LIGHTROOM

THE ADOBE PHOTOSHOP LIGHTROOM HOW-TO MAGAZINE ISSUE 29

MAGAZINE

HOW TO CAPTURE
AMAZING IMAGES
OF BIRDS IN FLIGHT

DEVELOPING THE SHOT LIGHTROOM LABORATORY

Even with a wide-gamut display, you cant always see all Learn how to re-create the Hollywood look in your images
the colors in an image. The solution? The HSL panel. p10 using the Split Toning panel. p16
PHOTO BY RICK SAMMON

AN OFFICIAL PUBLICATION OF
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 THE ADOBE

PHOTOSHOP

LIGHTROOM

HOW-TO
MAGAZINE
ISSUE 29
EDITORIAL:
Scott Kelby, Editor-in-Chief
Chris Main, Managing Editor
Kim Doty, Associate Editor
CONTRIBUTING WRITERS
GRAPHICS SEN DUGGAN
Jessica Maldonado, Art Director is the co-author of Photoshop Masking & Compositing,
Margie Rosenstein, Senior Graphic Designer Real World Digital Photography, and The Creative Digital
Angela Naymick, Senior Web Designer Darkroom. He leads workshops on digital photography,
Photoshop, and Lightroom. Learn more at SeanDuggan.com.
MARKETING
Adam Blinzler
Rachel Scott MARTIN EVENING
Kleber Stephenson is a photographer with a background in commercial studio
Melissa White photography. Hes also an experienced technical reviewer,
who has over the last two decades authored 25 books on
WEB Photoshop and Lightroom.
Adam Frick
Yojance Rabelo SEAN MCCORMACK
Aaron Westgate is the author of The Indispensable Guide to Lightroom CC.
Based in Galway, Ireland, he shoots subjects from musicians,
PUBLISHING:
models, and actors to landscapes and architecture. Learn more
Scott Kelby, Publisher
at http://lightroom-blog.com.
Kalebra Kelby, Executive V.P.
Jean A. Kendra, Business Manager
SERGE RAMELLI
ADVERTISING: is a cityscape and landscape photographer who hosts a weekly
Jeanne Jilleba, Advertising Coordinator show where he shares his best photography tricks and postprocess-
800-201-7323 ext. 152 ing techniques. He specializes in HDR, black-and-white, and long-
exposure photography of some of the nicest cities in the world.
HOW TO CONTACT KELBYONE:
U.S. Mail: 1 18 Douglas Road East RICK SAMMON
Oldsmar, FL 34677-2922 is a Canon Explorer of Light, has 14 classes on KelbyOne, and teaches
Voice: 813-433-5000 Fax: 813-433-5015
at Photoshop World. He has also published 36 books, including HDR
Customer Service: info@kelbymediagroup.com
Photography Secrets, Exploring the Light, and Digital Photography
Letters to the Editor: lightroom@photoshopuser.com
Secrets. Learn more about Rick at www.ricksammon.com.
Help Desk: kelbyone.com/my-account/helpdesk

COLOPHON: ROB SYLVAN

Lightroom Magazine was produced is the Lightroom Help Desk Specialist for KelbyOne, on staff at the
using Adobe Photoshop CC 2017 and Digital Photo Workshops, and author of Taming Your Photo Library
Adobe InDesign CC 2017. Roboto was used for with Adobe Lightroom and Lightroom 5: Streamlining Your Digital
headlines and subheads. Frutiger LT Std for text. Photography Process. Learn more at www.lightroomers.com.

An official publication of KelbyOne

This seal indicates that all content provided herein is produced by KelbyOne, LLC
and follows the most stringent standards for educational resources. KelbyOne is
the premier source for instructional books, DVDs, online classes, and live seminars for
creative professionals.

All contents COPYRIGHT 2017 KelbyOne, LLC. All rights reserved. Any use of the contents of this publication without
the written permission of the publisher is strictly prohibited. Lightroom Magazine is an independent journal, not affiliated
in any way with Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Illustrator, InDesign, Lightroom, and Photoshop
Cover photo: are registered trademarks or trademarks of Adobe Systems, Inc. in the United States and/or other countries. All other
trademarks mentioned belong to their respective owners. Some of the views expressed by contributors may not be the
Rick Sammon representative views of the publisher. ISSN 2470-7031 (online)
 10
Developing the Shot
Martin Evening
JOHN FORD POINT
BY MARTIN EVENING

16
CONTENTS
Lightroom Laboratory
Serge Ramelli

HOW TO CREATE THE HOLLYWOOD LOOK

BY SERGE RAMELLI

20
Under the Loupe
Rob Sylvan

LIGHTROOM WEB
BY ROB SYLVAN

28
Maximum Workflow
Sean McCormack

PERFECTLY CLEAR v3
BY SEAN MCCORMACK

36
Photography Secrets
Rick Sammon

PHOTOGRAPHING BIRDS IN FLIGHT

BY RICK SAMMON

54
Questions & Answers
Scott Kelby

BY SCOT T KELBY

56
Tips & Tricks
Sen Duggan

BY SEAN DUGGAN
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A Note from Scott | A FEW WORDS FROM THE EDITOR
LIGHTROOM
LEARNING
Okay, so do you know what has happened since last issue?
Plenty! First, Adobe released a major update to Lightroom
Mobile, one in which they took the same technology that
they use in Lightroom on the desktop for creating HDR
images, and added that to the built-in camera feature for
phones that can capture RAW images, such as the iPhone 7.
So now you can shoot HDR right from within the app to
capture an incredible range of detail, and then you can
edit it right there as a single image in Lightroom Mobile.
Pretty awesome when you think about it. Plus, you can
sync these RAW images back to Lightroom on the desktop,
or you can save them to the Camera Roll.
There were a few other little tweaks added, as well,
such as a new Force Touch pop-up on iOS devices, a new
Notification Center widget to make it quicker and easier
to open the built-in camera, and lots of updates to the An-
droid version of LR Mobile, including the Radial and Linear
gradient tools. But the big feature was definitely the ability
to shoot HDR from right within the app. There was also a
regular maintenance update to Lightroom on the desktop,
with lots of new camera and lens support, along with the
usual round of bug fixes, but no new features yet.
I went on the road with my first full-day Lightroom
seminar tour in seven years. Its called Lightroom On Tour,
and I was psyched to be out there sharing my latest work-
flow and how to get your photo library really organized.
We kicked it off in Boston and Philadelphia, and between
the two cities, more than 650 photographers came out for
the day. It was not only a great way to launch the tour but
I also learned first-hand what photographers are struggling
with in their Lightroom life, and Ive already tweaked the
Lightroom Magazine
seminar to address those areas to get Lightroom users
started on a happy journey. My next stops are in Chicago
on April 10 and the Detroit area on April 11, then its off
to Minneapolis and Indianapolis in May. I hope Ill get a
chance to meet you in person in one of those cities. (Tickets
are available on kelbyonelive.comits just $99 for the
full day of training, including my detailed workbook, and
its only $89 if you sign up early!)
I also released a brand-new class, my 7-Point System for
Lightroom, and the feedback from KelbyOne members
has been off the charts. Im thrilled to see that its helping
so many Lightroom users out there. You can watch the
course right nowjust click on the link above. Note: The
RAW files I use in the class are available for you to down-
load so you can follow right along with the same images
I use in the class; then, after youve applied these techniques
to my images, you can use them on your own. I hope you
find that helpful.
Of course, Photoshop World is right around the corner
(just a couple of weeks from the publication of this issue) in
Orlando, Florida, at the Orange County Convention Center
(April 2022), and were excited about the Lightroom train-
ing track that runs all three daysthe entire conference
long. There are lots of great classes from our instructors,
including Matt Kloskowski, Serge Ramelli, Terry White, Rob
Sylvan, and yours truly (among others). Hope Ill see you
there (ya know, since this is your conferenceits created
for, and by, KelbyOne members). Its not too late if you
want to join us.
What a great time to be a Lightroom user. Thanks for
checking in, and I hope you enjoy the issue!
All my best,
K E L BYO N E .CO M
Scott Kelby
KelbyOne President & CEO
Editor & Publisher, Lightroom Magazine 7
 Lightroom Magazine
Benefit Spotlight
ARE YOU TAKING ADVANTAGE OF THE DISCOUNTS
ON YOUR MEMBERS-ONLY DISCOUNTS PAGE?
Did you even know these discounts existed? If not, stop
what youre doing right now and explore how much
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L I G H T R O O M M AG A Z I N E I S S U E 2 9
even saved enough money through our discount program
to make their cost of membership practically free.
Theres one special discount that wed like to point
out to members who havent updated to an Adobe
Discuss this Issue
8
Creative Cloud subscription yet. New Adobe Creative
Cloud customers can subscribe to the Creative Cloud
Photography Plan for only $7.99 a month for the first
yearthats a 20% savings. Thats Photoshop, Light-
room, and a whole lot more for less than two cups of
coffee a month (if you drink the fancy stuff, that is).
So if youre still using Photoshop CS6 or Lightroom 6,
now is the perfect time to upgrade and get access to
all the latest features in these two amazing programs!
So what are you waiting for? Log in now to see how
much you can save, especially if youre about to invest in
some new camera gear or some Photoshop plug-ins. n
 2017 SCOTT KELBY
Developing the Shot | BY MARTIN EVENING

