(4SYBEX SERIOUS SKILLS.
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`The Digital Photographer’s Guide
`bes
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`Workflow
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`Tim Grey
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`1
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`SAMSUNG 1020
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`SAMSUNG 1020
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`Adobe” Photoshop*
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`Lightroom:
`Worktlow
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`The Digital Photographer’s Guide
`
`Tim Grey
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`BICENTENNIAL
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`SicenTENNIAL
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`Adobe® Photoshop"
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`Lightroom’
`Workflow
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`5
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`

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`Adobe” Photoshop*
`
`Lightroom:
`Worktlow
`
`The Digital Photographer’s Guide
`
`Tim Grey
`
`BICENTENNIAL
`
`SicenTENNIAL
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`6
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`Acquisitions and Development Editor: Pete Gaughan
`Technical Editor: Robert Birnbach
`Production Editor: Rachel Meyers
`CopyEditor; Sharon Wilkey
`Production Manager: Tim Tate
`Vice President and Executive Group Publisher: Richard Swadley
`Vice President and Executive Publisher: Joseph B. Wikert
`Vice President and Publisher: Neil Edde
`Compositor: Chris Gillespie and Maureen Forys, Happenstance Type-O-Rama
`Proofreader: Nancy Riddiough
`Indexer: Jack Lewis
`Anniversary Logo Design: Richard Pacifico
`Cover Designer: Ryan Sneed
`Cover Images: André Costantini
`
`Copyright © 2007 by Wiley Publishing, Inc., Indianapolis, Indiana
`
`Published simultaneously in Canada
`ISBN: 978-0-470-11919-8
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`Nopart of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means,electronic, mechanical,
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`sionalservices. If professional assistance is required, the services of a competent professional person should be sought. Neither the publisher nor the
`author shall be liable for damagesarising herefrom. The fact that an organization or Website is referred to in this work as a citation and/or a
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`Library of Congress Cataloging-in-Publication Data
`
`Grey, Tim.
`
`Lightroom workflow: the digital photographer’s guide / Tim Grey.
`
`p. cm.
`
`Includes index.
`
`ISBN 978-0-470-11919-8 (pbk.)
`
`1. Photography—Digital techniques—Computer programs. 2. Adobe Photoshoplightroom.
`TR267.5.A355G74 2007
`
`I. Title.
`
`006.6'9—de22
`
`2007002730
`
`TRADEMARKS: Wiley, the Wiley logo, and the Sybex logo are trademarks or registered trademarks of John Wiley & Sons, Inc. and/oritsaffili-
`ates, in the United States and other countries, and may not be used without written permission. Adobe, Photoshop, and Lightroom are trademarks
`or registered trademarks of Adobe Systems Incorporated. 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.
`10987654321
`
`7
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`Dear Reader
`
`Thank you for choosing Lightroom Workflow. This bookis
`part of a family of premium-quality Sybex graphics books,all written by outstand-
`ing authors who combinepractical experience with a gift for teaching.
`Sybex was founded in 1976. More than 30 yearslater, we’re still committed
`to producing consistently exceptional books. With each of our graphicstitles, we’re
`working hard to set a new standard for the industry. From the paper weprint on, to
`the writers and artists we work with, our goal is to bring you the best graphics
`books available.
`
`I hope youseeall that reflected in these pages. I'd be very interested to hear
`your comments and get your feedback on how we’re doing. Feel free to let me know
`whatyou think about this or any other Sybex book by sending me an email at
`nedde@wiley.com,or if you think you’ve found an errorin this book, please visit
`http://wiley.custhelp.com. Customer feedbackis critical to our efforts at Sybex.
`
`Best regards,
`
`pK
`
`NEIL EDDE
`
`Vice President and Publisher
`Sybex, an Imprint of Wiley
`
`8
`
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`9
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`To the old man selling hand-carved
`wooden angels in Koln, Germany. What
`a difference a handshake can make.
`
`~es Acknowledgments
`
`Sometimesit feels so unfair that I get most of the credit for the books that bear my
`name. All too often those who work behind the scenes don’t get the credit they deserve.
`For the vast majority of my books, one person has consistently supported me, gently
`prodded me, and helped to make sure I did everything I needed to do (even if it was
`past deadline) so the latest book could actually get printed. That person is Pete Gaughan,
`and I can assure you thatat least a few of my books would have never seen thelight of
`day without his support and help. Pete, ’'ve caused far too muchstress for you as I let
`deadlines slip, and you deserve much ofthe credit for the books I am so proud to have
`written. Thank youfor all you’ve done for me. Your kindness doesn’t go unnoticed.
`I'm incredibly proud of my two daughters, Miranda and Riley, and appreciate
`the inspiration they provide for me. Both have taught me so much, andI feel remark-
`ably lucky to be blessed with them in mylife.
`My family also doesn’t get enough credit for helping me get where I am. Thanks
`in particular to Mom, Heidi, Amy, Tiffanie, Grandma, and Greg. And of course, thank
`you to Bob. Though heis no longer with us, his influence will live with me forever.
`I am very grateful to André Costantini for providing the incredible photographic
`images that grace the pages of this book. André is a talented photographer who was
`kind enough to share many of his imagesto helpillustrate these pages. I think you'll
`agree that they add to the enjoyment of the topics discussed. More of his great images
`can be viewed at www.sillydancing.com. Thank you, André.
`Thank you to the manyfriends who have supported me in so many ways over
`the years, including Angel, Bruce, Dan, Marianne, John, Peter, Jeff, Mike, and everyone
`else who has supported me.
`I also want to thank the entire Lightroom team at Adobefor creating a great
`product for me to use and write about.
`Andfinally, I’d like to thank all the great people at Wiley, and specifically Sybex,
`who helped make this book possible. I already mentioned editor Pete Gaughan, who
`shepherded this project with tremendous patience. I also want to thank Robert Birnbach
`for his efforts as technical editor, production editor Rachel Meyers, copy editor Sharon
`Wilkey, and compositor Chris Gillespie at Happenstance Type-O-Rama. The entire team
`at Wiley has been a joy to work with, and I appreciateall the effort they’ve put forth to
`help me produce the best books possible.
`
`10
`
`10
`
`

