Lightroom Killer Tips Lightroom Presets, Videos, Tips and News Wed, 28 Jan 2015 12:29:09 +0000 en-US hourly 1 Applying a preset to your Importing workflow Wed, 28 Jan 2015 05:01:29 +0000 Mike Rodriguez polled his students to see what they wou […]

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Mike Rodriguez polled his students to see what they would like to see in Scott and RC’s upcoming podcasts and I decided to steal one of his ideas… sort of. This is one of those tips that if you have never heard of it may make you curse because of how it can save you a lot of time from doing the same steps over and over again.

Lightroom ideas

Screen grab of Mark’s comment to Scott about what to cover of Lightroom Podcast

As I was working on this blog post Arnaldo from video who is a good shooter and really working on taking his photography to the next level came in to my office to bug me… er… I mean talk about business and important KelbyOne matters in case Scott is reading this.

He was looking at my screenshots and I asked him if he applied a preset to his images when importing. He said, and I quote… “Wait a minute! You can do that!” I then showed him how and and he said… “golly!  I am going to set up an import preset right now!”  By the way he didn’t really use the word golly. So I figured some of you might like this one too. If you know this one… go tell a friend they will love you for it.

Work smarter with Presets!

Create a preset that you can apply to your images as a base edit to help you do less work per image. Easiest way to do this is to open an average image that is not too bright or dark and open it in the Develop module. Now make all the adjustments that you would normally make such as Sharpening, Clarity, Vignette and my favorite Auto Tone. Don’t do any specific tweaking with things like the Adjustment Brush or Gradient tool… just get a nice base edit. Once you have the settings you want, go over to the Presets panel on the left and click on the Plus sign in the corner.

That is all it takes to make a Preset… just move some sliders and then click the plus sign to record all of those adjustments in one place. You will be prompted to name your new preset. I like to name this one with the word Import in it to help remind me of what I am using it for, but you can name it anything you want. Make sure to leave checked any of the settings that you want applied. Notice  in the image below, since I wanted to add Auto Tone that the Basic Tone settings are grayed out. We tend to not use anything Auto because we think it is going not be good, but most of the time the toning is pretty darn good and I only have to tweak the exposure a bit… but the main reason why I use it is because it ses the perfect White and Black points for me so I don’t have to do the Shift Double click trick. (Ask Scott about that if you don’t know it. :D) Once you are satisfied click Create. Congrats! You have created your first preset! It will now appear under Presets in the User Presets menu.

Import     import sauce name

Take it one step further… with Import Sauce!

When you import your images into Lightroom, there are probably several repetitive step that you do to most of your photos. As Scott mentioned a few posts back, he almost always adds a vignette of -11. I almost always add a touch of Clarity and Sharpening along with the Auto Tone button to set my White and Black points and hopefully get me closer to a baseline exposure. I found myself going into every shot and doing pretty much the same thing aside from slight variations in toning. That is why you want to have Lightroom apply your base Import sauce preset to every photo on Import so that you don’t have to touch those sliders unless you want to change the look.

This does two things… it saves you time in not having to tweak as many sliders as you used to, but it also makes you feel better about your images upon first looking at them. Especially if you shoot in RAW. Seeing your crisp images pop up on the screen and then they suddenly turn blah right before your eyes is an experience all RAW shooters have in Lightroom. You think “Hey! that looks pretty good!” and two seconds later… “hey, that looks like crap.” This happens because until the RAW preview is built, the Jpeg preview is shown in its place with its sharpening and secret sauces applied then the untouched flat RAW image takes over. So why not add your base sauce on import so that it looks more like the Jpeg to keep the good feelings going.

When you get to the Import dialogue box, look over on the right-hand side and toggle down the “Apply During Import” menu.

import settings large

Now is a good time to add copyright info which if nothing else should have your website or a way for folks to find you incase they come across your image and want to use it or buy it. HT to RC for that tip!

import sauce

Simply choose your preset that you created from the User’s presets  for the Develop Settings and now it will run that preset over every image.

Now when you import any new images the Import Sauce is applied. This means that hopefully you won’t have to do much in the Basic panel but slight tweaks. On a side note: you can also see it showing you on the Preset Menu on the left the little plus sign next to Import sauce which tells you which preset is tagged for import. If you want to use a different one, simply right click on that preset and choose “Apply on Import” from the menu and it will now have the plus sign.

import develop

The goal at the end of the day is to spend less time tweaking the same basic adjustments and spend more time on the creative parts of developing. Let Lightroom do the repetitive work and those few seconds saved on each image will really start to pay off in your workflow.

