LIGHTROOM

THE ADOBE PHOTOSHOP LIGHTROOM HOW-TO MAGAZINE

® ® ®

ISSUE 5

5
MAGAZINE LIGHTROOM
BETA
CHECK OUT THE MAJOR
FEATURES AND MINOR
IMPROVEMENTS TO THE
LIGHTROOM EXPERIENCE

DEVELOP MODULE TARGET COLLECTIONS

See how far you can take a beauty The fastest way to gather
image retouched only in Lightroom and organize your images
CONTENTS
3

[ LIGHTROOM MAGAZINE ]
2013 • ISSUE 5

LIGHTROOM 5 BETA
Overview of the Lightroom 5 Beta

THE COLLECTIONS PANEL

Using Target Collections
46
BEHIND THE PRESETS
Lightroom 5 Spotlight Vignette Presets

THE DEVELOP MODULE

Beauty Retouching

BEFORE AND AFTER VIDEO

Merging Two Photos

WACOM INTEGRATION
Using a Wacom Tablet in Lightroom

LIGHTROOM PLUG-INS
Photomatix Pro

TIPS & TRICKS

FEATURED PHOTOGRAPHER
Terri Gold 26
Executive Editor, Scott Kelby Cover Shot: Kristina Sherk
Editor-in-Chief, Matt Kloskowski Retoucher: SharkPixel:
Managing Editors, Chris Main, Professional Retoucher
Mike Mackenzie
Associate Editors, Kim Doty, Publisher, Scott Kelby
Cindy Snyder Executive Publisher, Dave Moser
Business Manager, Jean Kendra
Creative Director, Felix Nelson
Senior Designers, Taffy Clifford, Produced By National Association
Eduardo Lowe, Jessica Maldonado, of Photoshop Professionals
Margie Rosenstein 333 Douglas Road East
Oldsmar, FL 34677-2922
Production Manager, Dave Damstra Phone: 800-201-7323
Senior Premedia Specialist, Dave Korman lightroom@photoshopuser.com

38
All contents ©COPYRIGHT 2013 National Association of Photoshop Professionals. 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 app, not affiliated
in any way with Adobe Systems, Inc. Adobe, the Adobe logo, 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.
 FROM THE
In April, Adobe announced a free public beta of Lightroom 5, which
is big news for us here at Lightroom Magazine. “What’s a beta?” you
ask. It’s a version of the software that’s not quite ready for prime
time. It’s close and most of the bugs have been worked out of it, so
Adobe wants to get it in everyone’s hands so they can play with it a
little and see if there are any problems.

Adobe has done this with just about every version of Lightroom,
and while they haven’t given an exact date yet, the full (ready-
for-the-public) version of Lightroom 5 should be available soon.
But what’s really making a splash in the Lightroom community isn’t the new beta, but
rather one of the new features in that beta. See, if I were to ask 10 people what is the
number-one reason they leave Lightroom to go to Photoshop, do you know what most
of them would say? Retouching. You know, cloning, healing, that sorta thing. They go
to Photoshop to do things like remove a telephone wire or some distracting element in
a photo. In Lightroom 5, we now have real cloning and healing with a revamped Spot
Removal tool. It’s way beyond the circle-only brush we had with the old Spot Removal

EDITOR
tool. You can now brush away on your photos just like you can with Photoshop. That’s

M AT T K L O S K O W S K I

huge and one more giant step in making Lightroom the program for photographers.
Seán Duggan covers this and other new features in his article on the Lightroom 5 Beta.

Speaking of retouching, professional retoucher Kristina Sherk has an excellent article about
beauty retouching. In her article, Kristina uses the old (Lightroom 4) Spot Removal tool and
the Adjustment Brush to show you how far you can take retouching using only Lightroom.

We also have an article by Rob Sylvan on how to use target collections. If you’re saying, “What
are target collections?” you’re not alone, which is why you need to read Rob’s article. As
always, we have a behind-the-scenes look into creating presets, and this time we’re making
spotlight vignette presets using the new Radial Filter in Lightroom 5 Beta. In our “Before & After”
video, we merge two photos using Lightroom and Photoshop.

We’re continuing our dive into Lightroom plug-ins, and we picked HDR guru, Rafael “RC”
Concepcion, to write our article on using Photomatix Pro with Lightroom. RC does some magi-
cal things with this combination, so if you’re a fan of HDR, make sure you check it out. We get
a ton of questions about using Wacom tablets with Lightroom, so we went straight to Wacom
to get their very own Weston Maggio to tell us all about Lightroom and tablet integration.

Finally, in our “Featured Photographer” section, we showcase the ethereal work of Terri Gold,
who documents individuals exploring their existence through their traditions.

Thanks for checking out the magazine. If you like what you see, please help us spread the
word. If you have ideas for articles, writers, tutorials, videos, presets, or anything else, feel
free to drop me an email at lightroom@photoshopuser.com. Take care.
[ LIGHTROOM MAGAZINE ]

Matt Kloskowski
Editor-in-Chief

4
 Overview
of the

Lightroom
5 Beta
SEÁN DUGGAN
[ LIGHTROOM MAGAZINE ]

IN MID-APRIL, ADOBE ANNOUNCED THE LIGHTROOM 5

BETA. IN THIS ARTICLE, WE’LL TAKE A LOOK AT THE
NEW FEATURES, AS WELL AS SHINE A SPOTLIGHT ON
SOME MINOR, BUT VERY WELCOME IMPROVEMENTS
TO THE LIGHTROOM EXPERIENCE.

6
 7

[ F E AT U R E ]
I M P R OV E D H E A L I N G B R U S H
Without a doubt, the biggest new feature is the advanced heal-
ing and cloning capabilities that have been added to the Spot
Removal tool (Q). In previous versions, we were limited to a
circular tool, which was great for dust spots, but challenging
for other types of retouching.