JOHN FORD POINT

A few years back, I traveled with fellow photographer,
Jeff Schewe, on a photo tour of the southwestern states,
where one of the highlights was an overnight stay at Oljato-
Monument Valley in Utah. As the sun began to set, we
couldnt help clashing tripods with all the other photogra-
phers who were there photographing the Mittens, all in a
frenzy of activity as the light changed from a golden glow
to a deep, fiery red. If youve never been, do gothe view
there is fabulous and you wont be disappointed!
 Lightroom Magazine

The next day, we were due to of the display. Even when using a wide-gamut display, you cant always expect to
head to Page, Arizona, but before see all the colors that are contained in a capture image. As I started working on the
leaving, we got up really early tone contrast, the brighter colored areas tended to flatten out, and I was losing the
to photograph the sunrise from texture of the rocks. The solution was to use the HSL/Color/B&W panel controls to
down in the valley. It was there modify the luminance and saturation for the targeted colors. This allowed me to
that I took this photograph of tame the out-of-gamut colors and thereby reveal color detail that would otherwise
John Ford Point, named after the have remained hidden.
filmmaker, who made some of his
best-known westerns in Monu- Step One: In Lightroom, I went to the Library module and selected two expo-
ment Valley. I was fortunate to sures from the scene that had been shot several stops apart. I then went to the
capture this photo as the sun had Photo menu and chose Photo Merge>HDR (Control-H [PC: Ctrl-H]).
just started breaking through the
clouds, and I kept on shooting
as the light gradually changed.
An hour or so later, our cards
were once again stuffed with
gigabytes of photos. As Jeff
accurately pointed out, You
may only visit a location like this
once, but you have the rest of
your life to process the images.
So youd better make sure you
capture it right!
Ultimately, my goal was to Step Two: This opened the HDR Merge Preview dialog. Now, although these pho-
achieve a processed image where tographs had been shot with the camera mounted on a tripod, Id noticed a slight
the tone contrast matched what shift in camera position between the two exposures. This is something thats always
Id seen that morning, but at first worth checking before you do an HDR Photo Merge, as you never know. Because
sight, the freshly imported RAW of this, I turned on the Auto Align checkbox. I then clicked on each of the Deghost
photos looked disappointing. The Amount options below. These indicated there was no subject movement to worry
drama and contrast of the scene, about, so I selected the None option and clicked Merge.
as I had remembered, was just
not there. This was something
I had encountered elsewhere
when photographing the sand-
stone rocks of the southwest.
Basically, at sunrise or sunset,
the rock formations reflect really
intense red colors. Now, although
the camera sensor is capable of
capturing these colors, they arent
K E L BYO N E .CO M

always apparent when you edit

the pictures in the Develop mod-
ule. The reason for this comes
down to the color gamut limits
11
 Lightroom Magazine

Step Three: The photograph

was shot using an ultra wide-
angle lens with the camera
pointing slightly up. This result-
ed in the verticals converging
slightly. To correct this, I went
to the Transform panel in the
Develop module, and applied
a negative Vertical Transform
adjustment. I followed this by
selecting the Crop Overlay tool
(R) and cropping the photo-
graph more tightly.

Step Four: Youll notice that

at the HDR Photo Merge stage
(Step Two), I had left the Auto
Tone checkbox turned off.
Sometimes this option can be
helpful in auto-setting the Basic
panel Tone sliders. With this
particular photograph, I didnt
think the Auto Tone was par-
ticularly useful, so I manually
adjusted the sliders to achieve
the desired amount of tone
contrast before adding further
Lightroom adjustments.
L I G H T R O O M M AG A Z I N E I S S U E 2 9

12
 Lightroom Magazine

Step Five: I did as much as

I could using the Basic panel
controls, because I always find
it best to use the Basic panel
sliders to carry out the heavy-
lifting tone editing. Tone
Curve panel adjustments are
only necessary if you need to
make further, refined tweaks
to the tone contrast. Here,
I added more contrast to
the highlights.

Step Six: In this step,

I selected the Radial Filter tool
(Shift-M) and added a number
of Radial Filter adjustments.
The filter adjustment you can
see selected here added a
positive Exposure adjustment
combined with more Contrast
and Clarity. This lightened and
enhanced the rock texture.
With the Invert Mask option
turned on, the adjustments
affect the inside area of the
Radial Filter.
K E L BYO N E .CO M

13
 Lightroom Magazine

Step Seven: I now wanted

to fine-tune the colors in the
scene. To do this, I went to the
HSL/Color/B&W panel, where
I first selected the Luminance
tab, and then selected the
Targeted Adjustment tool (cir-
cled). I positioned the tool over
the rocks and dragged down-
ward to darken them. I then
placed the cursor over the sky
and dragged downward, as
well, to darken the sky colors;
however, this also increased
the blue saturation. I there-
fore clicked on the Saturation
tab and clicked-and-dragged
downward on the sky to make
the sky color less intense, plus
I dragged downward on the
rocks to mute the orange and
yellow colors slightly.

Step Eight: In this final step,

I selected the Graduated Filter
tool (M) and added a filter
adjustment on top of the sky,
where I lowered the Exposure
to darken it. I also applied a
negative Highlights setting to
bring out more highlight detail
in the clouds, and increased
the Clarity to create more
cloud contrast. Finally, I add-
ed a second filter adjustment
at the bottom to darken this
shaded area.
L I G H T R O O M M AG A Z I N E I S S U E 2 9

14
 Lightroom Magazine

HSL Adjustments and Color Gamut

As I explained at the beginning, where colors fall outside the gamut
of the display (and the printer for that matter), what you see on the
screen isnt always the complete picture. But just because you cant see
detail on the screen doesnt mean its not there. This diagram highlights
the problem. Here, I exported the Step Six version of the image and
used ColorThink to plot the pixel colors as points on a 3D color graph
relative to a wireframe shape of my computers display profile. What
I want readers to focus on here are the orange points plotted outside
the wireframe shape. These represent the out-of-gamut colors that the
display was unable to show. Consequently, these were all displayed in
Lightroom using the nearest in-gamut colors. In this instance, therefore,
the color detail had to be compressed when rendered on the screen
while being viewed in Lightroom.
This next diagram shows the final image plotted against the same
computer display profile wireframe shape. Here, you can see that fewer
colors now fell outside the gamut limits of the display. Mind you, not all
the pixels were constrained; because it wasnt possible, or even necessary,
to constrain the color of every pixel.
If Id been able to do so, the image could have ended up looking
rather flat and boring. This comparison is designed to help you visualize
the effect that HSL luminance and saturation adjustments can have
on an image and how they can improve the color rendering of tricky,
saturated colors. n

Discuss this Issue

K E L BYO N E .CO M

15
After
ALL IMAGES BY MARTIN EVENING
Lightroom Laboratory | BY SERGE RAMELLI

HOW TO CREATE THE

HOLLYWOOD LOOK
The Hollywood look is a color theory used in movies. If you
look closely, youll see that in a lot of movies, two colors usu-
ally stand out: a mix of blue/green and orange.
 Lightroom Magazine

Let me explain further. Take a look at the color above. When the picture. If you have too many colors in your frame, it will
you have two complimentary colors together, they stand out be distracting for the eye. Heres how you can apply that
K E L BYO N E .CO M

from each other. (Complimentary colors are directly oppo- look in your photos!
site of each other on the color wheel.) And, because human
skin is usually around lighter or darker orange tones, it works Step One: This is a photo I took in Monaco, in front of a
very well with blue. The idea is for an actor to stand out in casino. It felt like a movie scene to me.
17
 Lightroom Magazine

Step Two: First, lets do a basic retouch. I reduced the Highlights to 100,
opened up the Shadows to +100, moved my Whites to +31 and my Blacks
to 47, and finally, I added a bit of Clarity (+38). This isnt the Hollywood
look, just the basic retouching.