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10 Things I Would Tell New Lightroom Users: #2 Tue, 27 Jan 2015 08:16:20 +0000 Hi folks – I’m back with #2, but before we […]

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Hi folks – I’m back with #2, but before we head into this, I just wanted to thank everybody yesterday for heeding the disclaimer warning before they posted comments. We had some good discussions and everybody was civil, so even though I’m not reprinting the entire disclaimer here again today, I hope you’ll still honor it as you did yesterday.

Without further ado (yes, that was some “ado”), here’s the 2nd thing I would tell NEW Lightroom users: 


#2) Just Use One Catalog

Can you create multiple catalogs in Lightroom? Yes. As a new user should you? I wouldn’t recommend it. Your goal is simplicity and order, and by keeping just one single catalog (at least for a while) your Lightroom life will stay simple. Just one catalog — one place to work with all your images. Just one thing to mess with. Less is more.

So, how many images can you import into one catalog and still have everything running smoothly? I’d say somewhere between 150,000 and 200,000 images fairly easily. This was NOT always the case with Lightroom, but over the years as it has matured, you can safely work with large catalogs like this no problem.

Q. Scott, will there come a day when I’ll want to create more catalogs?
A. It’s entirely possible, but hopefully not for a while. For now just keep things simple and stick with one catalog. 

For more on keeping to just one catalog, check out this post Matt did here back in May of 2013 called “Should You Create Multiple Catalogs.” He makes some great points, and includes the quote, “Adobe doesn’t even recommend creating multiple catalogs anymore” (which I’ve heard directly from Adobe as well).

So, that’s it for #2 — stick to just one catalog and your Lightroom life will be sweeter (it fact, I’d stick with just one as long as you possibly can, but hey, that’s just me).

OK, I’m heading out from snowy Columbus (thanks to the 300+ photographers who braved the snow and 18° weather to come yesterday — what an awesome group!), for Richmond, Virginia today. I’ve got a shoot at one of the most beautiful classic old theaters in the US today (provided my flight doesn’t get delayed), and then Wednesday I’ll be teaching my seminar. Hope I’ll get to meet you there in person.



P.S. Tomorrow Pete Collins will be here with a cool tip, and then RC is on deck for Thursday with his awesomeness, so I’ll be back with #3 in my new series on Friday. See you then! 

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10 Things I Would Tell New Lightroom Users: #1 Mon, 26 Jan 2015 08:16:13 +0000 If you're new to Lightroom, I'm starting a series just for you. Today is part 1: Keeping yourself safe from dangerous folders!

The post 10 Things I Would Tell New Lightroom Users: #1 appeared first on Lightroom Killer Tips.

Hi gang: I’m starting a 10-part series here today where I share some basic advice I would give to new users on how to make their Lightroom life easier. Tip of the hat to my buddy Rob Sylvan who inspired me to write my first version of this concept on my blog back in 2009.

SADLY NECESSARY DISCLAIMER: This series is NOT for more advanced users, it’s for new users, so if you’re an advanced user reading this, it will only make you mad because you probably do things very differently than I’m going to suggest. The way you’re doing stuff probably works great for you, and I’m not trying to convince you to change. As I travel around on my tour, and talk one-on-one to literally thousands of Lightroom users, I hear the same problems, the same challenges and the same frustrations again and again, and so my advice is for those very folks struggling with these issues. If I can help them along their path, and help them dig themselves out of a hole, or something that’s got them really frustrated, then I’m thrilled. As they become more advanced, they’ll develop their own workflows, just like you have.

There’s no possible way I’ll write even one of these where some people won’t disagree with some part of it on some level, and that’s OK — if you disagree, you should definitely write a blog post about it. Other disclaimer stuff: Known side effects include: drowsiness, abdominal or stomach pain, changes in behavior, dry mouth, fainting, cramping, and hearing loss. Please note that this material is provided to you for informational purposes only and should not be viewed as investment, tax, legal or other advice. This ride includes sudden and dramatic acceleration, climbing, tilting and dropping. Although we have taken reasonable precautions to ensure no viruses are present in this blog post, the company cannot accept responsibility for any loss or damage arising from reading this post or viewing screen captures with scary sharks. Por favor, manténgase alejado de las puertas!

