Tethered Shooting, HDR, and Pano
Lesson 7 from: Adobe Lightroom Classic CC Workflow for PhotographersDaniel Gregory
Tethered Shooting, HDR, and Pano
Lesson 7 from: Adobe Lightroom Classic CC Workflow for PhotographersDaniel Gregory
Lesson Info
7. Tethered Shooting, HDR, and Pano
Lessons
Class Introduction and Basic Workflow Management
18:05 2Customize Develop Panel
03:48 3Enhance Detail
06:58 4Profiles and Presets
25:10 5Color Range and Luminosity Masking
11:41 6Import and Folder Organization
07:23 7Tethered Shooting, HDR, and Pano
05:50 8Catalogue Overview
18:51Folders, Collections and Smart Collections
14:56 10Workflow
07:02 11Importing
12:02 12Metadata
16:38 13Finding Photos in Lightroom
09:54 14Workflow Tools in Develop Module Conceptual Framework
10:59 15Editing Concepts
12:14 16Editing a Photograph: Basic Panel
13:50 17Editing A Photograph: Detail Panel
12:33 18Editing A Photograph: HSL/Color and Tone Curve Panels
04:26 19Editing A Photograph: Regional Edits
08:00 20Black White Options
04:11 21Regional Editing using Luminance Masks and Local Adjustments
04:59 22Virtual Copies, History, and Snapshots
13:02 23Basic Color Management
17:29 24Soft Proofing
20:42 25Making the Print
27:23 26Exporting Images
15:04Lesson Info
Tethered Shooting, HDR, and Pano
the H deal. The tethered shooting in light room has always been a little bit of a struggle for somebody who shoots tethered. The reason I want to mention it is if you shot tethered and we're like, I'm not doing this anymore in light room. It's too frustrating. Two versions ago, they did a massive overhaul to help increase the stability of canon cameras, and the last release was Nikon Cameras. So if you haven't done tethered shooting a while return to tailored shooting. And basically, if you get it under tether captured here that you start the tether capture, you can set and apply your metadata, your development preset and actually get the connection to work. But in that shooting, it's much more stable. I've unplugged in both of my Nikon cameras and found that actually, I didn't lose a connection. It actually was much more stable in the piece, and I have no proof conclusively of any testing. But it felt like it was faster in its transfer import process display. So if you're are have don...
e teller cheating them and frustrated, it would be worth returning back and trying again because they have there. It was it was work done in there. Now it's not got all the same robust ability to drive the camera and control live you and all the different kind of things some people might hope for. But it does have a much more ah engaged collection and when you do it also, there's a little bit more control, actually in the tethered shooting piece, so it's worth returning to the other piece with the HDR. So I've got collection down here for my HDR files. So I've got an HDR here and one of the things that, uh, hdr Panos and then something called an HDR panel all have recently got some some changes. The HDR panna one is a is a new feature, and I'll explain what that is in a second. The piece I wanted to talk about is if you do HD ours or Pan owes in light room, which actually does a really good job of getting kind of a natural looking HDR doesn't have some of the artistic pieces you might find in photo Matics or XDR effects. But from a kind of a natural creation of the eight star, it pulls out together. But in HDR might have 39 12 steps in it to create those photographs that one of the things they've added is, if you come in to create the HDR, so you go to edit, go to photo merge and you choose HDR, and they would be the same way on the Pano. You'll have the same option. They added an option here to create a stack so a stack and light room is it takes a series of photographs and you few auto stack. It's by time, certain time and structure. But if it's in HDR, if you choose create stack, What it's gonna do is make the HDR photograph put the HDR image on top that it created and stack all the images that it built the HDR with underneath. So in this case, I've got the all six images were successfully merged. It's gonna build this looking HDR ago and click on Merge, and now it's gonna create the HDR and then build the stack for them and put the HDR file on top. So now you can see here is the stack that tells me it's one of seven. There were six source files in the HDR my expanded out and contracted. Now I've got everything stacked. The panel is the exact same way you got a panel. You could literally have 40 shots in that Pano, assemble the Pano and stack it and it'll compress all those in there. And the reason I think this from a workflow standpoint is so important is when that's expanded, I could accidentally delete shot number 3542 for being bad exposure, not recognizing their HDR. Now you could see my workflow there. Tag blue, all HDR source files or blue. That's how I use that color. But in the if they're stacked, I'm not going to delete the entire stack. And I'm not gonna accidentally delete one panels. It's even worse. I've deleted a midsection out of a Pano and then it can't assemble it because it little gets to a point where nothing overlaps enough for to assemble the HDR panel tool. I do not have one. I would show you hdr. Pano is you hdr hdr hdr hdr hdr hdr. So you've shot the panorama, but you've HD yard each shot within the piece. In the old days, you had to assemble the HDR assemble the HDR. Similarly HDR similarly hdr and then take the HDR files and assemble the panel. So you had literally it could be a 15 step process HDR and Pano. Given all of the source files, it will build all of the HD ours and assemble the Pano all in one step. So if you're on HDR panel photographer, um, you have been jumping through an insane amount of hoops, but this is one. This is one way to come back in and it is in the exact same spot. Under photo merge, you'll see HDR pano. And then there's an HDR panorama. So if you've got the HDR panorama come up, um, I could probably get the tool to turn on its gonna complain that it doesn't work, but, yeah, so I don't have the right pieces there for that. So if you've got one of those, it's worth coming back and doing it does a wonderful job and you have all the same tools you had before about setting the crop auto, extending the boundaries, all of the work that's actually in there and in a lot of ways, I think in my own panel work the in the past is that light room does a very good job of auto getting the right aspect ratio for the panorama, more so than even Photoshopped does on auto sometimes, so it's definitely worth returning back to in on that.
Ratings and Reviews
a Creativelive Student
I watched this course live. Really good!. Of course, I like all of Daniel Gregory's classes. It's a real treasure when one finds a really good teacher who thinks like oneself. I thought that I already knew Lr well so I was really surprised about how much I learned from this course. I learned so many ways to improve my workflow efficiency.
Warren Gedye
This was a great course. Daniel certainly explains it well and in terms I can understand! Super worth it and learnt loads of new tricks! Great job!!
Anne Dougherty
I was impressed by the amount of information covered in depth, and by Mr Gregory’s teaching style. I’m somewhat new to Lightroom and found his explanations of its capabilities, and why you would use it rather than Photoshop for specific processes, enormously helpful. I especially appreciated his lessons covering printing. This is invaluable information. Great class.
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