In Lightroom 5, the circular limitation is no more! You can

now click-and-drag a retouching stroke over an item you want
to remove. Just as before, Lightroom will search for another
area of the image to use as a source for the detail it uses to
fill the brush stroke. If it chooses an area that doesn’t work so
well, you can still reposition that source detail to a better area.
This is a huge improvement to the retouching capabilities in
Lightroom. Does it totally replace Photoshop for retouching?
Absolutely not. There will still be some retouching tasks that
will require a trip into Photoshop where you have the most
control for applying customized and precise retouching. But
the improvements to the Spot Removal tool mean that there
will be a lot more retouching that you can do in Lightroom.
 S P O T V I S U A L I Z AT I O N
Another cool new feature related to retouching is Spot Visu-
alization. This addresses the fact that subtle dusts spots can
sometimes be hard to see, especially in areas like skies or gray
studio backgrounds, and it’s not uncommon to miss a few
and only see them after you’ve had a big print made. With
the Spot Removal tool active, under the main preview image
is a checkbox for Visualize Spots. This changes the display to
a black-and-white, mask-like view of the image. In this view,
spots that are difficult to see show up much better. There’s also
a slider that allows you to adjust the contrast of the Visualize
Spots mask to help you find those spots you may be missing.
[ LIGHTROOM MAGAZINE ]

8
 9

[ F E AT U R E ]
R A D I A L F I LT E R
The Radial Filter lets you apply any of Lightroom’s local adjust-
ments with a circular or elliptical mask. Just as with the Gradu-
ated Filter or the Adjustment Brush, the changes you apply with
the Radial Filter can be changed at any time after the initial
application, and the mask can be resized, feathered, and even
inverted to give you precise control over how an adjustment
affects the image.

The Radial Filter is located between the Graduated Filter and the
Adjustment Brush, or you can activate it with the shortcut of
Shift-M. By default, any adjustment is applied to the area out-
side the radial shape. This makes it easy to apply a noncentered

vignette, or slightly darken everything in the image except that

one important area. To invert the mask so that the adjustment
affects what is inside the shape, use the Invert Mask checkbox,
or just press the Apostrophe key (’) on the keyboard (pressing
the Apostrophe a second time will revert back to the normal
behavior for the mask). You can resize the mask by using the
handles, and if you position your cursor over one of the edges,
you can drag to rotate. And don’t limit yourself to just one! Mul-
tiple Radial Filters can be applied to the same image, offering
you a great degree of control for applying localized adjustments.
 A U T O M AT E D P E R S P E C T I V E C O R R E C T I O N S W I T H U P R I G H T
This new feature is great for automatically fix-
ing tilted horizons, as well as the phenomenon
of converging vertical lines, or keystoning, that’s
so common with photos of tall buildings. The
Upright feature can be found in the Develop
module in the Basic tab of the Lens Correc-
tions panel. Before you use Upright, be sure to
turn on Enable Profile Corrections and Remove
Chromatic Aberration; the math that goes on
under the hood in calculating the corrections
will be more accurate with these two features
turned on.

To correct a tilted horizon, just click the Level

button and Upright will analyze the image
content and automatically adjust the image to
remove the tilt (to see a subtle tilt better, you
can activate the new grid overlay by choosing
View>Loupe Overlay>Grid). To correct for a
keystoning effect and make vertical lines truly
vertical, click the Vertical button. Depending on
the nature of the keystoning in the image, the
correction may be quite significant, and also
may require some cropping. The Full button will
apply the corrections and automatically crop the
image, but I generally prefer to apply a manual
crop as it gives me more control. For a more
subtle correction, try the Auto button. This may
not make the vertical lines entirely straight,
but it is an improvement and a good balance
between the original and corrected views.
[ LIGHTROOM MAGAZINE ]

10
 11

[ F E AT U R E ]
SMART PREVIEWS
If your main computer is a laptop and you keep your images
on external drives, you’ll love the addition of Smart Previews.
A Smart Preview is a lossy DNG file that Lightroom uses so you
can apply Develop module adjustments to files even if you’re
not connected to the hard drive where the image is stored. A
new checkbox in the Import dialog lets you build Smart Previews
when you import files, and if you want to have Lightroom auto-
matically generate smart previews for every image you import,
there’s a checkbox in the Import Options section of the General
Preferences that will make this a default for the Import dialog.
You can also generate them for existing images in your catalog
by choosing Library>Previews>Build Smart Previews (there’s also
a menu command there to Discard Smart Previews). Or you can
click on the Original Photo option under the Histogram in both
the Library and Develop modules.

When the drive containing your images isn’t connected, instead

of seeing a question mark on an image thumbnail as in previous
versions of Lightroom, if a Smart Preview exists, you’ll now see
a black rectangle, indicating the original image is offline. But
since that Smart Preview is there, you can still work on the image
in the Develop module and the changes will automatically be
synced with the real image once the hard drive is reconnected.
Smart Previews do make the file size of your catalog larger, so
you may want to only turn them on for those images that you
are most likely to be working on while away from your external
hard drives (the higher rated photos, for example).
 [ LIGHTROOM MAGAZINE ]

12
 13

[ F E AT U R E ]
BOOK MODULE
I M P R OV E M E N T S
You can now create a custom page layout design and
save it as a user-generated template that you can then
apply to any other book project. To do this, just modify
an existing page design as needed, and then Right-click
on the page and choose Save as Custom Page. The next
time you click on the page preview in the Page panel to
open the page templates browser, you’ll see a new cat-
egory for Custom Pages with any custom page design
you have saved available to use in other projects.

Another welcome addition to the Book module is the

ability to add page numbers. You do this by enabling
the Page Numbers checkbox in the Page panel. By
default, page numbers appear on the outer corners of
the pages, but you can change this in the drop-down
menu at the top of the Page panel. By Right-clicking on
a page number, you can specify where the numbering
starts, and you can also hide page numbers on blank
pages. Click on a page number to activate it, and in the
Type panel, you’ll find options for changing the size and
font for the page numbers.
 AND MANY MORE
I M P R OV E M E N T S …
Those are the major new features and improvements in
the Lightroom 5 Beta, but there are many more small,
but significant additions and enhancements. Here are a
few of the more noteworthy ones:

• Combine both still images and video clips in a

slide show.

• New sorting criteria for smart collections.

• The new Grid Overlay (mentioned above in the
Upright section).

• Hold the Command (PC: Ctrl) key with the Grid

Overlay active to display options to modify the Size
and Opacity of the grid.

• Pressing F will give you a true full-screen view of

the active image.