Now, on to the first in my 10-part series:

#1: Use Collections — Not Folders

When I meet someone who has a totally messed up Lightroom life, more often than not they tell me how they use Folders in the Folders Panel for organizing, sorting and working with their images. Ack!

The Folders panel is where folders full of the original photos you imported from a particular shoot are stored, and if you mess around in the Folders panel, it won’t be long before you get burned (you’ll delete something you didn’t mean to, or move something you can’t find, or break links to all kinds of stuff — it’s the most dangerous place in Lightroom until you really know what you’re doing). It’s where we keep our originals — stuff we don’t want to accidentally erase or move — not the stuff we work with day in/day out. It’s kind of like our negatives from back in the film days. We kept them out of sight, tucked away some place safe, and we didn’t mess with them. We kept them in case we got in a bind — we could always go back and make more prints from the negs. I think of the Folders panel the same way. I just don’t go there unless it’s an emergency (i.e. I deleted something I really need to get back).

School of sharks circling from above

Now, exactly what is in that folder of images you just imported into Lightroom? Well, it’s all your good photos from that shoot, all your bad photos from that shoot, it’s everything—the whole ball of wax. But once we import photos into Lightroom, what do we really care about? Just the good ones. They’re the only ones we show anybody right? Right! (well, hopefully). The rest are just a folder full of “the ones we didn’t like.” So, once you import photos from a shoot, I recommend that you look through them; tag any good ones you might want to print or share (using flags, star ratings, color labels, whatever you like), and put those tagged “Keepers” in a Collection  and don’t mess with that Folder (in the Folders panel) again. Especially since now all your good photos from that shoot are just one click away — you just click on that Collection called “Italy Picks” or “Italy Keepers” or “Best of Italy” and there are your good shots from Italy (provided of course, that you actually went to Italy). If you delete something from a collection — your originals are still safe. If you move something out of your collection — your originals are still safe. If you go to Italy, your originals are still safe.

So, where are all your bad photos located? The photos you didn’t like? Why they’re still in the Folders panel. How often do you find yourself looking for “bad photos?” Not too often, eh? That’s great because I’d recommend that you stay out of the Folders panel altogether until, once again, you really know your way around Lightroom. If it’s too tempting for you — right-click just to the left of the “Folders” title at the top of the panel and from the pop-up menu uncheck “Folders” and then it’ll be hidden from view (just remember how to make it visible again ).

Q. Scott, how often do you go to your Folders panel?
A. Hardly ever. Once a month at best. Maybe less. I rarely need to look at the photos I didn’t like in the first place.

Collections are safe, and will keep most users out of trouble. See how happy this woman is below? You could be that happy, using Collections.

happy and smiling girl with a smile painted on paper

Hope you found that helpful.

Remember these three things before you post a comment:

(1) Read the disclaimer at the top of this page.

(2) Take a deep breath.

(3) I’m teaching a full day seminar today and I won’t be able to see your comments until lunch break. If yours get stuck in moderation (a process I hate, but it keeps spam out), I’ll release them around 1:30 pm ET (unless you were a meany and/or didn’t read the disclaimer or both).

Have a great day everybody! See you here tomorrow for #2 :)


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We Have Our Book Giveaway Winners! Sat, 24 Jan 2015 02:41:08 +0000 A big congrats to these fine folks who won a copy of Ja […]

The post We Have Our Book Giveaway Winners! appeared first on Lightroom Killer Tips.


A big congrats to these fine folks who won a copy of Jay’s new brilliant new book, “Light, Gesture & Color” (That’s Jay and me at Photo Plus Expo back in November during the book launch). If you didn’t win, you can still pick up Jay’s book at Amazon or Barnes & Noble.

> Robert McClymond

> Chris Helms

> Lisa Hall

> Carrie Cleghorn

> James Kuhn

Winners: My assistant Lynn Miller will be contacting you directly to get your shipping details. Congrats, and thanks to everybody who entered (and thanks to everybody who included a nice comment in your entry – so great to read such kind words). :)




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When Lightroom’s “Shadows” Slider Isn’t Enough… Fri, 23 Jan 2015 12:42:51 +0000 This isn’t one of those tips that you’re go […]

The post When Lightroom’s “Shadows” Slider Isn’t Enough… appeared first on Lightroom Killer Tips.

