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Features of Lightroom CC vs. Lightroom Classic CC

I'm gonna jump into start the two programs down here. They have a similar looking icon. Um, Sisi has a little rounded edge, a little teal light rooms square. Well, the blue. So you'll see. They kind of look the same. So if you've got both on your system, they will look very similar. Go ahead and start light room CC, and then I will go ahead and start late room classic CC. I'm gonna stay in light room Classic. First on, just quickly go through some of the quick pieces in here of where data lives where the files live. Kind of what some of the elements are in terms of how somebody would potentially be organized in classic CC. Well, look at a couple of modules. I'm going to jump in the sea, Seen You'll see what's missing and what's been moved and things like that. But since we're gonna be focused on classic, not on classic, we'll be focusing on Sisi. Well, Segway into that about a second. Okay, So when you start a basic light room, if you've never been in the light room before, you have a ...

series of modules and modules. Air here at the top. We have the library module, the develop module, the mat module, book module, slideshow module, print module and web module. The library module is organization. Module is how all your we're all your photographs basically show up and over on the panel here on the right, You've got keywords, your metadata. So if we click on this photograph right here, you can see I've got the landscape. Alou's Washington keywords put onto it down here in the metadata. You've got my caught the copyright information. There's the size. The file it was shot it. I s 0 There's all this information here about the actual photograph in the metadata, but the library is all about getting organized. It's about organizing a metadata, tagging it with your metadata, keeping yourself cleaned up and organized on the left. Here is ah, folder structure. So when you import photographs into the classic environment, they're gonna have to live on a hard drive somewhere, so the import puts them into a folder on your computer. Now, you could put him on any folder on the set of drive, so it's not unusual when you look at some of these light room catalogue has been doing this for a long time. They may end up with several drives listed over here in photos and multiple folders. And if a drive is missing, light room just says files missing. You can still edit the metadata in the library module and work on all of that. But when you re attach the drive you back to develop the photograph and everything would be OK, so folders live on the computers, actual hard drugs. The other piece it's in here is a thing called a collection. The collection lives in the light room catalogue, so the light room catalog is a data base of the brain Behind Light Room. Classic is a little database, and it stores all the information where the photos live. What edits have happened? Um, all sorts of any bit of information about the file. That light room has awareness of lives in the database because it's a database. They basically have made virtual folders those air called collections. Now the reason collections air so powerful when everybody comes to me and say, I need workflow for light room classic, I'm like, Great, Let's start with collections because it is the real brains behind getting organized in light room because of a couple of things. The biggest one is when you work with a folder structure of photograph lives in one folder, and if you want a copy of that, you have to make a second copy of that photograph. So I distill Italy doubled the amount of data on the hard drive. I double the amount of data. I'm backing up. The double amount of data I'm having to store and worry about what a collection does is it's because it lives in the database. It doesn't have to make a second copy if I want to put it in a second folder. So if I have a collection called Yellowstone and I have a collection called Waterfalls, I can have the same photograph in both collections. But there's only one copy on the hard drive, so I'm allowed to have a photograph in multiple collections. So that's one of the things that by collections is so important as I end up with a many toe, a one to many relationship instead of a mini the one relationship couple of other things about collections I could build a smart collection, so I can actually give it a set of rules around that metadata. So I can say Show me build a collection that shows me my five star photographs that are also blue and have been edited. So the collection allows me to build some rules that automatically update all the time. So if I want to see the status of something, I can get in there and get that So that's kind of the peace for collection. You stay organized, you import your photographs into a folder, and then usually your leaders live with the folders or you'll be putting them into collections and staying organized with the collections. I'm gonna skip the development module for now, which would be normally where we would go next if we were walking the whole program. But the develop module is one that's tied most closely. The light from CCS will come back to that. The map module brings up the map, and if you have geo data tagged on your photographs, it'll actually just drop it right on the map and show you where the photographs were taken. So particularly, you have ah, camera with a GPS locator in it or you're using your IPhone or your android phone. Has the GPS turned on? It would actually show the photos up there. I don't ever geo tagged any of my photographs. That's where there's nothing in the map. The book module lets you grab a collection of images, and then it will build a book template for you. And you can actually build Ah, book that you could need their export as a PdF or use through blurb. Basically export the book up the blurb, and then you actually get a hard copy book. You build the layout, you get to move pictures around all sorts. Everything's really, really cool feature. Um, I think is a photographer. This is one of my things about the mobile world that drives me a little crazy is, you know, printing a photograph is different, and having the hard copy of your photograph is different. And so for people who've never printed you're missing out on something. On top of that, getting a book back