TA K I N G T H E L I G H T R O O M 5
B E TA F O R A S P I N
If you want to give the new Lightroom a try (http://
labs.adobe.com), don’t use it with the actual images
in your current Lightroom catalog (it is still beta soft-
ware). Copy several folders to a new directory and use
those for testing the cool new features in the next ver-
sion of Lightroom. ■

ALL PHOTOS BY SEÁN DUGGAN

[ LIGHTROOM MAGAZINE ]

14
 [ LIGHTROOM MAGAZINE ]

16
 17

[ C O L L E C T I O N S PA N E L ]
THE
COLLECTIONS
GET ORGANIZED:

PANEL R O B S Y LVA N

USING TARGET I’M SURE YOU’VE HEARD ABOUT COLLEC-

TIONS, SMART COLLECTIONS, AND COL-
COLLECTIONS LECTION SETS, BUT HAVE YOU EVER USED
A TARGET COLLECTION? IF YOU HAVEN’T,
THEN I HAVE SOMETHING PRETTY COOL
TO SHARE WITH YOU.
 The default target collection is the Quick Collection, which is found
in the Catalog panel of the Library module. The purpose of the Quick
Collection is to provide a simple way to quickly gather together
a group of photos for whatever reason that makes sense to you.
Perhaps you need to temporarily round up several photos that are
stored across a range of folders for a quick export, or maybe you
need to print them to give to a family member, or some other short-
term reason that doesn’t quite justify creating a long-term collec-
tion for that group of photos.
[ LIGHTROOM MAGAZINE ]

18
 19

[ C O L L E C T I O N S PA N E L ]
ADDING PHOTOS TO You can drag-and-drop photos to the Quick Collection, just like a
regular collection, but the real benefit of the Quick Collection is the
THE COLLECTION keyboard shortcut—simply press B, which allows you to send selected
photos to the Quick Collection with a single keystroke. There’s also a
small, round icon that appears in the upper-right corner of thumbnails
when you move the cursor over the photo. Click that icon to send
that photo to the Quick Collection. The icon stays visible on photos
in the Quick Collection to provide a visual clue to their status. You
can remove photos from the Quick Collection by selecting them and
pressing the Delete (PC: Backspace) key, using the B shortcut key, or
by clicking that round icon.

MAKE ANY The Quick Collection functionality is very handy, but where Light-
room takes it to the next level is in giving us the ability to assign any
COLLECTION regular collection as the target collection. When you assign a regular
collection as the target collection (there can be only one collection
THE TARGET assigned at a time), you give that collection all the powers of the

COLLECTION Quick Collection. That means that now the B key and the round icon
will send selected photos to the assigned target collection instead of
the Quick Collection.
 You assign a collection as the target
collection by Right-clicking the col-
lection and choosing Set as Target
Collection from the contextual menu
that appears. The chosen collection
will be marked with the same small
plus sign icon (+) that was previously
showing on the Quick Collection as
a reminder of its new status.

TARGET One way I love to use the target col-

lection feature is when I need to sort
COLLECTION through large numbers of photos to
add to different collections, such as
AT WORK when I’m working on a book proj-
ect and I need to choose photos for
different chapters. I begin by click-
ing the New Collection icon (+) in
[ LIGHTROOM MAGAZINE ]

the Collections panel header and choosing Create Collection Set, and
then create a regular collection for each chapter of the book. I’ll assign
the chapter I want to work on as the target collection, and then it’s
easy to look through my catalog and quickly add photos to that target
collection by selecting the photo and pressing the B key. It’s a simple
little feature, but one that saves me a lot of time, and I hope you’ll find
it just as useful in your workflow. ■

ALL PHOTOS BY ROB SYLVAN

20
 LIGHTROOM 5 ONE OF STRONGEST FEATURES IN LIGHT-
ROOM 5 IS THE BRAND-NEW RADIAL FILTER.
SPOTLIGHT

THE
FOR ME, THIS NEW FEATURE WILL PROBA-

VIGNETTE BLY TAKE THE PLACE OF THE POST-CROP

PRESETS
VIGNETTE SECTION IN THE EFFECTS PANEL
BECAUSE IT HELPS ME PUT FOCUS ON THE

BEHIND
B Y M AT T K L O S K O W S K I EXACT AREA IN THE PHOTO THAT I WANT.

PRESETS RATHER THAN JUST DARKENING THE EDG-

ES (WHICH IS WHAT POST-CROP DOES), IT
LETS YOU CONTROL WHICH PART OF THE
PHOTO GETS DARKER SO YOU CAN REALLY
DRAW ATTENTION TO THE KEY AREAS. AND
SINCE LIGHTROOM LETS YOU INCLUDE THE
RADIAL FILTER AS A SETTING IN PRESETS,
IT’S A PERFECT CANDIDATE FOR OUR VERY
[ LIGHTROOM MAGAZINE ]

OWN CUSTOM PRESETS.

22
 23

[ BEHIND THE PRESETS ]

STEP Open a photo that has an off-
center area to which you’d like
ONE to draw attention. I find portraits
are great for this since we rarely
capture people dead center in
a photo.

STEP Just to show you what I mean by the vignette darkening the edges around the center, take a look at
what it would do to this photo. You’ll see it starts to darken the top of her head since she’s near the
TWO edge of the photo.

STEP So instead, I’ll use the Radial

Filter (Shift-M). It works just
THREE like the Adjustment Brush and
Graduated Filter. You have a
group of settings that you can
adjust and apply to a specific
area in the photo. In this case,
I’m going to reduce the Expo-
sure setting so that it darkens
part of the photo.
 STEP Now just position your cursor over the
key part of the photo you want to spot-
FOUR light and drag outward. You’ll notice
the Radial Filter leaves whatever is in the
middle of the large circle alone and grad-
ually darkens everything toward the edge
of the circle. It’s almost like a vignette, but
it’s a custom vignette that you can put
wherever you want. Kind of like a spotlight
on the key areas in your photo.

STEP When you’re done, go ahead and save

this as a preset by clicking the Create
FIVE New Preset icon (+) at the top-right
corner of the Presets panel on the left.
Check both the Radial Filters and the
Process Version settings, give it a descrip-
tive name like “Spotlight Vignette (Top
Right),” and click Create.

TRY This is a great preset to create multiple

versions. I do this a lot with my presets.
CREATING For example, just do the same thing
several more times by moving the Radial
MULTIPLE Filter around to other parts of the photo.