This isn’t one of those tips that you’re going to use every day, but when you need it, it’s really an image-saver. It’s about bringing out shadow detail in a big way using a workaround that does take a few steps, but it’s super easy (after it all goes faster than you’d think). Here’s what we’re doing:



STEP ONE: Here’s the original image. The area in the foreground is pretty dark, so to open up that area, we reach for the Shadows slider.


STEP TWO: Here I cranked the Shadows slider all the way to +100, and it helped a little bit, but not nearly as much as I wanted. Kind of makes you miss the old Fill Light slider from back in Lightroom 3. While the underlying math behind it wasn’t nearly as good as the results we normally get from the Shadows slider in Lightroom 5, that old Fill Light slider would have opened these shadows up big time. If only there were a way to get that Fill Light slider back? ;-)


STEP THREE: Make any other changes you want to this image and finish it off how you’d like it, then export this image (as a JPEG, TIFF, whatever you like) by pressing Command-E (PC: Ctrl-E) to bring up the Export window you see above.


STEP FOUR: Reimport this edited photo in Lightroom (as seen above).


STEP FIVE: In the Develop Module, go to the Camera Calibration panel and at the top where it says “Process” it will say 2012 (Current) which means you’re using the “new math” introduced in Lightroom 4. Click on that pop-up menu and choose 2010 to get the “old math” from back in Lightroom 3.


STEP SIX: Now scroll back up to the Basic panel and son-of-a-gun look at that — the old “Fill Light” slider from Lightroom 4 is back!!!! Drag that sucker over to the right (here I only dragged over to +53 and look at the difference! Again, this isn’t one you’re going to use every day, but when you really, really need those shadows opened up, it does the trick fast. Just a reminder: Do all your other edits before you save that JPEG and switch to the 2010 math, because the ‘new math” from 2012 is so much better overall, but at least it’s nice to know we can “go back in time” if we need to and our old friend “Fill Light” is still here. A before/after is shown below.


Hope you find that helpful (every once in a while). :)



P.S. Later today I’ll be announcing the 5 winners for the Jay Maisel book giveaway, so check back this afternoon :)




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Highlight Warnings in Lightroom: Viewer Mail Thu, 22 Jan 2015 05:01:13 +0000 RC goes over how to see and correct Highlight and Shadow Warnings in Lightroom.

The post Highlight Warnings in Lightroom: Viewer Mail appeared first on Lightroom Killer Tips.


Hey everyone – RC here.  We are all so excited that you guys are digging the direction of where we are going with Lightroom Killer Tips.  We also wanted to make sure that you guys know that we want this to be a resource for -you-.  If we can help in any way, please make sure you let us know.  Send us a tweet, comment on a page.  Every comment gets read here, and we can try to get to them in posts as we go along.

To that, I wanted to answer a quick question on Highlight warning.  Gwen asks:

“I know that in my camera I see blinking red when I shoot something that is overexposed.  What is this, and how can I take care of it in Lightroom”

This is actually a pretty simple fix.  When you are shooting images in your camera and there is a section that is overexposed, your camera’s screen will give you a warning that tells you that the area is overexposed.  This is known as a Higlight Warning.  On most cameras, the area will “blink” on the screen.

Now, when you bring this into Lightroom, you will not see a blinking screen in front of you.  You may still have that problem- but its not that immediately apparent.

Shadow Warning


At the top of the Histogram panel you will see two arrows to the right and left of the Histogram Bar.  These are your warning icons.  The one on the right lets you know when you are clipping (sometimes called crushing, or blocking) the shadows in the image.  This means that if you were to print this, there would be no detail in this area.  Clicking on that triangle on the right will turn the warning ‘on’ and you will see some areas with an overlay of blue.


An easy way to fix it? Hover over that area in the histogram and you’ll see a set of arrows appear.  Click and drag to the right and those Shadows should fix themselves.  Note: you almost never see the shadow blocking in camera, so you might want to watch out for that.

Highlight Warning


Now on the opposite side of the fence you have a highlight warning.  Clicking on this arrow to the right of the histogram at top will show you the areas that are overexposed in the image – in a red overlay.  This means that these areas have no data in them whatsoever.  If you were to print this, no ink would hit this part of the paper.  That is generally not a good thing (there are some exceptions.. but rare).


How can we fix that?  Hover over the right side of the histogram and you’ll see arrows appear there.  Click and drag to the left and those areas will start to improve themselves.

What About The Sliders?


