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How to Use Lightroom Mobile to Speed Up Your Workflow

14 Aug

The post How to Use Lightroom Mobile to Speed Up Your Workflow appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

One of the common complaints about Lightroom Classic is that it’s just not as fast as some photographers expect. When I get back from a session with hundreds of RAW files to process, the thought of going through each of them one-by-one is enough to give me a headache. The few seconds it takes Lightroom to load each photo for flagging or cropping can be enough to make you want to quit photography altogether! Fortunately, if you subscribe to Creative Cloud you have options. In this article, you’ll learn how to use Lightroom Mobile to dramatically increase the speed of your workflow.

How to Use Lightroom Mobile to Speed Up Your Workflow

One of my favorite aspects of the Adobe Creative Cloud subscription is how you can take advantage of many of the features of Lightroom Mobile even if you don’t store your primary images in the cloud. You can store bite-size previews of your images from Lightroom Classic in your Creative Cloud account, which you can then load on a mobile device for editing.

After you finish editing on your mobile device, all the changes will be automatically synced back to Lightroom Classic on your computer. I use this technique all the time now, especially for culling and cropping after a long photoshoot. I think you might find it incredibly useful as well.

Sync with Lightroom

The first thing you need to do is enable syncing between Lightroom Classic and your Creative Cloud account. Click on your name in the top-left of the Lightroom Library module and choose “Start” under “Sync with Lightroom.”

How-to-Use-Lightroom-Mobile-to-speed-up-your-workflow

This will then enable you to start syncing your edits. One thing to note is that if you have a basic 20GB Photography plan, the photos you sync will not count against your storage quota. That is only for images you upload directly to Lightroom Mobile or Lightroom CC, as well as any documents you have stored in your Creative Cloud Files.

After Sync is enabled, you can selectively sync any individual collection by clicking the arrow icon just to the left of its name.

This will start uploading previews of each image to your Creative Cloud account. While this is happening you can see the upload status by looking above your name in the top-left corner.

How to Use Lightroom Mobile to Speed Up Your Workflow

Completing the initial synchronization will take a few minutes or more depending on the speed of your internet connection. The individual preview files being uploaded are quite small, but if you sync an album with a few thousand images it might take longer than you expect.

One thing to note is that you can only sync collections that have been created manually by you. Smart albums, which are created dynamically according to rules you specify, are not possible to sync with Lightroom Mobile.

Edit on Lightroom Mobile

When the sync operation is complete, load Lightroom Mobile on a phone or tablet and the collections you synced will show up in your Albums list.

How-to-Use-Lightroom-Mobile-to-speed-up-your-workflow

If you have never used Lightroom Mobile before you’re going to be amazed at how quickly you can perform operations like moving from one photo to the next, flagging/rejecting, cropping, or pretty much anything else you might do in Lightroom Classic.

How-to-Use-Lightroom-Mobile-to-speed-up-your-workflow

Upon loading your images into Lightroom Mobile, you can quickly swipe between them to check for focus and composition. Simple gestures like swipe up on the left to assign a star rating and swipe up/down on the right to mark a picture as Pick or Rejected make the editing process much faster than Lightroom Classic. A few taps will let you quickly crop, rotate, and make basic exposure adjustments.

As far as individual features go, the two programs are almost the same. However, the mobile version has an interface designed around touch instead of a mouse/keyboard combo. This means some things don’t behave quite how you might expect, but once you get the hang of things, it’s not bad at all.

Image: Lightroom on an iPad, even a basic version and not an iPad Pro, is extremely fast, fluid, and...

Lightroom on an iPad, even a basic version and not an iPad Pro, is extremely fast, fluid, and easy.

Since the images synced between Lightroom Classic and Lightroom Mobile are small previews and not full-resolution originals I would recommend against using the latter to check for accurate focus or do highly detailed adjustments. I find Lightroom Mobile most useful for just the basics like flagging and cropping, but your own usage might vary.

How-to-Use-Lightroom-Mobile-to-speed-up-your-workflow

Lightroom on a mobile device lets you access almost all of the editing options on the desktop version, but I prefer to use it for just a few basics.

Sync back to Lightroom Classic

The beauty of this entire process is that as soon as your edits are applied to a photo, you don’t have to manually re-sync anything. Any edits you make automatically copy back to your original Lightroom files on your desktop. All you have to do is load up that program, wait for automatic sync to finish, and your pictures are ready for further edits.

Ever since I started using this Desktop->Mobile->Desktop workflow for my initial culling and cropping, I have found myself enjoying the whole process. I’ll sit back on my sofa or relax with a drink at the kitchen table while rapidly flipping through pictures on my iPad for the first round of edits. I’ll then return to my desktop, and the rest of the editing is much less stressful.

Image: Finding the best photos out of a batch of 600 is much, much faster when using Lightroom Mobil...

Finding the best photos out of a batch of 600 is much, much faster when using Lightroom Mobile.

This may seem a bit overwhelming at first. However, once you try this process, you will be surprised at how easy it is.

What about you? Do you have any other tips for speeding up your Lightroom workflow? Share them in the comments below!

The post How to Use Lightroom Mobile to Speed Up Your Workflow appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

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Adobe’s August update adds ‘GPU Accelerate Editing’ to Lightroom Classic, Camera Raw

14 Aug

After accidentally publishing the announcement yesterday, today Adobe has officially released its August Photography update for Lightroom Classic CC and Adobe Camera Raw, bringing with it a number of improvements including GPU Accelerated Editing.

As explained in a post on the Adobe Blog, GPU Accelerated Editing allows ‘Lightroom Classic and Camera Raw take advantage of the more powerful graphics cards (GPUs) while editing, providing a smoother and more responsive experience.’ Specifically, Adobe says the acceleration will ‘more pronounced with larger resolution monitors (4k and above) as well as with more powerful GPUs.’

A screenshot of the new splash screen that will greet you after updating Lightroom Classic CC.

This update won’t fix all of the complaints lobbed at Lightroom Classic CC, but it does address one of the program’s biggest issues—speed.