VERSIONS Each time, create a new preset for each

section of the photo (top left, bottom
left, top right, and bottom right). I also
created light, medium, and strong ver-
sions of these presets for each position.
So if one photo only needed a little edge
darkening, I’d use the light version, but
if another needed more darkening I’d
use the strong version. This way, you
have a group of presets that you can
quickly click on, depending on where
the focal point of your specific photo is.
[ LIGHTROOM MAGAZINE ]

OR If you want to take the lazy way out, you can always just download these presets from our website
(http://photoshopuser.com/lightroom-app-support). To load presets into Lightroom, go to the Presets
DOWNLOAD panel, Right-click on the set to which you’d like to add the presets, and select Import. Navigate to
the presets on your hard drive and click Import. ■
THEM ALL PHOTOS BY MATT KLOSKOWSKI

24
 [ LIGHTROOM MAGAZINE ]

26
KRISTINA SHERK
 27

[ DEVELOP MODULE ]
THE
DEVELOP
PICTURE PERFECT:

MODULE BY KRISTINA SHERK

BEAUTY THERE’S SOMETHING ABOUT USING

SOFTWARE IN WAYS IT WASN’T EXACTLY
RETOUCHING INTENDED FOR THAT REALLY GETS ME
GOING. MAYBE IT CHALLENGES ME, OR
MAYBE IT JUST GIVES ME THE OPPORTU-
NITY TO GROW AS AN ARTIST. IT’S LIKE
REDISCOVERING THE IMMENSE POTEN-
TIAL OF A SOFTWARE PROGRAM THAT
YOU ALREADY HAVE AT YOUR FINGER-
TIPS. WHO WOULDN’T BE INSPIRED BY
THAT? I’VE WANTED TO DO A CASE STUDY
TO SEE HOW FAR I CAN ACTUALLY TAKE
A BEAUTY IMAGE IF I ONLY RETOUCHED
IT IN LIGHTROOM, SO HERE WE GO.
 I did this about a year ago using onOne’s Perfect Photo Suite 7 and
I was really pleased with the results, so now I’ve tasked myself with
doing the same thing using Lightroom. Given what I know about
Lightroom, this shouldn’t be too hard, but one never knows until they
try! I’ll use the Adjustment Brush quite a bit, and hopefully, I’ll help
you realize the potential behind this tool and inspire you to take a
second look at some of the portraits you already have in your library.

First off, let me give a very large thank you to Muchsin Assaegaf
(www.muchsinassegaf.com) for letting me use his image. Here
at SharkPixel, we primarily focus on retouching and not shoot-
ing, so finding good content to use for instructional purposes is
sometimes hard. Below, you’ll see the unretouched image, and
I must say, it’s a fabulous starting point!

MUCHSIN ASSAEGAF

As a precursor, I’m using Lightroom 4.4 to retouch this image, so for

those of you who might be using Lightroom 3 or earlier, some of the
Adjustment Brush capabilities might not be available.
[ LIGHTROOM MAGAZINE ]

28
 29

[ DEVELOP MODULE ]
STEP ONE I’ll start by using the Spot Removal tool (Q) to get rid of some of
the blemishes on the skin. I’ll also use this tool to get rid of some
of the flyaway hairs. This tool is a nice alternative for both the Spot
Healing Brush and the Clone Stamp tools in Photoshop.

STEP TWO One of the nice things about this tool is that once you select the
appropriate brush size and click the spot to be removed, you get
full control of where you want Lightroom to pull its healing
information from. You can drag-and-drop the second circle (or
the “heal from” circle, as I like to call it) anywhere you want and
move it around until you get a result that you like. If you’re having
trouble seeing through all of those circles, quickly press your
H key to hide and reveal the Spot Removal circles. I’ll also use
much larger Spot Removal circles to fix the two upper corners of
the image where the black background didn’t quite reach to the
ends of the image. Here’s what my image looks like after this step.
 STEP THREE I’ll use the Adjustment Brush (K) with decreased Clarity and Satura-
tion, and slightly increased Exposure and Noise reduction, to paint in
the whites of her eyes. Here are my exact values for my eye white’s
brush. Keep in mind that once you apply the Adjustment Brush,
you can change the sliders to dial in just the right effect. You might
need to change some settings depending upon your subject, photo
resolution, and file type. (Note: To view or hide the Adjustment Brush
mask, press O. To change the color of the mask, press Shift-O.)

This is a personal note, but I never carry out my eye whitening all the
way to the outer corners of the eyes; it just doesn’t look natural. So
that’s why you’ll see a few veins still left in the corners. People seem
to forget that the eye is round, thus it needs shading in the corners
to convey its three-dimensional shape to the viewer.

I also use a low Flow, maybe around 25 or 30, when painting

the eye whites. This ensures that I can paint in the effect little
by little and that I don’t apply my changes to areas that don’t
necessarily need it. These settings keep my retouching realistic
and not overdone.

But before you jump to conclusions, let me be clear. When it comes

to retouching, the words “realistic” and “overdone” are incredibly
relative and can mean completely different things to your client.
Some of my clients are beauty magazines, while others are well-
established photographers who got their start in the film days and
“don’t have the time to learn Photoshop and Lightroom.” So I have
to be cognizant of whom I’m working for.
[ LIGHTROOM MAGAZINE ]

Okay, back to the real reason why you’re reading this. The retouching!

30
 31

[ DEVELOP MODULE ]
STEP FOUR Once I retouch the eye whites, I start on the skin. I dodge and burn
the skin using two very small Adjustment Brushes: one brush light-
ens (dodges), and one brush darkens (burns). Here are the settings
for the two brushes I used. (Note: You can assign an A brush and
a B brush that have different values and quickly switch between
them by clicking on the letter next to Brush at the bottom of the
Adjustment Brush panel. To create a new brush, click New at the
top. To reset the values back to their default settings of 0, double-
click the word “Effect” at the top of the panel.)

One realization I had while retouching this image was that retouch-
ing in Lightroom is almost like doing beauty retouching on a smart
object in Photoshop. This isn’t usually what beauty retouchers do.
Since most of our work is on the pixel level and we need to be
able to manipulate the pixels, editing as a smart object can cause
more harm than good. But for other applications in Photoshop,
smart objects are a must. Just ask Dave Cross, the king of the smart
objects! (Again, I suffer from “tangent-itis,” a very common symp-
tom of my ADD-ness.)

Dodge Burn Here’s the image showing the mask of where I applied my dodg-
ing using the Adjustment Brush. I again used quite a low Flow for
this tool to make sure I wasn’t creating visible brush strokes.
 STEP FIVE When it came to burning with the Adjustment Brush, I created two of
these brushes. One was small and fine, just like the dodge Adjust-
ment Brush, but the second was a larger brush. It was still on a low
Flow, but the larger brush allowed me to increase the dynamics of the
lighting on her face, neck, and shoulders. Here’s a shot of the photo-
graph after I finished dodging and burning the skin.

Burn mask
[ LIGHTROOM MAGAZINE ]

After dodging and burning

32
 33

[ DEVELOP MODULE ]
If you just don’t have the time to dodge and burn your image at
this level of detail, all I’m really doing is lightening small shadows
and darkening slight highlights in the skin. If you’d like a quick-
and-dirty alternative to this process, you can try using a single
brush where you decrease the Highlights slider and increase the
Shadows slider. You might also try decreasing the Contrast in the
brush and then using that to paint in the areas of the skin where
you’d like to see a smoother tonal consistency.

