ADOBE® PHOTOSHOP®LIGHTROOM® 2 FORDIGITAL PHOTOGRAPHERS ONLY

Rob Sheppard

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ADOBE® PHOTOSHOP®LIGHTROOM® 2 FORDIGITAL PHOTOGRAPHERS ONLY

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ADOBE® PHOTOSHOP®LIGHTROOM® 2 FORDIGITAL PHOTOGRAPHERS ONLY

Rob Sheppard

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Adobe® Photoshop® Lightroom® 2 for Digital Photographers Only

Published byWiley Publishing, Inc.10475 Crosspoint Blvd.Indianapolis, IN 46256www.wiley.com

Copyright © 2008 by Wiley Publishing, Inc., Indianapolis, Indiana

Published by Wiley Publishing, Inc., Indianapolis, Indiana

Published simultaneously in Canada

ISBN: 978-0-470-27804-8

Manufactured in the United States of America

10 9 8 7 6 5 4 3 2 1

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, scanning or otherwise, except as permitted under Sections 107 or 108 ofthe 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization throughpayment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923,(978) 750-8400, fax (978) 750-4744. Requests to the Publisher for permission should be addressed to the LegalDepartment, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, (317) 572-3447, fax (317) 572-4355,or online at http://www.wiley.com/go/permissions.

LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: THE PUBLISHER AND THE AUTHOR MAKE NO REPRESENTATIONSOR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THE CONTENTS OF THIS WORK ANDSPECIFICALLY DISCLAIM ALL WARRANTIES, INCLUDING WITHOUT LIMITATION WARRANTIES OF FITNESS FORA PARTICULAR PURPOSE. NO WARRANTY MAY BE CREATED OR EXTENDED BY SALES OR PROMOTIONALMATERIALS. THE ADVICE AND STRATEGIES CONTAINED HEREIN MAY NOT BE SUITABLE FOR EVERY SITUATION.THIS WORK IS SOLD WITH THE UNDERSTANDING THAT THE PUBLISHER IS NOT ENGAGED IN RENDERING LEGAL,ACCOUNTING, OR OTHER PROFESSIONAL SERVICES. IF PROFESSIONAL ASSISTANCE IS REQUIRED, THESERVICES OF A COMPETENT PROFESSIONAL PERSON SHOULD BE SOUGHT. NEITHER THE PUBLISHER NORTHE AUTHOR SHALL BE LIABLE FOR DAMAGES ARISING HEREFROM. THE FACT THAT AN ORGANIZATION OR WEBSITE IS REFERRED TO IN THIS WORK AS A CITATION AND/OR A POTENTIAL SOURCE OF FURTHER INFORMATIONDOES NOT MEAN THAT THE AUTHOR OR THE PUBLISHER ENDORSES THE INFORMATION THE ORGANIZATION ORWEB SITE MAY PROVIDE OR RECOMMENDATIONS IT MAY MAKE. FURTHER, READERS SHOULD BE AWARE THATINTERNET WEB SITES LISTED IN THIS WORK MAY HAVE CHANGED OR DISAPPEARED BETWEEN WHEN THIS WORKWAS WRITTEN AND WHEN IT IS READ.

For general information on our other products and services or to obtain technical support, please contact our CustomerCare Department within the U.S. at (800) 762-2974, outside the U.S. at (317) 572-3993 or fax (317) 572-4002.

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Library of Congress Control Number: 2008933793

Trademarks: Wiley and the Wiley Publishing logo are trademarks or registered trademarks of John Wiley and Sons, Inc.and/or its affiliates. Adobe, Photoshop, and Lightroom are registered trademarks of Adobe Systems Incorporated in theUnited States and/or other countries. All other trademarks are the property of their respective owners. Wiley Publishing, Inc.is not associated with any product or vendor mentioned in this book.