is really cool. And so this this module is really, really a neat module, and particularly around holidays or whatever you put together, these of my best photographs of last year giving holiday gifts for something really great for doing weddings. It's a way to get a quick book for the wedding party or whatever, so really kind of cool feature there. The slideshow allows you to grab a medios and actually build a slideshow. Set it to music. Web actually will build Web pages, have an export Web pages I'm gonna show you today. We're gonna look a little bit about Adobe Portfolio through light room CC into that interface, which I think is a much more robust, an interesting way to create the pieces. But you have that web there, the last the print module is for actually printing. So this is something that doesn't exist in C. C. Is there is not printing directly out of light room CC. You're gonna print out of a classic CC. So if you're a person who prints all the time or wants to print images, classic Sisi is the environment you would be in and in here. You got all sorts of options for adjusting page sizes, page templates. You can set resolution. You got output, sharpening all the elements you would need to actually print with. You can do within the program there. Okay, we're gonna jump over to the development module real quick. And in the development module, I guess it's the develop module. Um, we have a series of panels here that are all about the edit into the photograph and in general, if your workflow wise, which we'll talk about a little bit more this afternoon. But it was kind of designed top down, So adobes thinking was just kind of work top to bottom. Now, light room works on all of your photographs. In what is known as a nondestructive editing methodology photo shop. We'll let you pack man up your pixels. What I mean by that is it will let you chomp and eat the pixels and destroy them. They're the dots of your worlds. A photo shop is allows you to do whatever you want light rooms and because it's using raw files. And even if you're shooting J pigs are considered in the world of the raw piece, a nondestructive edit. So what's happening is if I have a photograph, it gets a set of instructions applied to it. It doesn't actually edit the original pixels. It just applies the instruction and displays to me the difference between the original and the instructions of applied that allows. We actually have multiple copies with multiple sets of instructions. So there's no worry about if I do something to this photograph, I've forever made it that way in no matter what version of light your home you're at, you can always get back to the way it was when you imported. You don't ever have to worry about losing me that information. I know that for some people, they get going there like I've really screwed this up and it's just over. It's not. You just reset. Go back to start, start over again and hopefully don't end up in the exact same spot. The tools that exist up here are regional and local tools for editing, so Grady ants and adjustment brushes and then we end up in the basic panel. The basic panel is about overall exposure, brightness and some color saturation information. So if I get on a color and photo here, if I just the exposure, you'll see the image gets brighter or darker based on the kind of mid tones. Contrast makes it flatter. More contrast, E if I want to increase the saturation of the image. Aiken Boost the saturation up decreases saturation. So I've got the adjustments here to make the edits for the aesthetic and feeling I want for the photograph. And there's some general guidelines that were covered in CC about using these specific pieces the tone curve. It allows me to adjust contrast and color a specific points in the photograph the HSE l sliders that stands for hue, saturation, luminosity. We're gonna talk a bit more in depth about that when we get toe specific workflow, but in this tool allows me to adjust. Houston Hugh The color, the saturation of brightness based on the specific color, then we have split, toning and split split tongue. Does is it allows me toe put a tent into the highlights and shadows at various strengths. So if I've got to come back to a black and white image tricks, I think it's a little easier to see on a black and white. I mean, if I was going to split tone, I come in and I'm gonna add some saturation in the shadow and highlight if I change the color of the saturation you can see. I can really kind of shift the look of the image by adding that Tintin So basically it puts a colors film over the top of the photograph. So if you're doing a historical process or if you're color photographer, you kind of want a film stock look. And you kind of want to kind of an old film back where you want. You're doing photographs today, but you want them to look like they were taken in the seventies, and the film's kind of faded so that the photographs match it could split tongue would be a piece for that detail. Slider is about sharpening and noise reduction. And so you could see in here we've got options for the amount of sharpening Luminant. We're gonna cover what these pieces are when we get into the actual workflow in C. C. You have lens correction. What lens correction does is if I enable that you'll see a little, uh, occasionally not in this image. I guess I already fixed that back to this image. Here, you can see there's a little pop there is. It kind of bows out, so it's fixing the barrel distortion, and I'll fix the vignette around the edges. So Adobe is gone and figured out kind of What are the general issues that lends Might have in terms of holding the issues is the light comes to the lands and it corrects for those, um, transform allows us to adjust the uprights que nous of a photograph so I could've just left rights. If you take your camera, you pointed up and all the buildings converge. This will let you kind of fix the prolix that happens. There also does. This is really one of those, like, crazy tools where I'm like, so are you can come in and do this and then you can kind of do this and you could do this is just like Okay, people are like artists find are people like you could do that on any photo like you want to the weird. They're like, yeah, the weirder, the better deal. The transform panel is all for you, but usually it's for architects. Um, the effects panel is ah, well, let