A lot of people go straight to a brush with decreased Clarity and

heavy-handedly smother their subject’s skin with it. I try to avoid
that at all costs. A little bit of skin smoothing is fine, but you’d be
amazed how the need for skin smoothing disappears once you’ve
done a little dodging and burning.

STEP SIX After I finish the skin work, it’s

time to focus on the eyes—get
it? Thankfully, the model already
has pretty awesome eyes, so I only
added Sharpness, Contrast, High-
lights, and Clarity, and decreased
the Shadows. I also added a
few extra lashes to the eyes. The
Sharpening and Contrast I can do
together in one Adjustment Brush.
Here are my settings for the brush
that I used.

And here’s what my eye-sharpen-

ing mask looked like.

Now that you can add a color Tint to any Adjustment Brush, the
possibilities are endless, especially when it comes to eye color!
Keep that in mind when you’re doing creative work, because
it could very well supply your image with that extra pop that it
needs, and playing around and testing all the different color pos-
sibilities is part of the fun.
 STEP SEVEN After I add the sharpening and local contrast to the eyes, it’s now
time to move on to the lashes. This is a little different. I want my
brush to stay small (like it was before) but I want it to have a hard
edge (0 Feather) and a high Flow. You need a high Flow in order to
emulate the look of lashes. Here were my settings for the eyelashes
that I painted in.

STEP EIGHT And here’s the mask. As you can see, I was quite conservative with
the lashes. Part of the reason for this is because she already had fake
lashes on, and my job was just to fill them in, not to create them
from scratch.
[ LIGHTROOM MAGAZINE ]

It’s been amazing to see the true potential of actually how much
you can do with Lightroom in terms of portrait retouching. The next
page shows before and after images again, just to show you the dif-
ferences. So what I was able to learn through this process was this:
If you’re using photography as your medium, it’s all still two dimen-
sional (2D) at the end of the day, and the possibilities of reshaping
light are endless just by increasing and decreasing the tonal values
of your pixels.

34
 35

[ DEVELOP MODULE ]
Before

After

Any program that allows you to manipulate your imagery in such vibrant and artistic ways while leaving the original file untouched
and in pristine condition is priceless. Adobe should be commended for the endless creativity they’ve allowed us to generate, using
our images as the starting point. In closing, thank you, Lightroom, for graciously bowing back and letting our images soak in
the limelight. ■
 BEFORE
MERGING
TWO PHOTOS

BY
M AT T

AFTER
KLOSKOWSKI

LIGHTROOM CONTINUES TO BECOME MORE

AND MORE POWERFUL BUT THERE ARE STILL
TIMES WHEN WE NEED PHOTOSHOP. LAYER-
ING AND MERGING PHOTOS TOGETHER IS
ONE OF THEM. IN THIS EXAMPLE, I HAVE TWO
PHOTOS: ONE WAS TAKEN WITH A POLAR-
IZING FILTER TO ENHANCE THE COLOR AND
CONTRAST AND TO REMOVE GLARE; THE
OTHER WAS TAKEN WITHOUT A POLARIZING
FILTER. AS YOU’LL SEE, EACH PHOTO HAS ITS
[ LIGHTROOM MAGAZINE ]

STRONG POINTS. BY USING LIGHTROOM AND

PHOTOSHOP TOGETHER TO COMBINE THE
BEST PARTS OF EACH IMAGE, WE’RE ABLE TO
GET A BETTER OVERALL FINAL RESULT.

36
37

[ B E FO R E & A F T E R V I D EO T U TO R I A L ]

ALL PHOTOS BY MATT KLOSKOWSKI

 IN LIGHTROOM
WESTON MAGGIO

“LIGHTROOM HAS COMPLETELY CHANGED MY

APPROACH TO PHOTOGRAPHY.” I HEAR THAT
TIME AND AGAIN IN MY TRAVELS, AND I ECHO
THE SAME SENTIMENT. FOR ME, ABOVE ALL
OTHER BENEFITS THAT LIGHTROOM AFFORDS,
WHAT I CHERISH MOST IS THAT IT ENABLES ME
TO SPEND MORE TIME DEVELOPING THE IMAGES
THAT MATTER, AS OPPOSED TO MAKING TIME-
CONSUMING EDITS TO IMAGES THAT SHOULD
BE PASSED OVER, W HICH WAS THE CASE WHEN
PHOTOSHOP WAS MY PRIMARY APP OF CHOICE
FOR IMAGE PROCESSING.

As a longtime Photoshop user, Lightroom was a pretty

radical change for me in the beginning. Sure there
were many similarities to Photoshop, but on its sur-
face there was a missing element to my tried-and-true
workflow: The precise control that I get when applying
[ LIGHTROOM MAGAZINE ]

adjustments with my Wacom pen tablet. That is until

I discovered the pressure-sensitive support of the
Adjustment Brush. Here are some valuable tips for
using a Wacom tablet in Lightroom.

38
 39

[ F E AT U R E ]
ON TABLETS EQUIPPED

WITH A TOUCH RING OR TOUCH

STRIPS, SUCH AS THOSE FOUND

ON WACOM’S PROFESSIONAL PEN

TABLETS (INTUOS5 OR CINTIQ), YOU

CAN DYNAMICALLY ADJUST BRUSH

SIZE BY RUNNING YOUR FINGER

AROUND THE TOUCH-SENSITIVE

RING OR UP AND DOWN THE STRIP.

THE ADJUSTMENT BRUSH

After I’ve imported and sorted my files, the bulk of
my time in Lightroom is spent in the Develop mod-
ule. This is where I, of course, develop my images,
first making global adjustments, that is, adjustments
that affect the entire image. From there, I fine-tune
images by making local adjustments with the Adjust-
ment Brush.

To select the Adjustment Brush, go to the Develop

module and click on the Adjustment Brush icon just
below the Histogram. Or, use my preferred method
of selecting it by simply pressing the K key on the
keyboard. This method will automatically take you to
the Develop module from wherever you are in Light-
room and select the Adjustment Brush. When the
Adjustment Brush is selected, a panel immediately
below the Adjustment Brush’s icon expands to reveal
a variety of adjustment types (e.g., Temperature, Tint,
Exposure, etc.). Modify one or more adjustment types
that you wish to apply by dragging the slider more
or less to the left or right as needed. In this example,
I increased the Exposure by a half a stop, lessened the
Shadows by 5% and bumped up the Clarity by 15%.
 Next, adjust the size of your brush using the Size slider, or for those that have
a tablet equipped with a Touch Ring or Touch Strips, such as those found on
Wacom’s professional pen tablets (Intuos5 or Cintiq), you can dynamically
adjust brush size by running your finger around the touch-sensitive ring or up
and down the strip.

