Access And Ingest Raw Files On Your Mobile Device
Lesson 4 from: How to Use Adobe Lightroom CC MobileBryan ONeil Hughes
Access And Ingest Raw Files On Your Mobile Device
Lesson 4 from: How to Use Adobe Lightroom CC MobileBryan ONeil Hughes
Lesson Info
4. Access And Ingest Raw Files On Your Mobile Device
Lessons
Class Introduction
01:48 2Best Practices For Mobile Capture
06:20 3Basic Editing In Adobe Lightroom CC Mobile
08:27 4Access And Ingest Raw Files On Your Mobile Device
10:04 5Advanced Editing In Adobe Lightroom CC Mobile
24:38 6Editing In Adobe Photoshop Fix
06:56 7Share Your Images With Lightroom On The Web
08:26 8Lightroom Desktop Workflow
12:49Lesson Info
Access And Ingest Raw Files On Your Mobile Device
I'm going to switch devices before I show you the screen of the IPad. What I'm gonna do is I'm actually going to show you the process of moving files off a traditional camera. We're gonna pick up where we left off on this device. But before we get into anything else, let me unplug this. And what I want to show you is, um, what it looks like Paul Images off camera. So this, uh, is again this Laker that shoots D and G's and it's got an SD card. And if you're like me, what you're thinking is, well, the card readers an SD card reader. I've got a CF card and I've got a cannon that shoots, you know, CR two. Is there a Nikon that shoots Neff? So that must leave me out of it, Not the case. There is also a camera connection kit. Camera connection Kid is essentially a USB connection that will connect to the camera, and it's also powered. So all formats are supported dozens, hundreds of formats, air supported. The advantage to DMG is that it's this open standard. That's sort of future Proof has a...
ll sorts of goodness baked into it. I'm showing you this because it's the workflow I use. But if you do have a traditional DSLR, you would just want the camera connection kit. I'm also told you could read from an external hard drive doing that. So here's how this works. Um, I'm just gonna plug this in, and as soon as I played that in with my card, I'm gonna be presented with this import experience and my images come in here. These air full rez, megapixel files. So they're pretty large. What I can do is I can select the ones that I want to import What I'll do just to show you how this works is I'll go ahead and import all but one important selected. Now we're using the photos app for this light room. Does not play a role in this. There is not a direct import from light rooms. I wanted to make sure I showed you exactly how this worked. Okay, for those of you, this is just ah, sort of an insider tip. If you ever want to show Ah, touch device and you want to show desktop software, you can use quick time and you can just record a new movie, and it allows you to switch between devices and mere them on screen for anyone is used. And I'm sorry to the reflector people over the world. Anyone who is using any of these wireless or Bluetooth ways of sinking it's really, uh it's really not ideal. Um, being able to use quick time is is a pretty neat way to do it. You're not actually recording a movie. You will occasionally freak it out like I just did. By switching a device. You're not gonna actually record a movie. You're just gonna trick it into thinking you're about to record one, which is gonna allow me to mere my screen. OK, so we're going to see this full screen, and the workflow that I use is that I will go into and this is the same thing for the phone. I'll go into my photos. I'll look at them more closely full screen, like so, and what's nice about this is you can zoom in. You can see where your focus is. It's a nice way to look at things, and what I'll do is as I come through here, I do this on the phone all the time. I'll use the heart or I'll use the favorite if I like an image. And so it could say, OK, I like that one. I don't like that one. Sure, let's say like that one and I like that one, But I don't like that one. Okay, so I've I've told it, which ones are my favorites, then? That's sort of my initial cooling. Then we'll come into light room and we'll say, Add photos, camera roll and you see that the D and G's pop up right away. There's a true raw files, and what I can dio is I can then further select this and say, OK, we'll just show me images that are my favorites. And now I've streamlined that and I say, Okay, let's just pull in those. I add those photos and they'll come right in here with my other ones. Three photos successfully imported. There they are, right at the bottom. It's pretty quick again. These air full rez files, PNG files. They're all very shallow depth of field, but you see that you can see all the information on screen. And if I tap both fingers, I can change the information. So I see my you know, my I s Oh, my A picture, my shutter speed. The camera that I shot it with That is a really big deal. I just want to sort of pause here for a minute, being able to get not just files off of this because we've been able to get shape eggs off of our cameras for a while. Being able to get raw files off of our devices. And you can get it into the phone with the camera connection, kid, or you can get it in the IPad. The advantage with the IPad is you have a larger screen. Um, it makes a great portfolio. It's great. Show it to clients, but you don't have to go back to your desktop device. I don't have to run back to the studio. I don't have Teoh save all of my cards and then dumped them all Later. I can dump these files and I can start doing