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about the authorRob Sheppard has had a longtime and nationally recognized commitment to helping photographers con-nect with digital imaging technology. He was one of the small group of people who started PCPhoto mag-azine nearly ten years ago to bring the digital world to photographers on their terms. He was the editor ofOutdoor Photographer magazine (second only to Popular Photography in circulation) for 12 years andnow is editor at large. He is the author/photographer of more than 25 photo books, including AdobeCamera Raw for Digital Photographers Only and Digital Photography Simplified.

He also writes a column in Outdoor Photographer called “Digital Horizons” and teaches around the coun-try, including workshops for the Palm Beach Photographic Centre, Santa Fe Photography and DigitalWorkshops, BetterPhoto.com, xTrain.com, and the Great American Photography Workshop group. HisWeb site for workshops, books, and photo tips is at www.robsheppardphoto.com; his photo blog is atwww.photodigitary.com.

As a photographer, Rob worked for many years in Minnesota (before moving to Los Angeles), includingdoing work for the Minnesota Department of Transportation, Norwest Banks (now Wells Fargo), Pillsbury,3M, General Mills, Lutheran Brotherhood, Ciba-Geigy, Anderson Windows, and others. His photographyhas been published in many magazines, ranging from National Geographic to The Farmer to, of course,Outdoor Photographer.

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creditsAcquisitions EditorLaura Sinise

Project EditorJama Carter

Technical EditorMichael Guncheon

Copy EditorLauren Kennedy

Editorial ManagerRobyn Siesky

Vice President & Group ExecutivePublisherRichard Swadley

Vice President & PublisherBarry Pruett

Business ManagerAmy Knies

Project CoordinatorErin Smith

Graphics and Production SpecialistsCarrie A. CesaviceNikki GatelyAndrea Hornberger

Quality Control TechnicianMelanie Hoffman

ProofreadingLaura L. Bowman

IndexingSlivoskey Indexing Services

Cover DesignMike Trent

Book DesignerLeAndra Hosier

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foreword

Writing a book is somewhat like giving a presentation — which Rob, by the way, does many times ayear and does very well.

In a presentation, the presenter must grab the audience’s attention in the first few seconds. Body lan-guage and enthusiasm help during those critical moments. That attention must then be held with informa-tive facts, but just as important, with entertaining wit and with eye-catching slides. And of course, thepresenter’s knowledge of the subject and energy is key.

Like a guitar solo, the presentation must have a beginning, middle, and end. It has to be well organized,or else the audience may get lost in a sea of facts. At the end of the presentation, the audience shouldsay, if the presenter has done his or her job well, “That was one of the best presentations I’ve ever beento.” That’s different from, “I learned a lot,” or “those were great photographs,” and so on.

In reading the draft of Rob’s book, I felt as though I was at one of his fun-filled and info-packed presenta-tions, which I’ve attended many times, usually with standing-room only. Rob grabs the reader right upfront, offering the features and benefits of Lightroom. I stress “and benefits” because, as I learned in myten-year stint at a New York ad agency, stating only the features alone does little good unless you statethe benefits as well.

I like Rob’s title for this book, Adobe Photoshop Lightroom 2 for Digital Photographers Only. If I were thecopywriter, I’d add my own subtitle: Everything You Possibly Want to Know About Working and Playing inLightroom. The book is that complete, and is the most complete book I’ve seen on Lightroom.

Getting back to giving an organized presentation, Rob’s technique for organizing your work (workflow) inLightroom takes the guesswork out of common Lightroom questions: Where do I start, what do I doalong the way, and where do I finish?

If you don’t know the answer to these questions, you’d be somewhat like Christopher Columbus: When heleft Spain, he did not know where he was going. When he got to the New World, he did not know wherehe was. When he got back to Spain, he did not know where he had been.

It’s an old joke, but true. You must be organized — you must know where you want to go, do what youwant to do. Otherwise, you waste a lot of time sailing around on the wrong course, so to speak.

