With Soft Proofing enabled, the first time that you make a change to your image, Lightroom presents a dialog asking if you want to “Create virtual copy for soft proofing?” If you choose “Create Proof Copy”, Lightroom automatically creates a virtual copy allowing you to preserve your previous settings (in the master file), and create a new rendition (or version) tailored to the specific soft proofing options that you choose. If you choose “Make this the Proof” Lightroom will make the changes on the master file. Because everything that you do in Lightroom is nondestructive, if you ever choose “Make this the Proof” and then want to undo the changes, in the Develop Module, select Setting > Proof and disable it.
In this Quick Tip for Lightroom (How to Copy Files to an External Hard Drive in Lightroom), Julieanne shows how to copy files to an external drive that Lightroom is unaware of.
Clicking on the adjustment layer icon at the bottom of the Layer’s panel quickly adds an adjustment layer while bypassing the New Adjustment Layer dialog box. However, when adding Gradient and Solid Color Fill layers, I often want the option to change the blend mode of the layer (before choosing the colors). Fortunately, Option + (Mac) | Alt + (Win) clicking the icon will display the Adjustment Layer’s dialog box where I can quickly make the changes I need.
Did you know that the Library module in Lightroom has the ability to Auto Sync? I find this especially useful when using Survey mode. Let’s say, for example, I start with 10 similar images and then remove the less important ones until I only have 4 left. If I want to flag, rate or label all four of those images at one time, without leaving Survey mode, I just flip on the Auto Sync switch. Then, whatever I do to one, is done to all.
Just don’t forget to flip off Auto Sync when you are finished.
A number of people have been asking me to post the presets that I have showed when demonstrating Lightroom and Adobe Camera Raw. Although I don’t feel that they are earth shattering by any means, I do hope that they may prevent us all from individually recreating the wheel.
• Mac (user)/Library/Application Support/Adobe/Lightroom/Develop Presets
• Win (user)/Application Data/Adobe/Lightroom/Develop Presets
• Mac(user)/Library/Application Support/Adobe/Camera Raw/Settings
• Win (user)/Application Data/Adobe/Camera Raw/Settings
Note: If you are on a Mac, the Library menu may be hidden depending on your operating system. To reveal it, hold the Option key down while selecting the “Go” menu in the Finder.
There are presets for converting to grayscale using the B & W and HSL panels, toning using the Split Tone and Tone Curve panels, and adding grain and post crop vignetting using the Effects panel. The preset names differ slightly for each product as Camera Raw does not support folders in the Presets tab and I wanted similar presets grouped together. These presets are meant to be a starting point, you can customize any of them as you see fit, create your own, and delete the one’s that you don’t want to use.
Note: If you watch the sliders when applying these presets, you will see that each preset only moves the slider positions in a single panel. Therefore, if you click on one preset that changes sliders in the Tone Curve panel for example, and then click to apply a second preset that changes the sliders in the same panel, the second one will replace the first.
After yesterdays release of Lightroom mobile, I want to reiterate that when you sync a collection of images from Lightroom on the desktop to Lightroom mobile we are syncing Smart Previews – not the entire raw files. This means that you should not think of Lightroom mobile as a “backup solution”.
There are a number of reasons for using Smart Previews in today’s workflow including; bandwidth, speed, performance, and storage space. So although you might have thought that Smart Previews were only useful for working with off-line files, now you know that they were designed for and specifically optimized to be used on a mobile device.
And don’t worry, Lightroom will create Smart Previews for the images that you choose to sync automatically, so you don’t have to do a thing.
Take a tour of the new features with these videos:
In this video Julieanne walks through syncing collections, reviewing, picking, rejecting, and filtering images using Lightroom mobile on the iPad.
In this video Julieanne demonstrates how to crop, adjust color and tone, and apply presets to your photographs using Lightroom mobile on the iPad.
In this video Julieanne teaches you how to modify collections; move, add, and copy images between collections; and auto import from the camera roll using Lightroom mobile on the iPad.
Description: In this video Julieanne shows how to quickly save, share, and show slideshows using Lightroom mobile on the iPad.
I hope that you’re able to join Adobe and NAPP this week at Photoshop World in Atlanta. It’s an excellent opportunity to learn from and be inspired by some of the top Photoshop, Lightroom and photography instructors in the world! It’s going to be a busy show – here are a few of the events that I will be participating in. If you’re at Photoshop World, please come by and say hello.
Tuesday, April 8th
9:00 am to 10:15 am Opening Ceremony and Keynote
3:15 pm – 4:15 pm Organizing your Images in Lightroom
Wednesday, April 9th
12:00 pm – 1:00 pm The Creative Composite
7:00 pm – 9:00 pm The Art of Digital Photography Panel
Thursday, April 10th
1:00 pm – 2:00 pm Lightroom – The Develop Module
See you there!
The point of origin (or the starting or zero point of the rulers) can be changed by simply clicking and dragging the box in the upper left corner of the rulers (where they meet) and repositioning. Double clicking at the intersection of the rulers resets the point of origin to the upper left corner of the open document.
I’m excited to be returning to the fabulous Santa Fe Workshops this year to teach a 5 day workshop on Photoshop CC: The Creative Composite!
Course Description: Somewhere between the decisive moment of still photography and the time compression offered by moving pictures lies the world of digital compositing—a place where multiple images captured at different times are layered together to create a whole that is greater than the sum of its parts. During our five days together, Julieanne helps you discover how to transform concepts and ideas into images. You master the tools used in compositing, including layers and masking, blend modes, adjustment layers, the properties panel, opacity, and clipping paths. Then you take these concepts to the next level using Smart Objects and Smart Filters, making complex selections using channels and the pen tool, and creating knockout layer effects using advanced blending options, clipping masks, Layer Groups, and the Refine Edge command.
Mornings are dedicated to instruction, with time set aside in the afternoon for you to work on your own images. This is the chance for you to reinforce your understanding of techniques applicable to your photography and engage in individual critique sessions. Using the most flexible, non-destructive editing process imaginable, Julieanne combines creative inspiration with image-manipulation techniques to help you rediscover your enthusiasm and unleash your potential.
I hope you will be able to join us! Click here for more information about the class, and to view the entire Santa Fe Workshops calendar, click here.
Dragging and dropping a file from Bridge or Lightroom on top of an open document in Photoshop will (by default) place the file as an embedded Smart Object.
• Resize Image During Place – this will automatically scale down any file that is placed into a document smaller than it. But don’t worry, because Photoshop converts the file being placed into a Smart Object before it scales it down, all of the original data is there if you need to transform it larger.
• Always Create Smart Objects when Placing – this converts the file to be placed into a Smart Object. If you have reason to place an image as a regular, pixel based layer, uncheck this option.