Step Three: Theres a bit of noise in this photo, so I went to the Develop mod-
ules Detail panel and applied my usual formula of around 50 for Luminance Noise
Reduction, 25 for Color Noise Reduction, and then 50 for Sharpening Amount.
I also added some Sharpening Masking (50).

Step Four: Well get the Hollywood look in the Split Toning panel. First, lets
make the Shadows a blue/green tone. Theres no formula here; you just have to
do it by eye. I set the Shadows to 219 for the Hue and 85 for the Saturation.
L I G H T R O O M M AG A Z I N E I S S U E 2 9

18
 Lightroom Magazine

Step Five: Now, lets make the Highlights more orange. For that, you can do
the same thing you did for the Shadows and pick a color that looks good to you.
Here, I set the Highlights Hue to 38 and the Saturation to 74.

Step Six: Use the Balance slider to make the colors even and find what works for
you. I ended up with my Balance set to 24, and I lowered the Highlights Satura-
tion to 60. Moving the Balance slider to the left puts the emphasis more on the
shadow colors, which is blue in this case.

Step Seven: Here in the final image (below), you can see that weve created the
movie look.

Step Eight: Now, you can even make a preset with these settings, and use it
as a starting point to re-create this Hollywood-look effect. Just click on the plus
icon to the right of the header in the Presets panel to open the New Develop
Preset dialog.

I hope you enjoyed this little tutorial and that youll Discuss this Issue
create a movie scene of your own with it! n

K E L BYO N E .CO M

19
ALL IMAGES BY SERGE RAMELLI
Under the Loupe | BY ROB SYLVAN

LIGHTROOM WEB
A lesser known, but increasingly powerful companion to the
Creative Cloud (CC) experience is called Lightroom Web.
No, not the Web module in Lightroom desktop, but rather
a component of Lightroom Mobile that you can access
through any Web browser.

Lightroom Web provides a browser-based means to access
all photos synced through Lightroom Mobile, plus the ability
to manage and create collections, upload additional photos,
download copies of synced photos, make adjustments, and
more. Lets take a closer look at what we can do.
Access Synced Collections
To get there, point your Web browser to lightroom.adobe
.com and login with the same Adobe ID and password
you use for your CC subscription. Once logged in, youll
be greeted by the Welcome screen, which serves as a sort
of dashboard for your synced files, as well as providing
access to the latest Lightroom Web news, tutorials, new
features, and your photos. Its worth taking a moment to
Lightroom Magazine
scroll down and see all of whats offered here. You can
jump to your synced photos by clicking the Photos tab at
the top, or by clicking any of the links to your photos or
collections displayed on the Welcome screen.
Manage Collections
All of the photos youve added to synced collections through
your Lightroom desktop catalog, as well as any youve
imported directly into Lightroom Mobile are visible on the
Photos screen.
Along the left, youll find your collections arranged in
alphanumeric order and, depending on whether youre in
All Collections view or All Photos view, youll see either your
collections or your photos in the main area. You can switch
K E L BYO N E .CO M
21
 Lightroom Magazine
between those two views by clicking their respective buttons
at the top of the Collections list. Were starting out in All
Collections view.
Any collections that are shared publicly will display a small
globe icon on the left side of the collection thumbnail. You
can quickly view only publicly shared collections by clicking
the globe icon to the left of the Collections list. In the main
area below each collection are three icons and, if you hover
your cursor over each, a tooltip will appear indicating the
icons function. The + (plus sign) provides the ability to upload
new photos directly to a given collection, the rectangle with
Step One
Step Two
L I G H T R O O M M AG A Z I N E I S S U E 2 9
22 Step Three
the arrow provides direct access to the sharing options, while
the gear icon takes you right to the general collection set-
tings. Lets go through the Steps of creating a new collection,
adding currently synced photos to that collection, editing its
settings, and uploading new photos from the desktop to
explore these options.
Step One: Click the + (plus sign), at the top of the Collec-
tions list, or where it says Create Collection near the top of
the screen, to see the Create a New Collection dialog. Here,
you can enter a name and click Create.

Step Four
Step Two: When you create a new collection, it will conve-
niently appear at the top of the Collections list at first to help
you find it (once you change views, it will drop into alpha
numeric order). You can add photos by dragging-and-drop-
ping them from the main area to the collection on the left.
I have some photos I captured on my phone, so Ill select my
phone collection to view the synced photos I want to add.
Note: I have an exclamation point at the beginning of my
phones camera roll collection (!RobiPhone), so that it always
appears at the top of the Collections list for easy access.
Step Three: While viewing the contents of a collection,
youll see all of the synced photos within it. As you move
your cursor over each photo, a checkmark appears in the
upper-right corner. Click that checkmark to select the photo.
This activates the management options along the top for the
selected photos.
Youll have the ability to set that photo as the cover for
the current collection, remove it from the collection, delete it
from Lightroom Mobile, copy it to another collection, move
it from the current collection to a different collection, or
share the selected photos. Go on to select as many photos
as you wish to add to the new collection.
Lightroom Magazine
Step Four: Click-and-drag the selected photos to the Col-
lections list on the left. As you do, the collections will
display a white border indicating that theyre potential
targets, but when your desired collection highlights in blue,
you can release the mouse to add the photos to it.
Note: We just fostered, and then adopted a puppy, so
apologies for all the puppy photos.
Upload New Photos
Ive added some previously synced photos to my new collec-
tion, but I also have some photos in a folder on my laptop
that Id like to upload directly to this collection. This will,
in turn, cause them to be synced to my Lightroom desk-
top catalog and automatically downloaded to my primary
storage location. This functionality allows the potential
to leave your computers at home. And, if youre going
somewhere with a computer that has Web access, you can
upload photos while on the go.
K E L BYO N E .CO M
Step One: Select the collection to which you want to upload
the photos or, if youre in All Collections view, click the +
(plus sign) icon under the collections cover photo.
23
 Lightroom Magazine

Step Two: Click Add Photos along the

top of the main area, and navigate to
the location on your computer where
the photos are stored.

Step Three: Select all the photos you

want to add and click Open. In this
example, Im uploading 10 NEF files.
The speed of your Internet connec-
tion is potentially a limiting factor, but
Im excited about the freedom that
comes from being able to add new
photos to my catalog from any con-
nected computer in the world.

Edit in Your Browser

This Web interface also offers a limited
set of adjustment tools; simply click
on a photo to see it in Loupe view.
In this view, you can apply flags and
ratings using the icons along the bot-
tom, which is also where youll find the
option to download or share the pho-
to. In this case, because Id uploaded
a NEF file, I can download the full NEF
file or the smaller smart preview JPEG-
size copy. On the top-right side, you
can enable the Photo Info view or the
Activity view. (Check out Scotts Light-
room Workshop column in Issue 25
to learn more about this feature.) In the
upper-left corner is the Edit this Photo
button, which will take you to the edit-
ing options.
In edit mode, theres a similar set
of adjustments to whats found in
L I G H T R O O M M AG A Z I N E I S S U E 2 9

Lightroom Mobile, such as cropping,

applying presets, making basic tonal
adjustments, white balance, B&W con-
versions, and more. Remember, this
was a RAW file I uploaded moments
ago, and now Im adjusting tonal val-
ues and tweaking white balance in my
Web browser. Amazing!
24
 Lightroom Magazine

