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text: DSOGaming writes: "Konami has just announced that the first DLC for PES 2012 is out now. This DLC is free for all players and is available for PC, X360 and PS3. The DLC Update for PES 2012 contains all current transfers of club teams during the recently finished transfer window (as of 31 August 2011)."

subset: commoncrawl


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Can anyone tell me how I can migrate database from one server to another
I need to migrate all the tables, stored procedures, functions and so on
thank youYou can use the Copy Database Wizard to achieve this. See BOL for more info.
As you are moving the database to a new server, you will have to manually delete the data and log files on the old server once the copy process has completed.|||Can anyone tell me how I can migrate database from one server to another
I need to migrate all the tables, stored procedures, functions and so on
thank you
As noted earlier, you can use the Copy Database Objects wizard. Or:
1. You can load a backup of your database onto the new database (you will have to manually add in SQL Logins and resynch those logins with the users in the new database).
2. You can detach the old database, copy over the .mdf and .ldf files and then attach it to a new server (again, you will have to manually handle SQL Logins and synch them to the new db).
hmscott|||I dont want to detach the old database. That needs to stay the way it is. Can I just copy over all the tables, sp, views and fns along with the logins. Would it work that way. I know its going to be a lot of work but it seems like the simplest way to go without making changes to the old database
Wednesday, March 28, 2012
Migrating database
Posted by excesswerd at 4:16 AM
Labels: database, functions, microsoft, migrate, migrating, mysql, oracle, procedures, server, sql, stored, tables
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UnityPoint Health Palliative Care Physician in Johnston, Iowa
UnityPoint Health would like to announce a fantastic full-time opportunity for a BE/BC physician to join their hospital medicine based palliative care team!
UnityPoint Health Des Moines is a non-profit, community based hospital system in the Central Iowa region.
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March 8, 2018
Listen to The South Bay Show: South Bay Spotlight!
Our guests are Page Sacks and Michele McRae from Walk With Sally and this morning, we're going to learn about the annual fundraising event, the Friendship Bowl, which takes place on Saturday, March 10 from noon to 4 p.m. at Palos Verdes Bowl.
Listen to the program live at 8 a.m. or at your leisure


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The New York Times looks at the busting of the stararchitect bubble in New York - in the 1920s and 1930sIt surveys the buildings halted in the 1920s and 1930s, such as International Magazine Building for Hearst Corporation - only six of the planned 13 stories would go up in ...
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Home » Posts tagged with » Leslie Nielsen
Andrew Prine \ film \ horror \ James Franciscus \ Lee Grant \ Leslie Nielsen \ Lisa Marie Bowman \ movie \ Night Slaves \ review \ Ted Post \ Tisha Sterling
Night Slaves (reviewed by Lisa Marie Bowman)
Clay Howard (James Franciscus) hasn't been the same since he survived a catastrophic car accident. As a result of his injury, he had to have a metal plate put in his head and now, as a result, he's often moody and tempermental. It's put a strain on his marriage to Marjorie (Lee Grant). What better […]
film \ horror \ Jamie Lee Curtis \ Leslie Nielsen \ Lisa Marie Bowman \ movie \ Paul Lynch \ Prom Night \ review
Prom Night (reviewed by Lisa Marie Bowman)
The original 1980 Prom Night (not to be confused with the terrible remake that came out a few years ago) is an old school slasher film, one of the many that came out in the two years immediately after Halloween. It even stars the star of Halloween, Jamie Lee Curtis. Prom Night also stars a lot […]


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LIGHTROOM THE ADOBE PHOTOSHOP LIGHTROOM HOW-TO MAGAZINE ® ® MAGAZINE ® LIGHTROOM LABORATORY Sometimes your camera just doesn't do justice to a scene. Learn how to bring those dull photos back to life. p16 ISSUE 32 WITH THE DYNAMIC DUO OF LIGHTROOM AND PHOTOSHOP ANYTHING IS POSSIBLE LIGHTROOM Q&A Scott Kelby answers all of your questions about the latest update to Lightroom Mobile. p48 PHOTO BY SCOTT KELBY AN OFFICIAL PUBLICATION OF Watch How Zach Got the Shot The Rapid Box™ Duo Portable Speedlight Modifier NEXT STOPS: LOS ANGELES | SAN FRANCISCO Los Angeles, CA | 08.14.17 San Francisco, CA | 08.16.17 view more dates THE ADOBE PHOTOSHOP LIGHTROOM HOW-TO MAGAZINE ® ® ® ISSUE 32 EDITORIAL: Scott Kelby, Editor-in-Chief Chris Main, Managing Editor Kim Doty, Associate Editor CONTRIBUTING WRITERS GRAPHICS Jessica Maldonado, Art Director Margie Rosenstein, Senior Graphic Designer Angela Naymick, Senior Web/Graphic Designer MARKETING Rachel Scott Kleber Stephenson Melissa White TOM BOL is a is an editorial and commercial photographer specializing in adventure sports, portraits, and outdoor lifestyle photography. His images and stories are used worldwide. You can see more of his work at www.tombolphoto.com. SEÁN DUGGAN is the co-author of Photoshop Masking & Compositing, Real World Digital Photography, and The Creative Digital Darkroom. He leads workshops on digital photography, Photoshop, and Lightroom. Learn more at SeanDuggan.com. WEB Adam Frick Yojance Rabelo Aaron Westgate MARTIN EVENING PUBLISHING: Scott Kelby, Publisher Kalebra Kelby, Executive V.P. Jean A. Kendra, Business Manager is a photographer with a background in commercial studio photography. He's also an experienced technical reviewer, who has over the last two decades authored 25 books on Photoshop and Lightroom. SEAN MCCORMACK ADVERTISING: Jeanne Jilleba, Advertising Coordinator 800-201-7323 ext. 152 HOW TO CONTACT KELBYONE: U.S. Mail: 1 18 Douglas Road East Oldsmar, FL 34677-2922 Voice: 813-433-5000 • Fax: 813-433-5015 Customer Service: email@example.com Letters to the Editor: email@example.com Help Desk: kelbyone.com/my-account/helpdesk COLOPHON: Lightroom Magazine was produced using Adobe Photoshop CC 2017 and Adobe InDesign CC 2017. Roboto was used for headlines and subheads. Frutiger LT Std for text. is the author of The Indispensable Guide to Lightroom CC. Based in Galway, Ireland, he shoots subjects from musicians, models, and actors to landscapes and architecture. Learn more at http://lightroom-blog.com. SERGE RAMELLI is a cityscape and landscape photographer who hosts a weekly show where he shares his best photography tricks and postprocessing techniques. He specializes in HDR, black-and-white, and longexposure photography of some of the nicest cities in the world. ROB SYLVAN is the Lightroom Help Desk Specialist for KelbyOne, on staff at the Digital Photo Workshops, and author of Taming Your Photo Library with Adobe Lightroom and Lightroom 5: Streamlining Your Digital Photography Process. Learn more at www.lightroomers.com. An official publication of KelbyOne This seal indicates that all content provided herein is produced by KelbyOne, LLC and follows the most stringent standards for educational resources. KelbyOne is the premier source for instructional books, DVDs, online classes, and live seminars for creative professionals. Cover photo: Scott Kelby All contents ©COPYRIGHT 2017 KelbyOne, LLC. All rights reserved. Any use of the contents of this publication without the written permission of the publisher is strictly prohibited. Lightroom Magazine is an independent journal, not affiliated in any way with Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Illustrator, InDesign, Lightroom, and Photoshop are registered trademarks or trademarks of Adobe Systems, Inc. in the United States and/or other countries. All other trademarks mentioned belong to their respective owners. Some of the views expressed by contributors may not be the representative views of the publisher. ISSN 2470-7031 (online) Martin Evening 10 Developing the Shot BLUEBELLS IN DOCKEY WOOD Serge Ramelli 16 Lightroom Laboratory HOW TO BRING A DULL PHOTO BACK TO LIFE BY SERGE RAMELLI Rob Sylvan 22 Under the Loupe LR AND PS: A POWERFUL EDITING TEAM BY ROB SYLVAN Sean McCormack 30 Maximum Workflow CAPTURE MONKEY BY SEAN MCCORMACK Tom Bol 40 Photography Secrets THE PRIME PORTRAIT BY TOM BOL Scott Kelby CONTENTS BY MARTIN EVENING 48 Questions & Answers BY SCOT T KELBY Seán Duggan 52 Tips & Tricks BY SEAN DUGGAN KelbyOne Members Receive Exclusive Discounts The Professional's Source TM Log on to KelbyOne's website: http://kelbyone.com/discounts 420 Ninth Ave, NYC Visit Our SuperStore 877-885-1911 Speak to a Sales Associate or consult with Live Chat online www.BandH.com NYC DCA Electronics Store Lic.