`

`About the Author
`
`A lifetime of working with computers and a love of photography combineas the perfect
`passion for Tim Grey. He loves learning as muchashe possibly can aboutdigital imaging,
`and he loves sharing that information even more. He does so through his writing and
`speaking appearances. He has authored or coauthored over a dozen books ondigital
`imaging for photographers, including Color Confidence (Sybex, second edition 2006)
`and Photoshop Workflow (Sybex, 2007). His articles have been published in Outdoor
`Photographer, PCPhoto, and Digital Photo Pro magazines, amongothers. Healso pres-
`ents seminars and workshopsat a variety of industry trade shows andother venues.
`Tim also publishes a regular “Digital Darkroom Questions” email list, where he
`answers questionsrelated to digital imaging for photographers. To add your email
`address to the list, visit www.timgrey.com.
`
`11
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`Contents
`
`i «=«CChapter 1
`
`
`
`
`
`
`Introduction
`
`Workflow Foundations
`
`xiii
`
`1
`
`Somé BackorOidss..:. ssecasncawe awasewen ewewanacarsee maesnaarce atereiece 2
`
`Designed for a Sensible Workflow. ... 2.2.0.0... 000000 cece eee eee 4
`Lightroom Modules
`4
`Workflow Strategy
`6
`A Typical Workflow
`9
`
`Chapter 2
`
`Configuring Lightroom
`
`13
`
`Understanding the LightroomInterface... .......0. 00 cee ee eee eee 14
`Identity Plate
`15
`The Panels
`17
`
`Primary Display
`Filmstrip
`
`20
`21
`
`Customizing Lightroom Behavior ..........2-2-.200 0002 eee eeee 23
`Preferences
`23
`
`Identity Plate Setup
`
`30
`
`Customizing: View: Options:ec: 22 hse2268 Ha cSSSs 0 Me SeS kee Hees 31
`Library View Options
`31
`Develop View Options
`38
`
`Chapter3
`
`Library
`
`41
`
`Importing Images oc tise oweieen ees HE soe Eee ELE 42
`Import Process
`42
`Download and Import
`30
`
`Reviewing Images .. 2... 6... eee eee eee 51
`Filtering Images
`S1
`Evaluating Images
`56
`
`Processing Images ... 2... 0.0... 2c cc eee eee 67
`Flags, Stars, and Labels
`67
`Quick Develop
`68
`Keywording
`70
`Metadata
`71
`
`Exporting Images .. 0... 00 cece eee cee ee eee eee 73
`
`12
`
`12
`
`