Switching to the Crop tool, you can choose

from the usual common aspect ratios, as well as
straighten, rotate, and flip, as youd expect. Ive
also enabled a new feature referred to as a Tech-
nology Preview, which Ill circle back to in a bit. The
Technology Preview for cropping provides me with
a series of automatically generated cropping
suggestions based on the content of the photo.
In this example, under the 3:2 aspect ratio, I have
three suggested crops. Clicking the 3:2 button
will cycle me through the suggestions.
When the editing is done, click the Save & Exit
button in the upper-left. You can return to Grid
view by clicking the X in the upper-right of Loupe
view, or just press the G key. (Yes, theyve incor-
porated some of the same keyboard shortcuts
into the Web interface that were used to using
in Lightroom Desktop.) While in Loupe view, P,
U, and X correspond to Pick, Unflag, and Reject;
pressing 1 through 5 applies the corresponding
star rating. While in Edit view, W triggers the
K E L BYO N E .CO M

White Balance Selector tool, and R switches to

the Crop function. Whichever view youre in,
press the ? key to see a complete list of shortcuts
for that view.
25
 Lightroom Magazine
Technology Previews
I mentioned the suggested crop Technology Preview, so I
wanted to re-visit what these previews are, where to find
them, and how to turn them on. Switching back to the
Welcome screen (and possibly scrolling down), youll find
the Technology Previews section, and Open Technology
Previews button. Click that button to access the means to
enable/disable the available features. At the time of this
L I G H T R O O M M AG A Z I N E I S S U E 2 9
26
writing, there are two: the Suggested Crop and Search. We
looked at the crop function already, so lets look at Search.
This Search function doesnt rely on keywords, but rather
image-analysis technology that analyzes the contents of
your photos and allows you to find certain images based on
their content. For example, once enabled, switch back over
to Photos view and youll see the Search field at the top of

the Collections list, which goes through all synced photos.
I entered Dog in the field (since I have plenty of those pics),
and I got back 241 results. Scrolling through the results,
I did find some misfires near the end (like a horse, a roasted
turkey, and a raccoon puppet!), but overall it did a pretty
good job of pulling together photos that had at least one
dog. Because this is a work in progress, youre encouraged
Lightroom Magazine
to provide feedback about your experience to help improve
this feature over time.
Theres a lot of power packed into this Web interface, and
the best part is that it just keeps evolving and improving. I still
primarily rely on the Lightroom Mobile app when Im out in
the world, but I like having the additional functionality and
larger screen that I can access from any computer. n
Discuss this Issue
K E L BYO N E .CO M
ALL IMAGES BY ROB SYLVAN 27
Maximum Workflow | BY SEAN MCCORMACK

PERFECTLY CLEAR v3
Athentech are busy-beavers, working hard to bring the best version
of their Perfectly Clear plug-in to you. As with the jump from ver-
sion 1 to version 2 (the Complete plug-in), the jump to version 3 is
like getting a new plug-in. With older versions, you could expand
the dialog for a larger view, though the text was a little small. Ver-
sion 3 is very different, as it looks more like a typical current plug-in.
The new interface is full screen and is now a dark gray, similar to
most other plug-ins. While some may argue that it makes it look
generic, Id argue that familiarity helps you get to grips with the
plug-in much faster. In other words, I really like this change.
 Lightroom Magazine

Installation
Perfectly Clear now has a new Apps Manager. This helps
keep the program and preset packs up-to-date. To install,
run the Apps Manager package from the Athentech folder
in Applications (PC: Program Files). This will show your avail-
able products. At the top right of the Perfectly Clear panel
is a cog. Click this to enter your serial number and email to
activate the product.
Restart Lightroom to load the plug-in. You can access it
from the presets section of the Photo>Edit In pop-up menu.
Assuming youve already made changes in Lightroom, choose
the Edit a Copy with Lightroom Adjustments option, in the
Edit Photo dialog. For the best quality, choose 16 bit, ProPhoto
RGB, and TIFF, in the Copy File Options section.

K E L BYO N E .CO M

29
 Lightroom Magazine
Getting Around
The plug-in interface now looks a little more familiar to
anyone using plug-ins, or even Lightroom for that matter.
Heres the skinny on the layout:
1. Zoom and view: Control the zoom level of the photo,
or use the icons to go from Full View to Double View
or Split View, or use a slider to drag between a before
and after in 50/50 Split View.
2. Navigator panel: Use this to zoom in/out, and choose
the area visible in the main image area (4) by dragging
the red rectangle around when zoomed in.
3. Presets panel: The heart of the app. For speed, use
the available presets. Each preset group can be clicked
L I G H T R O O M M AG A Z I N E I S S U E 2 9
to open and show the contained presets. Use the
buttons at the bottom of the panel to add groups or
add/edit a preset. Using the other buttons near the
bottom of the panel, you can import other presets,
export yours for sharing, or buy commercially avail-
able presets. You can hide this panel (or any of the
other panels) by clicking on the disclosure triangle in
the header of the panel.
30
4. Main image area: This previews what the presets or
sliders are doing to your photo.
5. Presets Bar: Presets are duplicated here. From the
pop-up menu on the left, select a preset group, and
the individual presets appear in the Presets Bar as icons
rather than just names, like in the Presets panel.
6. Histogram panel: Preview the range of tones in the
image, here. By turning on the checkboxes in the top
left and right of the histogram, you can preview shadow
and highlight clippinguseful for keeping the image
in check, so youre not blowing out highlights. Clipped
shadows show as blue, while clipped highlights show as
red. Directly below the histogram is the Strength slider,
which lets you reduce or boost the plug-in effects.
7. Tools panel area: This is where you have control over
the settings for the plug-in effects. You can change any
of the settings from any applied preset here.
8. Status Bar: At the bottom left of the window, you can
see the name of the current file and what number in
the batch of images it is for batch processing. Use the

arrows to the right to move between files, and use the
Sync Settings button to apply current settings to the
whole batch. The app version is visible in the center.
(Note: Im using a beta version, here.) Finally, the base
preset being used is highlighted on the right. If you edit
the settings, this changes to Custom. Clicking the +
(plus sign) on the far right, opens the Save Preset dialog.
Editing
By default, the Intelligent Auto preset is selected, but you can
choose something specific from a preset group that suits your
image. Ultimately, any preset can have settings applied that
werent in the original preset. So, for our purpose here, well
run with this and look at the panels in the Tools panel area.
Preprocessing
The Image Ambulance option is a gamma correction tool to
fix under- or overexposure. Athentech recommends you do
these corrections in your RAW processor first. Corrective Filter
allows you to add the look of traditional lens filters, such as a
Neutral Density or Warming Filter, to your photo.
Lightroom Magazine
Tone
Exposure controls the brightness of the photo. Its a patented
process, so its not the same as Lightrooms Exposure setting.
Low/Med/High are intervals on the slider that represent the
aggressiveness of the effect, but the slider offers fuller
control. You can monitor for highlight clipping with this
in the Histogram panel. Face Aware will correct for faces
found in the photo. And, Black Point sets the richness of
the blacksuse this with shadow clipping to see whats
being affected.
Depth is a modified contrast control in two varieties:
High Contrast and High Definition. The latter has more
shadow and highlight detail than the former. Skin & Depth
Bias helps remove redness from skin and improve the
background in the photoit comes in Normal and Bright
versions. And, Light Diffusion is Perfectly Clears version of
negative clarity, but its far more controlled when working
on skin to flatter the subject.
Color
Version 2s Vibrancy control has become the Color Restore
tool, helping restore washed-out color. A new, more tradi-
tional vibrance tool has been added with Color Vibrancy. Try
K E L BYO N E .CO M
it with lower settings first. Fidelity maps camera colors to
colors as seen by the eye. It also has a Vivid option for more
intense color. Tint Correction automatically detects and fixes
color casts.
31
 Lightroom Magazine

The new Sky and Foliage Enhance Strength options

are great for landscapes. Ive used Sky Enhance here
to boost colors from the gels used in this shot. As the
controls change the photo contrast, as well as color,
Ive gone back and tweaked the Tone settings, as well.

Details and Eyes

The Details panel was called Clarity in version 2,
and you can check out how to work with this panel,
along with the Eyes panel, in my article on version 2
L I G H T R O O M M AG A Z I N E I S S U E 2 9

in Issue #22.