you put in Ah vignette. I'll actually reset that. So we're not looking at a creative thing allows you to add of and yet darker vignette Leiterman yet add grain to the photograph and then calibration is kind of the brains behind how the original raw files rib. So in general, if you're working in classic, what you're gonna do is we're gonna import your photographs are gonna be on your hard drive. Being a collection, you're gonna come into the development module. You're gonna work on developing the photograph, use all these different sliders and adjustments workflow pieces in here, and then you'll print it or you'll export it out. We're gonna jump into light room CC. Now take a quick look at the interface for light room CC. So right now it's just kind of defaulted open. I'm gonna kill con my photos over here, and I'll just hit the geeky, which is the grid view. So now I'm back in what is basically the library mud. This would be the equivalent of the library module, but we don't have the library months. We just have the interface for looking at the photographs. And what I have over here is the book icon over here or what I call it the book icon. But that's the my photos views. Unless we see the photos. The icon with the people underneath is gonna let me see what's been shared. So if I've shared stuff to the Web and we're gonna cover that workflow later is what's under that icon. So basically, I'm gonna click on the little book icon and then I can look at all photos. And then I have recently added, So there's some information here that's been included automatically, because light room has that Medici, like Sisi, has that meditate. And even though this is, this is all a version of this somehow is up in the cloud, it's starting to organize it for me. So a lot of the things I would potentially organize in classic myself Sisi is going to do for me automatically. So here's a photograph. So two photographs I took when I got to the studio this morning. I just took a couple of shots on through light room, and they're in there from an hour ago. Here's a couple of photographs that came in yesterday, so I've got some automatically sorts there. I've got sort by date, so here's by year. So if I come in by year, I click into 2017 and there is April in April. On Thursday, April 20th there's those couple of photographs Do you intent? There's those couple of photographs. So don't you have a question with regards to what we're seeing? So the adobe light room CC, if I was on my IPad or my tablet or my phone am I going to see the same thing? Oh, that's such a great question. This is the coolest part about Sisi. What you see here in the interface you see here and the tools that air here and the ordination is the exact same on the phone, the exact same on the desktop in the exact same on the IPad. So if we jump to the phone hero fast, I log in to C. C on the phone. So if we jump to the phone I've got you could see him here. There's the book icon at the very top right up here. There's all my photos. But here, if I expand the all photos out, here's the photos that were in light room recently added by people. Um, but if I click on here, the little icon up here, which is the more menu I've got segmentation so here I can look by years there. 15 years. There's 56 months so I can click up by years. And now it's sorted up into here by year, Sam on 2019 2018. Or I can come back into here and I'm gonna choose sort by date, okay? And instead of segmentation by month, what's do none. So there's the photos in there, so I've got the option to come in and then I could filter. So anything I've got over here, I'm gonna have over here. So it's just in it a little bit different place because of the screen size, But there's nothing we're looking at on the desktop version. For the most part, that's not in the phone version of the IPad version, and we'll jump into the When we do the workflow stuff, I'll show you the IPad version. There's some really kind of cool stuff that it's doing with that people. So there's facial recognition built in the classic CC that came out several versions ago. But people, if you come in and it finds people, so here's my this is my little brother. There's the photographs that it's found my brother in just automatically. So I just have the people selector turned on. It walks all my photographs, and it starts to group them together. This is another split in the world of photography, and people get this and they're like freaking me out. I don't like that I don't like people find in my face. I actually was one of those people, but I actually really like it for my family photos because my little brother actually died about a year and 1/2 ago. And so when it came time to put his stuff together, I literally just took all of the photographs. The entire family hadn't dumped them into a full there. And then when my aunt was like, You have any photos of me and your brother, I could just going to be like, Oh, there's pictures of my aunt and those three have my brother. So it was actually a cool way, even in a time of grief to solve that. The other piece is kind of cool is you know, my my wife. So he's like, Hey, to get pictures of me and my mom. So I just have it set to kind of folks on this site. Go find pictures of her and her mom or whatever like that. So it's actually kind of a cool little feature. I'll start. You were toe turn it on and off. But it's actually a kind of a cool sort piece. Down here are albums, so in the world of C C. This is a break in the language between classic C C and C. C. Sisi has albums, not collections. Okay, so they work extensively, the exact same way. It's a virtual container to put the photos in. One photo can live in multiple albums. So what's the one organization tool? Because I don't organized by date. I can't remember that. I can't remember if I was in Italy, blah, blah, blah 20 years ago, but I could build a album. It's called Italy and put my Italy photographs in that album so it works just like a collection. Now, in a little bit of a preview, what's coming up? If I have a classic CC collection, Aiken, sink it two Classic and then the photographs that are in my classic Sisi will show up in Light Room CC in any edit I make will transfer back and forth between the two. So we'll walk that will walk through that actual that exercise. But so it's a way to kind of keep things attached, but a little bit