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Final Q&A

Lesson 33 from: Lightroom for Scrapbookers

Jared Platt

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Lesson Info

33. Final Q&A

Lesson Info

Final Q&A

Okay, now we have a question here is shifting years too mobile and ipad question okay, this is from an studio and they want to know can you use the ipad app to organize your entire library with star ratings and tags? Or would you just use it to do a specific project? I would use it for specific projects because it's too slow for like, if I tried, I tried to sink sixty thousand images to that thing yeah, it would choke it would die there's not enough space on it it's really meant for a project here project there, so what I would do is I would say I have a little job I want to dio so I'm going to collect that job and then I'm going to right click it right click that collection, tell it to sink to the mobile and then I'm gonna let it do its thing and I'm I'm going to say this this this doesn't make it sound great, but it's slow it's slow to sink a lot of big rot well, it's big for this it's a slow to take a lot of raw images and put them on here by going up to the web and then back down h...

ere that's pretty slow and so it takes a while to do that process and so just give it some time if you're going to put six hundred images on this or a thousand or five thousand images on it it's a lot of images so give it some time let it let it work overnight if you're doing five thousand images or something like that but if it's you know one hundred images or something like that it will get there and you a few minutes twenty minutes for ten minutes I don't know something like that I've never watched it do it so I've never timed how long it takes hopefully don't sit there with that what I do is I tell it I want to do it because I'm going to do it tomorrow or I'm going to do it you know, in an hour or something like that and then I come back and it's done but I have never timed it so okay well while we're talking about the mobile app, this is a follow up question from smeal in the chat room they say can you add captions keywords can you had captains and key words while you're on the mobile app? No, I wish I really really wish in fact right now you can flag it okay flag it rejected unflagging that's what you can do, you can't get key words you don't star you don't do all that but it but it's it's new it's brand new so give it some time and I think they think really they have to just figure out what gestures to use you know, how do you intelligently design the gesture of such that they make sense you know how would you how would you tell a gesture to give it one star or two stars or what gesture would use so I think they have to work that out somehow thank you. Well they already got those for other things so you know it's like you only have five fingers doing three different things and that's all you got so two fingers tie thing yeah like hold this one and then five so yeah um not yet, okay, we have another one here. This is from newbie and they say my burning question for jared is can you revisit cropping for a minute? I really want to hear how he crops photos whether using them for digital use or if he's printing them at various sizes oh, you know what that's a good thing to point out here's a good example of that. So I'm going to go to the develop module and I'm going to go to let's just say this so they here's the kids and this is a four by six print and so I'm going to work on this print and I'm going teo maybe I'll go to photo shop and retouch some faces or something like that and when I do that I'm always wanting to stay at the four by six ratio, so I'm never going to crop before I goto photo shop, I'm always going to remove even if I decide that for some reason, this needs to be cropped. I'm going to first go to photo shop with the full file and retouch all of it, even if I'm not going to use it because some day I might want to re crop it a little bit or maybe this client will want to re crop it a little bit, and so if I've only retouched part of it because I cry, then I have to go and retouch the whole thing again, so instead, what we want to do is we want to always reach and if I happen to do this, like, for instance, uh, where is a square photo? Uh, where this one my favorite where's, my fate, this one right here. So there's one of my favorite photos? So I've cropped it square, but I may want to have this is a non square photo sometime a cz well, so I'm going to reset the crop or turn off the crop, and then I'll retouch it and then when it comes back, I will crop the psd like that that way I have the entire image retouched that way, if I ever want to print it in a different format, I can further more if you take a photograph let's say you do ah it's a four by six ratios so that's an eight by twelve and you go and you decide oh well I want this to be in a tight babe by ten and you crop it to an eight by ten and then you retouch it real quick I think that this is answering another question that we had just wanna clarify this comes from a cm eighty three and she says I sometimes print at sam's club and they tell me to set my image to be three hundred d p I and that the image needs to be a four by six in order to make an eight by ten now why is that? He says, sometimes the head or foot gets cut off and they're going to understand so they're completely wrong thie answer is the person that you're talking too knows nothing. Wow, what has to happen is they're printing on an eight by ten piece of paper or they're printing on an eight by twelve piece bear most the time they're printing on an eight by twelve and then they're snipping off the eight by the extra two inches so you asked that go and ask them what size a piece of paper are you putting into your printer and they'll say oh it's eight by ten no no that's what's coming out what are you putting in? Are you actually putting in an eight by ten piece of paper or is that a role or is that an eight inch roll that then gets cut at whatever size what are you putting in there and then they'll say oh well it's actually eight by twelve and then when it comes out we slice off the edge and then you say great I'm going to then print you and eight by ten piece of paper I'm gonna give you an eight by ten j peg with two inches of white on it if you can't get them to stop slicing off heads then the best way to do that is to go to the print module and set up a template set up the template for that exact scenario and say okay we're going to make and let's see if I have something for um costco eight by twelve okay so there's an eight by twelve cost go print page set up your template such that it looks like this um you are going to create a cell that instead of eight by twelve it's going to be eight by ten I see that now it's got white edges so then you're going to take this margin on the left or the right side and go all the way this way until hits the edge like