Face Selection
This shows the face(s) selected automatically, but you
can add other faces by clicking the Manually Add Face
button and drawing a face. If youre not happy with the
face selection, you can manipulate the control points
with the Show & Adjust Control Points checkbox.
32
 Lightroom Magazine

Face and Skin

The Portrait panel from version 2 has morphed
into the Face and Skin panels in version 3. In
the Face panel, Face Slimming has become
Face Contouring, and is a great way to slim
a face without making it look fake, espe-
cially at lower settings. Teeth Whitening
improves tooth color, and Lip Sharpening
enhances the lips, with options for Fine,
Medium, and Coarse.
The skin is selected automatically, so the
sliders in the Skin panel only affect selected
areas. Apply Perfectly Smooth to the Face
Only or Full Body, and choose between a
Subtle, Default, or Super Smooth Smoothing
Type. Blemish Removal will reduce blemishes
on the skin. Infrared Removal fixes redness
due to the addition of infrared captured by
cameras compared to what our eyes see, and
Shine Removal tones down highlights in oily
skin, often caused by using flash. The settings
target skin tones, so the gel side of the face
in my photo isnt getting as much treatment.

Makeup
Skin Toning allows you to change the base
color of the skin, acting like foundation
in makeup, and Blush adds a tone to the
K E L BYO N E .CO M

cheeks. By clicking on the little triangles to

the right of the Color swatches, you can
open up more swatches, which act like a
virtual makeup palette.
33
 Lightroom Magazine

Looks
The final panel contains a set of color and B&W looks to give
your image a finished look. Choose from B&W Films, Color
Film Stock, Color Grading, or Stylized Color groups for your
look. Use the Strength slider to control the level of effect on
your image. I dont think this particular image needs a look,
but if youve read this column before, you know Im more
than happy to use them!

Clear as Day
The larger preview area, coupled with the new tools, make
Perfectly Clear even better than its predecessor. The skin
smoothing, eye, and face contouring options are great
for those who dont want to go to Photoshop, especially
when saved as a preset and used in batch modea joy for
wedding and portrait photographers. n

Discuss this Issue

L I G H T R O O M M AG A Z I N E I S S U E 2 9

34 ALL IMAGES BY SEAN McCORMACK

 TRENDING KELBYONE REACHES 150,000 FOLLOWERS

Need some quick tips for your photography? Head over to the KelbyOne YouTube channel
and watch as professionals such as Scott Kelby, Peter Hurley, Matt Kloskowski, and others
show you how to become a better photographer and photo editor.

Lightroom for Beginners: How to Use Collection Sets (and Why They Rock)

Photo Tip Friday: Scott Kelby Lightroom Custom Print Template #4

Off Camera Flash for Wedding Photo Albums

Lightroom Tips | Photoshop Tutorials | Photography Tips

Photo Tip Friday Quick Tips | Online Class Trailers | Full Episodes of The Grid
Photography Secrets | BY RICK SAMMON

PHOTOGRAPHING
BIRDS IN FLIGHT
Im often asked, Whats the most difficult subject to photo-
graph? The answer, of course, is It depends. For example,
photographing a stranger in Mongolia can be difficult, due in
part to the language difference. Photographing underwater
can be difficult, too, because the subject is often moving and
youre movingthrough a liquid thats 800 times denser than
air. But photographing birds in flight, a.k.a. BIF photos, is the
first thing that comes to mind when Im asked this question.
In this article, Ill share with you my top tips for BIF pho-
tographs, tips Ive learned after making many out-of-focus
BIF pictures when I started shooting birds, so to speak.

Sharp-Eye Shots
The opening image for this article, taken in Alaska,
illustrates my basic BIF photo philosophy: If the eyes
arent in focus and well lit, youve missed the shot. For
a higher percentage of sharp-eye shots, set your cam-
era on the focus-tracking AF mode. In this mode, the
camera tracks the subject right up to the moment of
exposure, as opposed to the one-shot AF mode, which
locks in the focus before you can shoot and could
result in an out-of-focus subjectespecially when that
subject is a bald eagle that can fly up to 90 miles an
hour. That being said, its still a good idea not to shoot
with your lens set at the maximum aperture, which
offers the least depth of field of all the apertures.
I suggest stopping down a stop or two, which will
offer a bit more depth of field.
Lightroom Magazine
Two more things to consider about auto focus: (1) Try
back-button focus, a technique (available on most mid-
and high-end digital SLRs) in which you set the focus
by pressing a button on the back of the camera, and
then take the picture by pressing the shutter release
button. This technique, popular among many bird pho-
tographers, separates focus from picture taking. (2) Set
the focus points on the subject, rather than having the
camera search for a focus point. This technique will give
you a higher percentage of in-focus images.
The focus-tracking mode is especially important
when the subject is flying directly toward you, as was
the case when I photographed this gull in Alaska. Both
of the photographs were taken from a boat, which was
rocking gently on the water.
K E L BYO N E .CO M
37
 Lightroom Magazine

Set Your Shutter Speed

This bald eagle photograph has some
thing in common with the two previous
photographs: its a handheld image.
When handholding a long lens and
striving for a sharp shot, using Image
Stabilization or Vibration Reduction is
of the utmost importance, because, as
with binoculars, long lenses exaggerate
shake. The basic rule for handholding a
lens is to use a shutter speed at or faster
than the focal length of the lens. For
example, youd use a shutter speed of
1/400th of a second, if a 100400mm
IS lens was set at 400mm. That rule
apples to non-IS and non-VR lenses,
which let you shoot at two or three
(and sometimes more) shutter speeds
below the shutter speed/focal length
rule; although I usually go for an even
faster shutter speed to get a steady
shotand to freeze the action, as well.
This image was taken with my Canon
400mm f/4 DO lens on my Canon 5D
Mark III (full-frame image sensor cam-
era) at a shutter speed of 1/2000th of
a second. For a bit more depth of field,
I set the aperture to f/6.0.

Go for Gesture
L I G H T R O O M M AG A Z I N E I S S U E 2 9

Taking a break from tech talk, this

photograph illustrates something that
Photoshop World instructor Jay Maisel
stresses: the importance of gesture in a
photograph. When photographing BIF,
look for gesture. Also, look for gesture
when youre picking your best shots
from a series of images.
38

Think RFA (Rapid Frame Advance)
Gestures change in a split second, as can the background.
To capture all of the subtle changes in BIF photography,
you must set your camera at the highest possible frame
rate. If you plan to take a lot of BIF photographs, you
probably want to invest in a pro-level camera with a very
high frame rate. Shooting at a high frame rate with my
Canon 5D Mark III let me capture this image of a gull,
which shows the shadow of the gulls head on its wing
as well as the expression on the gulls face as it drops
its catch.
Lightroom Magazine
Expose for the Highlights
In BIF photography, you often need to deal with high-
contrast scenes. And, when it comes to bald eagle photog-
raphy, you also have to deal with trying to capture the detail
in the dark and light feathers. To capture the detail, and
to preserve the highlights, shoot with your cameras high-
light alert activated and histogram displayed. After you
take a shot, check these displays (which are basically your
in-camera light meter) to ensure a good exposure. Also,
always shoot RAW files, which are more forgiving (when
photographing high-contrast scenes) than JPEG images.
K E L BYO N E .CO M
39
 Lightroom Magazine

Seek Separation
When photographing several BIF, seek separation; that is, have
some space between the subjects. This technique lets each bird
stand out in the frame, as illustrated by this sunset picture of
three sandhill cranes that I photographed at the Bosque del
Apache National Wildlife Refuge in New Mexico.

Luck is Key
Ive taken a lot of dumb luck shots in my life, and this photo-
graph, also taken at Bosque, is near the top of the list. Yes, its
a lucky shot taken at sunrise. But, luck does favor the prepared
photographer. After photographing the spectacular sunrise
in front of me, I turned around to see what was happening
behind mefollowing the tip: always look back. I got off one
shot just as these snow geese flew past the setting moon.