`

`Chapter 4
`
`Develop
`
`77
`
`Developink tHe AMGGE ccna ete enema enemas ace ree 78
`
`Navigating the Image .... 0.0.2.6 cece c eee eee eee eee 78
`Navigator
`78
`View Options
`80
`
`Using Presets, Snapshots, and History....... 0.0.0. e ce eee eee eens 90
`Presets
`90
`
`Snapshots
`History
`
`93
`O4
`
`Making Adjustments. ..... 0.00.00 cece cece eee eee teen eee nee 96
`Histogram
`101
`Basic
`104
`Tone Curve
`112
`Color and Grayscale Adjustments
`117
`Split Toning
`124
`Detail
`125
`Lens Corrections
`126
`Camera Calibration
`128
`
`Using an External Editor sii maven cea ee ei meee 132
`
`
`
`
`
`Chapter 5
`
`Slideshow
`
`135
`
`Building Lightroom Slideshows... 1.0.0... 00 cece eee e eee e eens 136
`Selecting Images in the Library
`137
`Selecting Images in the Filmstrip
`138
`
`Configuring the Slideshow .... 0... ..00 00.002 cece eee eee 140
`Selecting a Template
`140
`Adjusting Settings
`141
`
`Playing and Exporting. . 0.0.0... 00 cece cee ence eee e eee eenee 156
`Playing the Slideshow
`156
`Exporting the Slideshow
`156
`
`Chapter6
`
`Print
`
`159
`
`Selects PHOBOS: cies aes oe ten MarerEENe RE ones 160
`
`Using Templates 0.0... 0.00 cc cece eee eee eee eens 161
`Selecting a Template
`161
`Adding and Removing Templates
`163
`Navigating Pages
`163
`
`Determines Prine Layontincsncn mesmsan eases EERE ome 164
`Image Settings
`165
`Layout
`168
`Overlays
`173
`
`COTPGHEE OUtpatSeMiGie ccs cence exaewsress umemenresa oem 175
`Print Job
`175
`Page Setup
`177
`Print
`178
`
`13
`
`13
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`

`

`Chapter 7
`
`Web
`
`181
`
` Selecting’ a Web Galletynccsicccsae cemennen coamuneveane earnaceane see 182
`
`Configuring the Website .. 0.2.0.2... 0.0.0 cece cee eee ee eee ee 183
`Gallery Template
`183
`Gallery Settings
`184
`
`Publishing the Website... 0.0.0... cee eee eee ene 192
`Export
`193
`Upload
`194
`Review
`195
`
`Appendix
`
`Workflow Overview
`
`Index
`
`197
`
`195
`
`14
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`14
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`

`

`— “This new
`Threeamet software
`will close§@ S44 ~
`
`photographers.” ‘,
`
`the loop for digital
`
`15
`
`

`

`Introduction
`
`Adobe Photoshop Lightroom is a brand new product that
`
`fits into a new categoryof software offering an end-to-end
`
`workflow for digital photographers.It is my belief that
`this category of software will “close the loop” for them.
`
`For years, photographers were focused on improving their skills at capturing
`better images. Books, seminars, workshops, field trips, and other offerings were
`utilized by countless photographers to improve their skills behind the camera.
`When digital cameras started taking photography by storm, things shifted.
`More and more photographers were moreinterested in improving their computer
`skills to make the most oftheir digital images. Instead of learning about photogra-
`phy, they were by and large learning how to use Photoshop, how to best manage
`their images, how to deal with color management, and other similar issues. Digital
`was new to them in terms of photography, and they wanted to learn everything
`they could to take full advantage of what digital had to offer.
`Of course, during this time many photographersstarted to realize that they
`were spending so much time behind the computer, they didn’t have muchtime avail-
`able to be behind the camera. They enjoyed the process of working with their images
`digitally, especially the ability to exercise so much control over the final image, but
`they really wanted to be spending more time with their camera. They may not have
`realized it, but this focus on digital also meant they likely weren’t maximizing their
`photographic skill because they were so focused on theirdigital skills.
`After you’ve read this bock and are making full use of Lightroom, you'll
`find you are able to manage and process your images much more quickly. As a
`result, you'll need to spend less time at your computer. You’ll enjoy the time you
`do spend working with your images more, and you'll have more time to get out
`and take morepictures.
`I think for many photographers, the efficiency that an application such as
`Lightroom canintroduce into their digital workflow will inspire them to spend
`more time on their photography, and to spend more time improving their photo-
`graphic skills. Is it possible that Lightroom will actually improve the quality of
`photography at large? We'll have to wait andsee....
`
`NOLLSNGOULNI
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`16
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`16
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`