We took the update for a quick spin on a 2016 Retina MacBook Pro with a Radeon Pro 455 2GB and Intel HD Graphics 530 GPUs and although it’s difficult to quantify the exact improvement, we immediately noticed adjustments made to Raw photos captured on a Canon EOS R were applied much faster than the previous version of Lightroom Classic CC. From small, incremental adjustments to large two-stop exposure adjustments, the image immediately adapted to the new settings—something not always possible before unless you were using Smart Previews to make edits.

A screenshot from Adobe showing the new PNG export module.

Aside from the GPU Accelerated Editing, both Adobe Camera Raw and Lightroom Classic CC have gained PNG export support. Lightroom Classic CC has also received updates to the Library Module for improved navigation through folders, Color Labels for Collections and batch processing for HDR and panorama merges.

A screenshot from Adobe highlighting the new Color Labeling option for Collections.

Lightroom, Adobe’s cloud-centric photography ecosystem, has also gained a few new features in the August update, including the ability to recover deleted photos, improved search options, updated preset options and batch metadata edits. Some of these changes apply only to specific versions of Lightroom, so check out Adobe’s announcement post for full details.

Screenshots from Adobe showing off the new batch metadata editing on Lightroom for Android.

The August Photography update should be available through the Creative Cloud application. Additional details on ‘What’s New’ have been detailed by Adobe for Lightroom Classic, Camera Raw, Lightroom for Mac and Windows, Lightroom for iOS and Lightroom for Android.

Articles: Digital Photography Review (dpreview.com)

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Texture and Clarity Sliders in Lightroom Classic CC: What’s the difference?

10 Aug

The post Texture and Clarity Sliders in Lightroom Classic CC: What’s the difference? appeared first on Digital Photography School. It was authored by Adam Welch.

Throughout the last couple of years, Adobe has released an absolute tsunami of updates for their photo editing platforms. Adobe Lightroom Classic went through a plethora of upgrades and changes, with new (and sometimes major) add-on’s seemingly incorporated with each new build. One of these sizable fresh additions to the Lightroom Classic toolkit came in May of 2019 with the release of v8.3. It’s called the Texture slider.

Texture and Clarity Sliders in Lightroom Classic CC: What's the difference?

Yep, that little guy right there.

You’ll find the texture slider nestled comfortably in the Presence section of the basic panel alongside the now veteran Clarity and Dehaze adjustments. These Presence sliders are extremely interesting in their effects and how they each accomplish their separate actions. Clarity, Dehaze, and now Texture, all perform similar adjustments. They each tweak contrast within our photos to varying degrees with wholly different results.

Texture and Clarity are particularly interesting. Both perform quite similarly, while at the same, remaining their own animals…if that makes any sense? In this article, we’re going to have a closer look at the Clarity and Texture sliders.

I’ll explain how they work and show the different effects each of these powerful sliders can have on your photos.

Texture vs Clarity

All right, so what’s the difference between Clarity and Texture?

We’ve already surmised they are similar in that they function to bring out detail within a photo. However, you’ll notice some very obvious differences as soon as you view the effects of each slider side by side. Have a look at this. Here’s the original photo:

Texture and Clarity Sliders in Lightroom Classic CC: What's the difference?

And now a side-by-side comparison of some Clarity and Texture Slider adjustments.

Texture and Clarity Sliders in Lightroom Classic CC: What's the difference?

In the photo on the left, I’ve increased the Clarity slider to +100. I’ve applied +100 Texture to the photo on the right. The difference is apparent, but what exactly is happening here? First, let me remind you what our beloved Clarity slider actually does.

A refresher on Clarity

In short, Clarity interacts with our photos by increasing or decreasing the contrast between midtone luminance values. This essentially gives the illusion of our image becoming clearer. However, in reality, all that is happening is the application of more or less contrast to the light and dark areas which fall as midtones (between highlights and shadow).

You’ll also notice that the photo is perceptively brighter and that the color saturation diminishes slightly when increasing Clarity. On the other end of the spectrum, decreasing clarity adds in a soft-focus effect. This can sometimes work extremely well, depending on your subject. For a little more of a breakdown on Clarity check out my other article, How to Make Your Photos Shine Using Clarity, Sharpening, and Dehaze in Lightroom. You’ll also learn some great tips on using Clarity along with the Sharpening and Dehaze sliders.

What is Texture?

Now let’s talk about the new kid on the block, the Texture slider.

Ironically enough, the idea for the Texture slider was born not from the goal of increasing the textures (positive) within an image but rather decreasing them (negative) thereby essentially smoothing out a photo. The Texture slider was initially named the “Smoothing slider” in the early stages of its development.

The team at Adobe were aiming to migrate into Lightroom (at least to some extent) the skin retouching capabilities of Photoshop. Their goal was to offer a feature that packed a less drastic punch than the Clarity slider. All while still being able to increase (or decrease) the apparent contrasts in the photo to give the illusion of enhanced textures within the images.*

+69 texture added globally

The Texture slider lands somewhere between Clarity and Sharpening in Lightroom. A good way to think about Texture is that it is much less harsh than Clarity and offers more subtle results without affecting absolute brightness or color saturation.

Texture focuses it’s smoothing or clearing effects on areas of a photo which possess “mid-frequency” features. You can think of these as medium detail areas. For reference, a cloudless sky would be considered a low-frequency feature while a cluster of trees would be considered a high-frequency feature.

It is also worth mentioning that like many of the tools found in Lightroom Classic, you can apply the texture effect both globally (the entire photo) and locally to specific areas. Local negative texture adjustments work wonders for smoothing out skin wrinkles and blemishes in your portraits.

Before localized skin smoothing

Image: After some retouching using a negative texture with Lightroom’s adjustment brush. Now I...

After some retouching using a negative texture with Lightroom’s adjustment brush. Now I only look nominally haggard…

*Note: This is an extremely basic explanation of the Texture slider. If you’re feeling truly adventurous and want to learn more about the technical makeup of the Texture slider, I highly recommend this post over on the Adobe Blog.

Should I use Clarity or Texture Slider?

The looming question is, “When should I use Texture, and when should I use Clarity?” Unlike most commentary I offer on the absolutes of post-processing, which often borders on a Zen-like existentialist approach of “it all depends on the image,” there are some relatively straightforward things to look for when deciding which adjustment will work best for your particular photo.