Choose Your Lenses Wisely

The top image on the next page is the spectacular sun-
rise scene I was photographing before I took my moon/
snow geese shot. This is why photographers from all over
L I G H T R O O M M AG A Z I N E I S S U E 2 9

the world travel to Bosque del Apache in November and

December. Its the time of year when thousands of sandhill
cranes and snow geese fly into Bosque and take off each
morning for whats called the blastoff. Again, I was lucky
with the light and birds. Ive been there when the light was
dull and the birds were in other nearby locations.
I took this picture with my Canon 24105mm IS lens mounted
on my Really Right Stuff tripod and ball head. At the same time,
40

on a Black Rapid strap, I had my Canon 100400mm lens
on another full-frame camera bodyso, I prepared to take
both telephoto and wide-angle shots. In BIF photography, I
recommend this two-camera setup. Theres no one best speed of 1/15th of a second. That shutter speed worked
lens for BIF photography, but if I had to choose one lens,
it would be a 100400mm IS lens. The lens is versatile and
made even more so, if you add a 1.4x teleconverter.
Slow it Down
So far weve been looking at sharp shots. Another option
is to use a slow shutter speed to blur the movement of
Lightroom Magazine
the birds, while keeping the background in focus. To blur
the movement of the snow geese taking off at sunrise
in the image at the bottom of the page, I used a shutter
in this situation, but I suggest that you experiment with dif-
ferent slow shutter speeds to get your desired effect. Also,
always use a tripod when shooting at slow shutter speeds.
Blurring the action removes some of the reality from a
scene; so does converting an image to black and white.
When you remove the reality from a scene, a picture can,
but not always, look more creative and artistic.
K E L BYO N E .CO M
41
 Lightroom Magazine
Keep an Eye on ISO
Id like to leave you with another Bosque sunrise blastoff
image, taken a few years before I took the previous blast-
off image. Its a handheld shot taken with my 24105mm
IS lens set at 75mm. Although the scene looks relatively
bright, the light level was relatively low. To stop the action
of the flying birds, I set my ISO at 640, which gave me a
shutter speed of 1/800th of a second. The idea here is
to choose an ISO that will give you the shutter speed/
aperture combination that will help you capture your cre-
ative vision. On that note, although some bird photogra-
phers like to shoot on auto ISO (due to the changing light
ALL IMAGES BY RICK SAMMON
L I G H T R O O M M AG A Z I N E I S S U E 2 9
42
level), I like to know the ISO at which Im shooting. That
way, I can think about possible noise in a photograph,
and be ready to reduce it in Photoshop or Lightroom.
If you go to Bosque del Apache, which can be below
freezing in winter, make sure you have the right cloth-
ing. Doing a Web search on the weather can help you be
prepared. And, finally, have fun! Yes, BIF photography
is challenging, even for the seasoned pro. But man-o-
man, when you get a great shot, your effort results in a
very rewarding feeling. As my dad used to say, Onward
and upward. n
Register Today At photoshopworld.com | 800.201.7323
Photoshop World
THE Annual Conference
Is In Orlando This Year
Photoshop World is an exciting mix of peoplecreative professionals, soccer moms, artists, educators, students,

hobbyists, bloggers, photographers, videographers, and morewho all come to immerse themselves in three

days of incredible in-depth training, creative inspiration, and fun! The whole event is about losing yourself in a

flood of new ideas and techniques while meeting other creatives just like yourself, including Photoshop users,

photographers, graphic designers, social media marketers, and Lightroom fanatics. Theyre all there and theyre

all ready to learn and network. It doesnt matter if youre a beginner, intermediate or an advanced user, theres

something for everyone. Basically its a bunch of really cool, really fun, creative people like you!

Three Days Of Non-stop Photoshop,

Lightroom And Photography Training
Wed. April 19 | In-Depth Workshops Separate registration & fee required, Meet-Up

Thurs. April 20 | Keynote, Sessions, After-Hours Party, Partner Pavilion

Fri. April 21 | Sessions, Photo Shootout, Live Natural Light Shoots, Partner Pavilion, Midnight Madness

Sat. April 22 | Sessions, Guru Awards, Wrap-Up Ceremony

View all the Photoshop World 2017 highlights

at photoshopworld.com/events
 Instructors
Get Ready To Learn From The Best
We all know the difference a great teacher can make and thats why only the worlds best instructors are
invited to speak at Photoshop World. Its a team of the most talented, passionate and gifted teachers
on the planet. All here to share their latest techniques and tricks of the trade to help make you faster,
more efficient, and more creative so you can have more fun while youre doing it. Here are some
of this years all-star instructors:

Scott Kelby Joe McNally Terry White Lindsay Adler Joel Grimes

Tim Wallace Moose Peterson Kaylee Greer Matt Kloskowski Kristina Sherk

Dave Black Jeremy Cowart Frank Doorhof Julieanne Kost Corey Barker

View all of this years Photoshop World instructors at

photoshopworld.com/instructors
Instructors, classes and class materials may change without prior notice. Visit www.Photoshopworld.com for the latest schedule and information
 In-Depth Workshops After-Hours Party
Come a day early and dive deep into one of our Enjoy live music, drink, dine, and mingle with
pre-conference workshops. Photoshop World instructors and fellow attendees.

Partner Pavilion Hands-On Labs

Get face-to-face with the industrys leading Work on your own project but with the professional
companies, and take advantage of major discounts. guidance of our own PSW instructors.

Live Natural Light Shoots Midnight Madness

Have fun in our shooting bays and capture everything Enjoy a hilarious evening of surprises, laughter,
from food to flowers to a model shoot. prizes, games and fun.

Portfolio Reviews Guru Awards

Have an in-depth review with candid appraisals, A contest created to honor and recognize the design,
valuable business insights and real world, practical advice. photography, and creativity of our attendees.
 IN-DEPTH WORKSHOPS (04.19.17) SCHEDULE

The day before our conference kicks off, we hold in-depth workshops. These workshops provide a deep
dive into the topics you want to learn most with small class sizes, live shoots and hands-on training.
Separate registration & fee required.

Photo Safari | Moose Peterson Commercial Food & Product

Photography | Joe Glyda
Location Lighting Shootout | Erik Valind
Sit! Stay! Snap! On-Location Dog
Photograph Like a Thief: From Concept to Photography Shoot | Kaylee Greer
Print & Everything Between | Glyn Dewis
Jaw Dropping Images on a Low
Posing to Flatter Anyone | Lindsay Adler Budget | Frank Doorhof
Live Shoot: Lighting a Car for Maximum
Lightpainting Classic Cars | Dave Black
Effect | TIm Wallace

Seamless Multi-Platform Workflow First Time Attendee Orientation

A Live Shoot | Bryan ONeil Hughes Larry Becker

color coded
Customize Your Learning Experience
One of the best things about Photoshop World is that you can build a custom training experience thats just right for
you, choosing from over 100 classes in 9 different learning tracksall open to you with a full conference pass.
Choose your own schedule and even change tracks or sessions any time you want. We also color-coded each track
so you can easily identify the ones you want to follow.

CREATIVE CLOUD LIGHTING LIGHTROOM PHOTOSHOP VIDEO

PHOTOGRAPHY INSPIRATION BUSINESS ADOBE MOBILE APPS CONFERENCE EVENT

View the entire Photoshop World 2017 schedule at photoshopworld.com/schedule

Attend conference sessions in any track and move between them as you like. Instructors, classes and class materials may change without prior notice.
Visit www.Photoshopworld.com for the latest schedule and information.
 DAY 1 (04.20.17) SCHEDULE

Getting The Most Out Of The Creative Cloud Bryan ONeil Hughes
Photography Plan (LR + PS + Mobile) | Creative Cloud

Lightpainting Step by Step Dave Black

Lighting

Organizing Your Images with Lightroom

Terry White
Lightroom
12:00pm -
See Like an Artist: How to Shoot Extraordinary Jeremy Cowart
1:00pm
Photos in Ordinary Situations | Photography

Master the Art of Magazine-Quality Skin Retouching: Kristina Sherk

The Fundamentals | Photoshop A

The Art of Winning Joel Grimes

Inspiration

Portfolio Tim Wallace

Business

Intro to Illustrator | Creative Cloud Dave Cross

Getting Started with Strobes

Erik Valind
Lighting

Getting Creative with Lightroom Preset

Matt Kloskowski
Lightroom
4:00pm -
5:00pm The Wildest Subject of All: How To Get the Shot in Moose Peterson
Wildlife Photography | Photography

