Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. The Photoshop Lightroom Workbook Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. This page intentionally left blank Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. The Photoshop Lightroom Workbook Work ow not Workslow in Lightroom 2 Seth Resnick Jamie Spritzer AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. F ocal Press is an imprint of Elsevier Linacre House, Jordan Hill, Oxford OX2 8DP, UK 80 Corporate Drive, Suite 400, Burlington, MA 01803, USA F irst published 2009 Copyright © 2009, Seth Resnick and Jamie Spritzer Published by Elsevier Inc. All rights reserved All Photographs © Seth Resnick The right of Seth Resnick and Jamie Spritzer to be identi ed as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publisher Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone ( ϩ 44) (0) 1865 843830; fax ( ϩ 44) (0) 1865 853333; email: permissions@ elsevier.com. Alternatively visit the Science and Technology Books website at www.elsevierdirect.com/rights for further information Notice No responsibility is assumed by the publisher for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions or ideas contained in the material herein British Library Cataloguing in Publication Data Resnick, Seth The Photoshop Lightroom workbook : work ow not workslow in Lightroom 2 1. Adobe Photoshop lightroom I. Title II. Spritzer, Jamie 775'. 0285668 Library of Congress Control Number: 2008935933 ISBN: 978-0-240-81067-6 For information on all Focal Press publications visit our website at www.focalpress.com P rinted and bound in Canada 09 10 11 12 12 11 10 9 8 7 6 5 4 3 2 1 Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. This book is dedicated to the loving memory of Shirley C. Resnick, who gave us tremendous support and inspiration. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. This page intentionally left blank Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. vii Contents Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ix Foreword by George Jardine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xi Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii Chapter 1 Before You Shoot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Chapter 2 Understanding File Formats and Shooting RAW . . . . . . . 23 Chapter 3 Color Spaces for Digital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Chapter 4 The Lightroom Catalog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Chapter 5 Lightroom’s Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Chapter 6 Lightroom’s Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Chapter 7 The Lightroom Library Module . . . . . . . . . . . . . . . . . . . . . . . . 83 Chapter 8 The Develop Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145 Chapter 9 Global Corrections and Synchronizing Develop Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209 Chapter 10 The Slideshow Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .217 Chapter 11 The Print Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 Chapter 12 The Web Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .251 Chapter 13 D-65’s Lightroom Work ow . . . . . . . . . . . . . . . . . . . . . . . . . .261 Chapter 14 Archiving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .291 Chapter 15 Importing and Exporting Catalogs and Synchronizing Your Laptop and Desktop . . . . . . . . . . . . . . . . . . . . . . . . . . .303 Chapter 16 Taking It Up a Notch – Advanced Lightroom . . . . . . . . . .317 Digital Dictionary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .335 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .351 Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. This page intentionally left blank Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. ix Acknowledgments T here are so many folks who helped make this project a reality. First, we must thank both past and current people at Focal Press who all aided in bringing life to an idea – Emma Baxter, Asma Palmeiro, Hayley Salter, Ben Denne, Kate Iannotti, David Albon, Marissa Del Fierro and Lisa Jones. Thanks … . The photographic inspirations come from mentors and friends Jay Maisel, Susan Meiselas and Eric Meola. None of this would have been possible without the support of a core group of friends and colleagues of the Pixel Ma a and especially the close support and friendship of some of the most intelligent digital minds in the world, Seth’s fellow partners in PixelGenius: Je Schewe, Martin Evening, Andrew Rodney, Mac Holbert, the late Mike Skurski and Bruce Fraser. There is of course the entire Adobe family as well. Never have we worked with a company where we truly feel like family. There are so many brilliant minds and wonderful people, including Addy Ro , Jennifer Stern, George Jardine, Kevin Connor, Frederick Johnson, Tom Hogarty, Mark Hamburg, Troy Gaul, Melissa Gaul, Eric Scouten, Zalman Stern, Thomas Knoll, Julieanne Kost, Ben Zibble, Wade Henniger, Jon Steinmetz, Kevin Tieskoetter, Andrew Rahn, Dan Gerber, Melissa Itamura, Craig Marble, Phil Clevenger, Brian Kruse, Bill Stozner, Dan Tull, Dustin Bruzenak, Shoji Kumagai, Kelly Castro, Julie Kmoch, Je Van de Walker, Mark Soderberg, Becky Sowada, Peter Merrill, Eric Chan, Hendrik Kueck and John Nack. A very special thanks to Donna Powell, who acted as our technical editor on this project. We could never have done this without the loving support of each other and the support from our family. Seth & Jamie Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. [...]