#0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer – General Lic. #0907906 © 2016 B & H Foto & Electronics Corp. JN150613 Shop conveniently online Lightroom Magazine A Note from Scott | A FEW WORDS FROM THE EDITOR FROM APPS TO LIGHTROOM UPDATES but most times before I can even get in there to answer questions, someone from the Community (usually one of our designated Community Leaders) has beat me to it. They're incredibly helpful and super responsive, and the Community has become that vibrant, friendly, welcoming place we had envisioned, free from the attitudes and arrogance that plague so many online communities. I'd like to thank our awesome members for that, and for keeping it such a positive, helpful, and uplifting place. As for Lightroom on the desktop, Adobe's Tom Hogarty on the official Lightroom blog discussed what the team is focusing on for the next major desktop update, and he made it clear that they're focusing on making Lightroom really speedy. Even with speed being their focus (and in my opinion, this speed initiative is time well spent), they usually have a few other cool features up their sleeves. (I have no idea what they are at this point, and of course, if I did, I couldn't reveal them anyway; they make us sign a blood oath, and they take the keys to our cars.) No dates for the release yet, but it can't come soon enough for me. If you want to stay up to date on everything we're doing for you (member benefits, contests, member spotlights, the latest product reviews, etc.), make sure you check out the KelbyOne Insider blog. This blog is exclusively for our members, and if you check in on a daily basis, you'll always be on top of what's going on (including any special deals or discounts just for members). Whew! There's a lot going on, and a lot more to come. We're only halfway through 2017, and between what Adobe is cooking up, and the behind-the-scene initiatives we're working on for our members for the second half of the year, it's a great time to be a Lightroom user. Thanks for checking out this issue, and we'll see you online. All my best, Scott Kelby KelbyOne President & CEO Editor & Publisher, Lightroom Magazine K E L BYO N E .CO M A lot has happened in the Lightroom world since last issue, but before I get to that, I have some news that will make a bunch of our members very happy: The new KelbyOne app (for watching courses, and most importantly, taking courses offline so you can watch them when you don't have a fast Internet connection, like when you're flying, commuting, or Lightrooming out in the woods) is here, and yes, it's available for both iOS and Android! This is a completely new version from the ground up, and it's a huge improvement all the way around. Download it now from the Apple App Store or Google Play. (Thanks to all the members of the KelbyOne online community who put the beta through its paces and helped squash bugs. You guys were awesome!) Okay, now on to all the Lightroom news. We'll start with the big news, which is that Adobe released a major update to Lightroom Mobile. The new version gains the Adjustment Brush, the full Detail panel (including Sharpening and Noise Reduction), and other features, along with the iPad version getting an interface update. (Note: The Android tablet version still has the old original interface, and it doesn't have all the new features quite yet either. It's coming—it's just not here yet.) Our job is to get you up to speed fast, so on the day the updated version of Lightroom Mobile was released, we did a Members-Only Webcast showing the new features and taking your questions live. The very same day, we released my full-length course called Lightroom Mobile from Start to Finish based on the brand-new version. Anytime a new course goes online, you'll notice a "Discuss this Course" button where you can join other KelbyOne members from around the world discussing the class. I'm there, too, answering questions about the class, 7 Lightroom Magazine Benefit Spotlight L I G H T R O O M M AG A Z I N E › I S S U E 3 2 KELBYONE APP: UPDATED APP NOW LETS YOU TAKE TRAINING COURSES OFFLINE 8 If you haven't heard yet, we just released an updated version of the KelbyOne app for watching all of your favorite training courses on your mobile devices. This brand-new, from-the-ground-up version includes the ability to download as many courses as you wish (depending on the amount of space on your device, of course) to watch them offline. This is perfect for when you're somewhere with a spotty Internet connection, or no Internet connection at all, for example, in a plane, train, or automobile (but not while you're driving!). Or, perhaps, when you're in a cabin, deep in the woods, and you just have to know how to capture that beautiful sunrise coming up over the lake, and then edit your images in Lightroom Mobile. In conjunction with the KelbyOne Mags app that we also recently released, you can now take your video courses, as well as copies of Photoshop User and Lightroom Magazine wherever you go. So visit the Apple App Store or Google Play, using the links below, and download our latest apps today. Apple App Store: KelbyOne app KelbyOne Mags Google Play: KelbyOne app KelbyOne Mags And don't forget to give us your feedback and suggestions on the KelbyOne Community, and if you like the apps, be sure to leave a review at the app stores. n Watch What's Trending on the KelbyOne Channel! First Look: Lightroom Mobile 2017 New Features Photo Tip Friday: Dave Cross "Head Swap in Photoshop" Photo Tip Friday: Scott Kelby "Fine Adjustments in Lightroom Mobile" Photoshop Buried Treasure: The Tree Maker Filter Lightroom Tips | Photoshop Tutorials | Photography Tips "Photo Tip Friday" Quick Tips | Online Class Trailers | Full Episodes of The Grid Developing the Shot | BY MARTIN EVENING BLUEBELLS IN DOCKEY WOOD Spring is one of my favorite times of the year, especially now that I live in the countryside and am more readily able to appreciate the changing seasons. Near to where we live is a place called Dockey Wood, which always has an amazing display of bluebells in the springtime. Bluebell woods are a fairly common sight in Europe, although bluebells can also be found in some northern U.S. states. What I love about the winter months are the misty mornings, which are perfect for landscape photography. Lightroom Magazine shadows using positive Shadows adjustments. With this composite I did the opposite, because I wanted to expand rather than compress the overall tone range. I also found it helped to use a maximum positive Clarity adjustment to add more midtone contrast. With a foggy scene such as this, you might think it appropriate to use the Dehaze slider. But remember, Dehaze is designed to get rid of haze, which would have ruined the atmosphere in this scene! And, not wanting to be the idiot photographer who trampled over the delicate bluebells to remove the fallen branches, I used the Spot Removal tool to do the job instead. At the time I took these photos, the light reflecting off the bluebells gave the mist a bluish haze. Therefore, the adjusted white balance and final color treatment got the photograph to match more closely how I remembered the original scene. Let's take a closer look at the steps I used to create and edit this panorama in Lightroom. Step One: Here you can see the 12 images I captured that I wished to merge together. These were shot with the camera mounted on a tripod using a 70mm lens setting. In this instance, I first shot a sequence of six shots of the trees going from left to right, followed by a further six shots of the ground, sweeping from right to left. I selected all the photos in Lightroom and chose Photo>Photo Merge>Panorama (Control-M). K E L BYO N E .CO M A couple of years ago there was a heavy mist one day at a time when the bluebells were in flower, but the beech trees had yet to fully come into leaf. Dockey Wood was an amazing, enchanting sight that day. I photographed the woods using a Canon EOS-1Ds Mark III with a 70–200mm f/2.8L IS II lens, with the camera mounted on a tripod. As it was quite early, there were only a few other people about, although not all seemed to appreciate the beauty of the moment. "It's not very good weather for photography is it?" said a visitor, who hung around by the entrance for a few minutes before leaving. Most of the pictures I took were shot as single-frame exposures. To capture this particular view, however, I chose to shoot a series of photographs using a long focal length lens and stitched them together later using the Photomerge feature in Photoshop. I was pleased with the result, but even so, I noticed on close inspection how the Photoshop Photo merge method resulted in some of the branch twigs not aligning correctly, and I had to retouch the image further in Photoshop. When the Photo Merge Panorama feature was added to Lightroom, I was keen to reprocess the photos to see if I could improve upon my previous stitch. The end result from a Panorama Photo Merge is a DNG RAW image, so I knew this would offer me more options at the postprocessing stage. With landscape scenes, you usually compress the highlights with negative Highlights adjustments and expand the 11 Lightroom Magazine Step Two: This opened the Panorama Merge Preview dialog where there are three projection methods from which to choose. For this kind of image, where the subject was an elongated panorama, the Cylindrical method is usually the best one to choose. (See "Creating Photo Merge Panoramas" at the end of this article for more on the projection methods.) I left the Auto Crop option unchecked and clicked Merge. L I G H T R O O M M AG A Z I N E › I S S U E 3 2 Step Three: Once the Photo Merge process had completed, Lightroom added the merged panorama image to the same folder as the source files in the Lightroom catalog. In the Develop module (D), I selected the Crop Overlay tool (R), added a custom crop to trim the left and right edges, and pressed Enter to commit the crop. 12 Step Four: In the Basic panel, I adjusted the Tone sliders to add more contrast. I did this by setting the Contrast slider to +38, and then dragging the Highlights slider to the right, and the Shadows slider to the left. I also Shift-Double-clicked the Whites and Blacks sliders to auto-set the white and black clipping points, and then slightly lowered the Exposure. Lightroom Magazine Step Six: In this step, I selected the Graduated Filter tool (M) and added a Graduated filter adjustment to the bottom of the photo. (Start dragging where you want the adjustments at 100%, and stop dragging where you want the adjustments at 0%.) Here, I increased the Exposure and reduced the Contrast to lighten the bottom of the image. I also reduced the Clarity and Saturation to effectively undo the increased global Clarity and Vibrance that had been added in the previous step. K E L BYO N E .CO M Step Five: It usually helps to add a little Clarity to landscape images. Boosting the midtone contrast can bring out more detail in the midtones. With this particular image, I found it helped to set the Clarity to the maximum +100 setting. This made the trees in the foreground stand out more against the foggy background. I also increased the Vibrance. 