Try the Clarity slider if:

Your image consists of high-frequency features
The effect is needed on a more global scale
Your image is a landscape
The image is black and white

Try the Texture slider if:

Your image has large areas of mid to low-frequency features
A more subtle enhancement is needed
The image is a portrait
Your image has extreme color contrasts/saturation

Of course, these are just guidelines, and I hope you experiment with both the Clarity and Texture sliders.

Also, nothing is stopping you from using a combination of the two – especially when you are applying them using local adjustment tools.

Closing thoughts on Texture and Clarity Sliders

You’ve heard me say time and time again that less is generally more when it comes to applying adjustments in post-processing. Just because a tool is available doesn’t always mean you have to use it to its full strength.

Perhaps this is no truer than when it comes to using the tools found in the Presence section of Lightroom, in this case, the Texture and Clarity sliders. These nifty little adjustments can yield amazing results for your photos.

In fact, I use both local and global Clarity and Texture slider adjustments in virtually all of my photos to one extent or another.

With that said, it’s a good practice not to over-process your images. Some judicious use of negative Texture can shave years off your clients face. However, go too far, and they might end up looking like a wax doll.

Adding positive Texture can bring out the subtle beauty of tree bark, however, use too much, and you’ll end up with…well, you get the idea.

What are your thoughts on the new Texture slider in Lightroom Classic CC? Is it a feature you will use regularly? Sound off in the comments below!

The post Texture and Clarity Sliders in Lightroom Classic CC: What’s the difference? appeared first on Digital Photography School. It was authored by Adam Welch.

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Four Lightroom Tips to Enhance Your Landscape Photos

05 Aug

The post Four Lightroom Tips to Enhance Your Landscape Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Lightroom has a vast array of buttons, sliders, and selection boxes that can improve just about any photo, but sometimes the options are so overwhelming you don’t even know where to start! It’s impossible to say what specific adjustments will work for any given photo, partly because there are infinite possibilities and every photographer is unique. However, there are a few Lightroom tips you can use with certain types of images, such as landscapes, that improve them with just a few clicks. If you have ever wanted to punch up your landscapes quickly and easily, there are four options that you can use right away to make any landscape look amazing.

Four Lightroom Tips to Enhance Your Landscape Photos

If you import a landscape picture into Lightroom but find yourself staring dazed and confused at the array of editing options, try focusing on the four items below. I use these on most of my landscapes, and you might be surprised at how well they work for you too.

Of course, you can always continue tweaking and adjusting with as many options as you want, but these are great to start with.

Basic tone
Texture
Sharpening
Graduated Filter

Learning to use these four adjustments goes a long way towards improving not just your landscapes, but many other types of pictures too.

As you gain more editing experience, you will start to figure out what your editing preferences are and learn to adjust the options accordingly. Maybe you like a little more tonal contrast or a little less saturation? Perhaps you prefer your images to have a little less sharpness? Experimenting with these options helps you understand what you prefer. It helps you develop your skills as an editor to get the results you like.

Basic tone

Four Lightroom Tips to Enhance Your Landscape Photos

There’s a reason that the Develop module in Lightroom has a panel called Basic. This contains the most popular adjustments that most photographers use right away. They are especially useful for landscapes too. The following are what I recommend as a starting point for these types of images.

Highlights: Drag this slider to the left to make the brightest portions of your landscape a little darker.

Shadows: Drag this slider to the right to make the darkest portions of your landscape a little brighter.

Whites: Drag this slider to the right to make the white portions whiter

Blacks: Drag this to the left to make the black portions blacker.

To show you how much of an effect these simple adjustments can have on a landscape, here’s an image without any adjustments straight from my camera.

Image: Shot at the National Tallgrass Prairie Reserve in Kansas. An unedited picture straight from t...

Shot at the National Tallgrass Prairie Reserve in Kansas. An unedited picture straight from the camera.

The picture is dull, lifeless, and not all that interesting. 15 seconds of adjusting those four sliders in the Basic panel does wonders and transforms it into a whole new picture.

Highlights -43, Shadows +26, Whites +70, Blacks -51. No other adjustments were made.

The resulting image is vibrant, lively, and exciting to look at, especially when compared to the original. It doesn’t take much work at all to use those four simple sliders when editing a landscape photo, and the results can be breathtaking.

Texture

The effect of the Texture tool isn’t quite as pronounced and may not take your breath away in the same way. However, Adobe’s latest addition to Lightroom can produce impressive results. While Texture is particularly useful when editing portraits, it can also bring out detail in grass and rocks, and other areas of a landscape image that has a great deal of natural texture.

Many landscape photographers are already familiar with the Clarity tool, which can have a similar effect as Texture. But, the former can often lead to images that appear over-processed and artificial. Texture is really designed to enhance the look and feel of textured surfaces. If you have not tried it, you may be surprised by the results.

I took the picture below in the mountains of the Pacific Northwest, and while I did some basic Highlight/Shadow/White/Black editing, I really want to bring out the details in the evergreen trees.

I shot this while hiking near Seattle, Washington.

Increasing the value of the Texture slider helps the trees to stand out. They come to life while leaving the clouds and sky virtually untouched. Adobe designed the Texture option to look specifically for textured surfaces. It applies the effect only where it’s really useful instead of across the entire image as a whole.

Same image, with a value of Texture +90.

When viewed at full resolution, the result is remarkable, but even on a small screen, you can see that the trees have become more pronounced. The background trees are clearer and more discernible as well.

This new option in Lightroom is not yet as popular and well-known as Clarity, but it’s a boon for landscape photographers who want to spice up their images without going overboard.

Sharpening

The Sharpening tool has been an integral part of Lightroom for years, but might be overlooked by new landscape photographers who feel overwhelmed with all the features in front of them when editing their images. In contrast to Clarity and Texture, the Sharpening tool helps you emphasize the edges of everything in your pictures while also giving you the power to specify precisely how you want to apply the sharpening.

As with the Texture tool, your results aren’t going to be as immediately impactful as other edits, such as the Basic panel. However, careful adjustments to Sharpening can add a level of resonance to your landscapes and bring to life the small details.

Image: Shot at just outside a small town in north-central Kansas. Some basic edits applied, but no s...

Shot at just outside a small town in north-central Kansas. Some basic edits applied, but no sharpening.