... The aim of Lightroom is to be simple and to streamline workflow The software is very well-suited to the professional photographer or the advanced amateur It is not designed to replace Photoshop or Bridge, but rather to work alongside those applications It was built from the ground up, and optimized to accomplish the tasks with speed and efficiency One fundamental difference between Lightroom and other... noise and higher ISO The higher the ISO, the more potential there is to generate noise Noise is a level of electronic error usually resulting from amplification of the signal from the sensor While there are various ways to mask noise, the best solution is to try and prevent it before it occurs Up until recently, D-65 was adamant to try to shoot at the optimum ISO for the camera, the reason being that... achieve the correct white balance that we wanted X-Rite ColorChecker If custom white balance isn’t an option for you, another way to obtain an accurate white balance is to place an X-Rite ColorChecker in the scene To do this, place the X-Rite ColorChecker in the frame and capture the image When you process the file in Lightroom, use the White Balance tool in the Develop Module and click on the second... the histogram, but the LCD preview and the histogram on the back of the camera do not represent any real information regarding how your raw capture will look The camera does an ‘on the fly’ conversion to sRGB The histogram is a luminance histogram of the sRGB preview, not a true representation of your file; most importantly, as a general rule for some of the most widely used professional cameras, the. .. to remove this watermark 11 The Photoshop Lightroom Workbook This prevents you from blowing out the highlight, but it typically eliminates the brightest stop with the most information The camera manufacturers set the threshold for this display too low, which will lead you to underexposure of your image If you look at Figure 1.6, and realize that the histogram on the back of the camera is blinking at... obvious ‘out takes’ from the camera to reduce editing time later Shooting at the Optimum ISO Every digital camera has an optimum ISO setting The best capture quality will be obtained using that ISO In fact, the only camera setting that will significantly impact the quality of the RAW capture is the ISO The nomenclature on the menus of cameras tends to confuse photographers We all ask the questions, ‘Should... was finally given the go ahead, and what was once a secret known as Shadowland, turned into Lightroom Lightroom was introduced as a public beta meaning quite simply that it was a work in progress being tweaked daily from the input provided by the public The first release of Lightroom 1.0 was in February 2007 The heart of Lightroom is a one-stop solution for digital workflow It utilizes the power behind... picture And, even more rare, they have mastered the details in their own professional work Add to that the knowledge gained from having taught over 60 D-65 workshops (remember, the teacher always learns more than the student, grasshopper) in more than 25 cities, and you have the insight required to guide other professionals in learning how to manage their digital libraries The details are not difficult,... White Balance tool in the Develop Module and click on the second patch from the left in the bottom row The white balance will be corrected instantly (Figure 1.3) To use the custom white balance in the camera, focus on an area of the image that has white with detail (the underbelly of the squid in the upper left-hand corner of the image) 6 Please purchase PDF Split-Merge on www.verypdf.com to remove this... the biggest misunderstandings when it comes to exposing for digital Most digital cameras today use a sensor that simply counts photons They produce a charge that’s directly proportional to the amount of light that strikes them The cameras for the most part use a series of array filters The red-filtered elements produce a grayscale value proportional to the amount of red light reaching the sensor, the . it. The photographer then edited the results and forwarded the selects to the client. Photographers had done their work and were onto the next job. In the. being tweaked daily from the input provided by the public. The  rst release of Lightroom 1.0 was in February 2007. The heart of Lightroom is a one-stop