13 Lightroom Magazine Step Seven: Next, I selected the Spot Removal tool (Q) and carefully added brushstrokes in Heal mode to selectively remove the fallen branches that could be seen popping up through the bluebells. Lightroom can be quite an effective tool for such retouching. While it's not as fast as using the Spot Healing Brush in Photoshop, the edits are all nondestructive. L I G H T R O O M M AG A Z I N E › I S S U E 3 2 Step Eight: To finish, I adjusted the White Balance Temp slider in the Basic panel to add a slightly cooler white balance. I then went to the Split Toning panel, where I adjusted the Highlights and Shadows Hue and Saturation sliders to add a blue tint. 14 Lightroom Magazine Lightroom CC users can use the Photo Merge menu to create panoramas, as well as HDR merged images where the output is a RAW DNG file. This allows you to effectively preserve the RAW editing capabilities of the original RAW files. This means that, as new RAW processing tools are added to Lightroom, you can use these to continue editing DNG photo merge images. To achieve a successful panorama photo merge, there must be a sufficient overlap between the photographs you capture. If not, you'll see an error message informing you that Lightroom was unable to merge the photos. How much of an overlap depends on the lens angle: With a standard or a long focal length lens, there should be at least a 25% overlap; with wide-angle lenses, you need more, maybe as much as a 40–50% overlap. There are three projection methods to choose from. If the end result will be a wide panorama—and especially if there's a horizon line—choose the Cylindrical option. If you're stitching several rows of images to produce a squarer format image, choose the Spherical option. For architectural subjects (such as the example shown below), choose the Perspective option. Although the preview may well show a distorted perspective view, you can easily correct this in Lightroom using the Transform panel controls. Checking the Auto Crop box applies an automated crop to the processed image that trims the unwanted transparent areas; however, by adjusting the Boundary Warp slider you can warp the image shape so that it expands to fill the bounds of the frame. This wouldn't work so well for the architectural example shown here, but can be very effective with most landscape panorama photo merges. n K E L BYO N E .CO M Creating Photo Merge Panoramas ALL IMAGES BY MARTIN EVENING 15 Lightroom Laboratory | BY SERGE RAMELLI HOW TO BRING A DULL PHOTO BACK TO LIFE I love shooting sunsets; it's the best time of the day to shoot. Every place looks so much better during sunset or sunrise, and that's why most of my photos have a nice sky and a touch of magenta. Unfortunately, the camera doesn't always do justice to the photo. It doesn't capture all the colors and details of the sky, and it can be disappointing when you arrive back home and you don't know how to re-create the feeling you had when you were on the spot. If that has happened to you, this article is for you. I'll show you simple steps to bring your photos back to life! Lightroom Magazine Step One: This is a photo I took of the Pont Alexandre III in the beautiful city of Paris. The sun was to the right and very red, but as you can see, the light is pretty boring in the image, even though it was really beautiful when I was there. Step Two: The first thing you can do is some basic retouching in the Basic panel. In this example, I brought down the Highlight to –100, opened up the Shadows to +100, boosted the Whites to +55, and lowered the Blacks to –24. K E L BYO N E .CO M Step Three: You can set the White Balance drop-down menu to Shade to give the image more of a sunrise feel. I personally love magenta, as it adds to the sunset mood even more, so try setting the Tint to +35. 17 Lightroom Magazine L I G H T R O O M M AG A Z I N E › I S S U E 3 2 Step Four: To make the photo more dynamic, use the Crop Overlay tool (R) to crop it so it's more panoramic. The dead tree and boat don't add anything to this photo, so I decided to crop them out. Also, use the Spot Removal tool (Q) to remove any other elements, such as sensor dust, that distract from the message. 18 Step Five: Now we can start bringing the sunset back! You can see in this photo that the sky was red around the bridge and bluer at the top. To enhance those colors, we can start at the top of the photo with a Graduated Filter (M). Once you set the gradient, add some blue by lowering the Temp slider to –12 and some magenta by setting the Tint slider to 7. I set the Contrast to 12 and the Clarity to 13, and I also lowered the Exposure to –0.52 to add some drama. Tip: In this image, when I lowered the Exposure, it darkened the statue in the foreground, so I opened the shadows to 100 in the Graduated Filter so the statue wasn't affected by the Exposure change. Lightroom Magazine Step Seven: This is the fun part—bringing the sun back! Select the Adjust ment Brush (K), and set its Size pretty big. Set the Feather slider to 100, and both the Flow and Density to around 80 so you can't see the brushstrokes. If you're crazy about colors like me, you can even set the Saturation to 25. With the Tint and the Temp set to around 75, paint over the sunset on the bridge. K E L BYO N E .CO M Step Six: Now to close the top of the photo you can add a second Graduated Filter. Click the word "New" at the top of the Graduated Filter panel, drag a new gradient on the very top, and just lower the Exposure to –0.41 to darken the top edge. 19 Lightroom Magazine L I G H T R O O M M AG A Z I N E › I S S U E 3 2 Step Eight: Click New in the Adjustment Brush panel, and play around with the Flow, Density, Temp, and Tint sliders to create a more gradual red-to-blue gradient in the sky. 20 Step Nine: A cool tip is to turn on the lights on the bridge. You just have to create a new Adjustment Brush, set the Flow and Density to 100, Temp to 46, Tint to 52, Exposure to 2.00, and Saturation to 22, then make your brush very small to fit in the lights. Now click just once on each light to fake the appearance of light. If you think it's too noticeable, you can make it less bright by bringing down the Exposure. In this image, it adds that little midnight-in-Paris touch. Lightroom Magazine Step 10: For the final touch, you can create another Adjustment Brush and do some dodging and burning. In this example, I set the Flow and Density to around 90, boosted the Exposure to around 0.52, and then brushed over parts of the photo to make them brighter and more interesting. Here I'm showing the red mask overlay so you can see where I brushed on the photo. K E L BYO N E .CO M Before And here's the before and after. Quite a change! Now you can see that it isn't dull anymore. This is a pretty cool trick and I hope it will be useful for you guys! n After ALL IMAGES BY SERGE RAMELLI 21 Under the Loupe | BY ROB SYLVAN LIGHTROOM AND PHOTOSHOP: A POWERFUL EDITING TEAM As more people sign on to the Creative Cloud Photography plan to primarily use Lightroom, I often encounter questions about how to use Lightroom and Photoshop together, or even the need for using Photoshop at all. It's a testament to how far Lightroom has come that the mother of all imageediting programs has taken a backseat for so many new users. While I've certainly seen a decrease in the amount I use Photoshop (thanks to Lightroom), I still use it every day, and couldn't imagine not having it as part of my workflow. Lightroom Magazine External Editing Preferences In Lightroom, go to Lightroom (PC: Edit)>Preferences, click on the External Editing tab, and you'll find the default preferences for copies created when being sent from Lightroom to Photoshop. The typical Lightroom to Photoshop workflow starts in Lightroom, where you use the Develop module to its fullest, and then, if needed, you send a copy with Lightroom adjustments to Photoshop. It's at this point (and only this point) that these external editing settings come into play. I find the default settings are perfect for my workflow, Step One: In the middle section of the External Editing preferences, click the Choose button to the right of Application and navigate to the Photoshop executable file. This is found in the Applications folder (PC: Program Files). Once selected, you'll see a prompt informing you that Lightroom has already chosen Photoshop as an editor, but click Use Anyway to override. but you have the option of changing the File Format, Color Space, Bit Depth, and Resolution. For File Format you can choose either TIFF or PSD (they both work fine, but PSD files do tend to result in smaller file sizes with multi-layer images). The ProPhoto RGB color space at 16 bits is intended to preserve as much of the data in the image as possible when sending the copy to Photoshop. This does result in a larger file, so if file size is a concern, you can choose 8 bit Adobe RGB as a good alternative. (Note: You can always start with a 16 bit ProPhoto RGB file to retain the data while editing, and then convert to 8 bit Adobe RGB in Photoshop to reduce file size at the end of the session.) Another alternative to consider is setting up an Additional External Editor preset for Photoshop with the 8-bit Adobe RGB settings if you want to be able to choose either option from the outset. Here's how to do this: K E L BYO N E .CO M As much as I love Lightroom, I think you'd be missing out on some real image-editing power if you've written off Photoshop from your workflow. Lightroom was designed to be a front end to Photoshop, so let's look at some of the ways you can leverage it for your benefit. 