The Sharpening adjustment, which sits in the Detail panel, has four parameters: Amount, Radius, Detail, and Masking. While these are all important, the ones I recommend you focus on are Amount and Masking. Move the Amount slider to the right to make your picture appear sharper and add a sense of crispness. After that, use the Masking slider to tell Lightroom where to apply the actual sharpening.

You can hold down the Alt or Option key (on a Mac) to see how this works and adjust as necessary. The black-and-white preview updates in realtime. As you hold down the modifier key and drag the slider, it shows you just where the sharpening will be applied.

Image: Adjusting the Masking parameter while holding down the Alt or Option key (on a Mac) shows a l...

Adjusting the Masking parameter while holding down the Alt or Option key (on a Mac) shows a live preview of where the sharpening will be added.

Use of the Sharpening tool is a great way to enhance your landscapes, especially when combined with some of the other editing options.

Sharpening added with the following values: Amount 114, Radius 1.0, Detail 25, and Masking 85.

Graduated filter

If you have never used the Graduated Filter on your landscape photos, you’re in for a real treat.

This tool allows you to apply graduated adjustments to part of the image, and even edit the adjustments using selective masking and brushing. It’s a great way to bring out the rich blue of a sky, the subtle greens of grass and foliage, or implement other edits to part of your picture without affecting the whole thing.

To demonstrate how the Graduated Filter works, I have a picture shot in southeastern Nebraska without any edits except for removing some spots of dust on the lens. The foreground is dark, and I’d like to change the color of the sky to reflect what I actually saw. However, global edits like the Basic panel just don’t work.

Shot in rural Nebraska on a chilly February evening.

As a point of comparison, here’s the same picture with some simple adjustments, like in my very first example. The Basic adjustments help but don’t produce the results I’m after.

Highlights -18, Shadows +100, Whites +34, Blacks -7.

It’s an improvement but still a long way from what I want. Fortunately, the Graduated Filter is here to help! By applying this type of edit, I can alter the lower portion without affecting the upper portion. Also, the edit is applied gradually, so it appears more natural as the foreground recedes to the horizon.

Image: No edits from the original except for a single graduated filter applied to the foreground. Te...

No edits from the original except for a single graduated filter applied to the foreground. Temp 76, Exposure 2.16, Shadows 21, Blacks -13, Texture 50, Sharpness 20.

You can go one step further and add additional graduated filters, which is especially useful when working with landscapes. In this image, I’d like to bring out the rich deep colors in the sky without affecting the field in the foreground.

A graduated filter is the perfect tool for the job.

Image: Second graduated filter applied to the sky. Temp -73, Exposure -.50, Highlights -45, Dehaze 1...

Second graduated filter applied to the sky. Temp -73, Exposure -.50, Highlights -45, Dehaze 10, Saturation 16.

I listed the Graduated Filter last because it’s the most complicated of these four adjustments you can apply to your landscape, but it’s also, in my opinion, the most powerful. There are lots of options for customizing your graduated filters, and it’s going to be worth your time to explore more. However, the example above should be enough to get you started.

There’s so much more you can do with landscape photos in Lightroom beyond what I demonstrated here. These basics should be enough to get you started and help you bring out a lot of the color, detail, and vibrancy that your landscape photos may be missing.

After learning these, I hope you start exploring the other options Lightroom has to offer.

I’d love to see examples of your landscape photos in the comments below!

The post Four Lightroom Tips to Enhance Your Landscape Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

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Should You Purchase Lightroom Presets?

29 Jul

The post Should You Purchase Lightroom Presets? appeared first on Digital Photography School. It was authored by Charlie Moss.

The discussion of using presets or not comes up time and time again on various photography groups and websites. Some people are for them and others are against. Just like camera brands, it seems there is no clear answer, and everyone believes that their way is correct! For or against, it’s undeniable that presets are here and they’re not going anywhere. Many people find them useful in their workflow and so they will keep using them. So, should you purchase Lightroom presets?

The case for buying presets

A quick search online will give you hundreds of places you can buy presets and they will all have varying quality. Before you make your purchase, be sure to read some reviews to see if others are happy with their purchase. Remember that your style of images will heavily affect the way presets look when applied, so expect some trial and error!

But why would you buy presets rather than make them yourself from scratch? Here are some reasons to help you decide if buying presets is for you.

It will save you time

There’s no doubt about it, buying presets will save you time in your workflow. You won’t have to spend time coming up with looks that you like. Instead, someone else has completed the initial hard work for you.

Should-You-Purchase-Lightroom-Presets-4

In reality, using presets in this way is no different from choosing what film stock and developer you’d like to use if you’re shooting analog. You’re using someone else’s color toning ideas to achieve the images you want to produce.

Being able to quickly apply lots of different looks to your photo can help you quickly make decisions about how it will look. And then you can set about refining it and doing the fun part of processing.

It gets you away from the computer

Not everyone loves the digital darkroom. During the summer, I’d rather be taking advantage of the good weather than sitting at my computer developing images. Having a set of presets available to me that someone else has created means each shot takes less time to process. That way, I’m spending more time doing the things I love.

Should-You-Purchase-Lightroom-Presets-3

I can share stylish images that I’m proud of within minutes of loading my images into Lightroom thanks to my preset library. That’s a big draw for me, and that’s why I love having a bank of presets ready for me to choose from.

You can borrow the best of other peoples ideas

Everybody sees the world differently. You might never have thought to put a pop of pink in the shadows or add just enough grain to make your black and white conversion look like it was shot on fast film.

By purchasing a library of presets, you can see how other people might have chosen to process your images. And that might give you a few ideas for a new direction that you want to head in. Purchasing Lightroom presets really can boost your creativity and help you see new possibilities for your images.

Should-You-Purchase-Lightroom-Presets-2

Some people would say this is ‘cheating’ somehow, but I think of it as gathering inspiration. It’s like an artist going to her friend’s studio, finding the most beautiful custom blue paint and then asking if she can have the recipe to use the color in her own work. The two artists won’t be producing the same artwork even if they use the same color paint!

Your photos will still have your own touch and your own style even if you use other peoples ideas to help you shoot or post-process your images.

