Lightroom Waiting For Connection

• And if one day Lightroom puts multiple cores to use efficiently, you can be sure I'll come back here with another long post about building a 24+ core machine optimized for Lightroom. Please share:) If you enjoyed this post, please share it with your friends and followers.
• Sync says 'Waiting for Connection' Windows Only - Lightroom Classic 8.2 Library filter panel stops showing number of images Library collection panel jumps when creating Collection Sets or renaming Collections.
• STEP 1 - Open Lightroom and click on the symbol '+' in Publish Services Use the link 'Go to Publishing Manager.' STEP 2 - Create or update a Publishing service: while on the Publishing manager windows you have the option to either edit or add a new publishing service to connect Lightroom.
• Lightroom menu bar is lost after pressing G or ESC while playing video in full screen mode. (Operating system: macOS only) Restart Lightroom. Lightroom does not support R3D or Apple ProRes video files. This is a known limitation. There is no workaround available. Lightroom does not support Avid DNxHR/DNxHD video files. This is a known limitation.

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Most of us learn how to use Lightroom and Photoshop because we run into a problem and search for a solution. As a result, we tend to have various individual skills without an overall perspective on how to put the skills together in a good workflow. In this tutorial, we'll highlight a few of the main workflow steps so that we can have an effective and efficient Lightroom and Photoshop workflow.

Begin in Lightroom

1 RAW IS GOOD, DNG IS BETTER

The advantages of shooting RAW (e.g., more flexibility and more information) are well known and most photographers capture RAW images (versus JPEG). But there's an often-overlooked step, and that's converting the RAW files to DNG (or Digital Negative). The DNG format extends the flexibility and stability of your images even further. DNG is a publicly available archival format that's an appealing solution for those who want even more assurance of being able to open and process RAW files far into the future. For more info, visit www.adobe.com/products/dng. OPTION #1: [Insert 1.tiff]—Note from Chris Orwig: I don't have a graphic for this first step but I was hoping you could create one from my idea.

2 IMPORT, PART 1: CONVERT & BACK UP

Before you start viewing or working on your images, it's critical to save them appropriately. Specifically, you always want to copy the files to at least two locations and here's where Lightroom can help. With Lightroom open, connect your card reader and insert the media card, and the Import Photos dialog will open. If desired, in the File Handling section, be sure to select Copy Photos As Digital Negative (DNG) and turn on the Backup to: option. Click the Choose button and select another external hard drive where you'd like to save the files.

3 IMPORT, PART 2: APPLY INFORMATION

In the Information to Apply section, click the Metadata pop-up menu, and choose New. In the New Metadata Preset dialog, enter important metadata such as copyright, and click Create. To apply the preset, select it from the Metadata menu. Next, manually add keywords to all the images. Begin with the general keywords that describe the entire import (more specific keywords can be added later). Finally, choose the size of the Initial Previews. Typically, it's best to choose Standard (medium JPEG) or 1:1 (full size) so Lightroom will generate large enough previews now so you won't have to wait for them later. Click Import.

4 RATE & RANK

With your images imported, it's time to separate the wheat from the chaff. You can begin by adding star or flag ratings to the images. This can be done in the Library and Develop modules but for the quickest results, it's best to work in the Library module's Loupe view (E), as there will be less preview render time. Next, use one of the following methods to add ratings: Press 0–5 to add or remove star ratings; 6–9 to add or remove color label ratings; P to Flag As Pick; U to Remove Flag; and X to Reject.

5 FILTERS & COLLECTIONS

Photographers use filters with collections to pick their keepers. In the Library module, press Command-L (PC: Ctrl-L) to Enable Filters and select a criteria, such as Library>Filter by Rating of 2 stars only, which will now only show you the 2-star images. Next, open the Collections panel, click the New Collection icon (+), and choose Create Collection Set. Name your collection and click Create. Next, select all the filtered 2-star images, click on the New Collection icon, choose Create Collection, name it, select the set you just created, and click Create. Click on your original set of images and repeat this process for 4- and 5-star ratings.

6 ADD METADATA

It's typically best to add keyword metadata to your images that matter most. Choose the collection you'd like to work on, select one or more images, open the Keywording panel, and add a keyword by typing it in the Click Here to Add Keywords field. You can also click on one of the Keyword Suggestions to add it to the Keyword Tags field. For even more advanced keywording, use a Keyword Set with frequently used, predefined keywords. To quickly apply one of these keywords, press the Option (PC: Alt) key and a number between 1 and 9.