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Foreword

Rob is a very sharing person, which you’ll realize in the first few pages of this book. And speaking of shar-ing (and getting back to my presentation analogy just one more time), Lightroom is great for sharing yourphotographs — with prints and especially on the Web and with slideshows. Here, again, Rob’s presenta-tion of the work makes learning fun.

Rob loves Lightroom, and I am sure you will fall in love with some of the application’s features, too. Butas Rob suggests, don’t dump perhaps your first love, Photoshop. The two applications can work hand inhand to give you ultimate creative control over your images — with lighting-fast speed.

Take my word; you’re in for a good read and good presentation in the following pages.

Rick Sammon

www.ricksammon.com

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preface

With Adobe Photoshop Lightroom 2, I have to say, “Wow!” After working with it from the start of itsdevelopment by Adobe, I really feel at home with this software, not because it is a great piece of soft-

ware, but because it is truly going to revolutionize the way photographers work with photos. It brings meback to working in the traditional darkroom, something I had longed to do with color, but really only feltsuccessful with black-and-white. I now have the control over a color image that photographers havelonged for.

The great LIFE magazine photographer Andreas Feininger once said that the uncontrolled photograph wasa lie (and this was more than 40 years ago, before Photoshop) because it misrepresented the way we sawreality. He felt that truth could only come when the photographer controlled the image so that it truthfullyrepresented how we saw the world. Of course, a photographer can control an image and lie, too, but thishas always been true. Feininger would find that Lightroom allows the photographer the control needed tobring photos back to the truths of black-and-white photography.

Lightroom’s ability to give photographers a totally integrated program, from editing and organizing toimage processing to photo sharing, is unmatched by any other Adobe program. Plus it offers some amaz-ing processing capabilities, as you will soon learn, that no one else is doing. I love the way the programhandles images and makes working with them intuitive and a joy.

The official name of the program is Adobe Photoshop Lightroom — a bit unwieldy, don’t you think? Soyou will often see it referred to simply as Lightroom in this book. Most people commonly call itLightroom anyway. Adobe wanted to include Lightroom as part of the Photoshop brand, which is how itgot its official name.

I admit to a bias in doing this book that is the same one I have for most of my books. I am uninterestedin programs like Lightroom or Photoshop as software programs with a big list of features. I really onlycare about what they can do for the photographer. I get excited, not from working in Lightroom, but fromseeing my photos come to life in the program. Lightroom has very obviously been designed more specifi-cally for the photographer than Photoshop ever has been.

My goal in writing this book has been to explain Lightroom features to you, the reader and photographer,and give you some perspective on how you can use them. As in my other books, I wanted to produce abook that addresses photographers’ needs and concerns, one that makes photography as important asthe technology. It’s easy to be wowed by cool features in Photoshop or Lightroom, but it’s a differentthing altogether to make that cool feature really fit in your workflow.

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acknowledgments

Acknowledgments are both hard and easy. It is easy to say a lot of people helped with a book given nobook can be done by one person. Once again, I thank everyone who has ever given me information or

challenged me to do better in communicating to readers about digital photography, including the greateditors at Wiley. Project editor Jama Carter and tech editor Michael Guncheon always worked to be sure Iwas showing the reader the correct and best way to understand Lightroom.

I will always thank all the great folks who have been at my workshops and seminars and have taught mewhat photographers really need to know about digital photography and Lightroom. Without them, I wouldnever have known the nuances of what photographers with a great range of knowledge and skills reallyunderstand and don’t understand about digital photography.

I have to especially thank my family, particularly my wife, Vicky, a terrific partner who tolerates me photo-graphing all over the place and, when home, saying I will just be a minute (but rarely am) and then spend-ing much time in my office working at the computer.