this field triage. I can I can call them. I can rank them Aiken. Sort them. And as long as I have a connection, whether it's cellular WiFi, those air appearing on other devices that I'm logged into. So this whole idea of having a runner that takes the card and runs it back to the desktop and then you have to describe over the phone Yeah, I like the one that is looks like this. You're looking at the back of the camera. That was the workflow up until weeks ago. This is a really, really big deal, because you can also have someone back on the desktop side who is seeing the files that you flag and seeing the files that you coul. So I'll show you sort of how the cooling works. The other thing, I'll say, and I should just sort of get ahead of this is that one of the pieces of feedback that I hear is, Yeah, but that's not that's not color profile. That's not color accurate, I can tell you guys, this is not only one of the highest Resolution springs I have. This is the 9.7 IPad Pro that has the same resolution greater resolution than a 13 inch retina. MacBook Pro, my 12.9, the larger IPad Pro has a 1.6 million more pixels than this inch retina MacBook Pro so resolution. It's a better screen. As faras color goes, it's a P three standard, right? It's it's full, full color space. It represents more colors that can show more colors. Then my retina MacBook pro can as well it's I've seen. I've worked on these a lot. I've seen 100 of them in a row with the same image on them. They're all profiled. Incredibly, the color really is not a problem with them at all at all. You can judge for yourself. You'll see them across devices. But I wouldn't get hung up on the color fidelity thing. The other thing to think about, and I know some people will challenge me on this. That's OK, is you need to be mindful of where the content is ultimately going. I think a lot of people who are really hung up on color accuracy and I'm not disputing that color accuracy is important but are thinking in terms of sort of a print world. Most content is being consumed on mobile devices, so one could argue that it's actually really important to edit it and a preview it on a mobile device because that's more likely than not where it's going to be consumed. Okay, that's I'll get off my soapbox on that real quick. Let me show you what the cooling process looks like because you can see I've got a bunch of files in here. Some of them are star ranked. What? We have a sort of a hodgepodge of images from the desktop and from my mobile devices, I can choose to see the Overland. We can see that we've got de NGS. We've got J pegs. We've got all sorts of files we even have. Some PST is living in here. And if I want to come through and I want to rank images, let's just start with those ones that we just looked at. What I'll do is I'll select my image and in the lower left hand corner here. I've got some basic controls here. Now. I don't have color flagging. Just come right out with what I don't have. I do have stars and flags, and so it's a couple different ways to do this. I can drag up and down to say that's a select um, I can give that five stars if we come to this one again. I can drag up and down. Say I'm neutral in that one. Give it four stars, drag up and down. Flag this one, Give it three stars. You get the idea. This is a really important thing, Just like light room on the desktop. Occasionally you'll find yourself in this panic where you're like, Okay, where did all the images go? At the top of the screen, we see some really important choices. One is the sort order. If things look different from light room on the desktop, check your sort order. Ah, and the other is your criteria here. So if I just want to see the images that are picked I can see that if I just want to see all of the images But the ones that are three or greater stars, I can see that when in doubt, go back to show. All right again, think about the cooling process each step of the way. If you're shooting on this device, shoot all you want, you know, spray and pray as we all dio. But then take a close look at him and heart the ones you like. Favorite the ones you like then pull those into light room. Take another look at him. If you can look at him on a bigger screen and go through and flag those ones. I don't know about you guys, but I'm a total pack rat. I keep images that I just There's no possible reason why I would ever need them, but at least flagging them. You're able to filter the results a little bit.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Anna Newman
This class was my favorite of all the 2016 Photo Week post classes. Bryan is a great teacher approaching his topics from a working photographer perspective, as well as an Adobe insider viewpoint. I starting using all the material Bryan covered immediately after the class, and have already sold a stock photo. I am completely sold on his reasoning about taking the time to organize your catalog. I highly recommend any class past or future Bryan is teaching.
JIll C.
Bryan's passion for the Lightroom Mobile workflow makes it easy to understand and adopt. He demonstrates with easy-to-follow examples how to capture and edit in the field on the IPad or IPhone. (Though not mentioned during the class the Android app is equally facile.) I am now ready to fully adopt LR Mobile and apply is to my workflow. Bryan is an articulate and natural trainer, and makes this topic completely transparent and approachable.
Sasha Alexandra Ordanian
Easy to follow and implement! Great class!