In Lightroom, image information, such as Metadata, can be overlaid on a photograph in some Modules. It helps you find out information you might need at a glance, such as aperture and shutter speed at which that particular photograph was taken. Such information can be overlaid in Grid and Loupe View modes in Library Module, and Loupe View mode in Develop Module. In this article, I will discuss the Grid View options, which are available in Library Module only. Loupe View mode, which is available in Library and Develop Modules, will be discussed in detail in a follow-up article.
I remember describing Photoshop’s versatility and sophistication as both a strength and a weakness. On one hand, it is a very powerful piece of software with so many different and versatile tools, its capability is only limited by the user’s skill. On the other hand, such complexity can also be overwhelming and detract one’s attention, slow down simple tasks. This trait, to an extent, is also shared by Photoshop’s little sibling, photography-centered Lightroom. Although it is that much more specialized, there’s still a plethora of tools, panels and tabs which can, at times, make the post-processing experience somewhat… messy.
As I’ve said time and time again, Lightroom is all about speed. And that’s the beauty of it. You can do so many things without actually needing to save the images as JPEG files on your computer, you hardly ever need to Export them at all. In this article, I will show you how to use Lightroom’s Email Photo function so that you can send any image in your Library by email without ever leaving Lightroom environment. It is quick, simple and very easy to set up, so if you’ve never used the feature but tend to send image files by email frequently, you should definitely try it out.
On our way to mastering Lightroom, we have already learned how to successfully Import images into your Catalog, work with Filename Template Editor and even understand how Lens Corrections work, among other things. Yet someone new to Lightroom will notice that we’ve missed several vital steps in our attempts to explain the software from start to finish, and so it is time to get back to those steps. In this article we will talk about one of the two most used Modules in Lightroom – Library. More specifically, we will overview the functionality of the left-side panel, the rest of the Module will be covered in two upcoming articles shortly afterwards.
A boxed version of Adobe’s Photoshop Lightroom 5, which we already reviewed, has just received a limited time discount. You can get a boxed copy for both Mac OS and Windows for just $89! The offer runs out in a couple of hours at 4:00 PM EST (that’s about two and a half hours from now), so you better make up your mind quick whether you want it or not. Suffice to say, at that price, it is quite a bargain.
This is a follow-up article to the tutorial I published a few days ago on how to create a panorama image in Lightroom. In the article, I used a very simple and straightforward panorama image which could be merged without any errors virtually on first try. The image did not have a main object of interest and only a few points that needed critical precision during stitching process. I chose this image for the sake of convenience – I didn’t want it to cause any apparent problems while I tried to explain how to seamlessly include Photoshop or any other panorama merging software in your Lightroom workflow. However, we all understand that, more often than not and especially with Brenizer method panoramas that I love so much, the stitching process is far from being perfectly accurate every time. More complex panoramas require several tries before the stitching is done properly, or manual correction. But how do you manually correct a panorama that you are trying to merge through Lightroom? It is actually easier than you may think and is unlikely to upset your workflow in any way.
Our readers often ask us if it is possible to get Lightroom to provide the same colors as one would see from camera-rendered JPEG files when shooting in RAW format. Unfortunately, as you might have noticed when importing files, Lightroom changes the colors immediately after import, when the embedded JPEG files are re-rendered using Adobe’s standard color profiles. As a result, images might appear dull, lack contrast and have completely different colors. I have heard plenty of complaints on this issue for a while now, so I decided to post series of articles for each major manufacturer on how to obtain more accurate colors in Lightroom that resemble the image preview seen on the camera LCD when an image is captured. In this article, I will talk about getting accurate colors from a Canon DSLR in Lightroom.
Our readers often ask us if it is possible to get Lightroom to provide the same colors as one would see from camera-rendered JPEG files when shooting in RAW format. Unfortunately, as you might have noticed when importing files, Lightroom changes the colors immediately after import, when the embedded JPEG files are re-rendered using Adobe’s standard color profiles. As a result, images might appear dull, lack contrast and have completely different colors. I have heard plenty of complaints on this issue for a while now, so I decided to post series of articles for each major manufacturer on how to obtain more accurate colors in Lightroom that resemble the image preview seen on the camera LCD when an image is captured. In this article, I will talk about getting accurate colors from a Nikon DSLR in Lightroom.
A while ago, I posted an article on why I thought Adobe’s Creative Cloud model was a bad idea. The feedback from our readers was great, with over 300 comments and counting. Most agreed with my stance on why the “renting” model was not for everyone and talked about the risks associated with going to the cloud. Today, Adobe reported that its security was breached and hackers were able to obtain private information including customer names, encrypted credit/debit card numbers, expiration dates and other private data for 2.9 million customers, all part of the Creative Cloud subscription model.
A while ago, I wrote an article explaining how to use Lightroom with external editors. Since then, I’ve been asked specifically about merging panorama images. In this article, I will show you all the steps you need to take to successfully merge a panorama and have it back in your Library with minimal fuss. I will be using Lightroom 5.2 and Photoshop CS5, but the process is virtually identical with (reasonably) older versions of both software tools. This tutorial will focus on the process of stitching a panorama image while using Adobe Photoshop Lightroom as the heart of your post-processing and image management workflow.