Photoshop CC: Extending Your Creativity Julieanne Kost

Photoshop A

A Town Hall Meeting Hour One Joe McNally

Inspiration

How to Land a $100,000 Ad Campaign Joel Grimes

Business

Getting Started with InDesign Dave Clayton

Creative Cloud

Creative Studio Lighting to Blow Your Mind Lindsay Adler

Lighting

Lightroom Tips & Tricks | Lightroom Scott Kelby

5:15pm -
The Way to Perfect Exposures Kevin Ames
6:15pm Photography

Landscape and Light | Photoshop A Matt Kloskowski

A Town Hall Meeting Hour Two Joe McNally

Inspiration

How to Contribute to Adobe Stock and Make Money Terry White

from Your Photography | Business
 DAY 2 (04.21.17) SCHEDULE
Three Ways to Create & Update Your Portfolio with Terry White
Adobe CC | Creative Cloud

Tack Sharp! Sharpening in Lightroom Daniel Gregory

Lightroom

A Photographers Guide to Posing: Techniques to Lindsay Adler

Flatter Everyone | Photography
8:00am -
Compositing: Dont Get Stuck, Get Creating! Glyn Dewis
9:00am Photoshop A

Master the Art of Magazine-Quality Skin Retouching: Kristina Sherk

Advanced Techniques | Photoshop B

Creating A Lifes Masterpiece: What Does It Jeremy Cowart

Actually Take? | Inspiration

Sharing Your Photos with the World Scott Valentine

Adobe Mobile Apps

Improv Photoshop & Illustrator Hour Corey Barker

Creative Cloud

Cityscape Master Class Serge Ramelli

Lightroom

The Secrets to Creating the Best Dog Kaylee Greer

Photos Ever | Photography
9:15am -
10:15am Master Class: Selections and Cutouts Glyn Dewis
Photoshop A

Evolution of an Image: Transform In-Camera Images Rick Sammon

to Images with Impact | Photoshop B

A Year in the Life of a Photographer Joe McNally

Inspiration

A Modern Photo Workflow Bryan ONeil Hughes

Adobe Mobile Apps

The Power of Using Photoshop, Illustrator and Dave Cross

InDesign Together | Creative Cloud

Creating Unique Styles & Looks in Lightroom & Rob Sylvan

Lightroom for Mobile | Lightroom

Creating Magic with Less (Live Shoot) | Photography Frank Doorhof

10:30am -
11:30am
Lets Edit | Photoshop A Matt Kloskowski

Retro Down & Dirty Tricks Corey Barker

Photoshop B

Creativity Class
Joe Glyda
Inspiration

Making the Best Images with Your Phone Scott Valentine

Adobe Mobile Apps
 DAY 2 (04.21.17) SCHEDULE

Location Lighting with Speedlites Dave Black

Lighting

Black & White Today & Yesterday Serge Ramelli

Lightroom

50 Things You Need to Know to Succeed As a Stella Kramer

Professional Photographer Part 1 | Photography
3:00pm - DSLR Video Basics
4:00pm Justin Wojtczak
Video

Selections & Masks Demystified Dave Cross

Photoshop B

A Primer on Mobile Apps Bryan ONeil Hughes

Adobe Mobile Apps

Conquering Crappy Lighting Lindsay Adler

Lighting

Everyday Portrait Retouching in Lightroom Kristina Sherk

Lightroom
4:15pm -
5:15pm 50 Things You Need to Know to Succeed As a Stella Kramer
Professional Photographer Part 2 | Photography

Snapshot Videos Small Videos that Create Large Justin Wojtczak

Opportunities | Video

Photoshop Lighting Effects for Photographers Glyn Dewis

Photoshop B

Unlocking the Power of Lightroom for Mobile Matt Kloskowski

Adobe Mobile Apps

Master the Light Joel Grimes

Lighting

The Lightroom Ecosystem: Working in Lightroom Rob Sylvan

Across All Devices | Lightroom

5:30pm - Portrait Photography: Choosing the Right Lens and Erik Valind
Light for Anyone | Photography
6:30pm
DSLR Interviews: Setting Up and Coaching Your Justin Wojtczak
Subject to Tell the Most Impactful Story | Video

Essentials of Designing with Type Scott Kelby

Photoshop B

Creating Photo Collages On the Go Scott Valentine

Adobe Mobile Apps

Adobe, the Adobe logo, Photoshop, LIghtroom, Creative Cloud are all registered trademarks of Adobe Systems, Incorporated. Images courtesy of Brad Moore, Kevin
Newsome, Kathy Porupski, Jeff Leimbach, Rob Foldy and Randy Van Duinen.
 DAY 3 (04.22.17) SCHEDULE
Illustrator Tips & Tricks Dave Cross
Creative Cloud

Live Car Shoot Tim Wallace

Lighting

Creating Beautiful Books in Lightroom Scott Kelby

9:15am - Lightroom
10:15am
Think Before You Press the Shutter Dave Black
Photography

Fine-Art Printing From Photoshop Daniel Gregory

Photoshop A

Quick Tricks & Fixes to Make Photoshop More Fun Rick Sammon
Photoshop B

Social Media Best Practices for Photographers Lindsay Adler

Business

Ten Tips & Tricks for InDesign Dave Clayton

Creative Cloud

Taming Natural Light, No Strobes Required Erik Valind

Lighting

All The Other Stuff: HDR, Panos, Video, History, Terry White
10:30am - Snapchat and Customizing | Lightroom
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Light on the Land: Bring Your Landscape Moose Peterson
Photography to Life | Photography

Creating 3D Composites in Photoshop Corey Barker

Photoshop A

Fixing Common Image Problems in Dave Cross

Photoshop & Lightroom | Photoshop B

Silencing the Critics Joel Grimes

Business

Intro to Adobe Muse CC Terry White

Creative Cloud

21st Century Speedlites Joel Grimes

Lighting

Working with Photoshop Serge Ramelli

1:00pm - Lightroom
2:00pm
Travel Photography Essentials Rick Sammon
Photography

Photoshop Power Hour Glyn Dewis

Photoshop A

Modern Photo Restoration Bryan ONeil Hughes

Photoshop B

Let There be Light: Licensing, Copyright and Usage Tim Wallace

Business
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 Lightroom Magazine

Questions &Answers
SCOTT KELBY

Q. I plugged in a brand-new external hard drive, but To create a smart preview, you can do it upon import
when I go to the Import window, Lightroom doesnt (just turn on the Build Smart Previews checkbox near the
see it. I can see it on my desktop, but I dont see it top right of the Import window), or you can do it in the
in Lightroom. Why doesnt it show up since I know Library moduleselect all the images for which you want
its mounted? to make smart previews, then go under the Library menu,
A. Its just that Lightroom doesnt recognize the drive. All under Previews, and choose Build Smart Previews.
you have to do is go to Lightrooms Folder panel in the
Library module, and from the drop-down menu (click
the + icon to the right of the header in the Folders
panel), choose New Folder. Create a new empty folder
on your external drive, and Lightroom will now recog-
nize the drive (youll see it listed in your Source panel in
the Import window).

Q. If I dont use Lightrooms Tone Curve to create

contrast, why would I ever have a reason to use it?
A. Besides contrast, one of the things people do with the
Tone Curve is adjust individual channels to create cross-
processing effects (ranging from the popular looks you
see in fashion photography to the looks of Instagram
filters). These are done by going to the individual Red,
Green, and Blue channels and editing the curve on a
per channel basisadding in more or less of a particular
color. (Note: If you dont see the Channel drop-down
menu in the Tone Curve panel, click the little curve icon
in the bottom-right corner of the panel.)