23 Lightroom Magazine Step Two: Configure File Format, Color Space, Bit Depth, and Resolution as desired. Step Three: Click the Preset drop-down menu and choose Save Current Settings as New Preset, and give it a meaningful name (e.g., Photoshop 8 bit Adobe RGB) when prompted. Step Four: Close the Preferences to return to Lightroom. L I G H T R O O M M AG A Z I N E › I S S U E 3 2 Edit In 24 If you go to the Photo>Edit In menu, you'll see the top option is Edit in Adobe Photoshop CC, and below that will be the program you've selected under the Additional External Editor preference. Each of these options has keyboard shortcuts associated with them, and these are shortcuts you should learn. The preset you created will appear further down the menu list, along with any other third-party external editors you may have installed (and I have a few). Aside from the Photo menu, you can also Right-click a photo to access the same Edit In menu options. Depending on the file type you've selected in Lightroom, there are two behaviors that can occur when sending a photo to be edited in Photoshop. The first behavior is if you have a RAW photo selected in Lightroom and use the Edit In>Edit in Photoshop CC 2017 option (or its shortcut), then a copy of the photo (based on your primary external editor settings) is sent to Photoshop. For example, here's a RAW photo where I've completed my processing in Lightroom, and now I want to send it to Photoshop to use the Content Aware technology to remove the guy in the background. When it first appears in Photoshop, I'll still see the original RAW file extension in the file's title bar because this photo hasn't yet been saved to my hard drive. It only exists in memory until I use the File>Save command in Photoshop. Once saved, the file extension will change to the file type I've designated in my external editing preferences, and the copy will be added automatically to my catalog and appear in the same folder as the source photo. Once my edits are done in Photoshop, I'll save the photo again, close it, and return to Lightroom. The second behavior is if you have a non-RAW photo (JPEG, PSD, TIFF, PNG) selected and use the Edit In>Edit in Photoshop CC 2017 (or its shortcut) option. In this case, Lightroom has to ask you a question before it can proceed. When you start with a RAW photo (my previous example), the only thing Lightroom can do is send a copy with Lightroom adjustments because Photoshop can't open a RAW photo. With a non-RAW photo selected, however, Lightroom needs to know if you want to Edit a Copy with Lightroom Adjustments, Edit a Copy, or Edit Original. Your choice depends entirely on your reason for heading to Photoshop. If you have a non-RAW photo selected that you've just edited in the Develop module, and you want to apply those edits to a copy, and then edit the copy in Photoshop, you'd choose the first option. Note that if you have a layered file selected, the copy sent to Photoshop will be flattened first before the Lightroom edits can be applied (the original is untouched). If you have a non-RAW photo selected, and you want to duplicate it, and edit the duplicate copy (think alternative version), then you'd choose the second option. This will duplicate the selected photo (without applying any Lightroom edits), and open the copy in Photoshop. Layers are preserved. I don't use this option often, but it's handy when you want to duplicate the original and edit from there in Photoshop. If you have a non-RAW photo selected, and you just want to open it back into Photoshop (without applying any additional Lightroom edits), then you'd choose the third option. This is just like using the File>Open menu in Photoshop. This is the option I use when I need to re-open a layered photo back into Photoshop to continue editing with layers intact. Note: There isn't a Photoshop command to switch back to viewing Lightroom; however, both operating systems have shortcuts for switching between open programs that K E L BYO N E .CO M Lightroom Magazine 25 Lightroom Magazine you can utilize. On Mac, hold the Command key and press Tab to switch between programs; on Windows, hold the Alt key and press Tab to do the same. Using the Edit In>Edit in Adobe Photoshop CC command is the most common Lightroom-to-Photoshop workflow, but there are other options at the bottom of that Edit In menu that are incredibly useful for other situations. Two of L I G H T R O O M M AG A Z I N E › I S S U E 3 2 Open as Smart Object in Photoshop 26 If you have a need to maintain maximum flexibility in your editing, then consider the Open as Smart Object workflow. When you open as a smart object, a full-resolution copy of the selected photo is embedded in a special layer called a smart object. This gives you a protected version of the photo that you can always go back to and re-edit, and if you start with a RAW photo in Lightroom, you have the full RAW original embedded in that smart object layer. For example, at the last Photoshop World, I snapped a photo of a model in the Partner Pavilion as I rushed to a class. Due to my haste, the photo was a bit soft. Previously, I'd have simply deleted it, but then I remembered the Shake Reduction filter in Photoshop and wondered if it could save my mistake. By opening it as a smart object (note the special icon it has on the thumbnail in the Layers panel) into Photoshop, I keep all the data of my RAW original plus all the edits applied in Lightroom. At any point in my editing session, I can double-click the smart object icon and open the RAW copy into the Camera Raw plug-in and further tweak the edits I made in Lightroom, right down to re-cropping, changing the camera profile, or whatever setting I choose. This is a separate copy from the original, so nothing I do here affects the original RAW photo back in Lightroom. those options, Merge to Panorama in Photoshop and Merge to HDR Pro in Photoshop have become much less useful since Lightroom gained the Photo Merge options for both Panoramas and HDR, but keep these options in mind for cases where Lightroom's results aren't as good as you need, and give Photoshop a try. That said, Open as Smart Object and Open as Layers still have their places. More importantly, I can apply filters to my smart object, which become smart filters. Why smart? Filters applied to a smart object are re-editable, meaning I can apply a filter, then later on edit that filter's settings by double-clicking the smart filter in the Layers panel to open the image back into that filter. And this is all nondestructive since my photo is embedded in the smart object. This gives you a lot of freedom to experiment, try different levels of adjustment, and then refine those adjustments later. Smart filters also come with a mask, which means that you get even more control over the final results of the filter by painting on the mask to reduce or even remove the effect from regions of the photo. In my example, I ended up using the Shake Reduction (Filter>Sharpen>Shake Reduction) to reduce the blur, and Face-Aware Liquify (Filter>Liquify) to enhance her expression. I painted black on the mask to bring back the original blur in the out-of-focus areas behind the model. While it would have been preferable to nail the focus correctly (obviously), I was impressed by how much I could to do to correct my mistake in Photoshop. (I imagine I'm not the only one to have made such a blunder.) Once all my edits are complete, I save and close, just as before, to return to Lightroom where both the original and the edited copy are found. K E L BYO N E .CO M Lightroom Magazine 27 Lightroom Magazine Open as Layers in Photoshop L I G H T R O O M M AG A Z I N E › I S S U E 3 2 A more common use for Photoshop is to create a composite image from two or more photographs. If you have all the photographic elements together in Lightroom, you can save yourself some time by selecting them all in Grid view (G), then use the Edit In>Open as Layers in Photoshop menu (this menu will be disabled if only one photo is selected). Each selected photo is then rendered (with Lightroom adjustments) and added to individual layers within a single file. Here's a simple example of two photos where I want to combine the best elements in each into a composite. The first is of a model who was illuminated by flashlight while standing on the beach. The second is a longer exposure of the stormy sky behind her taken a moment later. With the two layers open in Photoshop, I can simply apply a linear black-to-white gradient on a layer mask to blend the two together for a much more compelling 28 There's so much more you can do with the dynamic duo of Lightroom and Photoshop, but I hope this gives you a taste of what's possible, and inspires you to try it yourself. n ALL IMAGES BY ROB SYLVAN photo. While in Photoshop, I can also take advantage of the retouching tools to remove distractions and otherwise improve the image. Just as before, save