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contents at a glanceabout the author vcredits viiforeword ixpreface xiacknowledgments xiii

Part I What Is Lightroom All About? 1chapter 1 Introduction to the Photoshop Lightroom Concept 3chapter 2 The Basics of Lightroom 15

Part II Using Lightroom Modules 45chapter 3 Library Module Basics 47chapter 4 Organizing Images in the Library Module 83chapter 5 Basic Workflow in the Develop Module 101chapter 6 Local Controls and More in the Develop Module 143chapter 7 Presentation Possibilities in the Slideshow

Module 173chapter 8 Making a Better Show in Slideshow 203chapter 9 Making Sense of the Print Module 225chapter 10 From Good to Great Printing with Print 251chapter 11 The Web Module 271

Part III The Photoshop Partnership 297chapter 12 Going Between Lightroom and Photoshop 299Pro Glossary 323Index 329

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contentsPart I What Is Lightroom All About? 1

chapter 1 Introduction to the Photoshop Lightroom Concept 3

What Is Lightroom About? . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Designed for Speed and Efficient Processing . . . . . . . . . . . . . . . . . 6Non-Destructive Processing . . . . . . . . . . . . . . . . . . . . . . . . . . 8Lightroom Compared to Photoshop . . . . . . . . . . . . . . . . . . . . . . 8Can Photographers Forget about Photoshop? . . . . . . . . . . . . . . . . 10Who Benefits from Lightroom? . . . . . . . . . . . . . . . . . . . . . . . . 11

chapter 2 The Basics of Lightroom 15

How Lightroom Is Organized. . . . . . . . . . . . . . . . . . . . . . . . . . 16Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Skip Between Modules . . . . . . . . . . . . . . . . . . . . . . . . . . 21Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

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Contents

Adobe’s Five Rules for Lightroom . . . . . . . . . . . . . . . . . . . . . . . 27Use the Module Picker to Choose Your Path Through Lightroom . . . . 27Control the Modules Using the Panels . . . . . . . . . . . . . . . . . . 28Navigate Your Photos Using the Filmstrip . . . . . . . . . . . . . . . . 29Expedite Your Work by Learning Important Keyboard Shortcuts . . . . . 29Finally . . . Enjoy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

The Craft of Lightroom and Photography . . . . . . . . . . . . . . . . . . . 32Customizing Lightroom’s Identity Plate . . . . . . . . . . . . . . . . . . . . 34Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Q & A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Part II Using Lightroom Modules 45chapter 3 Library Module Basics 47

An Overview of Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Importing Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Two Monitors for More Display Options. . . . . . . . . . . . . . . . . . . . 61The Left Library Panel Revealed . . . . . . . . . . . . . . . . . . . . . . . . 62Viewing Images in Library . . . . . . . . . . . . . . . . . . . . . . . . . . . 66Navigating the Filmstrip . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70The Right Library Panel Revealed . . . . . . . . . . . . . . . . . . . . . . . 71Searching for Photos: Library Filters . . . . . . . . . . . . . . . . . . . . . 75Exporting Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77Q & A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

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Contents

chapter 4 Organizing Images in the Library Module 83

Managing Physical Image Files in the Past . . . . . . . . . . . . . . . . . . 84Managing Files on Your Computer. . . . . . . . . . . . . . . . . . . . . . . 85Lightroom, File Cabinets, and Such . . . . . . . . . . . . . . . . . . . . . . 86Setting Up an Organization System . . . . . . . . . . . . . . . . . . . . . . 87Bringing Images into the Computer . . . . . . . . . . . . . . . . . . . . . . 89Organizing the Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91Renaming Images. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92Using Collections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93How Collections and Keywords Are Different. . . . . . . . . . . . . . . . . 94Quick Collection’s Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95Saving and Exporting Catalogs . . . . . . . . . . . . . . . . . . . . . . . . 96Q & A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

chapter 5 Basic Workflow in the Develop Module 101

An Overview of Develop . . . . . . . . . . . . . . . . . . . . . . . . . . . 103Using Crop and Straighten . . . . . . . . . . . . . . . . . . . . . . . . . . 105The Importance of Black and White . . . . . . . . . . . . . . . . . . . . . 107