Some people are just better at post-processing and color grading than you

Face it – you can’t be amazing at everything. Even the best photographers often employ other people to help create their vision. Buying presets is like a real cheap version of having your own digital tech assistant available for your shoots. If you have a vision of light and airy photos but your post-processing skills aren’t quite up to it, then presets can help you get there – just like a digital tech assistant would on a high-end shoot.

Over time, you can learn more about this side of photography. But you can start getting great results now by taking advantage of other peoples knowledge and creativity.

The case for making presets yourself

Of course, if you love working in the digital darkroom, then the idea of buying presets to save time or get ideas might seem completely alien to you. Moreover, if you like spending the time to make your own presets, then that’s great! You should absolutely continue to do what makes you happy.

There are other reasons too that you might want to make your own presets. The most obvious one is that presets available to purchase may not be exactly what you’re looking for. When you make your own, you can have exactly what you want rather than just getting close.

You might have other considerations too. For instance, some camera clubs do not allow you to enter images into competitions where you have used purchased presets in their post-processing. Or you may feel that ethically a picture cannot be truly called your own unless you created every single part of the image.

Perhaps try a combination?

Personally, I use a combination of both. I have a large library of presets that I’ve purchased. I use this library to quickly see what images could look like with different color grading applied to them.

When I’ve found a look that I love, I tweak it slightly to suit the mood of my images even more. If I think I’ll use the preset again, I then save my new custom preset in a folder with the others that I’ve tweaked to suit my style!

Should-You-Purchase-Lightroom-Presets

I like this way of working because I enjoy getting inspiration from other peoples presets, and then finishing the images off to achieve something that is genuinely my own.

What do you think about buying presets? Should you purchase Lightroom presets? Perhaps you have a library of your own that you’ve already purchased? Or do you prefer to make all of yours from scratch? Maybe you don’t use presets at all, instead preferring to start each time with a blank slate when it comes to post-processing images?

The post Should You Purchase Lightroom Presets? appeared first on Digital Photography School. It was authored by Charlie Moss.

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How to Use the HDR Panorama Photo Merge in Lightroom Classic CC

21 Jul

The post How to Use the HDR Panorama Photo Merge in Lightroom Classic CC appeared first on Digital Photography School. It was authored by Adam Welch.

Not long ago I wrote about Four of the Latest Updates to Lightroom Classic CC. In it, we talked about some of the fresh features Adobe has recently added to Lightroom. One of those great new additions was the single-step HDR Panorama Photo Merge. That’s a mouthful of a name, but it’s an incredibly useful tool that allows us to combine multiple bracketed exposures into a seamless high dynamic range panoramic image in, as the name suggests, essentially a single step. In this article, we’re going to delve a little deeper into the new single-step step HDR Panorama Photo Merge (geez) feature and show you exactly how to capture and combine your images to make a beautifully executed panorama.

What is an HDR Panorama?

High dynamic range (HDR) photographs and panoramas are nothing new to the world of photography. In fact, neither are HDR panoramas.

HDR photos are simply images combining multiple exposures to form a final photo that exhibits tonal and/or focus ranges far beyond a single exposure. Along those same lines, panoramic photos are images stitched together that carry a visual perspective beyond what is obtainable from a single exposure (with a few exceptions).

As you may have guessed, an HDR panorama combines multiple photographs to produce a wide perspective composite image featuring high dynamic range.

Previous methods for merging multiple images to produce HDR panoramic photos were generally tedious and required venturing over into Photoshop. Luckily, with the new HDR Panoramic feature introduced in v8.0 of Lightroom Classic CC, you can now efficiently combine your images with just a few clicks of the mouse. Let me show you how I made the above HDR pano combining twelve separate bracketed photos right inside of Lightroom.

Obtaining your images for merging

The first and arguably most crucial part of creating your HDR panorama begins inside your camera.

Lightroom places some stringent criteria on the images you can combine using it’s single-step HDR Panorama function. ALL of these rules must be met by each one of your images prior to merging.

Here are the “rules” for images you plan to merge into an HDR pano directly from Adobe:

All the images in your selection must contain the exposure metadata – Exposure time, f-number, and ISO.
Each set of bracketed exposures in your selection must have the same number of images. For example, if you chose to bracket with three images, then all the sets in the selection must also use three images.
Every set of bracketed exposures in your selection must have the same exposure offsets. For example, if your first set has exposure offsets of (0, -1, +1), then all other sets in the selection must follow the exposure offset pattern. The image sets can have different exposure values; only the exposure offsets pattern must be consistent across all the sets.
Each set of bracketed exposures must be captured contiguously. For example, if you’ve considered a bracket size of three while capturing the images, then the first three images in the sequence become part of a bracket set. The next three images in the sequence become part of another bracket set, and so on.
Within a set of bracketed exposures, the images must not have the same exposure value.

While you can shoot your images in either a vertical or horizontal orientation, it is a good idea to use vertically orientated photos in you plan on displaying them digitally. This avoids extremely long, yet narrow images. Of course, this is entirely up to you.

Combining the images

Now that you’ve made it through the rather exacting process of actually obtaining your photos for merging, the rest of the operation is refreshingly easy to complete.

Selection

First things first. In the Library Module of Lightroom Classic CC select the images you want to use for the HDR pano. An easy trick to select all of your images at once is to select the photo at the beginning of the series and then hold down the shift key while clicking the last photo in the series. This automatically selects all your bracketed exposures at once. It also saves you quite a few mouse clicks if you are using a high number of photos.

Once you’ve got all of your photos selected, right-click on any of those images and choose Photo Merge, and then HDR Panorama.

It’s here where you learn for sure whether all of your images meet the requirements for merging. If not, you will receive the soul-crushing message ‘Unable To Detect HDR Exposure Bracket Size. Merge To Non-HDR Panorama Instead?’ That means Lightroom will merge the photos into a normal non-HDR pano if possible.

However, if you’ve done your duty, and you obtained all of your images correctly, your photo will appear as a preliminary smart preview. From here, it’s just a matter of controlling how you want Lightroom to handle the final merging of your images. You’ll have quite a few options that will affect the ultimate product.

Projection modes

Think of projections as the shape of the canvas on which Lightroom paints your finished HDR panorama. There are three different projection modes from which to choose based on the nature of the panorama you are creating:

Spherical: This aligns and transforms the images as if they were mapped to the inside of a sphere. This projection mode is great for ultra-wide or multi-row panoramas.

