THE LIGHTROOM WORKFLOW WORKSHOP - Jared Platt

1 THE LIGHTROOM WORKFLOW WORKSHOPW hether you are a wedding, portrait, or landscape pho-tographer, or a serious amature, creating a high volume of supe-rior images requires forethought, planning, organization and ex-ecution. Day one begins with a tour of my studio, leads you through the process of securing, selecting and organizing your im-ages. All of this will prepare you for the lessons to come which will take you even further into editing and publishing your first day is critical to all pho-tographers, professional or en-thusiast. You will learn every step in securing your images and pro-tecting your work against theft, fire and corruption as well as how to organize yourself so that you never misplace your images.

2 In fact, day one will get you start-ed down the path that will allow you to find any image you have ever shot within seconds. But it all starts with the lessons in Day One of the LIGHTROOM WORKFLOW WORKSHOP . VIDEOS1. The Studio Tour2. The Pipeline Workflow3. Camera Operation4. Perfect Exposures in the Studio5. Perfect Exposures on Location6. Computers and Hard Drives One7. Computers and Hard Drives Two8. The LIGHTROOM Catalog System9. Collections10. Setting up the Working Catalog 11. Setting Your Preferences One12. Setting Your Preferences Two13. Installing Plugins and Presets14. Ingesting Photos15. Importing Photos into Lightroom16. Selecting17. Selecting by Comparison18.

3 Organizing Your Images19. Cleaning up Your Catalog20. Fast KeywordingDAY ONEWORKFLOW & ORGANIZATION1122 DAY TWOIMAGE DEVELOPINGOnce you have the organization down, and you have se-lected the images, it is time to get into the very chal-lenging task of adjusting the im-ages you have chosen to show to your clients, or your fam-ily, or the world. But depend-ing on the volume of your work, that can bog you down and make you rethink your Day Two, I will walk you through two different work-flows. Our first WORKFLOW is for the high volume photogra-pher and it is an outsourcing WORKFLOW , which is the most efficient way to deal with wed-ding and portrait work, but in that WORKFLOW there is a lot to learn even for the enthusiast, the landscape photographer or the commercial artist.

4 You will learn important lessons in LIGHTROOM catalog second WORKFLOW is for ev-eryone else. You still need to get that work done as quickly as pos-sible, so we will teach you how to move your images through the adjustment process quickly with synchronization methods, build-ing and using presets and even teaching LIGHTROOM how to do most of the work for you before you even look at your , we will explore the De-velop module and teach you everything you need to know about the tools at your fin-gertips, how and when to use them and the most important lesson of why to use Outsourcing Editing One2. Outsourcing Editing Two3. Updating the Catalog4.

5 ShootDotEdit Stylematch5. Default LIGHTROOM Camera Settings6. Syncing the Develop Module7. Normalizing Your Images8. Adding Style to Your Images9. Creating Presets10. The Develop Module Tour11. Advanced Develop Adjustments 112. Advanced Develop Adjustments 213. Advanced Develop Adjustments 314. Advanced Develop Adjustments 415. Advanced Develop Adjustments 5 DAY THREEIMAGE EDITING, RETOUCHING ANDPRODUCTION35 VIDEOS1. LIGHTROOM Retouching2. Brush and Gradient Tools3. Radial Gradients4. Local Adjustments5. RAW HDR Images6. Adding Contrast to HDR Images7. Merging Panoramas8. Compositing Panoramas9. Photoshop Retouching10. Body Contouring with Liquify11.

6 Organizing the Job12. Creating Proof Books13. LIGHTROOM Proof Books One14. LIGHTROOM Proof Books Two15. Stylizing Proof Books16. Finishing Proof Books17. Online Proofing18. Proof Prints19. Slideshows20. Animoto Slideshows21. Smart Albums22. Laying Out Albums23. Finishing Your AlbumWith the basic adjustments done, you will either want to send your images out to the client right away and start getting feed-back and orders, or you will want to further finesse your images in preparation for sharing them with the world. This all depends on what kind of photography you are doing and who your client you are an artist and creating work for your own edification or a commercial photographer, you may find yourself retouch-ing a small set of images, but if you are a wedding or portrait photographer, you will need the client to provide feedback on your images.

7 Either way, Day Three is all about this start with lessons on re-touching in LIGHTROOM and ma-nipulating images for Panoramic and HDR work and we even dip into Photoshop a little for serious retouching and image structure manipulations. This work can be done before the world sees your images, or after you have presented your work to the cli-ent and they have ordered prints and books and thank you we close out day three with the production work required for sharing your images with your client. This is the time to push those images through the process of making proof books, online proofing sites, proof prints, slide-shows and album / book these beautiful proof-ing products in hand, you will have the ultimate way to show-case your images in front of your clients so those orders can start rolling in.

8 And don t worry, if you are a travel or a wildlife photographer (or any other kind of photographer) you can use these production les-sons to make products like art books, portfolios and FOURWORKFLOW & ORGANIZATIONT here are so many more things to learn about Light-room and WORKFLOW , including tethered shoot-ing for studio and commer-cial photographers and using mobile apps to share your images wherever you hap-pen to be and selling your images on Adobe Stock, so we cover those WORKFLOW issues here in Day , the most impor-tant aspects of Day Four are in the archiving and portfolio management lessons. You will find these lessons will take all of the organizational lessons you learned on Day One and bring them around full circle.

9 That keywording you learned will now be in-credibly useful in finding im-ages at the drop of a hat for clients, or portfolio needs, etc. You will learn how to make perfect archives of ev-erything you have taken and with your backup systems in place, the process of ar-chiving is foolproof, you will be able to find your images whenever your client calls and you will never lose a file, not even for a Four also includes a de-tailed wrap up to walk you through the entire process from start to finish so that you can put all the infor-mation you have learned in pieces together and solidify the process in your Tethered Capture in the Studio2. The Tethered Portrait3.

10 Completing Tethered Shoots4. Combining Catalogs5. Remote Client Collaboration6. Tethered Shooting Wrapup7. Sharing Images One8. Sharing Images Two9. Archiving One10. Archiving Two11. Portfolio Management12. Shooting and Sharing Fast13. Mobile Apps14. LIGHTROOM and Adobe Stock One15. LIGHTROOM and Adobe Stock Two16. The Portrait Stock Session17. WORKSHOP Recap18. WORKSHOP Conclusion16 BITPROPHOTORGBTIFF IMPORT SELECT CHECK FOCUS COLOR CORRECT SHARPEN VIGNETTE BURN/DODGE RETOUCH PERSPECTIVE RUN PRESETS TONE CROP GRAIN PRINT SHARPEN PUBLISH JPEG 90 QUALITYSRGBJPEG 100 QUALITYSRGBSMUGMUGPHOTO SHELTERWHCCGOOGLE DRIVEDROPBOXADOBE CCTIFF16 BITPROPHOTOTHE PERFECT IMAGE BACKUP SYSTEMCLIENTDRIVE 3 DRIVE 2 DRIVE 1 RAID IRAID 1 consists of an exact copy (or mirror) of a set of data on two disks.