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Contents

Setting Blacks and Whites . . . . . . . . . . . . . . . . . . . . . . . . . . 109Recovery and Fill Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112Adjusting Midtones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Tone Curve Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114Adjusting the Tone Curve by Dragging in the Photo . . . . . . . . . . 116Using Clarity to Define Midtones . . . . . . . . . . . . . . . . . . . . 118

Histogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120Color Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

White Balance Color Adjustments . . . . . . . . . . . . . . . . . . . 123Quick-and-Easy Color Correction. . . . . . . . . . . . . . . . . . . . 123White Balance Controls in Basic . . . . . . . . . . . . . . . . . . . . 125

Vibrance and Saturation Adjustments . . . . . . . . . . . . . . . . . . . . 126Processing Multiple Images: Using Sync, Copy, and Paste . . . . . . . . 127Working with Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . 130Working with Noise Reduction . . . . . . . . . . . . . . . . . . . . . . . . 134Using Chromatic Aberration Corrections . . . . . . . . . . . . . . . . . . 134A Specific Workflow in Lightroom . . . . . . . . . . . . . . . . . . . . . . 137History and Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137Q & A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

chapter 6 Local Controls and More in the Develop Module 143

Why Bother with Traditional Darkroom Controls?. . . . . . . . . . . . . . 144Using the Vignette Controls for Edge Burning . . . . . . . . . . . . . . . 146Local Adjustments and the Graduated Filter . . . . . . . . . . . . . . . . 148Local Adjustments and the Adjustment Brush . . . . . . . . . . . . . . . 150HSL/Color/Grayscale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153Click and Drag in the Photo for Color Control. . . . . . . . . . . . . . . . 157

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Camera Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158Converting Color to Black-and-White . . . . . . . . . . . . . . . . . . . . 159Using Grayscale in HSL/Color/Grayscale . . . . . . . . . . . . . . . . . . 160Giving Black-and-White Some Color . . . . . . . . . . . . . . . . . . . . . 164Develop Module Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . 166Making Your Own Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . 167Exporting Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169Q & A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

chapter 7 Presentation Possibilities in the Slideshow Module 173

The Slideshow Module Layout . . . . . . . . . . . . . . . . . . . . . . . . 174Slideshow Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176Selecting and Grouping Photos for a Slide Show. . . . . . . . . . . . . . 178Organizing and Editing Your Images . . . . . . . . . . . . . . . . . . . . . 180Giving Your Show a Unique Look. . . . . . . . . . . . . . . . . . . . . . . 181Collections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186Making Your Images Pop, Adding Backgrounds, and More. . . . . . . . . 186Changing the Background of the Image Display . . . . . . . . . . . . . . 187Working the Design of the Image Display . . . . . . . . . . . . . . . . . . 189Timing and Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192Working with Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193What Overlay Options Do You Need? . . . . . . . . . . . . . . . . . . . . 196Making Your Own Templates . . . . . . . . . . . . . . . . . . . . . . . . . 197Playing and Exporting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197Playing on a Second Monitor . . . . . . . . . . . . . . . . . . . . . . . . . 200Q & A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

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chapter 8 Making a Better Show in Slideshow 203

Starting the Organizing Process . . . . . . . . . . . . . . . . . . . . . . . 204Ways to Organize a Slide Show . . . . . . . . . . . . . . . . . . . . . . . 206Timing a Slide Show. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212Working with Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215When You Need Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216Title Slides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217Working the Background of Your Slide Display . . . . . . . . . . . . . . . 218

Creating a Backdrop for Your Slides . . . . . . . . . . . . . . . . . . 218Using Options Effectively . . . . . . . . . . . . . . . . . . . . . . . . 221

Setting Up Layout Controls . . . . . . . . . . . . . . . . . . . . . . . . . . 222Q & A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

chapter 9 Making Sense of the Print Module 225

The Print Module Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . 227Printing Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229Selecting Photos for Printing . . . . . . . . . . . . . . . . . . . . . . . . . 230Page Setup Choices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230Preparing the Page for Printing. . . . . . . . . . . . . . . . . . . . . . . . 232Using Image Settings and Layout Engine . . . . . . . . . . . . . . . . . . 233Positioning Your Photo with Layout and Guides . . . . . . . . . . . . . . 235When to Use Overlays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