Cylindrical: This projects the panorama/HDR panorama as if it were mapped to the inside of a cylinder. This projection mode works well for wide panoramas, but it also keeps vertical lines straight.

Perspective: This projects the panorama/HDR panorama as if it were mapped to a flat surface. Since this mode keeps straight lines straight, it is great for architectural photography. Extremely wide panoramas may not work well with this mode due to excessive distortion near the edges of the resulting panorama.

Boundary Warp

The amount of Boundary Warp is a way to stretch your merged HDR pano so that it more or less fills the frame of the selected projection mode. With Boundary Warp, you have a slider that ranges from 0-100 that allows you to preserve any content of the photo that you may lose after cropping.

Experiment with different Boundary Warp settings until you reach a happy medium between distortion and content preservation.

Auto settings/crop

These settings work extremely well to save you some editing time at least on the front end. The auto-crop and auto-settings functions allow Lightroom to trim and process your finished HDR panorama automatically. While you, of course, can crop and process your image manually after merging, I’ve found the auto settings function gives consistently outstanding results.

Stacking

Consider stacking as an afterthought of your post-panorama post-processing. It’s a way for you to keep all of your ducks in a row, so to speak, and is especially useful if you’ve used many photos to construct your HDR panorama. Choosing the stacking option literally stacks all of the images used for your HDR panorama merge into a group with the merged image placed on top. This aids in keeping your filmstrip tidy and saves physical space in the Library Module.

Once you have made all of your selections for the HDR pano merge, it’s time to click the ‘Merge’ button. This begins the process of combining the images into a single DNG file.

After the merge is complete, you will have an image which you are free to finish processing just as you could with any other digital RAW file. This includes adjusting the auto-cropping and, of course, the auto settings. This achieves the final image that we saw from earlier.

Final considerations

Remember that any HDR image is already by its very definition a composite photo. As such, it is a combination of many different exposures which, if pushed too far, can result in an incredibly fake-looking final product. Always keep your HDR images within the realm of passable reality unless you are intentionally going for a hyper-realistic appeal. Along those same lines, make sure the photos meet all the criteria for HDR panorama merging listed above.

Furthermore, attempt to previsualize the final merged photo in your mind and shoot your images according to the tonal range and perspective you wish to achieve. When in doubt, it’s always better to have too many images to work with than not enough.

Have some HDR Panorama photos you’ve created inside of Lightroom Classic CC? We’d love to see them! Feel free to share them in the comments.

The post How to Use the HDR Panorama Photo Merge in Lightroom Classic CC appeared first on Digital Photography School. It was authored by Adam Welch.

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6 Great Lightroom Tricks You Probably Didn’t Know About

18 Jul

The post 6 Great Lightroom Tricks You Probably Didn’t Know About appeared first on Digital Photography School. It was authored by Kav Dadfar.

Adobe Lightroom is an essential tool for any photographer. Whether you are a professional or amateur, Lightroom can make your workflow faster and more efficient. But there are also a whole host of editing tools available. Some of which you may not even know existed. So here are 6 great lightroom tricks that you probably didn’t know about.

Crop overlay options

Cropping your photos can sometimes mean the difference between a good photo and a great one. You can access the Lightroom crop tool by pressing R on your keyboard in the Develop module. Perhaps you already knew that, but what you may not have known is that when your cropping tool is open, you can change the overlay that shows on your image.

By pressing “O,” you will be able to get a whole host of different overlays on the image to help you crop effectively. Everything from the “Rule of Thirds” to the “Fibonacci Rule” can be accessed to help turn an okay photo into a great one.

Lights Off Mode

Sometimes when you are editing a photo, it is easy to get distracted by all of the side panels and options available. A great way to really see your photo is by looking at it in the “Lights Out” mode. By pressing the “L” key once on your keyboard, everything dims except your image. Pressing it one more time, you will see just the image on a black background without the distracting side panels. Press it a third time to make the side panels re-appear.

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Full-Screen Mode

Another useful trick, especially when working on smaller screens such as laptops, is to view your image at full screen. Because of the screen size, naturally the actual photo you are working on looks pretty small on a laptop screen.

To get a better view hit “F” on your keyboard and you’ll get to see the image as big as possible on the screen.

To come out of full-screen mode press Esc on your keyboard.

Know if your image is clipped

One of the key elements of taking a photo or post-processing it is to ensure that your highlights and shadows are not overexposed or underexposed to the point where there is no detail in those areas. This is a term that is known as clipping.

It can be difficult to judge by eye if any areas of your photo suffer from this. Thankfully, Lightroom’s clever tool can make it much easier to see where this occurs.

Click the little triangles on the corners of your histogram, and if there are clipped areas in your photo, they will show in red for highlights and blue for shadows. You can then tweak the different sliders to correct these issues. You can also access the clipping highlights by pressing “J” whilst in the Develop module.

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Please note that on older versions of Lightroom these sliders might be different.

Pick and organise

I have over 100,000 photos in my collection. They are for a variety of assignments and clients, and they need organizing in a way that makes it easy for me to access them. One of the most useful aspects of Lightroom is being able to organize and flag your photos effectively. The three easy ways to organize your photos are 1) flagging them (i.e., putting a flag on the ones you want to), 2) adding 1 to 5 stars, 3) color-coding them in red, yellow, green, blue and purple.

You can access these by using the following shortcuts:

“P” flags a photo (to unflag a photo press “U”). You can also reject a photo by pressing “X”
Add stars by using the relevant number key between 1 – 5 (press zero to remove stars)
Color code your image by pressing 6 – 9

How you use these ultimately depends on your workflow. However, for example, you may decide to utilize the colors like a traffic light system (i.e., Green for the ones that you love, yellow for the okay ones and red for rejects). Alternatively, you may simply star the ones you really like with 5 stars. The choice is yours.

Speed up your editing

Often whenever you are at a location, you will take multiple photos. Sometimes you may even take a set of photos from the same scene. When it comes to editing them, it wouldn’t be very efficient to edit each one individually as the light and conditions won’t change much in a few seconds. Lightroom has a couple of great options to help.