separate still. But the albums are an organization peace, and then you can also add, in addition to an album you can add into a folder so you could have a folder called Travel Your Locations and therefore they're called Family and your family members under there so that it grabbed the Are the album's going to transfer into a collection like, Are they going to be the same gloves up door? You understand my question? Sorry. So they're called different things. But when If I said, Oh, I have this album and then when I go into the Classic, the album won't be in classic. Um, you got to go a classic toa CC. Okay, so from this one, I can't go back. So in this case, like I have this ah collection here called Great stuff, which is also a collection over here somewhere, is great stuff. So here's that collection. I created it in light room cc Sorry, Created like room. Classic it now because I've sink it to the ecosystem. It now also appears in light room CC as an album. If I change the name of the album, that will sink back so it gets tied in that regard. But I don't make an album in C C until it you have to also appear in classic CC. Okay, I've got a We're gonna build a lengthy other way. Um, okay, once I've got the picture in here, I'll just grab back to this one. I'm gonna come over here on the right side of my editing tools. So if I want to edit the photograph, there's edit crop, the tool healing brush brush tool, Grady INTs. And then down here is my metadata. So here is if I want to add a keyword. So this is the key words that came in from before. But if I change these, they won't go back. So this is the get him, But I can't edit him. Um, if I click on the info blending down here, this is the metadata of the file that I have access to. So remember I had all sorts of metadata over in C. C. I had cocked right. Glad it could be model contract information in there there could be captured. There could be notes in there. There's a bunch of metadata. Here is the only metadata. Get access to title caption. Um, I can add a city state location. I get a little map here, so I'm a little bit limited in the metadata. But I've got it. Got it there. And it will also tell me at the bottom of the photograph that I'm on appears in any albums and how many albums that it's in. If I click on the edit piece here, I've got Light, which has my basic edits in the tone curve. If I click on color, here's my color adjustments. Tent temperature, vibrant saturation. If I click on effect, here's clarity. De Hayes and a vignette Grain Details Got my sharpening and noise reduction Optics has my lens correction and chromatic aberration. Now, in classic CC, I can go in and actually adjust the level of chromatic aberration. I can say what Adobe did automatically, I feel like needs to be a little more aggressive, and I could make those adjustments, but here I've lost that. So that's one of the differences in that granularity piece. Geometry is the transforms of the uprightness, and we'll go through the tool pieces there. So I've got the different options to move these components. Corrections for phones. Yeah. So if I come in here and enable the lens correction, um, and expanded out, it will tell you that I'm on the adobe Nikon. And if I come back to my grid here, all photos American Sam on the IPhone success plus and you can see I've got a little bit of work here I can do in the distortion correction. Um, the chromatic aberration. I don't have it. So I got a little bit of work I could do down here, but not not as not as much. So as I go through that at the photograph, all of those changes we're gonna be stored in the cloud will be transferred back at the programs air sink. Um, crop tool healing brush brush to will go through all of these different pieces when we actually get into workflow and editing a photograph. But this is the entire interface to light room CC. And as we saw in the phone, I've got that same interface. If we come back to the phone real fast, I go back in the light room CC. If I grab my photograph, I'll grab this photograph. Say, down here at the bottom is where my editing is. Down here is like the light adjustment, and here I can adjust exposure. I go to color. There's the same exact panels I had on the desktop. It's just designed for the interface of the phone, so they just appear in a slightly different position. So So if I come over here and I go to the geometry, it's the same thing. There's the distortion adjustment. I've got presets, which will cover when we get to work flow. So all of those same options are in the edit here. If I want to get out of the edit, I just click up here at the top, and then I can come in and I could see the info on the photograph. I'm a swell, so everything is gonna be the same. If I get on my IPad, everything is gonna be the same. So I've got that same kind of looking for you. Okay, so that's the general kind of interface difference. So you can see there's no slideshow, there's no print, there's no any of that kind of stuff. But the interface is really been streamlined. And that's one of the reasons why If you're working on the desktop and you switch to your IPad cause you're leaving the house, every and it's gonna be synchronized, every looks gonna be synchronized. Everything is identical, and as fast as it gets to the cloud and back, it's the same. And so, for example, if we come back here, I made this photograph green. We did that split toning. This is a sink catalogue. So if we come back here and we go into that same great stuff piece back to the grid and there's that green photograph and if you look over here, we come over here, uh, I've got those same edits that I made, and if I make an adjustment here that will eventually sink back over here, so the same time is going to be somewhere between 30 seconds and a couple of minutes. It all depends on network traffic network speed. It does not help to dance, but I can tell you I do a lot of dancing's comb home um, so and when it sinks here than it sinks to the phone, sinks to the IPad, sinks everywhere, and part of reason it can do that. Is that smart preview technology we talked about? So what Adobe is storing out of my light rooms Classic one is just a smart preview in the cloud. So they haven't transferred my whole raw file up there. Just a smart preview. So they're editing off that smart preview and sending the instruction set around peace for that.