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Print Job . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240Choosing Print Resolution . . . . . . . . . . . . . . . . . . . . . . . 240Print Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240Working with Color Management . . . . . . . . . . . . . . . . . . . . 241

Using the Template Browser . . . . . . . . . . . . . . . . . . . . . . . . . 243Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247Q & A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

chapter 10 From Good to Great Printing with Print 251

Monitor versus Print. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252Why You Need a Work Print . . . . . . . . . . . . . . . . . . . . . . . . . . 253Evaluating a Work Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254Refining the Work Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256The Principle of Visual Balance . . . . . . . . . . . . . . . . . . . . . . . 258Creating a Promo Sheet I . . . . . . . . . . . . . . . . . . . . . . . . . . . 260Creating a Promo Sheet II . . . . . . . . . . . . . . . . . . . . . . . . . . . 263Q & A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

chapter 11 The Web Module 271

Web Module Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272Choosing Your Web Gallery Type . . . . . . . . . . . . . . . . . . . . . . . 274

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Contents

Setting Up the Gallery Page . . . . . . . . . . . . . . . . . . . . . . . . . 277Choices in the Template Browser . . . . . . . . . . . . . . . . . . . . 277Organize Your Images . . . . . . . . . . . . . . . . . . . . . . . . . 282

Making Titles for Your Gallery. . . . . . . . . . . . . . . . . . . . . . . . . 282Changing Colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285Changing Appearance . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288The Importance of Color for the Web Gallery . . . . . . . . . . . . . . . . 290Using Image Info Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 290Choosing Output Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 292Working with Upload Settings . . . . . . . . . . . . . . . . . . . . . . . . 293Using the Export and Upload Buttons . . . . . . . . . . . . . . . . . . . . 294Q & A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Part III The Photoshop Partnership 297chapter 12 Going Between Lightroom and Photoshop 299

Moving Between Lightroom and Photoshop . . . . . . . . . . . . . . . . 300When Photoshop Might Complement Lightroom . . . . . . . . . . . . . . 303Layer Benefits and Using Layers . . . . . . . . . . . . . . . . . . . . . . . 303Working with Layer Masks . . . . . . . . . . . . . . . . . . . . . . . . . . 312Layer Masks with Pixel Layers . . . . . . . . . . . . . . . . . . . . . . . . 316Local Adjustments and Photoshop . . . . . . . . . . . . . . . . . . . . . 317Using the Cloning Tool Missing from Lightroom . . . . . . . . . . . . . . 318Q & A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Pro Glossary 323

Index 329

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Chapter 1: Introduction to the PhotoshopLightroom Concept

Chapter 2: The Basics of Lightroom

WHAT IS LIGHTROOM ALL ABOUT?Pa

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INTRODUCTION TO THE PHOTOSHOPLIGHTROOM CONCEPT

Chap

ter 1

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itself is still a very powerful program for working withphotography; but Lightroom, as shown in figure 1-1,offers new approaches that are more intuitive andoften more efficient for photographers.

Lightroom really resonates with photographersbecause it parallels how a photographer thinks, whichmeans the Lightroom learning curve is not as difficultas with Photoshop.

In this chapter, you discover what makes Lightroomdifferent and how that difference is important to youas a photographer.

4

Introduction to the Photoshop Lightroom Concept

1

1-1

Adobe Photoshop Lightroom is a program that wasdesigned specifically for photographers. As part of thePhotoshop family of Adobe software, Lightroom, asmost photographers refer to it and how you will see itin this book, has become the preferred method ofworking with photographs for many photographersbecause it enables them to edit, catalog, process ordevelop, print their images, and more, all in one pow-erful program.

Adobe Photoshop, by comparison, is a great program,but it was designed for people who use photographs,not necessarily for photographers. And Photoshop

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