and close from Photoshop to save the copy to the same folder as the source photo and add the copy to the catalog. MetalPrints Leading the Industry in Sizes, Options, & Quality Double Float Framed Prints Acrylic Creative Edge Clusters & Splits Custom Solutions for the Professional Photographer At Bay Photo, we know that you can't be limited by selection when choosing a photo lab. That is why we offer thousands of combinations of sizes and options to choose from. We don't just sell you a print, we create the highest quality custom solution available for your photo. Order a sample Pack to see our 5 MetalPrint surfaces! Learn more at bayphoto.com/metalprints Quality. Service. Innovation. We're here for you! Images by: Neil Simmons, Jim Garner, Steve Harrington, Annie K Rowland Maximum Workflow | BY SEAN MCCORMACK CAPTURE MONKEY Here at "Maximum Workflow," we often deal with the larger companies who make software and hardware add-ons for Lightroom. This time around, we're looking at the work of a solo developer, Capture Monkey by Jarno Heikkinen. From his website, he provides a set of useful free and commercial add-ons to Lightroom. In this article, we'll walk through a number of them. Lightroom Magazine Before You Begin One thing I recommend for all Lightroom plug-ins that use the Plug-in Manager is that you create a folder in which to keep all of your downloaded plug-ins. This prevents you from losing access because you cleared your downloads folder to make space. Personally, I have a folder called "LR Plugins" that I keep in my Documents folder. As I automatically back up this folder, it means that I can get them back quickly should anything happen. Step One: In Lightroom, open the Plug-In Manager from the File menu. Lightroom presets are great, but sometimes the effect can be a bit strong, and there's no way to reduce this directly in Lightroom. You could note the settings before applying a preset and change each setting individual, but this can be tedious and you may not get an exact reduction. Roll on The Fader. This plug-in takes the preset and allows you to fade the effect evenly across all of the settings within the preset. K E L BYO N E .CO M The Fader 31 Lightroom Magazine Step Two: Click the Add button at the bottom left. Navigate to where you downloaded The Fader plug-in file, select it, and click Add Plug-in. Step Three: Make sure the plug-in is enabled, and click Done. Step Four: From the File>Plug-In Extras menu, choose The Fader. Step Two L I G H T R O O M M AG A Z I N E › I S S U E 3 2 Step Three 32 Step Four Lightroom Magazine Step Five: In The Fader dialog that appears, select the preset Folder and the Preset you wish to fade. Use the Opacity slider to apply the settings. At 0%, you'll have the current look with no settings applied; at 100%, the preset is fully applied; while 150% pushes the settings half again from the full preset. Take note of any caveats on the Capture Monkey download page, as well. Red/Blue Swap A key tool in the creation of false-color infrared photographs is the Channel Mixer adjustment layer in Photoshop. First, let's take a quick look at how this is done in Photoshop: K E L BYO N E .CO M Step One: With your infrared file open in Photoshop, apply a Channel Mixer adjustment layer from the Create New Adjustment Layer icon (half-black, half-white circle) at the bottom of the Layers panel. 33 Lightroom Magazine Step Two: In the Properties panel, select Red from the Output Channel drop-down menu. Set the Red slider from 100% to 0%, and then set the Blue slider from 0% to 100%. Step Three: Now select the Blue Channel from the Output Channel menu. Set Blue from 100% to 0%, and Red from 0% to 100%. That's it. Step Two Step Three This gives the sky a blue color and gives a typical false-color look. There's no equivalent in Lightroom, but Jarno has a way around that. He's created a Camera Profile for a huge range of cameras that does this swap automatically. Appropriately titled RedBlueSwap, this profile will get that false-color look quickly in Lightroom. Step One: Download the plug-in file, quit out of Lightroom, and copy the profiles in the following place: L I G H T R O O M M AG A Z I N E › I S S U E 3 2 Mac: Click on the Go menu in the Finder, hold the Option key to reveal the Library option in the menu, and then select Library. Now navigate to /Library/ Application Support/Adobe/CameraRaw/ CameraProfiles. 34 PC: C:/Users/[username]/App Data/Roaming/Adobe/CameraRaw/CameraProfiles Step Two: Restart Lightroom. Step Three: With your photo selected, go the Camera Calibration panel in the Develop module. Lightroom Magazine Step Four: From the Profile drop-down menu, select RedBlueSwap. Done! Now, you can edit away; just remember that red and blue are indeed swapped! Obviously, the effect isn't identical, but it gives you a better start than Lightroom can give without the profile. LR/Instagram Instagram is probably the biggest mobile platform out there right now, and that's part of the downside, too. There are no desktop apps, or even a way to upload to Instagram from your desktop browser. LR/Instagram is there to solve that problem for you. Step One: Using the Plug-in Manager as per The Fader above, add the LR/Instagram plug-in. Step Two: In the Library module, go to the Publish Services panel and click Set Up to the right of LR/Instagram. Step Four: Under Preferences, set your Upload Limit to prevent uploading too many photos. To keep files on Instagram, leave the When Removing Photos, Do Not Delete from Instagram option on. If you want to pad out a border, choose Force Padding to Square. From the Padding Border Color drop-down menu, choose Black or White. Choose the type of caption you want from the next menu. These options will use existing metadata, or a custom metadata panel, which we'll see soon. Set the remaining settings such as Output Sharpening and Watermarking to taste, and click Save. K E L BYO N E .CO M Step Three: Enter your login details and click Login. The plugin will authenticate with Instagram. 35 Lightroom Magazine Your first account is now set up and ready to go. You can Right-Click on the plug-in in Publish Services and choose Create Another Publish Service via "LR/Instagram" to add another account. Let's get a photo up online. Step One: In the right-side panels in the Library module, choose Metadata. From the panel header drop-down menu, choose LR/ Instagram at the bottom of the menu. Step Two: In the Plug-in Manager, we went with the Caption #Hashtag option, so enter the caption and hashtags here. For the GPS data, I dropped the photo on the hotel in the Map module. You can also use template tags to draw from existing metadata. Available tags are listed here. Add curly brackets { } around them. L I G H T R O O M M AG A Z I N E › I S S U E 3 2 Step Three: Drag the photo to the LR/Instagram account in the Publish Services panel. 36 Step Four: While there is a postprocess action to force a crop, it will also crop watermarks, so I recommend cropping in Lightroom instead. Use a virtual copy if you don't want to crop the original. Lightroom Magazine Step Five: Select the Instagram Photos collection nested below LR/Instagram in the Publish Services panel, and click Publish. K E L BYO N E .CO M Step Six: To see the photo on Instagram, Right-click on the thumbnail and choose Show in Instagram. Comments and Likes don't appear to be downloaded into Lightroom. Changing a shot will mark the photo to republish, but you can't replace the photo on Instagram. Republishing will allow you to change the caption, though. 37 Lightroom Magazine Focus Mask Do you ever wish that you could tell at a glance what's in focus on a photo without having to zoom in to check? Well, Focus Mask aims to help with that. This plug-in shows a red mask over the in-focus areas of the photo. Now it's not an indicator of sharpness, just the areas that are in focus. Step One: Install the plug-in as we did with the others. Step Two: Select the photos to check. From the File>Plug-In Extras, or Library>Plug-In Extras menu, choose Focus Mask. Step Three: A window will open showing previews of the photos with a red mask over them to indicate focus. You can also change the flag on an image under its thumbnail. L I G H T R O O M M AG A Z I N E › I S S U E 3 2 Step Four: Focus Mask uses Lightroom's internal previews, so you must have at least Standard size previews generated in advance. The masks are stored in their own folder and can be purged (Clear Focus Mask Cache) from the Preferences settings in the Plug-in Manager. 