that then what you're gonna do is you're going to say I want all of these prints so from here to here shift there all of those to be printed just like this with that big white piece of paper right there and so now you have one through seven see how that has page one of seven by selecting a set of images that you want to print and by the way make a vertical and a horizontal version of this or whatever so that it fits um or come up here and say rotate to fit so that it fits correctly and you show and then you can come through here and each one of these becomes a page and I can see I can shift that around so I can go to each page and shift it the way it should look on the page and it's holding on to those preferences holding onto my crops and then when I hit print to file and I say put it on the desktop new file uh to, uh, sam's club and then I had create and then I'm just going to call it say zero and that way it starts zero one zero, two zero three and hit save it's now exporting and eight by twelve piece of paper with a big white thing on the edge so if they want to print an eight by twelve send them in eight by twelve with your crop the way you want it so they know all that white piece that's what I'm cropping off because otherwise they'll just crop off whatever they're not smart enough to figure out that you want your kid's face in the picture, right? And so you just that's how you that's how you deal with that, create a template and then produce the j pegs rather than exporting from the the export dialog box as a full sized print and having them intelligently figure out where to crop it, just crop it for them and send it to him like this through the print module now that's a prime example of how every costco has not created equal so the costco that we go to the girl that runs it is really good at what she does and so she's not going to make a mistake where she crops off someone's face or whatever she's not going to do it she knows and if it and she knows that if it comes from me I don't want her touching it. She knows that if it's an eight by twelve it's an eight by twelve and leave it in eight by twelve don't crop anything off she's knows because she's smart all right think we have time for one more question here and this is related to the history ram and this is from maria girl and they say I've been told that it's only possible to blow out whites and black colors but is it possible to blow out other colors I took a photo of the sunset last night and it appears to me that I blew out the orange is a bit now is that possible? The history ram shows a stacked area yes so every color is registered black and white so there are only three colors on your photograph there's red there's green and there's blue so each sensor so your sensor think of it and it depends on your chip because some chips they're different than others but in general most chips have four areas per pixel and those four areas have red and then green and then green and then blew so there's two green pixel when two green quadrants and then a red and a blue quadrant because green is the harder one to pick up and so they need mohr energy landing on it to figure it out so you got red green and blue and each one of those registers an amount of light hitting it how much red light is hitting this how much green light is hitting this how much blue light is hitting up because that's the only light that actually exists those the only colors that exist everything else is a mixture of those colors so when those strike the chip they tell the chip how electric that how much energy is coming in and so it's? Either zero or two. Fifty five so there's two hundred fifty six total registrations there, and so, if it's zero, then there's nothing. And if it's two fifty five minutes completely blown out. So what happens when you get orange oranges not read and it's, not blue and it's, not green it's a combination, and so what happens is when you think you've blown out orange, you've actually blown out two colors when you think you've blown out green, you've blown out one color, so if you have a green grass that's just just awful and it's blown out like let's say that this green grass back here was just blown out because it's green I've blown out the one green it's it's, just the green area, that green channel and so that's blown out, but if I've blown out something like orange, then I've blown up two channels because its combination of two colors if I blow out, say, a blue sky that I've just blown out the blue, and maybe I've blown out a little bit of the red, because sometimes the sky is more of ah, purple aura, magenta and so, um, yes, you can blow out a color, but it's not because it's not because you've just blown out that color it's because you've blown out one or two of those channels there are three channels total and so the key to reading a history graham a spy that the key to reading history ram is to read it when you're shooting don't read it here read it when you're shooting and watched that hist a gram and if you see and they're usually most cameras have history ram either of just a black and white history ram or they have three history rams that give you a red green and blue so watch the history ram and if you can separate out into red, green and blue and if you see something blinking, turn on those blinking lights so that it warns you something's blowing out here and then if you've blown something out, look at the history ram and see what color it is because if it's blue and that and you have lots of sky, then you know okay, I might have a problem with the sky because the blue is what's blowing out if you're shooting raw and you blow out just the blue but you've got the red and the green still there you can recover that blue that's why the history ram so important especially is a color history ram because if you're shooting raw you know you can get some of that back if you blow out all three colors you can't get it back, there's, no chance, because you've lost all information so that the more the more of those colors you've blown out, the less likely you are to recover it. But if you only blot one color, you can recover what you just blew out so that's a key to reading that history graham and pay attention to it and and here's a really good, uh way of learning how to trust your camera take the picture, especially if you're shooting in raw, put it in your computer, see what you can do with it, but take the the card and put it back in the camera and hit play and look at it on the back your screen and see what the history and look like on the back your screen and see what the photo looked like on the back your screen and see what was blinking on the back your screen and see what you can do with the photo here in recovery and changing and fixing. And then you'll get to understand and you'll you understand what your camera's telling you when those blinking lights are going off? Because if you look at blinking lights and they're just little specks in the