`

`i.<
`
`INTRODUCTION@
`
`Regardless of what Lightroom does for photography, it will most certainly pro-
`vide you with significant benefits. You’ve probably experienced the frustration—at one
`time or another—ofnot being able to find a particular image, or of spending far too
`long creating proof prints for clients, or of trying to create a web gallery of favorite
`images to share with friends, or any of the other tasks that can be so time-consuming.
`Lightroom will enable you to get things doneeasier andin less time. It offers a consis-
`tent interface for performing the tasks that are most important to you in yourdigital
`photography workflow. And this is only the beginning. Thefirst release of Lightroom
`offers ttemendous workflow advantages to the digital photographer, but Adobe will
`continue to provide new versions with new features and improvements to make the
`product—and therefore your experience and efficiency—evenbetter.
`
`WhoShould Use This Book
`
`This book is well suited to any digital photographer who wants to maximize the
`efficiency of their workflow by using Adobe Photoshop Lightroom. Whether you’re just
`getting started in digital photography and looking for direction, or a master who has
`been working with digital images for years, this book will help you. You'll find this
`book easy to read and understand, as you are guided through a practical approach to
`using Lightroom to maximize the efficiency of your workflow.
`If you haven’t started using Lightroom yet, this book will help you understand
`the benefits it offers, and may well convince you to immediately start using Lightroom
`to manage your images. If you’ve already been using Lightroom, this book will help
`show youthe best ways to work within Lightroom. In either case you'll be better pre-
`pared to optimize your workflow so you can spend less time at the computer and more
`time behind the camera.
`
`What's Inside
`
`This book covers the full workflow for optimizing your images. Here’s a quick guide
`to what each chapter covers:
`
`Chapter 1: Workflow Foundations helps you prepare for a workflow that revolves
`around Lightroom,
`Chapter 2: Configuring Lightroom shows you the many configuration options available
`in Lightroom, and guides you through making decisions about which settings are most
`appropriate for you.
`
`Chapter 3: Library demonstrates the best techniques for organizing and managing your
`images by using the Library module in Lightroom.
`
`Chapter 4: Develop includes detailed coverage of the many nondestructive tonal and
`color adjustments available in Lightroom so you can optimize your images.
`
`Chapter 5: Slideshow teaches you everything you need to know in order to quickly
`create digital slideshows for sharing your images.
`
`Chapter 6: Print shows you how to print your images to meet a variety of needs, from
`fine-art prints to contact sheets of many images.
`
`17
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`17
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`

`

`Chapter 7: Web covers the process of creating web galleries quickly and easily so you
`can share your images on the Web.
`The appendix is a concise checklist of the steps to follow to build a professional photo
`workflow with Lightroom.
`
`How to Contact the Author
`
`Sybex strives to keep you supplied with the latest tools and information you need for
`your work. Please check their website at www.sybex.com for additional content and
`updates that supplementthis book. Enter lightroom in the Search box (or type the
`book’s ISBN, 0470119195), and click Go to get to the book’s update page.
`If you'd like to provide feedback about this book, or input on the types of books
`you'd like to see from mein the future, you can contact me via email at tim@timgrey.com.
`Moreinformation about my writing and appearances can be found on the Web at
`www.timgrey.com.
`
`NODLOINGOULNIff3
`
`18
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`19
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`