38 Lightroom Magazine Leak Lite Leak Lite is a fun Develop plug-in that creates the effect of having light leak into a camera. Generally, this results in overexposed areas and whacky colors. Step One: Install the plug-in. Step Two: In the Develop module, go to the File>Plug-In Extras menu, and choose Leak Lite. Step Three: To get an idea of the different effects available, click Shuffle. Step Four: Experiment with turning on and off options from Exposure, Saturation, Clarity, Sharpness, Color, and Curves. The Others K E L BYO N E .CO M That's just a basic look at some of the available plug-ins from Capture Monkey. There are plenty more; for example, Gradient Map allows you to edit the Tone Curve in Lightroom in a different way, making for a powerful color-grading tool. There's also the Preset Ripper that can read embedded metadata from another file and turn it into a preset to reuse. Each plug-in is $10, but $25 will pay for a license for all of them, which is a bargain. n ALL IMAGES BY SEAN McCORMACK 39 Photography Secrets | BY TOM BOL THE PRIME PORTRAIT: THE DIFFERENCE BETWEEN F/2.8 AND F/1.4 My lens assortment has grown and evolved throughout my career. I started with all prime lenses, as they were optically superior during that time. But zoom quality improved, and I started using two main lenses: 24–70mm and 70–200mm, both f/2.8. Optically, they were sharp, and the convenience of zooming through the focal lengths was terrific. Every five years or so, a sharper, quicker auto-focus version would come out, and I'd be first in line to upgrade. With these two lenses, I was good to go. But reviewing images after assignments and travel workshops, I realized I was missing something. I longed for the silky, soft bokeh that only a fast prime could produce. Wouldn't my f/2.8 zoom lenses produce about the same quality of bokeh as f/1.4? Would using a fast prime lens for my portrait create a better shot? Obviously, there are a lot of differences beside maximum aperture between zooms and primes. Size, weight, cost, sharpness, and focal range all come into play when deciding which lens to use. But one simple fact remained: Most of my prime lenses were two full stops faster than my zooms, and this would affect background quality and image separation; but by how much. Cree Bol Lightroom Magazine K E L BYO N E .CO M Cree Bol Scenario One: I really wanted to focus on bokeh quality at different apertures for this shoot. With that in mind, I decided to use a selection of prime lenses at f/5.6–f/1.4. I also wanted to see what other advantages or disadvantages might crop up between apertures. I chose an alleyway with lots of depth to best illustrate bokeh differences. We were shooting in mid-morning light with bright sun overhead. Every photographer knows that bright sun isn't ideal for portraits, so to deal with the harsh light, we broke out one of my favorite lighting accessories, the Sun-Swatter (made by California Sunbounce Pro). The Sun-Swatter is a 41 Lightroom Magazine L I G H T R O O M M AG A Z I N E › I S S U E 3 2 4x6' overhead diffusion panel that can be held easily and maneuvered by one person. Even in windy conditions, this scrim is terrific for producing beautiful soft, diffused light. We placed our model, Katrina, in the middle of the alley with rows of flowers and light posts behind her for the first image. I started shooting at f/1.4 using my 85mm. This lens is one of my favorite prime portrait lenses, and looking at the LCD, I was elated to see the painterly quality of the background shooting at f/1.4. I was using my Nikon D500 in aperture priority mode for the images. I started to change aperture settings, shooting at f/2.8, f/4, and f/5.6. Hands-down, the mood, quality, and separation of f/1.4 were preferable to f/5.6. But when comparing f/1.4 to f/2.8, there was less difference. The f/2.8 version had a little more detail, but what I really noticed was the bokeh quality. The f/1.4 image looked softer and a better choice for a flattering portrait. Since I was shooting in available light using the Sun-Swatter, changing exposures was easily accomplished by simply changing the aperture setting in aperture mode. But my shutter speeds were around 1/3200. Shooting flash was going to require some special techniques. 42 f/5.6 f/4 f/2.8 f/1.4 Scenario Two: One reason I drifted away from shooting portraits at f/1.4 outdoors was the challenge of using flash. Speedlights could work at 1/3200 in High-Speed Sync (HSS) mode, but power output was greatly reduced. Two things changed that made shooting HSS portraits with speedlights much easier. First, softboxes started accommodating multiple speedlights to overcome the reduced power output in HSS mode. And second, wireless flash Lightroom Magazine WR-R10 radio transmitter to my D500. Using this radio transmitter, I didn't have to worry about line of sight to my flashes, or interference from the sun. Using a variety of apertures with the softbox, once again I discovered shooting at f/1.8 was preferably to shooting at f/2.8. Even though there was just over a one-stop difference, the background looked better wide open. But is this enough to justify paying big bucks for a prime? I wanted to try one more scenario before I made my decision. K E L BYO N E .CO M Cree Bol using a radio signal became standard, allowing hassle-free flash triggering in bright sunny conditions. To further explore the prime lens question, I decided to photograph Katrina using a 30" FourSquare softbox and a 50mm f/1.8 prime. The FourSquare box allows up to four speedlights to be used; I used three Nikon SB-5000s with dome caps attached inside the softbox. The dome diffusers spread the light throughout the softbox for clean, even lighting when the flash exits the softbox. I attached my f/5.6 f/4 43 Lightroom Magazine L I G H T R O O M M AG A Z I N E › I S S U E 3 2 f/2.8 44 Scenario Three: Speedlights have approximately 60 watts of power, so using three SB-5000s roughly equates to 180 watts of power. I wanted more power so I could use a larger softbox and underexpose the ambient light for better separation. For this task, I set up my Elinchrom ELB 400 (using a Quadra HS head), specifically designed for Hi-Sync photography. Unlike HSS, which uses a strobic flash mode, Elinchrom Hi-Sync retimes the shutter and flash pop to ensure flash at very fast shutter speeds. I've found that by using this setup, I can shoot at 1/4000 with beautiful light on my subject. I attached a 39" Elinchrom Rotalux Octa softbox to the HS head, and used the Elinchrom EL-Skyport Plus HS transmitter to trigger the strobe. I switched up lenses again, this time using a 35mm, f/1.4 prime lens. We moved locations to another alley with gritty brick walls to illustrate changes in bokeh. Once more I photographed Katrina using apertures from f/1.4–f/5.6. One difference for this shot was that I underexposed the background by one stop, which further emphasized the separation shooting at different apertures. I made an interesting discovery using a wide-angle prime at f/1.4: Shooting wide open made a bigger difference when compared to the other prime lenses in my testing. Why? Because more of the background f/1.8 Lightroom Magazine my subject's eyes were sharp while her nose and ears were slightly blurred due to the extreme shallow depth of field. f/5.6 f/4 K E L BYO N E .CO M Cree Bol was visible behind the subject, and changes in depth of field and bokeh were more obvious. In other words, the background made up more of the image using a wide-angle lens. I liked the f/1.4 images much more than I did the f/5.6 shots when shooting with a wide-angle prime lens. Combined with the softer quality of light using the larger softbox, these images were my favorite from the shoot. Another point became very obvious during this shoot: Photographing at f/1.4 requires perfect focus technique. I needed to put my focus point right on my model's eye; otherwise, I would have soft images. If she wasn't facing the camera, I knew one eye would be slightly softer than the other. Shooting tight with an 85mm, 45 Lightroom Magazine f/2.8 f/1.4 Do you really need that f/1.4 prime lens for the best portrait? The answer is, "It depends." Based on my testing, I found I really preferred the bokeh using my 35mm wideangle prime at f/1.4 compared to f/5.6. Using my 85mm prime at f/1.4 vs. f/5.6, there was also bokeh difference; but with less background visible at 85mm with tight head shots, I'd probably be just fine using my trusty 70–200mm shooting at f/2.8. Yes, I like the bokeh better at f/1.4 using my 85mm, but investing in this prime lens if you already owned a 70–200mm f/2.8 might make you pause. On the other hand, if you like shooting environmental portraits, I really preferred the bokeh at f/1.4 using the 35mm prime, and purchasing this lens was an easier choice for me. Another point worth mentioning is that f/1.8 primes are almost $1,000 cheaper than their f/1.4 counterparts. There's only a 2/3-stop difference, which means there won't be much difference in depth of field. But not all bokeh is equal, and individual lenses produce different qualities of bokeh. As photographers know, depth of field and bokeh are just one part of getting a great portrait. Cameras, lenses, and flash are tools that help bring our vision to reality. Subject, location, rapport, and emotion are also critical aspects of good portraiture. But now that I own a couple of prime lenses, I can't blame my equipment for a bad shot. It's up to me to create the evocative portrait of my subject. n L I G H T R O O M M AG A Z I N E › I S S U E 3 2 Time to Prime? 46 ALL IMAGES BY TOM BOL EXCEPT WHERE NOTED 10 Years and Counting! Join us on October 7, 2017 for the 10th Anniversary of Scott Kelby's Worldwide Photowalk® as fellow photographers and enthusiasts from around the world meet up at a designated location in their town to walk around and take photographs, socialize, make new friends, win prizes and be a part of a great cause. Each walk consists of 50 walkers or less and all ages are welcome so bring the entire family! We even have a special Youth Photo Contest designed specially for kids and teens. It's a great way to get the entire family out of the house to enjoy nature, socialize and capture amazing pictures. And, best of all — It's FREE! Get more details about registration, deadlines and the contests! www.worldwidephotowalk.com Lightroom Magazine Questions &Answers SCOTT KELBY L I G H T R O O M M AG A Z I N E › I S S U E 3 2 Q.I have an Android phone and I downloaded the latest update to Lightroom Mobile, but there are features Scott showed during his Members-Only Webcast that I can't find, and I'm pretty sure I have the latest version. Are they hidden? A.They're not hidden. There are still a few features that haven't made their way over to the Android phone version update yet (and sadly, it's worse for the Android tablets—they don't even have the new user interface the Android phone has, not to mention the missing features). According to Adobe, they'll be added and updated, but while we're still in this transition to the new user interface and added features, the Android versions aren't quite yet in parity with the iPhone versions. 