7 ADJUST WHITE BALANCE

As you process your images, it's best to begin with white balance. Press the W key to go to the Develop module and select the White Balance Selector tool simultaneously. Next, position the tool over an area of the image that should be neutral. Typically, something white, gray, or black works best. As you do this, look at the Navigator panel on the left and you'll see the white balance preview. Once you've found a desirable neutral area, click on it. Win big casino slot machines. If the white balance isn't prefect, drag the Temp and Tint sliders in the Basic panel to make any needed adjustments.

8 MAKE TONE ADJUSTMENTS

Using the Basic controls to modify tone is as easy as dragging a slider, but let's take things a bit further. It's important to process the image so it can be reproduced accurately, so you need to make sure it has good shadow and highlight detail. Press the J key to turn on the clipping indicator. Now when you make a 'bad' adjustment (as in the image shown here), the clipping indicator will light up, showing you the problem areas. To correct these problems, modify the sliders until the clipping indicator is reduced or gone completely.

9 CHANGE PRESENCE FOR MORE PRESENCE

The Clarity, Vibrance, and Saturation sliders are grouped in the Presence section of the Basic panel. While this name is a bit vague, the actual sliders are anything but that, providing measurable contrast and color enhancements. The Clarity slider adds local contrast, which adds dimension or depth to an image. Zoom to 100%, then increase the Clarity amount to add subtle contrast. The Vibrance slider affects less-saturated colors and protects skin tones. Increase the Vibrance to add color variety and snap. The Saturation slider adjusts colors equally. Increase the amount to saturate, or decrease the amount to remove color.

10 REDUCE NOISE

Practically every digital image needs noise reduction and sharpening. In the Develop module, open the Detail panel. To begin, zoom to 100% to see the details of the image. Next, use the Luminance and Color sliders to remove the noise. Movavi video converter 6 0 0 download free. The Luminance slider controls noise caused by brightness; the Color slider removes noise that results from color artifacts by reducing color variance. Increase the amounts of both sliders until the image looks good. Keep in mind that when you use the noise-reduction controls, you'll soften the photo. As a result, you need to dial in an appropriate amount of sharpening.

11 SHARPEN THE IMAGE Jw org tl online library.

Digital photographs need a certain amount of sharpening to correct any softness that results from capture. In the Detail panel, there are four sharpening sliders: Amount, Radius, Detail, and Masking. The Amount slider controls the overall intensity; Radius controls how far out from an edge the sharpening extends; Detail controls the sharpening of small details; and the Masking slider controls where the sharpening is applied. Begin by increasing the Amount and keep the Radius below 2. For photographs of people, use a very low Detail amount; for photographs of landscapes or architecture, use a higher amount.

12 COMPARING PHOTOS

In traditional film photography, the image emerges in the develop tray. Images also emerge in Lightroom: You slowly build up to the desired result. Thus, it's helpful to compare the final state of the image to the original. The quickest way to compare a starting version to a final version is to press the Backslash () key to toggle between the two. For even more comparison views, choose View>Before/After and make a selection from the list. You may also use one of the following shortcuts: press Y for a Left/Right before-and-after view, Option-Y (PC: Alt-Y) for Top/Bottom, or Shift-Y to Split Screen.

From Lightroom to Photoshop

13 CORRECT PERSPECTIVE

In Lightroom you can only push an image so far. For example, if you need to make a perspective correction, you have to go to Photoshop. After finishing your work in Lightroom, select the image and press Command-E (PC: Ctrl-E) to edit the image in Photoshop. If the Edit Photo dialog appears, choose Edit Original. Once in Photoshop, press Command-J (PC: Ctrl-J) to copy the Background layer. Next, choose Edit>Free Transform. While holding down the Command (PC: Ctrl) key, click-and-drag the corner points to fix the distortion or perspective, then press Return (PC: Enter) to commit the transformation.

14 COLOR & TONE

While Lightroom has some great controls, when it comes to specialized and unique color and tone, it's not as strong as Photoshop. With this image, we're interested in creating muted colors and a high-contrast look. Click the Create New Adjustment Layer icon at the bottom of the Layers panel and choose Hue/Saturation. Lower the Saturation to –100, then change the layer blend mode to Soft Light. The Soft Light blend mode is a great way to add contrast and color, but by applying this mode to a desaturated layer, we can add contrast while removing color. If the effect is too strong, lower to layer Opacity.