Now, to apply a localized adjustment, paint on an adjustment’s effect using

the pressure-sensitive Wacom pen. Pressing lightly reveals the effects of the
adjustment at a low level of opacity; pressing harder reveals the effects at a
higher level of opacity. To apply multiple local adjustments, click New directly
below the Adjustment Brush tool and repeat the process of selecting an
adjustment type and paint away!

The Adjustment Brush seemingly paints on effects to your image. What it’s
in fact doing behind the scenes is painting on a mask, which reveals the

PAINT ON AN ADJUSTMENT’S EFFECT USING

THE PRESSURE-SENSITIVE WACOM PEN.

PRESSING LIGHTLY REVEALS THE EFFECTS

OF THE ADJUSTMENT AT A LOW LEVEL OF

[ LIGHTROOM MAGAZINE ]

OPACITY; PRESSING HARDER REVEALS THE

EFFECTS AT A HIGHER LEVEL OF OPACITY.

40
 41

[ F E AT U R E ]
adjustment(s) that you selected. (To see the mask, hover your cursor over
any of the Adjustment Brush pins.) Should you wish to increase or lessen
the intensity of an adjustment, you can further refine it by dragging the slid-
ers accordingly. The effects of the adjustment are confined to the mask that
you painted.

In the event that you should paint on an adjustment too heavy or in an

area that you have decided you don’t want, holding the Option (PC: Alt) key
down temporarily changes your brush to an eraser. From there you may erase
any adjustment.

Additional options for the Adjustment Brush can be found in the Brush area
of the panel. They include:
• Feather: Adjusts the overall softness of a brush.
• Flow: Adjusts the rate of speed at which an adjustment is applied.
• Auto Mask: When checked, confines the effects of an adjustment
to similar color and contrasting.
• Density: For all intents and purposes translated as opacity, Density
controls the transparency of a stroke.

Finally, there’s an option to specify options for two different brushes (A and B)
so that you can quickly change the way a brush behaves each time you use it.
For example, under A, I may specify a rather large brush with “soft” settings
to apply broad, sweeping adjustments. Under B, I may specify a more detailed
brush for making more precise adjustments. To quickly switch between the
brushes, tap the Forward Slash (/) key on your keyboard.

Switching gears a bit, it should be noted that in addition to the Adjustment

Brush, the Spot Removal and Red Eye Correction tools, though not pres-
sure sensitive, are more intuitively applied using a pen tablet because of their
brush-like effect. Further, as the tools behave like brushes, you can adjust
their size using a Touch Ring or Touch Strip, as I mentioned earlier.
 [ LIGHTROOM MAGAZINE ]

42
[ AFTER ]
[ BEFORE ]

THE EXPRESSKEYS
Beyond the pressure-sensitive pen support of the
Adjustment Brush and the intuitive control of the other
adjustment tools, perhaps an equal, if not greater
benefit, to using a tablet in Lightroom is the ease
in which you can access Lightroom’s menu-driven
interface with tablet functions, including ExpressKeys
and Radial Menus. Tablet functions are set up in the
Wacom Tablet Preferences.
ExpressKeys are physical buttons on the tablet that can
be assigned common keystrokes and other operations.
Simple as it may seem, you would be surprised to
43
[ F E AT U R E ]
know how much time it takes to find the right menu;
then the right submenu; click the desired command;
and then regain your desired hand-on-keyboard posi-
tion. With ExpressKeys, you can assign a keystroke or
combination of keystrokes to be applied with a single
tap of your finger on the tablet.
For example, on my Intuos5 Medium tablet which
has eight ExpressKeys, I’ve set up one of my keys to
show me a before and after view and another to tog-
gle the photo info screen. I show my work to others
on an impromptu basis, so I use the Lights Out and
Full Screen functions quite a bit. Finally, one of my
favorites is the almighty undo. ExpressKeys save me
a ton of time.
To set up ExpressKeys on a tablet, navigate to the
System Preferences (PC: Control Panel directory) and
select Wacom Tablet (or similar). Once viewing the
Wacom Tablet properties, click on the Functions icon in
the Tool row to reveal the ExpressKeys tab. To custom-
ize your ExpressKeys specifically for Lightroom, click on
the plus (+) icon to the right of the Application row,
and either select Lightroom from the list of active appli-
cations, or navigate to it in your Applications folder.
Once the Lightroom icon appears in the Application
row, click on it so that any functions you assign to
the ExpressKeys will work in Lightroom only.
Click on any of the drop-down menus next to each
ExpressKey and select Keystroke or other function that
you wish to assign. In the case of keystrokes, simply
type the keyboard shortcut that you use in Lightroom,
enter a descriptive name, and click OK. That’s it!
 TH E RADIAL MENU
An extension to ExpressKeys, the Radial Menu function places a custom, context-sensitive,
heads-up menu on your screen with the simple touch of an ExpressKey (you’ll need to
assign the Radial Menu to an ExpressKey in the Wacom Tablet Preferences). This menu,
in what else but a radial format, contains eight slices that can be assigned common key-
strokes just like ExpressKeys. Once onscreen, using
your pen, simply tap on the function that you wish
to apply and the shortcut is triggered. I like to say
that the Radial Menu provides you with “pen-point
access to your most common functions.”

In context, Wacom tablets are most commonly

discussed alongside brush-like tasks in specific appli-
cations, but in fact they outperform any task that
a mouse, track pad, etc. can do. Add to that fact
the convenient access to shortcuts and functions,
again in any application, that Touch Rings and Strips,
ExpressKeys, and Radial Menus provide and the tablet
becomes valuable in truly any application.

At the end of the day, for me, it’s all about the image.
The combination of a Wacom pen and tablet enables
me to get a level of control, comfort, and productivity
that I just can’t get with a mouse. And that combina-
tion enables me to create the best possible image that
I can produce. ■
[ LIGHTROOM MAGAZINE ]

Weston Maggio is an avid photographer and solutions professional for Wacom Tech-
nology, the world’s leading manufacturer of pen tablets, interactive pen displays, and
digital interface solutions. As a seasoned veteran tablet user, Wes is a popular trainer
and speaker, regularly consulting creative professionals and enthusiasts, instructing
them on ways to realize their vision and optimize their workflow. When not behind a
computer, Wes enjoys the outdoors, shooting everything from pristine landscapes to
fast action sports.