48 Q.I tapped on the Selective Edits icon, and tapped on the Light panel to start making my edits, but all of my sliders were grayed out. Is something wrong? A.Nope, it's just that the local adjustment tools here work a bit differently than they do in Lightroom on the desktop. When you tap on the Selective Edits icon, all the sliders are grayed out (as shown below left) until you tell Lightroom Mobile which of the selective editing tools (Brush, Radial Gradient, or Linear Gradient) you want to use. To do that, click the large + sign icon near the topleft corner of the screen and a blue menu will pop out to the side with those three choices. Tap on the tool with which you want to work, and now all your sliders will be activated and ready for you to make changes. Q.I added some adjustment pins using the new updated version, but I can't figure out for the life of me how to delete a pin. A little help? A.Adobe seems to be standardizing a few things in Mobile, and one of them is that if you see three dots anywhere in the app, that's a pop-up menu. In this case, when you have any adjustment pin active, tap the three dots in the top-right corner, and from the pop-up menu that appears, choose Remove Brush (as shown above), Remove Radial Gradient, or Remove Linear Gradient, depending on which tool you're using. Q.When I choose the Brush tool and lower the Exposure, the image starts darkening even before I've painted anywhere. Am I doing something wrong? A.Not at all. This is another difference in how the Brush tool works here in mobile versus how it works in the desktop version of Lightroom; but I have to tell you, I wish they changed the desktop version to work the way the latest mobile version does. When you darken that Exposure, it's giving you a live preview of how dark the image will be when you paint. Lightroom desktop doesn't do that: You darken the Exposure (without having painted), and it doesn't do anything. You don't get a preview, so you're K E L BYO N E .CO M Lightroom Magazine 49 Lightroom Magazine just getting the amount. On mobile, that preview is priceless, and it goes away automatically when you let go of the slider. Now when you paint, it paints the same amount of darkness you saw in that preview. Again, I'd love to see Adobe add that feature to the desktop version. I predict that once you get used to it, you'll want it on desktop Lightroom, too! L I G H T R O O M M AG A Z I N E › I S S U E 3 2 Q.When I paint with the Brush tool, I can't see what I'm painting because of the red tint. Is there a way to turn that off? A.You bet. That tint overlay is on by default (it's off by default on the desktop version), but luckily it's pretty easy to turn off—just click the three dots up in the topright corner and choose Never Show Red Overlay (as shown below). If you change your mind later and want to see it, come back to the same three-dot menu and turn it back on. (Note: If all the sliders are set to 0, you'll still see the red overlay even if you turned on the Never Show Red Overlay option. Once you adjust a slider, you'll no longer see the red overlay when you paint.) 50 Q.I have images that I want to sync to Lightroom Mobile, but they're in different catalogs (and when I try to sync a second catalog, I get a warning that says I can only sync one catalog with mobile). How can I get those images from the other catalog to sync? A. Here's what I'd do: Open that second catalog in Lightroom; Right-click on the Collection you want to sync in the Collections panel; and from the pop-up menu that appears, choose Export this Collection as a Catalog. Then switch back to the catalog that you're already syncing, go under the File menu, choose Import from Another Catalog, and import that catalog (which will be just that one collection you exported). When that collection appears in the Collections panel, click on the little square sync button to the left of the collection's name. So, in short, you need to move the collections you want to sync into that one main catalog and sync them once they're there. Q.I can't figure out how to do a before/after of my edits. It's always been a three-finger tap, but that doesn't work anymore. Is the before/after feature still there? A.It is, but it now has its own icon. It's the split-in-half square logo that appears in the bottom-left corner when you're editing on a tablet. Tap-and-hold on that icon to see the before view, and you'll see the word "Before" appear at the top of the screen. Q.I read that in Lightroom's built-in camera, you can turn on a highlight warning that will put a "zebra" pattern over highlight areas that will be clipped before you take the photo. First, how do you turn on this warning, and then, if you see this warning, what can you do to fix it before you take the shot? A.Okay, this one's a little hidden (well, both of these are, so don't feel bad). First, let's look at how to turn the "zebras" on. When you have Lightroom's camera open (click the camera icon at the bottom of the screen when you're in Collection view or inside a collection), tap the three dots up in the top-right corner, and a menu slides out to the left. Tap on the icon that looks like a pyramid, and it turns the zebra highlight warning on (the icon will flash yellow and then a line will appear below it to let you know that it's on). Then, if you see a zebra warning over an area that will be clipped, tap anywhere on screen and slide to the left to use Exposure Compensation to lower the exposure until the zebras go away. You'll see the amount of compensation appear at the top of the screen. Hopefully, it won't take more than a little lowering of the exposure, but if you have to lower it to the point that it's trashing your overall exposure, you might be better off just lowering it a little, and then using the Highlights slider to fix the clipping after the fact in the Edit mode. The Highlights slider leaves your overall exposure intact, and just adjusts the very brightest highlights, so that might be a better solution if the overall photo starts to look way too dark. n Discuss this Issue ALL IMAGES BY SCOTT KELBY K E L BYO N E .CO M Lightroom Magazine 51 Lightroom Magazine Tips &Tricks SEÁN DUGGAN Hard Drive Status If you use, or have used, your Lightroom catalog with a number of different hard drives over the years, you may end up with a list of several different hard drives in the Folders panel in the Library module. Only the drives with the small green indicator "light" and their names in light gray are currently connected and seen by Lightroom. If you see a drive name in light gray with an orange indicator light, it just means that drive is getting low on space. Drives without an indicator and with their names in black are offline (not connected to the computer). You can still look at cataloged images that are on an offline drive (assuming there are previews for the files), and you can even add metadata such as keywords, flags, ratings and color labels, and also group them into new collections. You won't be able to work on them in the Develop module, however, unless there are smart previews present for those files. (See Issue 26 of Lightroom Magazine for more on smart previews.) Connected HD (low on space) Connected HDs Offline HDs (not connected) L I G H T R O O M M AG A Z I N E › I S S U E 3 2 Removing Empty Folders/ Removing Offline Drives 52 In the Folders panel, if you click the small disclosure triangle to the right of the drive name to open it and you see folders with 0 images in them, simply select the folder or folders (if more than one, click the first and then Shiftclick the last to select all of them), then Right-click one of the selected folders, and choose Remove. Once the empty folders are removed from the Lightroom catalog, that hard drive will no longer appear in the list. Of course, since the drive isn't connected to your computer, those folders, if they still exist, will still be on the hard drive; Lightroom will just no longer reference them. Lightroom Magazine Reconnect Offline Drives Before Removing Folders If you still have a hard drive that Lightroom lists as offline (and it still has the same name), plug it in and see if the images and folders show up. If so, and you're in a mood to clean things up, then you can move the files to a location on your main image archive drive that makes more sense (move the folders/images within Lightroom, not in the Finder/Explorer view, so Lightroom doesn't lose track of them). If some folders still show up as missing and you know that they were temporary for projects long since completed, as is the case with the view of my Travel Blue hard drive shown below, then you can remove the folders and not worry about them. and MOV files or as combined MOV + JPEG. You'll see the file format listed when Expanded Cells are used (View>View Options, click the Grid View tab, and select Expanded Cells from the Show Grid Extras dropdown menu). Another giveaway that MOV video files are from Live Photos is that they will all have a duration of 2 or 3 seconds. Setting Import Preferences for JPEGs + RAW (or MOV) Files If you use the Live Photos feature on the iPhone 6s and later, you probably have a lot of very short video clips cluttering up your catalog. Depending on how you feel about these short clips, you may or may