15 ADD LIGHT

Photographers use light to direct the eye and to create visual interest. In Photoshop, one technique involves using a filter called Lighting Effects. (Note: This filter works with 8-bit images only.) Select the Background copy layer you created in Step 13, choose Layer>Duplicate Layer, then go to Filter>Render>Lighting Effects. In the Lighting Effects dialog, choose Omni from the Light Type menu. Reposition the light source on the image as needed, then use the controls to dial in the overall light Intensity. Click OK to apply the effect. Finally, lower the Opacity of the duplicate layer until you like the results.

16 ADD TEXTURE & A BORDER

Sync With Lightroom Waiting For Connection

To add a texture, open an image of a texture and drag-and-drop it onto your image (or create a new layer and draw the texture). Next, try using one of the layer blend modes like Soft Light or Overlay to blend the texture into the image. To add a border, click the Create a New Layer icon at the bottom of the Layers panel, select a brush with an interesting edge from the Brushes panel (Window>Brushes), and paint with white. To draw a straight line, click where you'd like the line to begin, reposition the brush, and then Shift-click. This way you can create a more uniform edge.

Back to Lightroom

17 PRINT WITH TEMPLATES

Close and Save your Photoshop file to head back to Lightroom. Printing in Lightroom is fast and effective because you can use a predetermined template or create your own. Select one or more photos in the Filmstrip. In the Print module, open the Preview and Template Browser panels. Next, position the cursor over one of the Lightroom templates to view it, and click to select it. (Note: You can customize the layout by using the panels on the right.) If you customized the layout and want to save it, click the Create New Preset icon (+) in the Template Browser panel header, name it, and click Create.

18 PRINT TO JPEG

One often-overlooked feature in Lightroom is the ability to prepare your images for printing by a lab. To send your images to a lab, you'll need to convert the files to JPEGs. In the Print Job panel, choose Print to: JPEG File. Turn off Draft Mode Printing, change the Print Resolution, and select Print Sharpening (typically Standard works best). Turn on Custom File Dimensions and select a size. Under Color Management, set the Profile to sRGB and Rendering Intent to Relative. When you're ready, click the Print to File button, choose a directory to save the files to, and send them to the lab of your choice.

ALL IMAGES BY CHRIS ORWIG UNLESS OTHERWISE NOTED

It's 'OK.' The frame rate of what you see in that live view window is a lot slower than I was expecting (check out the video below as see if you agree), and while the folks who have been waiting forever for this feature will probably be fine with it, it's not a big advantage for what I shoot, and I think the slow frame rate would get on my nerves, so I'll be skipping it for now, but I would expect that it'll get faster in a future update (that's no inside intel — I just think they'll get some feedback on this).

NOTE: There's no audio — this is just to see the frame rate example.

Now that you've seen it — am I being too picky on the frame rate thing? Let me know in the comments below.

Waiting For Connection Lightroom Classic

Update on Monday's Post about the Sony Tethering Plug-in (and why Nikon Users Might Want To Use It)

Well, it appears the folks at Tethertools got wind of my post on Monday (since they contacted me), but luckily they only had one thing they wanted to address — my comment on why a Nikon user would want to use their Smart Shooter 4 plug-in, since Nikon's have been able to tether straight into Lightroom for like 11 years.

Here's the line from their Website that had me scratching my head:

'The end results are a fast, stable tethering connection with SONY users and added features for Nikon users – seamlessly integrated with Adobe Lightroom Classic.'

Well, they told me what it is that Nikon users would love, and I have to admit, I think they're right (just based on how many Nikon users have complained about this Lightroom tethering feature that Canon shooters get they Nikon users don't.

The mystery is solved!

What Nikon users get with this plug-in is the ability to simultaneously write to their camera's memory card, and the computer they're tethering with. Something they've never been able to do in Lightroom (but Canon shooters have been able to do from the start). So, that's the advantage (and why they point it out on their site). You can download a free trial version from their Website.

Thanks to Jessica at Tethertools for reaching out and letting me in on the secret (it's not really a secret, but that sounds a look more interesting to call it that). 😉

Lightroom Waiting For Connection

Here's wishing you a safe, happy, fun weekend. 🙂

-Scott

P.S. The Flash Conference (featuring Joe McNally) is coming next month. Hundreds of photographers have already signed up — don't miss out on this live, two-day, two track event. Here's the link for more details and tickets.

Lightroom Cc Waiting For Connection