ALL PHOTOS BY WESTON MAGGIO

44
 [ LIGHTROOM MAGAZINE ]

46
 47

[ L I G H T RO O M P LU G - I N S ]
LIGHTROOM
MAXIMUM WORKFLOW:

PLUG-INS R A FA E L “ R C ” C O N C E P C I O N

PHOTOMATIX PHOTOGRAPHY IS A GAME OF COMPRO-

MISE. YOU EXPOSE FOR ONE REGION OF
PRO A PICTURE AND ANOTHER PORTION OF IT
WILL BE POORLY EXPOSED. FOR A VERY
LONG TIME, WE’VE ATTEMPTED TO MITI-
GATE THIS PROBLEM BY EXPOSING FOR
THE MIDTONES. THANKFULLY, SOFTWARE
LIKE PHOTOMATIX PRO FROM HDRSOFT
ALLOWS US TO MERGE MULTIPLE EXPO-
SURES OF THE SAME PHOTO TO CREATE
A HIGH-DYNAMIC RANGE (HDR) PHOTO
WITH PROPER EXPOSURE FOR HIGH-
LIGHTS, MIDTONES, AND SHADOWS.
 Let’s walk through the process of making an HDR image with
Photomatix Pro and Lightroom.

To make a high-dynamic range image, you’re going to need sev-

eral exposures of the same image. Make a series of exposures with
about a 1-stop difference between each exposure. As a general
rule, you’ll need about three exposures, but I generally like using
five or seven exposures, based on the situation (I explain these situ-
ations in The HDR Book).

PREPARE YOUR With your images in Lightroom, press G to enter Grid view in the
Library module, go to the Collections panel (assuming your work
FILES IN LIGHTROOM with collections), and select the photos you want to use to create
your HDR image. Right-click on one of the photos, and choose
Export>Photomatix Pro from the list. This brings up the Settings for
Processing Exported Photos dialog, where you can correct for any
shifts in the image (see next page). Align Images allows you to try
to adjust images based on whether or not you moved the camera
between shots. Remove Ghosts is usually employed to combat
whether or not elements in your shot have moved, such as trees
blowing in the wind, people moving, flowing water, etc.
[ LIGHTROOM MAGAZINE ]

The option to Show Intermediary 32-Bit HDR Image allows you to

save the merged 32-bit file before you tone map it (more on tone
mapping later). Turning on Automatically Re-import into Lightroom
Library will give you a Save and Re-import button instead of just a
Process button after tone mapping the image. This will save you

48
 49

[ L I G H T RO O M P LU G - I N S ]
time from manually saving the image and then reimporting it
into Lightroom.

Click Export to send the photos to Photomatix Pro, which merges

them into a 32-bit high-dynamic range file. To be honest, the result
is actually a little anticlimactic because this 32-bit file has so much
information in it that our monitors aren’t capable of displaying the
tonality. The results may look weird; however, the detail is in there
(see image below).

From here (if you turned on the Show Intermediary 32-Bit HDR
Image option), you can choose File>Save and save this file as
a 32-bit Floating Point TIFF image that will hold all of the HDR
detail for you to use later. This file could then be imported into
Lightroom, which now has much greater exposure support for
these 32-bit HDR TIFF files. This is certainly a great step in the
right direction for Lightroom, but it feels a little half finished
(I have an article on this in Issue #1 of Lightroom Magazine).

Another option is to save this file as a Radiance RGBE HDR file,

which can be useful later if you want to get back to this step with-
out having to perform all of the merging that you’ve previously
undertaken (something that can take a fair bit of time, depending
on how many images you’re merging). If you’re creating this one
HDR file, and you’re not really concerned with archiving or going
back to this version of the file, I recommend spending the time try-
ing to take the tonality that you cannot see and mapping it to an
area that you can see. This process in HDR is known as tone map-
ping—the cornerstone of the artistic interpretation of HDR images.
 WORKING IN In the floating Workflow Shortcuts dialog, click the Tone Mapping/
Fusion button. This brings up a floating Adjustments panel on the
PHOTOMATIX PRO left, a Preview panel showing the tone-mapped image in the mid-
dle, and a Presets panel on the right. (Tip: If you don’t need to save
your merged image before tone mapping as described above, don’t
turn on the Show Intermediary 32-Bit HDR Image option in the Set-
tings for Processing Exported Files dialog. With that option turned
off, Photomatix will take you directly to the tone mapping area.)
You can also view an 8-bit histogram (View>8-bit Histogram). Note:
If you’ve used Photomatix before, it remembers the previous tone
map you generated and that will drive the look of the current image
onscreen, but you can change the image back to the non-tone-
mapped version by clicking the Default button near the bottom of
the Adjustments panel.

I tend to create a tone map pretty much the same way every time,
so I thought it might be best to just go over those settings in groups
(see next page).
[ LIGHTROOM MAGAZINE ]

50

Strength: This slider affects the degree of contrast and detail in your
image. I tend to leave this at 100 because this is the emphasis of
the HDR effect and I really want to drive as much of it into the
image as possible.
Color Saturation: I don’t really play with this too much, but I will
drag the slider over to the right to about 50. Think of it this way;
I can always add more color in Photoshop, but that can make it
really hard to get rid of color in Photoshop if I go overboard here.
Luminosity: I usually adjust this slider toward the end of my work in
Photomatix (see below).
Detail Contrast: I typically drag this slider all the way to the right to
create images that have a lot of detail, so the more cowbell I can get
in the image, the better.
Lighting Adjustments: This slider controls the overall HDR processed
look. Moving this slider to the right creates more of a realistic-looking
HDR file, while moving it to the left creates a more surreal look.
51
[ L I G H T RO O M P LU G - I N S ]
After making the initial adjustments, I’ll usually start working with
overall brightness in the image. Click the Show More Options tab
and adjust the following sliders.
Gamma: This is the midpoint between dark and light pixels.
I tend to move this slider over to the left and make the image
a little darker.
White Point: This controls how white is the brightest part of the
image. Once I have the general darkness of the file (the mood, if
you will), I’ll make adjustments to add bright spots to the image.
Black Point: Controls the overall darkness of the image. I usually
use this to introduce a little bit of drama in the shadow areas.
Luminosity: Once all of the pieces are set in the picture, I’ll go
ahead and adjust the Luminosity slider to give it a final touch.
 Click the Save and Re-import button to send the image back to
Lightroom. The problem is that the file doesn’t go back into your
collection (a major pet peeve of mine). To add it to the collection,
in the Library module, click All Photographs in the Catalog panel.
The file will be at the bottom of your list, provided that you have
your Sort set to Added Order in the Toolbar above the Filmstrip.
Drag the image from there back to your collection.