`

`Workflow
`Foundations
`
`Adobe Photoshop Lightroom provides an end-
`
`to-end workflow solution, helping you work
`
`more efficiently with your digital photographs.
`
`Before you get started working with the many
`
`features you'll find in Lightroom,it is important
`
`to understand someof the fundamentals of
`
`workflow, especially as it relates to the approach
`
`Lightroom takes to that workflow. Then you'll
`
`be ready to dive in and start getting to know
`
`Lightroom, and using it to manage and process
`
`your digital photographs.
`
`
`
`SNOLLYVONNOdMOTOMHo
`
`Chapter Contents
`Getting Organized
`Lightroom Workflow
`
`20
`
`20
`
`

`

`
`
`CHAPTER1:WORKFLOWFOUNDATIONS&N
`
`SomeBackground
`
`Ir still surprises me how quickly so many photographers made a complete switch from
`film photographyto digital photography. Very early in the development of digital photo-
`graphy, it was clear there would besignificant benefits. But human nature being what
`it is, it seemed reasonable to expect that the transition would be slow and cautious.
`Instead, photographers made the switch with incredible speed. I think this took
`most of the industry by surprise—even those who were rooting for the success of digital
`cameras. In fact, digital photography grew at a frantic pace not only because many
`photographers saw benefits in digital photography comparedto film, but also because
`the accessibility provided by digital imaging created tremendous enthusiasm. Many who
`are enjoying digital photography today never pursued film photography as a passion or
`hobby. Digital has certainly increased the number of photographers out there who could
`be considered very serious about it for art, business, or pure fun.
`Although digital photography offers many benefits over film, there are also draw-
`backs. In fact, some of the great advantages led to challenges. Because there wasn’t the
`sense of “wasting film,” and because after purchasing gear there really wasn’t an incre-
`mental cost for each new digital photograph that was captured, photographers have
`generally found themselves capturing far more images with digital cameras than they
`ever did with film. That creates an incredible challenge when it comes to processing
`and managing images. Many photographersfeel that their digital captures are locked
`awayinside their computer, eitherdifficult or impossible to access.
`Early on, digital photography could be thought of as being something akin to a
`big experiment. Tools were generally difficult to learn and customized to a particular
`task. And the tools didn’t provide an end-to-end solution for photographers dealing
`with their images. Many photographers had to cobble together a variety of tools to meet
`their needs, with perhaps one application used for downloading images onto the com-
`puter, another for browsing and sorting the images, and yet another for optimizing
`and printing those images. It wasn’t efficient, and it certainly created barriers for many
`photographers. Still, somehow wefound a way, in large part because of our tremendous
`enthusiasm and also because we enjoyed the control we were able to exercise without
`the challenges (and smelly chemicals) when processing film images.
`Fortunately, the trend in digital is for things to move pretty quickly, This has
`certainly been the case with digital photography. The numberof software applications
`aimed at digital photographers grew very quickly, and they became better with each
`new release. Photographers werestill cobbling together a solution from a variety of
`applications, but those applications were more feature-rich andefficient.
`Morerecently, as photographers started getting a handle on the processing of
`their digital images, they also started realizing some of the many challenges inherent in
`a digital photography workflow. Specifically, they realized that the workflow didn’t
`flow very smoothly at all in many cases. Workflow became a major buzzword, and was
`often cited by photographers as the number oneissue they were concerned about in
`their photography. Workflow effectively focuses on the process you go through from
`
`21
`
`21
`
`

`

`the time the images get onto your computer, organize them, optimize them, and share
`them with others.
`
`Many software developers heard the concerns of photographers, and started
`addressing those concerns in their software applications. Instead of leaving the photo-
`grapher to move the image through each step of their workflow, applications started
`offering features that helped move the images through the workflow. Some of these
`efforts included bringing features that had previously been handled by separate applica-
`tions into one place, such as the addition of a File Browser and then Adobe Bridge to
`Adobe Photoshop (www.adobe.com). In other cases it was reflected in a more process-
`oriented approach to handling images, such as the concepts applied to the Capture One
`software for processing RAW images from Phase One (www.phaseone.com).
`Adobe Photoshop Lightroom—the subject of this book—represents Adobe’s
`latest effort to address the need for a cohesive and efficient end-to-end workflow for
`
`digital photography. It combines the core features photographers need to be able to
`organize, manage, optimize, and share their images (Figure 1.1).
`
`Note: Thankyou to photographer André Constantini (www.sillydancing.com)forproviding
`the beautiful photographsforthis chapter.
`
`vis
`&
`
`wr
`
`fic Edt Ubrary Ehoto
`
`Figure 1.1 Lightroom provides a cohesive and efficient way to handle end-to-end workflow.
`
`
`
`CNNOUDADVGANOSHow
`
`22
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`22
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`