not want to keep them. When you take a photo on an iPhone with Live Photos turned on (look for the yellow concentric circles at the top of the Camera app screen), a JPEG and a MOV file are created. Both of these are copied to your catalog when you use Lightroom to import from your iPhone. Sometimes they show up as bright green while at other times there may be a preview. Depending on how you have a certain preference configured will determine whether they show up in your catalog as separate JPEG K E L BYO N E .CO M Dealing with iPhone Live Photos in Lightroom The easiest way to deal with Live Photos from your iPhone is before and right after you import them. To ensure that they appear as separate JPEG and MOV files (thus making it easier to deal with them), go to Lightroom (PC: Edit)>Preferences, and in the Import Options section of the General tab, click the checkbox for Treat JPEG Files Next to RAW Files As Separate Photos. This setting will work for any new imports. For previous imports, there's another step that we'll get to in a bit. 53 Lightroom Magazine Live Photo Video Clips: To Keep or Not to Keep? Whether you choose to keep all or some of the Live Photo video clips will likely depend on the specific moment they contain. Even at only 3 seconds, some may record the expressions and voices of people you're close to that have special meaning for you. Others are essentially still photos with only a bit of motion that may not be significant. But knowing how to deal with Live Photos in your Lightroom catalog will help you keep it well organized so you can preserve the important clips and delete the rest (and probably reclaim a lot of hard drive space in the process!). Right-click on the folder and choose Synchronize. Since synchronizing a folder is just another type of import process, Lightroom will now see the JPEGs in the folder not as sidecar files, but as different files. Click Synchronize to update the folder and separate the JPEGs from the MOVs. With the JPEGs now seen as separate files, use the Metadata search method mentioned earlier to show only the video files in the folder, select the 2- and 3-second MOV files you don't want, and delete them. Filtering to Show Just the Live Photo Videos After an import from your iPhone is done, make sure you're active on either the Previous Import in the Catalog panel, or on the folder where the new photos have been copied. Activate the Metadata filter in the Grid view (G) of the Library module. Click on one of the search parameters in the columns at the top and choose File Type, then select Video. Now you'll see only the videos in that folder. Select all the 2- and 3-second videos that you don't want to keep (make sure they're just the MOV files and not JPEG + MOV), press Delete (PC: Backspace), and click Delete from Disk to delete them from the hard drive. L I G H T R O O M M AG A Z I N E › I S S U E 3 2 Using RAW + JPEG when Importing Live Photos 54 Separating Existing JPEG and MOV Files The Import Option Preference mentioned earlier only works for new imports. If you already have Live Photos that show up in your catalog as JPEG + MOV, you have to separate them another way. Make sure that you have the Treat JPEG Files Next to RAW Files As Separate Photos option turned on in the general Preferences, and then If you do shoot RAW + JPEG and ordinarily like to have them grouped together and only show up as a single file in your catalog, then you have two options. You can leave the Treat JPEG Files Next to RAW Files As Separate Photos preference unchecked and then try to remember to turn it on specifically for iPhone imports; or for Live Photos that do get imported as MOV + JPEG, you can use the synchronize method mentioned above. n ALL IMAGES BY SEÁN DUGGAN LET YOUR PASSION FOR AVIATION PHOTOGRAPHY TAKE FLIGHT! This one-of-a kind book, from Moose Peterson, one of the world's most recognized experts in aviation photography, not only teaches you exactly what you need to know to start making beautiful, intriguing photographs of aircraft, but inspires you and pushes you creatively and technically every step of the way. Moose takes you through all the basics for camera gear and settings, and shows how to get those tack sharp images. He covers one of the most important aspects of aviation photography—light! He shares the critical techniques you'll need to master to create the illusion of flight, speed, and romance in a still image. You'll learn how to photograph aircraft on the ground, from groundto-air, and ultimately air-to-air, and how to capture one of the most important elements in aviation photography today: the fascinating pilots and crew—the people! Get your copy today wherever photography books are sold, and give your passion wings. | KELBYONE.COM | NEWRIDERS.COM | #KELBYONEBOOKS THE ADOBE PHOTOSHOP LIGHTROOM HOW-TO MAGAZINE ® ® ® IN THE NEXT ISSUE USING SELF-PORTRAITURE TO HELP EXPAND YOUR PHOTOGRAPHY SKILLS HOW TO USE LOUPEDECK, THE NEW PHOTO EDITING CONSOLE FOR LIGHTROOM CREATING POST-CROP VIGNETTING EFFECTS An official publication of KelbyOne kelbyone.com


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...but the oven is warm! Yes, the baby and I are now 16 weeks along. I apologize to my readers (all 10 of you) for not writing for a while, but a lot has been going on. In the last two months, our furniture arrived from Texas, my mom was diagnosed with breast cancer, and I flew home for three weeks, all whilst suffering from morning sickness.
Mom has just come out of her second surgery and is in recovery. Dad says she is doing pretty good. She has had a lumpectomy and the removal of her lymph nodes on her left breast. We are hopeful, in that the cancer hasn't spread. Her liver and bones are clear. This has been a seriously challenging time for our family, but God has been increasingly good. It amazes me how much he loves us! In all interactions with nurses, care takers, friends and family, and even strangers we have seen the love of Christ evidenced. I thank you all for your prayers. They have been working. But, please keep praying. We aren't out of the woods, yet and tough treatments are to come.
On to Alaska news: We had a great thanksgiving, in spite of being far from family. Four different families invited us to share the holiday with them. We only made it to two stops, though. We ate the turkey and all the good fixings. I made my famous sweet potato casserole, green bean casserole, Grandmother Becky's yummy dressing, and a pork loin. Jeff said everything was delicious. Since my return from Texas, we have been to the doctor and heard the heart beat again. The baby's heart was beating at a sound 150 beats/minute. The baby has also started to move around...especially at night. Nothing painful or uncomfortable, but definetly moving.
I also cross country skied for the first time yesterday. It was awesome! Here in Alaska there are open fields they call Muskag. In the spring and summer months they are fields of mushy, marshy grass that is kind of a rust colored hue. It is very difficult to traverse these areas in the warmer months, but in the winter they are filled with miles and miles of soft snow...perfect for skiing trails! Yesterday afternoon the Firth kids came down (6 of them at least) with skis and boots for me and Jeff. They had been making trails all day and were very excited about sharing. I only fell down a few times (always into very soft banks of snow and on my back or tush), and got the hang of it pretty quickly. It was as if I was skiing through a majestic painting. The sun was beginning its slow descent while flinging beautiful streaks of color across the gray sky, and the spruce trees were gathered in groups like big families out on the field. What a sight to see!


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Three Years in a Mad-House: The Story of My Life at the Asylum, My Escape, and the Strange Adventures Which Followed
Fleming, E. B. & Augustin Fleming
AbeBooks Seller Since August 13, 1998Quantity Available: 1
AbeBooks Seller Since August 13, 1998Quantity Available: 1
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Title: Three Years in a Mad-House: The Story of My ...
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Publication Date: 1893
Binding: Cloth - Hard Cover
Book Condition:Fair
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With four automatic NCAA qualifiers already in hand the BYU men's track team takes to the road this weekend for two separate meets in Idaho on Friday and Nebraska on Saturday.
This past week Leif Lundahl joined teammate Per Karlsson as an NCAA automatic qualifier in the 35 pound weight throw. Dave Brannen and Frank Fredericks have also qualified for the NCAA meet to be held March 8-9 in Indianapolis.


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(Junior) Personnel officer m/f - Eberswalde
- Working place:
- Eberswalde DE-BB
- Experience requirements:
- Specialist
- Industry:
- Theo Steil GmbH
- Type:
- Full-time
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Ms Maaß
Angermünder Straße 77
54293 Eberswalde


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Jorge Salcedo was the head of security for the Cali Cartel leader Miguel Rodriguez Orejuela.
It is stated throughout season 3 that Jorge Salcedo and his wife were planning to start up a security firm after resigning from the Cali Cartel. However, with the Rodriguez brothers, Pacho Herrera, and Chepe announcing that they will be continuing the drug production for the next six months, Jorge is forced to work as security for the Cali Cartel for an indefinite time.
He also was the killer of Navegante who was ordered to kill Salcedo by David Rodriguez.