sky and you're able to recover everything perfectly, you'd be like, oh, my camera's, giving me a gentle, subtle nudge but if you see a big blinking area on your camera and you can't recover it, then you say, oh, that's, my camera's way of telling me that you are ruining this photograph and you should quit and go home, you know? I mean, like, you get to understand you're the language of your camera and what it's telling you if you have the original file sitting in the camera, you're looking at it and you're playing with the same photo on your computer, you really get to understand your camera, and I do that a lot, and I don't just I didn't just do it when I first started learning photography. Hey, of course I was on film, so it couldn't have done it, but I didn't just do it to learn photography. I do it now when I get to a photo that I think I should have been able to recover, that I'll take that card and put it back in the camera and take a look at it and see what was it that happened on this that that my camera could have told me, and why didn't I read it right? That's a good way to learn great. All right, well, I think it was we covered a lot of questions on that. Thank you guys for getting in those burning questions. Jared, I know we have some final thoughts and want to wrap up our story that we've been telling with trey jin, so I'm gonna toss it back to you, okay? So, um first I just wanted thank you guys for showing up on being here and and learning you've been great audience and this has been super fun. Teo, connect with the scrapbooking audience here on creative life. I've always been over in the photo channel area, and I have always been talking to professionals and enthusiasts and photos in photography, but it's great to talk to people who are also interested in imagery in a different way, but there's a lot of photographers out there the are watching, and so I'm glad that we got to connect in this way and talk a little bit maura about the meaning of images and how we put them together in books again, I can't emphasize how important it is to be organized, how important it is to be able to find the photos so that you can share them um and then of course it's important to have systems like your pre sets so that you can get your work done quickly and that you could be consistent in the way that you treat your photographs on dh and again calibrate your monitors, make sure that they're what you're seeing is real color and is the right brightness so that you're not making prince that come out bad if you're not calibrated, you never know what's going to come back from your from your photo lab so all of those things are really important, but I think the most important, the thing about scrapbooking and about photography and any kind of artistic adventure is, um is the opportunity for you two to experience um and to I really dig down deep into your own life into the experiences that you've had into the experience of others and and you learn something from that you learned something from being with people and from photographing people and from thinking about people in writing about people and whether it's your own kids or whether it's, you know, friends of the family you just learned so much about people by by studying them and by being around them and by caring about them. And so that's in this case when I've been, you know, working with trey jin and his family, I've really come to appreciate every single one of the kids and their family and every you know that their parents, the parents and and her sister and her, you know, everybody that's been involved all the people that have been helping our friends that have been taking some of their kids under their wings, and just you really come to understand how good people are and how wonderful the world really is when you start carrying enough about a subject to study it and tow watch it, and tio pay attention to what's going on around us and I think that's what taking pictures is all about, I think that's what scrapbooking is all about, it's just a way of studying your life. You know what? See what good things have happened to you because if and when you do that, you really look back on your life and you realize, you know, I've been blessed even if I had struggles in my life, I've been blessed because as I look back on life as I study it, as I, uh, you know, thumb through my books or my scrapbooks or whatever it is I'm doing, I really get a sense of what's been done in my life. And so, um, that's what I've been experiencing with trading and his family, and I appreciate the fact that they've allowed us to show these pictures and right now I wanted to just show you a recap of the work that we've been working on since we got here, eh? So we did a little bit of this in class and then I would take him home and work on to the to the hotel and work on him a little bit more but in the course of the last three days we have done all of this work on trade jin's slideshow and I want to show that to you ah the music they're going to be hearing is is one of my favorite songs from an artist named kevin burdick he's one of the triple scoop music of artists and it's a new song of his and I think it's perfect for trade jin andi I think it's ah it's avery it's a moving song and I think that's a moving situation and so I'm going to play that for you now wait and sometimes when the sun hit I think of all I have to do and close my eyes and fear so I know how much it means to hurt way after a rise of ah I understand life's hardy on the healing power of love so when the water starts to rise storm clouds start to form and lightning filled the skies and waves come crashing down when darkness starts to fall another start to flee I will be your boot put your anchor on me when life seems overwhelmed me on your stomachs filled with worry when you're traveling at the story of the dragons in deep take yourself sweet way remember I'm way through the scripts and through the bruise way through loneliness angry so when water starts to rise storm clouds doctor for and I filled the skies and weird compression down when darkness starts to fall another start to flee I will be bold put your anchor on me through demons in the teeth past anger in the giant I'll keep your safe and dry I'll give you a place to hide past pirates with night robbie we're soul over sirens in doctor who made your cruise control way so in water starts to rise and storm clouds start to form and latin and feels this guy is and waves come crashing down when darkness starts to fall another start to flee I will be your boots put your anchor on me so um it's it's um it's just a privilege to be involved and I think a lot of the times we don't think about how important the memories that we create, especially its photographers um and I think that this is, you know, one of the things that trade jin you know, years from now we'll look back on and realize wow and I I moved a mountain along with, you know, a bunch of people that helps so