`

`
`
`CHAPTER1:WORKFLOWFOUNDATIONS&&
`
`Designed for a Sensible Workflow
`
`Lightroom is best thought of as a workflow tool for digital photography. I think of it
`as “commandcentral” for managing and processing digital photographs. To under-
`stand what Lightroom provides, it is helpful to understand the basic stages of a digital
`photography workflow. The key stages of such a workflow are as follows:
`
`Importing There are various names and approachesto this phase of the workflow. In
`general, this is when the images are copied onto your computer or imported into a
`database so you can actually view the images.
`Sorting You need to be able to review and evaluate your images so you can decide
`which aren’t worth keeping, which are your favorites, and which you want to process
`in some way.
`Managing Especially because photographers tend to capture many more images with
`digital cameras then they ever did with film, it is critical that you have some method
`for managing your images so you can find the one you need when you needit.
`Optimizing No matter how well you’ve configured your camera to capture a particular
`image, you'll likely need to apply some adjustments to the images in order to make
`them look their best or realize your photographic vision.
`
`Sharing Whether you are sharing your images through prints,digital slideshows, web-
`sites, or other means, you wantto have a way to share those images quickly and easily
`with others.
`
`Lightroom provides solutions for all of these stages of a digital photography
`workflow—in one application with a commoninterface that makes it easy to learn in
`a relatively short period oftime.
`
`Lightroom Modules
`
`Lightroom divides your workflow into five individual modules that each address specific
`stages of the workflow. The modules are as follows:
`
`Library This module provides tools that enable you to import, sort, manage, locate,
`and apply basic adjustments to your images (Figure 1.2). It is the module you’lllikely
`use most often in Lightroom as you work with your images. Lightroom is not an image
`browser, but rather a form of image managementtool. You can’t view imagesin Light-
`room until you have imported them into the Lightroom database.
`Develop This module provides tools for applying adjustments to your images,
`including RAW captures (Figure 1.3). It is important to realize that Lightroom pro-
`vides a nondestructive optimization solution. That meansthatall adjustments you
`apply in Lightroom don’t alter your original pixel values, but are rather stored as
`instructions within Lightroom about what adjustments should be applied to the
`image, and those adjustments are applied on the fly to the preview images you see
`within Lightroom.
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`Ta
`Bie Got Library Bhoto Metadata Yew Window Help
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`Bele
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`Figure 1.2 The Library module enables you to import, sort, manage,locate, and apply basic adjustments to your images.
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`@ Adobe Photoshop|ightrooam
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`wi
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`MOTAXUOAATHISNASVWOdGANDISAC
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`Figure 1.3 The Develop module is where you'll make most of your adjustments to images within Lightroom.
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`WORKFLOWFOUNDATIONSBo
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`CHAPTER1:
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`Slideshow This module allows you to quickly create basic digital slideshows for shar-
`ing your images (Figure 1.4).
`
`Print This module allows you to print your images with great flexibility and control,
`producing anything fromfine-art prints with a single imagefilling the page to contact
`sheets with many images per page (Figure 1.5).
`Web This module allows you to create web galleries for sharing your images on the
`Internet very quickly and easily (Figure 1.6). It even allows you to enter yourserver
`information so the web gallery can be automatically uploaded to your website from
`within Lightroom.
`
`Workflow Strategy
`
`Each of the modules in Lightroomis the topic of an individual chapter of this book.
`But just as this book is a cohesive unit divided into chapters, you should think of
`each of the modules in Lightroom as part of a single unit. As you work through each
`of the chapters, keep in mind thatall of the modules work together, and that each
`represents a stage of your workflow. You can move between modules very easily as
`you work on your images, and dan’t need to think of them as individual components
`
`that stand alone.
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`Figure 1.4 The Slideshow module makesit easy to quickly create digital slideshows.
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`Paste 32
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`ants ons Pl
`As is a
`Hie
`Beat hiss
`melt
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`mg ee
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`Andre Costantini
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`Figure 1.6 The Web module enables you to create web galleries to showcase your images.
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`26
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`