Now, when you do this in the top part of the histogram, it really is no different than manipulating the Highlights and Shadows slider in the Basic panel below.  In fact, you can achieve the same effect by manipulating the tone curve as well.  It’s different points of entry to do the same thing  Which one you use is entirely up to you.

Hope that answers your question.  Remember – if we can help answer something for you in Lightroom just let us know.  Have a great day everyone!

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Getting the most out of your Adjustment Brush Wed, 21 Jan 2015 05:01:23 +0000 If you feel like your adjustment brush is a little clun […]

The post Getting the most out of your Adjustment Brush appeared first on Lightroom Killer Tips.

If you feel like your adjustment brush is a little clunky, then you may want to take a look at adjusting your Flow and Density settings.

adj brush density original

Here is an image I took of my friend David Carr playing drums for his band Third Day. I want to be able to lighten up his face just a bit and tone down the background to focus more on him.

First step we usually take is to zoom in on his face and pick the adjustment brush. Set the exposure up to a reasonable setting and start painting. It will brighten him up, but it looks a tad over-edited especially on the shoulder and cheek.

adj brush density a adj brush density b

My default reaction would be to jump over into Photoshop and make a mask and use my brushes to sculpt the light with much more precision. However if you can understand Flow and Density, there really isn’t much need to jump over to Photoshop.

Think of Flow as the setting of the nozzle on a water hose. 100% is going to give you a full blast of water in one shot… where as a lower setting will cause it to come out more slowly. Density determines the strength of the effect that you are applying with the brush. It sets the limit of how much of the effect is applied. For instance if you are applying a lightening of the exposure by 4 stops and you have the Density at 75, that would mean that you are only applying the effect at 75% strength.

I have created an illustration to show you how the two work in conjunction. The first two groups are made by a single stroke straight down, while the third group is made by brushing back and forth with more strokes down at the bottom to show the build-up.

adj brush density chart

Using only one adjustment setting for this example:Exposure… just changing the Density on its own will only affect the Opacity (apparent strength) of the stroke. When only changing the Flow setting and only making a single stroke in one direction, it has the appearance of effecting the opacity, but when you look at the last set of three strokes, you see that Flow will let you keep painting over that stroke until it reaches the Density ceiling.

Now I know that isn’t the most exciting chart, and the bottom line is that if you will just experiment with adjusting both of those sliders first by themselves and then together, you will begin to get a feel for how well you can set your brush to act exactly the way you want to.

Why would you want to use these settings? Perhaps you are wanting to add subtle lighting to a face… you could set a low Flow and a low Density to paint a light base without having to worry about over-painting or doing too much at one time. Next you can increase the density slider and just paint over the areas that need to be built up with even more exposure. You have full control of how fast and how strong the effect is. This also eliminates the need to keep going over and creating a new adjustment brush, to build up an effect in an area.

adj brush density b adj brush density c

Here you can compare the difference in the two results of lightening his face… the first is without changing Flow or Density and the second is using the build up method. (I have made it a little over the top so that you can see the effects… but you will be able to be more subtle on your own.)

At the end of the day it comes down to being comfortable and competent with our tools… understanding Flow and Density will make the Adjustment Brush that much better for you and your work.

adj brush density original

Original image with the background lighter and more distracting and his face too dark

Darkened the background and lightened the face using adjustment brush


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A Quick (but very powerful) Adjustment Brush Tip Tue, 20 Jan 2015 08:07:32 +0000 If you're a fan of Photoshop's 'Fade' feature, you're gonna love this. If not, you'll still find it helpful.

The post A Quick (but very powerful) Adjustment Brush Tip appeared first on Lightroom Killer Tips.


If you are familiar with Photoshop’s “Fade” feature, then you’re going to love this tip because Lightroom lets you do something very similar when you use the Adjustment Brush — it lets you change the overall strength of your entire adjustment after the face (this will make more sense in just a moment).

Here’s our original image, and I wanted to brighten up the yellow building on the left, and the red and orange buildings (and the white/gray wall to the left of it) as well, so I increased the Exposure, the contrast, pulled back the highlights, increased the shadows, bumped the clarity — a whole bunch of stuff using a bunch of different sliders. However, now that I look at it, it’s all looks too bright. I just want to turn down the overall “volume” of my adjustment — things are starting to look washed out. That’s where this trick comes in.

STEP ONE: See that little downward facing black triangle near the top right corner of the Adjustment Brush panel (it’s shown here circled in red).