Whilst in the Develop module, if you click on the “Previous” button (at the bottom of the right-hand panel), Lightroom pastes the same settings as the last image you were on to the selected image.

If you select multiple images on the film strip in the Develop module, you’ll notice that the “Previous” button changes to “Sync.” Press this and whichever image is selected will be used as a basis to paste the adjustment from to all images you’ve selected.

Once you have clicked on “Sync,” you’ll get a pop up where you can select which settings you want to add. This is a great option when, for example, you shot a scene in burst mode where all the conditions are similar from one photo to the next. You can always make further adjustments to a photo if needed.

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Conclusion

These are just some of the simple yet effective editing tools that you may not have known about in Lightroom. There is so much more Lightroom can do. If you learn how to use it, it will become an invaluable software in your workflow.

Don’t forget to let us know your great Lightroom tricks below.

The post 6 Great Lightroom Tricks You Probably Didn’t Know About appeared first on Digital Photography School. It was authored by Kav Dadfar.

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Lightroom Texture Slider vs. Skin Smoothing

09 Jul

The post Lightroom Texture Slider vs. Skin Smoothing appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

One of Adobe’s recent feature updates to Lightroom has profound implications for photographers who retouch their portraits. While in-depth alterations are best handled in an app like Photoshop or Affinity Photo, Lightroom’s brush tool has been a good choice for basic retouching for many years. Users can dial in specific settings to help skin appear softer and smoother, or select a preset defined by Adobe. However, these retouches have typically employed the Clarity slider, which is great for a lot of situations but not exactly ideal for portraits. Thankfully, the new Lightroom Texture Slider option aims to solve this and a whole lot more.

Lightroom Texture Slider vs. Skin Smoothing - 1

Before I get too deep into the Texture option, it’s important to know that it’s not just for tweaking headshots. It is specifically designed to either increase or decrease the detail on textured surfaces. These can be cloth, rocks, plants, skin, or anything that has a non-uniform appearance.

If you want to smooth the texture to make a surface appear more glassy, slide the Texture option to the left. By contrast, if you want to enhance the look of any textured object, just slide the tool to the right.

Texture vs. Clarity vs. Sharpening

Texture is fundamentally different from other tools such as Clarity or Sharpening, each of which has long been a staple in many portrait photographers’ workflows. Clarity works by increasing or decreasing contrast specifically along edges, or areas of already-high contrast. It primarily affects mid-tones and not the lightest and darkest portions of an image. Sharpening makes the edges of objects and surfaces much more vivid. It has some additional parameters like Radius and Amount that can be fine-tuned to get you just the right balance.

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Each of these tools has a specific purpose, and they can be used alone or together to create specific results. If you usually do basic portrait retouching by using the Brush tool and selecting the Soften Skin option, you may have noticed that it’s merely a combination of Clarity and Sharpness. Texture, on the other hand, is specifically designed by Adobe to alter the appearance of textured surfaces.

If you have traditionally done some basic retouching using Clarity and Sharpening, you might be surprised at how effective the Texture option is.

The Soften Skin brush preset in Lightroom is just a combination of -100 Clarity and +25 Sharpening.

Retouching with Texture

While you can apply texture globally by using the option in the Basic panel of Lightroom’s Develop module, portrait photographers will appreciate that it can be applied selectively using the Brush tool. Select the Brush option and then look for the Texture slider, which is right above Clarity, Dehaze, and Saturation. You can also configure parameters like Size, Feather, Flow, and Auto Mask though I would recommend leaving the latter turned off if you are editing portraits.

Click on your photograph and brush in the Texture adjustment the same you would with any other adjustment. Be careful to stay in the facial region and not brush into hair, clothing, or other parts of the image. You certainly can apply the texture brush to other elements of your picture later on, but to start with stay focused on the face.

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Original image with no brush adjustments applied.

As you brush in the Texture adjustment, you will see rough areas of the skin become smooth. I recommend starting with a value between -25 and -50. This retains most of the original look of the portrait while smoothing things out just a bit.

If you have never worked with the Adjustment Brush tool, you might take a minute and look over these five tips that could speed things up or make your work a lot more efficient.

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Texture -50 adjustment brush applied to the cheeks, chin, and nose.

The resulting portrait has a smoother, softer appearance where the Texture adjustment was applied. Details such as pores and wrinkles remain, and color gradients and shifting tones are also preserved.

This is much different than the results typically produced by using the Skin Smoothing option, which employs a mix of negative Clarity and positive Sharpening.

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Image with Soften Skin adjustment applied to the same areas.

This third image looks as though petroleum jelly has been smeared over the camera lens. The woman’s cheeks are missing the subtle color variations from the original image. While the skin is certainly smoother, it also looks more artificial.

To show how these images look in direct relation to one another, here is a graphic that shows all three versions for three seconds at a time. First is the original, then the Texture adjustment, then the original again, and finally the Soften Skin adjustment.

Lightroom Texture Slider vs. Skin Smoothing

You can create your own Adjustment Brush preset if you don’t want to rely on the Soften Skin preset. But if you have traditionally used the Clarity option, you may find it pleasantly surprising how vastly improved your results are by using Texture instead.

Comparison two

For another comparison, here are three more images to help you see the difference between Texture and other methods of softening skin.

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The original image with no skin softening adjustments applied.

Applying a Texture -50 Adjustment leaves the pores, stubble, and small wrinkles intact but smooths them out just a bit. It’s a subtle change that doesn’t alter the original too much or make the face appear artificially smooth.

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Texture -50 applied to the cheeks, chin, nose, and forehead.

A custom skin smoothing adjustment of Clarity -75 and Sharpness +15 makes the young man’s forehead and cheeks appear fake and plastic. It’s not a great look for a portrait.

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Clarity -75 and Sharpness +15 applied to the same areas.

Looking at the three images sequentially shows the effect in a more pronounced fashion. The Texture adjustment gives a much more natural result while the final image seems over-processed and fake.

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Conclusion

There’s a lot more you can do with the Lightroom Texture slider, and it’s useful for a wide variety of images aside from portraits. Some photographers like to reduce texture in the face and increase texture on hair and clothing for a punchier look.

My recommendation is to open up some of your images, especially portraits or headshots, and try it out for yourself. You might be surprised at how well it works.