`Photoshop Replacement?
`
`As you review thelist of features found in each of the modules, you may wonder how Photoshop
`fits into the picture. The Library module contains many of the features and capabilities you'll find
`in Adobe Bridge and Adobe Camera Raw,both includedas part of Photoshop. The Develop module
`contains tools for optimizing your photos that match many ofthe capabilities of Photoshop. The
`Slideshow,Print, and Web modules contain features that are similar to some of the automation
`tools found in Photoshop. In many ways, Lightroom containsthe core capabilities of Photoshop
`that photographers are mostinterested in, bundled into a new interface with a more cohesive
`approach to the tasks photographers need to perform. This raises the question among many pho-
`tographers as to whether Lightroom represents a replacement for Photoshop.
`
`In somerespects, Lightroom is exactly that. It providesall the basic features most photographers
`need, and might otherwise find in Photoshop. However, | considerit to be very much a supplement
`to Photoshop, not a replacement.
`
`The key area where Lightroom leaves room for Photoshopis in the depth of adjustments you can
`apply with Photoshop. Lightroom doesn't, for example, include any ability to apply targeted adjust-
`ments to your images. | therefore think of Lightroom asa basic tool that provides enough adjust-
`ments for you to share your images with clients, but in somecases not the deeperfeatures that
`will enable you to produce an image thatyou feelis truly ready to be considered“final.”
`
`As a result,| feel that Photoshopstill has a significant role in any workflow, even with Lightroom.
`| cover the details of an image-optimization workflow in Photoshop in my book Photoshop
`Workflow (Sybex, 2007). Although Lightroom is a very powerful tool that allows you to process
`your images with great flexibility and efficiency,it is still first and foremost a tool for managing
`your images. You'll still often find the need to apply more-sophisticated adjustments with Photo-
`shop. Think of Lightroom as providing an image-management workflow with some optimization,
`and Photoshopas providing an image-optimization workflow. The two work togetherto help you
`stay organized while producing the very best images possible.
`
`Fortunately, Lightroom makesit easy to open images in Photoshop when theneedarises, so
`the workflow stays cohesive and efficient even when Lightroom doesn’t provideall the features
`you need.
`
`We'll have to wait to see what the future holdsfor Lightroom.It is certainly conceivable that more
`image-optimization features will be added, and that Lightroom will become moreof a competitor
`to Photoshop.In the meantime, the two work together to provide powerful solutions for digital
`photographers.
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`CHAPTER1:WORKFLOWFOUNDATIONS&@
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`In general you'll likely find yourself moving through the modules in order. Each
`is listed at the top-right corner of the Lightroom interface, and you can switch between
`thembyclicking on the name of the module you want to work in. As you do so, the
`images you’re working on don’t change. Youselect the images you want to work on in
`the Library module, and then work on them by switching to the other modules as appro-
`priate, based on what you want to accomplish with the current images. Throughout each
`of the modules, you’ll notice that the filmstrip along the bottom maintains a persistent
`view of the images you haveselected in the Library module. This is just one example
`of the notion that Lightroom provides a single workflow that is simply structured into
`multiple modules to help you divide your work into more-manageable segments.
`As you're getting started with Lightroom, I recommend that you move through
`the modules in order, from the Library module to Develop, and then through Slideshow,
`Print, and Web. Thefirst two I think of as being somewhat “mandatory,” in the sense
`that you certainly want to organize all your images and probably want to optimize at
`least your favorite images. The final three are all about sharing your images, and
`whether you use any, some,or all of them depends on your needsfor a specific group
`of images.
`Although any new software application can be a bit intimidating or overwhelm-
`ing at first, I think you'll quickly find that Lightroom provides a logical and efficient
`approach to working with your images. This book will guide you through each of the
`modules and show you how to work with your images in each, and I think you’ll soon
`realize that Lightroom is quite simple to work with, despite the many powerful features
`it provides. After you’ve finished reading this book and spent some time processing your
`images in Lightroom, I think you'll agree that it is a pleasant—even fun—experience.
`Yo