogs is pretty impressively small. Um has it changed in cc that you can export? Let me back up in light roof I've I've tried to export from smart previews on the road teo export something to facebook or whatever and it says, I can't do it. Is that changed? Or am I doing something wrong? A and b is it true still that with smart previous you can't move a folder if they're in smart previous, like, for instance, if you wanted tio, thank god you're okay so the question then is if all you have a smart previews, can you start moving things around? The answer is no, because if you're in a folder, the actual folders here on this hard drive and so if you're in a folder and you, you're away from it and it's not connected, you can't move it because it can't move it here. There's there's no way it can move. Okay, so no, on that, um, but for exporting. Yes, you can export. The question is what? And how big do you want to export it so let's, just do that so let's, take a photo that we want to export so I really like, uh, this one right here. So I want to export this photo. So but let's go let's, hide light room right now and let's, go to my drive here and ejected so that I'd no longer have it. Okay, now that that's ejected. I do not have access to these photos away. Did I build the smart previews? I don't. Yes, I did. Okay, good. Okay, I've got smart previews built on this, which means I can go in and develop. See, all the developed things are still lit up, so I have a smart preview to this and now I go in and export I have all the options available for export and so if I say I want and I wouldn't do anything like I would go to like a uh let's see let's go to a high resolution image on dh let's just do let's put it in a folder called test and we're going to do high quality s rgb um and I'm going toe resize it to be long ej is going to be six inches I'm making little four by six prints at three hundred d p I and I'm going to export that file so it's exporting file now let me show you the quality of the file that you get as a result of it so let's open the test grab this that's the quality file it's a good quality file like get four by six no problem blawg no problem fromthe raw image um if you're having problems with exporting I don't know what that would be other than maybe maybe that maybe you don't have the the smart previous built maybe they got you know maybe you have the one for one's built one for ones you can't export from the smart previews you can so I don't I don't know what the issue is there but we could certainly look at it and see but you have to investigate a little bit further but you clearly can do it and should do it I don't ever four by six is a great size to be able to export from because you can put it on blogger you khun do that um I wouldn't go over a five by seven for sure. So all right, any questions up to this point? I think you may have answered it a little bit earlier, but what happens when you're when you re x or sorry re import and export a catalogue after you've not only altered some intimate images on the road but also removed physically any negatives upon re importing the catalog at the studio make sense? Okay, well, um, I don't know if I've got this right, but let me take a stab at it and then we won't know if I gotta write anyway. Um, so if I am, um, trying to, uh, send out a catalog and I work on that catalog on the road if for some reason I would delete photos before they before that catalog got back to me, it would import all the changes to the images that are currently in this catalogue and the ones that were in this catalogue, it just wouldn't and it could they wouldn't know what to apply them tio okay, so that's the first scenario second scenario, if I'm on the road and I delete images from the catalogue, I remove them from the catalogue and then I come back and I import them. It will import the changes that I made on the images that are still in that catalogue, and some of the images here will be waiting and won't get anything because there's nothing coming in that's the second scenario, third scenario, which is far worse than any of those third scenario is I send something out to be changed, and then I renamed the files and I put them in different folders, and I do some adjustments on them, and I tweak him around and play with him here at home, and then the traveling copy comes back and tries to import. You're not getting anything out of that, because now it's trying to apply an image, you know, c w five three, eight two image five it's gonna have a hard time figuring that out. There are ways to get it in there, but you've got to really know what you're doing in order to get that set back in and apply on the correct photos, because otherwise it will apply them to the wrong foes or, you know, you never know. So the key is it's a check out check in system when you check something out as a library, a za catalog to be worked on somewhere else? Wait, and if you're gonna just images make a, uh virtual copy work on the virtual copy so that when the final image comes in it just overwrites the normal stuff and then you can look at your virtual copies and go ok this ones you know and don't rename don't move don't move the files don't rename the files quite frankly you should have renamed him before you send him out and you should have moved them before you sent them out. So if that if that third situation occurs it is your fault that you did it like the fault is entirely yours it can be solved people can help but they have to first tell you that was your fault and now I'll help you yeah, what does that use the term negative file or something been kind of negative file is just a throwback to the film days, so they're just saying the negative is like the thing that was in the negative sleeve back on the shelf, pull it out, put it in the larger print it burn and dodge it whatever but the negative state exactly the same nothing happened in the negative it went back on the shelf so it's a really good analogy because these are negative files, they're sitting on a shelf over here in the hard drive and they're not being touched there just being utilized to create the final work and then they'll come back

Class Materials

Bonus Materials with Purchase

Advanced Workstation Setup
Lightroom Presets
Personal Only Working State
Plugin Workflow
The Workflow Archive State
The Workflow Pipeline
The Workflow Working State
Simple Workstation Setup
Shuttle Pro Settings
Bonus and Live Created Presets

Ratings and Reviews

April S.

I've been using Lightroom for about a year now. I'm pretty comfortable with the basics and a little more. Sometimes knowing what I want to learn next depends on knowing what's out there to be learned. I listened in to this course from work to get an idea of whether there was enough new content to warrant buying the course. Though Jared covers lots that I know, he filled many small things I didn't know and covered some bigger topics that were new to me. I decided that I wanted to own this course because I respond best to structured learning, and Jared starts at point A and carries through to point Z, so to speak. I have watched his live and rebroadcast courses before and I really like and learn from his teaching style too, so I'm sure this course will be the boost I need as I prepare to subscribe to Lightroom CC instead of just using my local copy. Though another reviewer's tone wasn't very nice, I have to agree that it would helpful to have a written synopsis or outline of courses to help when deciding whether to purchase. Looking at the titles of the included videos is helpful, but not enough. This would be especially useful when a person hasn't seen the live broadcast first, and is simply evaluating a course in the course library.

Jim Pater

I learned a lot from this class when I took it a long time ago. I'm not as fond of his ego but that's fine as I don't have to be around him all day long. What I found extremely useful was the video on synching Lightroom Presets. I set this Dropbox synching system on my laptop and desktop Mac computers and it works perfectly. I also use it for other programs as well like Photoshop and another program called Keyboard Maestro. Thanks for your help Jared. Much appreciated trick.


I am new to Lightroom and from the start of the course it became very clear to me that Jared is one quality person with a real passion to explain everything with great skill and a motivation for success. I did not hesitate to download his course as this is the basis for my personal development and the journey to experience great photography.

Student Work