It’s important to understand that your work in Photomatix is really

step one in a two-step process. Most of the files that come out of
a tone map can use some processing to make them sing. There
are a bunch of final tweaks that I’ll do to the file to get them in
tip-top shape.
[ LIGHTROOM MAGAZINE ]

52
 53

[ L I G H T RO O M P LU G - I N S ]
PROCESS YOUR With your photo selected, press D to take it into the Develop
module. In the Detail panel on the right, adjust the Sharpening
TONE-MAPPED IMAGE and Noise Reduction. Doing this can greatly improve the image.
No extra plug-ins are needed and the results can be startling.

From here, I’ll further tweak the colors in the scene by drag-
ging the sliders in the HSL panel, combined with the sliders in
the Basic panel. I’m looking to eek out as much contrast as
I can out of these images. I’m also looking to focus attention
to the sections of the image that I want to draw attention to,
so I’ll make great use of the Adjustment Brush (K) to darken
and lighten parts in the image.

At the end of the day, the tone-mapped file is really just another
base image. Lightroom can bring out some great details in the
image that the tone-mapping process missed, and take a good
shot and make it a great shot.
 One of the most beautiful things to me is that the finished HDR
image isn’t a hyperrealistic version of the original exposures; it’s a
new image in its own right—a better sum of all of those parts. ■
[ LIGHTROOM MAGAZINE ]

Final HDR image

ALL PHOTOS BY RAFAEL “RC” CONCEPCION

54
 TIPS
TRICKS
AND
IMPORT TO A
BY SEÁN DUGGAN

TO TARGET A SPECIFIC FOLDER

FOR IMPORT WITHOUT HAVING TO

FOLDER FROM SEARCH FOR IT IN THE IMPORT

DIALOG, FROM THE LIBRARY MOD-
THE LIBRARY ULE, RIGHT-CLICK A FOLDER IN

MODULE THE FOLDERS PANEL AND CHOOSE

IMPORT TO THIS FOLDER.
[ LIGHTROOM MAGAZINE ]

56
 57

[ T I PS A N D T R I C KS ]
KEEP KEYWORD When keywording images, Command-Right Arrow (PC: Ctrl-Right
Arrow) moves to the next image while keeping the keyword field
FIELD HIGHLIGHTED highlighted (the same shortcut also works for captioning).

USE KEYWORD Keyword Sets in the Key-

wording panel are a great
SETS FOR COMMON way to create a group of
nine frequently used key-
KEYWORDS words. To get you started,
Lightroom has three sets
ready for use: Outdoor
Photography, Portrait Pho-
tography, and Wedding
Photography. Hold down
the Option (PC: Alt) key
and you’ll see numbers
appear next to the key-
word fields. These refer
to the keyboard shortcut
that you can use with the
Option (PC: Alt) key to
apply the keywords. To create a new set, choose one of the existing
sets and, from the drop-down menu, choose Edit Set. Change the
nine keywords as needed, click the Preset drop-down menu at the
top of the dialog, choose Save Current Settings As New Preset, give
your preset a name, click Create, and click Change. Now click on a
keyword or use the shortcut Option-1 through 9 (PC: Alt-1 through 9)
to apply it to the selected photos.

HDR PROCESSING IN Lightroom 4.1 and above supports editing 32-bit TIFF files.
Select a range of exposures from an HDR sequence and choose
LIGHTROOM (WITH HELP Photo>Edit In>Merge to HDR Pro in Photoshop. In the Merge to
HDR Pro dialog, set Mode to 32 Bit, but make no other changes.
FROM PHOTOSHOP) Click OK and when the merge is done, save as a TIFF file. Now
you can bring that TIFF into Lightroom and do your editing on the
full 32-bit HDR data.
 DRAG-AND-DROP When viewing the Before/After view (Y), you can drag-and-drop dif-
ferent History states onto the Before view to compare the current
HISTORY STATES state of the image with other states in the develop history.

TO BEFORE VIEW

USE COMPARE It’s not uncommon to have several shots from an event of the same
scene or setup. To help you decide which one is the keeper, use Com-
AND SURVEY VIEWS pare and Survey views. For Compare, select two thumbnails, and then
press C to display both images side by side. Press Tab to hide the side
panels for a larger display. For more than two images, select all of
the thumbnails you want to review, and then press N to enter Survey
view. This makes it easy to see all of the similar images and narrow the
choice down to the best one or two shots (I like to think of the key-
board shortcut as N for “Narrow”). As you refine your picks, click the
small X in the lower corner of an image your cursor is over to remove
it from Survey view.

ATTACH TO This is a cool and very fast way to attach a photo to an email. Select a
[ LIGHTROOM MAGAZINE ]

photo and press Command-Shift-M (PC: Ctrl-Shift-M) to open a dialog

EMAIL SHORTCUT where you can add email addresses, type a subject line, choose the
email program, and select an image size and quality preset. ■

ALL PHOTOS BY SEÁN DUGGAN

58
FEATURED
PHOTOGRAphER

Folders/Terri Gold
Terri Terri Gold is an award-winning photographer known for her poetic imagery from all over the world.

Gold Her photography has been published and exhibited widely.

ALL PHOTOS BY Terri Gold

FEATUREDPHOTOGRAphER I Terri Gold I

Folders/Terri Gold
Her body of work, “Still Points in a Turning World,” captures the ways in which people find meaning in their lives, and how individuals
explore their existence through their traditions.
Gold’s work is interpretive in nature. Her technique often involves using the invisible infrared light spectrum, which adds a surreal
quality that can touch another dimension that exists beyond our visual spectrum.

Folders/Terri Gold
“No matter where I am, I’m always happiest with a camera or three in my hands.”
To see more of Terri’s work, visit www.terrigoldworldimagery.com.

Folders/Terri Gold
 LIGHTROOM
LIGHTROOM
THE ADOBE PHOTOSHOP LIGHTROOM HOW-TO MAGAZINE
® ® ®

MAGAZINE IN THE
NEXT ISSUE
GET ORGANIZED
Smart Previews in
Lightroom 5

DEVELOP MODULE
Lens Corrections

Produced by the National Association of Photoshop Professionals www.photoshopuser.com