Q. I hear a lot about smart previews. Should I be
using them?
A. Well, that depends. The idea behind smart previews (in
the desktop version of Lightroom) is to create a much
smaller version of your file (usually around 1 MB) thats
saved within Lightroom so you can still edit your images
L I G H T R O O M M AG A Z I N E I S S U E 2 9
Lightroom Mobile uses smart previews, too, but
you dont have to deal with converting them (that part
happens under the hood).
Q. Ive created a new 2017 copyright metadata tem-
plate. How do I remove my old 2016 copyright

in the Develop module (including making panos and
HDR images) without having the original RAW images
with you. This helps when youre taking your laptop on
the road and dont (or cant) bring your external drive
with your photo archive on it. So, you pretty much have
the same capabilities with a smart preview that you do
as if you had the original RAW file with you (and chang-
es you make to the smart previews automatically update
54 when you plug in the drive with your original files).
metadata template? When I go to the Metadata
panel and choose Edit Presets from the Presets
drop-down menu, the Edit Metadata Presets dia-
log shows my preset and only two other choices:
Save Current Settings as New Preset and Restore
Default Presets. But theres no delete choice.
Am I just stuck with my old one?
A. Luckily, youre not. In that same Edit Metadata Presets
dialog, start by choosing your copyright preset from

the Presets drop-down menu, then go under the same
menu again and youll see a new menu item for Delete
Preset, followed by the name of your preset. Thats all
there is to it, but its a little tricky to find since that Delete
choice doesnt appear until you actually choose the pre-
set you want to delete to make it active.
Q. Once Ive synced some of my collections to Light-
room Mobile, how can I see these collections in
a Web browser so I can share them with other
people online?
A. In Lightroom, go under the Help menu up top and
choose View My Synced Collections on the Web,
and it will launch your Web browser and take you
to Lightroom Web. Once there, youll need to
sign in with your Adobe ID (the same one you use
for Lightroom Mobile), and then youll see all your
collections. You can share any collection from there
by clicking the Share button.
Q. Im moving to Lightroom from another photo edit-
ing package, and I have a lot of keywords that I
need to enter into Lightroom. I started adding the
list (its a long one) and its taking a really long time
entering them one by one. Is there a faster way?
A. If you have a list in a text document, you might be able
to import the entire list all at oncebut there a few
things you need to do first.
1. 
Make sure you convert the document to Plain Text
and not Rich Text, which is the default for text edi-
tors such as Microsoft Word or Apples TextEdit.
2. T hen, simply put a return after each keyword in
the plain text document.
3. If you want to create nested keywords (like Travel,
then under that main keyword, Paris, New York,
London, etc.), follow the return with the Tab key
for each nested you keyword that you want to add.
4. T o create a nested keyword under a nested key-
word, hit the Tab key twice after you add a return,
and then enter those keywords.
Lightroom Magazine
Once your list it formatted the way you want, go to the
Library module, and from the Metadata menu up top,
choose Import Keywords. Navigate to your Plain Text docu-
ment and import it. Those keywords will now appear in the
Keyword List panel.
Q. How do I make an edge-to-edge print (in the Print
module) where the image goes all the way to the
edge of the page? I dragged all the Margin sliders
to 0 inches in the Layout panel, but theres still a
white margin all the way around my imageits
not borderless. What do I need to do?
A. To get an image to go all the way to the edges (like the
one you see below), you first need to create a custom
page whose margins are actually set to zero on all sides
at the paper size level. You do this by clicking on the Page
Setup button in the bottom-left corner of the Print mod-
ule. This brings up the Page Setup (PC: Print Setup) dia-
log. Click on the Paper Size pop-up menu, and choose
Manage Custom Sizes from the bottom of the menu.
Next, click the little + (plus sign) near the bottom-left of
the dialog to add a new custom page. Now enter 0 in
(zero inches) for the Left, Top, Right, and Bottom, as the
page margins. Lastly, double-click the name of your new
page size preset so you can rename it to something more
descriptive than Untitled, and click OK to save your
new page, which will let you actually go edge-to-edge
with your image. (Note: On a PC, these options may be
found under your Print Setups Properties options.) n
K E L BYO N E .CO M
55
Discuss this Issue ALL IMAGES BY SCOTT KELBY
 Lightroom Magazine

Tips &Tricks
SEN DUGGAN

In this issue's column, were going to take a look at differ- caches can be quite large, but nowhere near as large as
ent ways to take a catalog, or parts of a catalog with you, bringing all of the actual image data with you. Or, you
if you need to do some Lightroom on your laptop during could make smart previews of only the images you need-
your travels. ed to work with on the trip. Theres an option to create
smart previews when you import photos, or you can simply
One Lightroom Catalog for select a group of images and choose Library>Previews>
Multiple Computers Build Smart Previews. For a more detailed overview of
If you need to take your full Lightroom catalog, as well working with smart previews, check out my column in
as all of the image files with you on the road, you can do Issue #26.
this with an external hard drive. Both the catalog and the
images would be stored on this drive. Of course, whether
or not this is feasible, depends on how many terabytes of
image data you have (if you have too much data to travel
with, then theres another option, which Ill cover below).
This type of setup lets you simply plug the drive into
any computer that has Lightroom installed, and you can
work with your catalog as normal. Before you hit the road,
however, its critically important to make sure you have a
fresh backup of both the catalog and all your image files,
in case the external drive is damaged, lost, or stolen dur-
ing the trip. I frequently bring my main catalog and image
archive with me when I travel, but I only do so knowing
that I have two other recent backupsone at my studio
and the other stored off-site.

Travel with Your Main Catalog,

Leave the Image Files at Home
In many situations, even if you need the full catalog, you
probably dont need access to all of your image files. This
is where smart previews come in very handy! A smart
preview is a smaller, compressed DNG version of the file
that allows you to access the RAW information in the file Use a Separate Travel Catalog
L I G H T R O O M M AG A Z I N E I S S U E 2 9

and apply Develop module adjustments, even if the actu-
al full-size image file is back home on your main image
archive drive.
If you wanted, you could create smart previews of all
the photos in your catalog, and then travel with just the
catalog (and its related preview cache files, which are
stored in the same folder as the catalog file) and leave the
original image files at home. In a big catalog, the preview
56
If you dont need to travel with your main Lightroom cata-
log, another approach you can use for photo trips and other
travel is to create a trip-specific catalog. That catalog, and
the photos you shoot while on the trip, can be stored on a
small external hard drive (and backed up to another drive, of
course!). I frequently use this method when I travel because
I can work on the images Ive been shooting, create collec-
tions, and add useful keywords during my travels.
 Lightroom Magazine

Import from Another Catalog
When I return home, I plug the small travel drive into my
main computer and merge that catalog with my main
Lightroom catalog. To do that, choose File>Import from
Another Catalog. Select the catalog file on the external
travel drive (the .lrcat file), and in the File Handling section
of the subsequent dialog, choose how you want to import
the new image files. You can either import them at their
current location (i.e., leave them on the travel drive and
move them later from within Lightroom), or you can copy
them to a location on your main image archive drive.
and choose Export This Collection as a Catalog. (You can
also do this with collection sets.)
In the subsequent dialog, you can choose whether
to export the negative files (i.e., make copies of the
original photos) or build and export smart previews.
If you wont need the full-size images, then export-
ing only smart previews should be fine. The exception
to this would be if youre using the Book module for
a project and will be sending the book to Blurb for
printing while youre away; for that the full size files
are needed.

Traveling with Project-Specific Catalogs

Another approach if you need to take work with you but
dont need (or want) to travel with your entire catalog (even
if youre using smart previews) is to create a project-specific
catalog. With a project catalog containing only the imag-
es you need (or think youll need) to work on, for a book
project for instance, you can do your work while youre
away from home and then re-integrate this catalog with
your main catalog when you return, using the Import from
Another Catalog method mentioned earlier.

Export a New Catalog from a Collection

To create a project-specific catalog, gather the images into
a collection. Then Right-click on the name of the collection
K E L BYO N E .CO M

57
 Lightroom Magazine

Re-Import Project Catalog

with Metadata Only
When you merge the project catalog back
into your main catalog, in the Import
From Catalog dialog, the images may be
dimmed because they already exist in the
main catalog. Whether the images are
dimmed depends on whats chosen in the
Changed Existing Photos section of the
dialog. If Replace is set to Nothing, theyll
be dimmed (grayed out).
If you click on this menu and choose to
replace the Metadata and Develop Settings
Only, then the images wont be dimmed.
This is a good choice to use in these cases,
since the actual image files are already in
your main catalog and all you want to do
is bring in the new Develop settings (if any)
and any other new metadata associated
with the image (such as a new book collec-
tion, keywords, ratings, etc.). If you choose
this option, then you can also choose to
preserve the old settings in a new virtual
copy of each file.
If you choose to Replace Metadata,
Develop Settings and Negative Files, then
theres another option to replace only non-
RAW files (i.e., PSD, TIFF, JPEG, or PNG
files). This would make sense if you had
generated non-RAW derivatives from any
original negative files you had exported
into the new project catalog. The RAW
files already exist in your main catalog, so
youd only need to bring in the metadata
and the new derivative files. n
L I G H T R O O M M AG A Z I N E I S S U E 2 9

Discuss this Issue

58 ALL IMAGES BY SEN DUGGAN

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