Class Materials

bonus material with purchase

Jared Platt - Everyday Favorite Presets
Jared Platt - Workflow Setups
Jared Platt - Textures

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Jared Platt - Lightroom For Scrapbookers Course Schedule.pdf

Ratings and Reviews


I have spent a small fortune buying classes from Creative Live, and I have learned a great deal from many terrific instructors. This class ranks as the #1 best class I have purchased from Creative Live. It was done in 2014, and the changes and improvements in Lightroom since then are far too numerous to count. However, I just watched the entire class again (August, 2018) and I realized that the class is as valuable today as it was when I originally purchased it. The title says it is for Scrapbookers, but it could have been Lightroom for Everyone. Jared covers every part of Lightroom as it existed in 2014, not just Library and Develop! He has a marvelous teaching style that motivates and inspires one to grab a camera and go take great images. Yes, it is dated. Yes, it is a long course - but only because it thoroughly covers a vast amount of information about Lightroom. And, yes, it still has real value in 2018, and I plan to rewatch it once a year now for the motivation it provides and the incentive to bring myself up-to-date on ALL of Lightroom's latest and most valuable features in all modules. Thanks CL for bringing Jared Platt to us, and please bring more of his great classes soon.

a Creativelive Student

Good class. Jared is an excellent instructor and provided good information. I was more interested in Lightroom than scrapbooking and I think the mix was about right for me. While I found the focus on Trajen interesting and heartwarming ... I found that too much information was shared and too much time was spent on his story. It was distracting for me and I think would be hard to listen to over and over again if I were to buy this course. I think that some of the material was rushed because of the time spent covering this and other unrelated topics. I prefer a more focused approach. I was more comfortable when he was showing photos of his kids as examples the first day. However, I enjoyed the class and learned a lot. Thanks!!


Thank you soooo much Jared. I am an avid scrapbooker and still an amateur photographer, but you have given me so much helpful information that my pictures are looking really amazing now. I often share on Facebook and the compliments I have been getting since I started applying what I learned from you are astounding. I have never received so many compliments on my photos. Prayers and positive vibes for Trajan and his family and friends!!!

Student Work