STEP TWO: When you click on that, it collapses the panel and tucks all the sliders out of site. It has replaced them all with just one single slider called “Amount.” It’s well named, because that single slider now controls all those adjustments you applied to those buildings. If you want to “turn them all down a little bit” at the same proportional amounts (so every slider moves together), just drag the Amount to the left. If you wanted a more intense effect, drag it to the right. OK, now let’s put it to use.


STEP THREE: Here I’ve dragged the Amount slider from its starting amount of 36 down to  23, and as I did, all the sliders moved downward together as a group, and the buildings look brighter than the original, but not too bright like you saw in Step One where I originally painted with the Adjustment Brush.


STEP FOUR: OK, this isn’t really a step — just a side-by-side look at what the Amount slider did, so you can see what’s happening “under the hood.” Notice how the Exposure slider, which was originally at +2.28 when I first painted with it, has been “Faded” down to +0.92. You’ll see that the same has happened with all the controls — they have moved down proportionally as I lowered the amount.

There you have it. Hope you find that helps (and thanks for all the great comments yesterday. Even if I don’t get a chance to comment, I still read every single one, and appreciate you taking the time to join in. Also, thanks to anyone who points out a big typo. I’m famous for those, especially when I write these late at night). :)



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Win one of the most important photography books ever written: Jay Maisel’s “Light, Gesture and Color.” Tue, 20 Jan 2015 08:05:53 +0000 We're giving away FIVE copies of Jay's brilliant book on photography this week.

The post Win one of the most important photography books ever written: Jay Maisel’s “Light, Gesture and Color.” appeared first on Lightroom Killer Tips.


I truly believe Jay’s book is just that — and it will go on to be one of the all time classic books on photography, and we are giving away FIVE COPIES here on — just leave a comment and you’re entered to win. We’ll pick the FIVE winners on Friday and announce them here as well.

One of the first reviewers of the book wrote,

“There’s more smart-ass, hard earned wisdom about what it takes to be a photographer, and maybe even how to learn to see and and cherish what is actually around you, in this slim book than in a thousand photographic how to manuals and monographs.” 

Take a quick moment and watch the short book trailer below for a bit more about the book, and then make sure you enter for a chance to win. For more details, here’s the link to it on Amazon or Barnes & Noble. 


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7 Really Useful Lightroom Shortcuts Mon, 19 Jan 2015 12:25:37 +0000 Here's seven of my favorite little quick tips and shortcuts

The post 7 Really Useful Lightroom Shortcuts appeared first on Lightroom Killer Tips.


Happy Monday everybody (I know, that’s an oxymoron). ;-)

I thought I’d kick off this week with some of my favorite Lightroom keyboard shortcuts — some of these I use daily and some I just think are so handy (and I hope you find them helpful (note: yes, I’ve mentioned some of these here before. Here goes:

1. When you’re using the Gradient filter, you can flip the direction of the gradient by pressing the ‘ key (apostrophe)

2. If you’re wondering if a certain image would look good in black & white, just press the letter “v” and it shows you the black & white version. When you’re done, press “v’ to return to full color version (or, if you fell in love with the black & white version, don’t).

3. When you’re cropping, press “x” to toggle between a horizontal and vertical crop

4. If you don’t like the area where the Spot Removal tool chose as the source for your spot removal, press the ‘ / ‘ key (slash) and it will pick a different area.

5. Press the letter “o” when you’re painting with the Adjustment Brush to not only see the area you’re painting on appear in a red tint, but it’s stays “on” so you can continue painting. This is really handy when you’re painting over a large area (maybe a sky) and you want to make sure you didn’t miss any areas.

6. Hold the Shift key, then Double-click the Whites and Blacks slider to have Lightroom automatically set your white and black points for you

7. If you’re using the Spot Removal tool to remove wrinkles, but you don’t want to “remove” them, you just want to “reduce” them, try this: right after you use the tool to remove the wrinkle, go to the Spot Removal tool’s Opacity slider and lower the opacity to bring some of the wrinkles back. That way, their wrinkles are reduced rather than removed. This is also handy if you’re retouching a facial feature like a mole, where if you remove it everyone that knows the person will realize the photo has been retouched, so in that case, don’t remove it — just reduce it’s impact.

That’s a quick seven to get us up and running this Monday. Hope you see you here again tomorrow. :)



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