Have you used the Lightroom Texture slider? What are your thoughts? Please share your thoughts (and images) with us in the comments section.

The post Lightroom Texture Slider vs. Skin Smoothing appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

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How To Use Lightroom Classic With Two Monitors

28 Jun

The post How To Use Lightroom Classic With Two Monitors appeared first on Digital Photography School. It was authored by Darina Kopcok.

how to use lightroom classic with two monitors

One of the best ways to enhance your workflow in Lightroom is to use two monitors.

Utilizing two monitors in Lightroom helps you work faster. You can also sort through your images more quickly. You can work with your thumbnails on one screen, and the full-sized image on another.

If you’re a high-volume shooter, such as a wedding photographer, you should seriously consider working with two monitors. You’ll find that it can make your workflow a lot more streamlined and productive.

Your second monitor doesn’t have to be as big or as high quality as your primary one. In fact, you can even connect a laptop to your monitor.

A two monitor set-up is great to have if you shoot tethered or travel with a laptop.

Alternatively, you can have two stand-alone monitors, depending on what kind of operating system you have, or a computer with a built in monitor, like an iMac.

For example, in my own workflow, I use a 27-inch iMac and a separate monitor in a similar size.

How to set up two monitors in Lightroom

To set up a two-monitor display, you first need to connect your second monitor and then get Lightroom to recognize the secondary display.

To do this, go to Window -> Secondary Display -> Show.

Then go to the monitor icons on the left side of the Filmstrip -> click the monitor icon labeled “2” to activate the secondary display.

The default for the secondary display is Loupe View, but you can change it.

The other options are Grid View, Compare View, Survey View, or People View. Click and hold the monitor icon marked “1” to see these options.

People is where Lightroom identifies faces in images, including new ones you add to your library. That way, you don’t have to assign keywords to tag people in your photos manually.

If you click and hold the icon labeled “1,” you’ll see a similar list of options for your primary monitor.

You can zoom and filter photos in Loupe View.

Loupe View on the second monitor allows you to zoom into the photo by clicking on the image. You can also right-click your mouse and change the color of your workspace background.

Note that Loupe View has three different modes: Normal, Live, and Locked.

In Normal, if you click on a thumbnail in Grid View on monitor 1, you’ll see a large version displayed in Loupe View on monitor 2.
In Live, the photo displayed in Loupe View changes as you move the cursor over the thumbnails in Grid View.
With Locked, the last photo viewed in Loupe View stays on the screen until you select one of the other modes.

To access Normal View, click on a thumbnail in Grid View on monitor 1 to see a large version displayed in Loupe View on monitor 2.

While in Live View, the photo displayed in Loupe View changes as you move the cursor over the thumbnails in Grid View.

In Locked View, the last photo viewed in Loupe View stays on the screen until you select one of the other modes.

Compare View in the secondary window offers the same functionality as the Compare View in the primary window.

Survey in the secondary display offers the same functionality as the Survey view in the primary window.

Options for display with two monitors

You can customize your workspace on two monitors in the following ways:

Use the Develop module on your first monitor and enable Loupe View on the second monitor. This will allow you to zoom in on the second monitor to check finer details such as noise, focus, or for chromatic aberration.
Set Grid View on the first monitor and Loupe View on the second monitor. You can look at one photo on one screen and thumbnails on the other.
Use Grid View on the first monitor and Survey or Compare View on the second monitor. This is recommended when you want to quickly cull images.
Alternately, you can have Grid View on your second monitor and Loupe View on the first monitor.

To hide the top or bottom panels in the secondary display, click the grey arrows, the same way you hide panels in Lightroom’s main window. Click them again to unhide them.

The “Full Screen” option in Lightroom is enabled by default. When you click on it, the window on your second monitor is taken out of full-screen mode, giving you a re-sizeable window that can be moved around the screen.

You can swap the displays around in Normal Screen Mode. In this mode, you can drag and drop the window over to the second display, automatically changing their positions.

You can also display the second window as a floating window by clicking the Second Monitor button in the main window and deselecting Full Screen.

To close the second window, –> click the Second Window button, or click it and deselect Show.

To sum up

One last note: be sure that at least the main monitor where you view your final images is calibrated. You want to make sure that the color in your images is technically correct, especially if your images will be printed.

If you have been doing your Lightroom post-processing on one monitor, you’ll find that getting a second monitor will change your editing life.

Do you use two monitors? What are your thoughts? Share with us in the comments below.

The post How To Use Lightroom Classic With Two Monitors appeared first on Digital Photography School. It was authored by Darina Kopcok.

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Adobe Lightroom is now available on Apple’s Mac App Store for the first time ever

21 Jun

Starting today, Adobe Lightroom is available in the Mac App Store. This marks the first time one of Adobe’s flagship Creative Cloud apps is available within Apple’s redesigned desktop app market.

Adobe lists two in-app purchases within the Adobe Lightroom listing: a $ 9.99 monthly subscription option and a $ 118.99 annual subscription option.

A screenshot of the Adobe Lightroom app listing in the Mac App Store.

Adobe says the first week of using Lightroom, which comes with 1TB of cloud-based storage, is free. After the first week, the recurring monthly payment is automatically charged to your iTunes account. As with other macOS subscriptions, you can turn off auto-renew in your ‘Account Settings’ within 24 hours before the end of your billing period and you won’t be charged for the renewal.

Alternatively, if you already have an Adobe Creative Cloud subscription that includes Lightroom, you can also log into your account after downloading Lightroom from the Mac App Store.

The $ 9.99 monthly subscription is the same price in the Mac App Store as it is on Adobe’s own website while the $ 118.99 annual subscription option is just shy of a dollar cheaper than the annual prepaid plan Adobe offers on its Creative Cloud website.¹

Adobe’s decision to keep the prices the same is an interesting one considering Apple is known to take a 30% cut of in-app purchases made within its desktop and mobile app stores for the first year and 15% cut for each year after that. Even with the decrease in revenue though, it’s safe to say Adobe isn’t hurting, considering its stock is at an all-time high after a record-breaking Q2.

¹Adobe has the annual Lightroom prepaid plan listed for $ 119.88

Update (June 20, 2019): Added text to clarify that you can log into your existing Creative Cloud membership even when downloading Lightroom through the Mac App Store.

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