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mrca

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I have been tethering to light room, doing a custom white balance and taking my first shot with each light set up with a shot of a color checker passport. After completing the shoot, I would then use color checker passport photo and then sync those adjustments to all the other photos in that light. I have searched the internet, my notes and believe after taking the first shot of the ccpassport, I can use it to adjust white balance, even tweaking warmth with the warming patches and then somehow sync those changes to all photos as they come in. Two questions, how is it done and would it slow down the loading of the image on the screen as it is already slow enough.
 
I'd make the adjustments to the first photo, select all the photos you want the changes applied to then hit the Sync button in Lightroom.

How to Use Lightroom Sync (Sync Edits on Multiple Images)

It may take a short while to apply to all the photos, but after that you shouldn't see any significant slowdown.
 
So, after I sync one photo, all photos that come in from my tethered camera during the shoot will have the changes applied so I can see what the actual photo with changes looks like? That was too easy. But as I spend DAYS mastering making books/albums in ProSelect, I guess anything is easy.
 
You'll meed to take all your shots, import them to lightroom, edit one shot, then select the rest with shift or control and hit sync. The edits you've made in the first image should then be applied to all the ones you selected.
 
So I cant have LR apply the changes as additional images come in from the tethered camera? I guess I could do a custom wb in my camera and that would get it close as the images come in. Once I have finishted a series with one lighting setup, I guess I could then sync those images.
 
My goal was to have images coming in from a tethered camera have the color checker passport custom profile applied. Make the custom profile and name it. Make it a preset from the top of the left column in LR clicking the + for a new preset. Name the preset. Thanks to Scott Kelby's book How do I do that in Lightroom, I learned to get the preset applied as images come in, go to Library>import>click upper r button saying apply during import>develop settings>the preset. Now as I shoot, the images appear in LR with the color checker passport profile applied. You can also add other edits to the preset so they come in as well.
 
So I cant have LR apply the changes as additional images come in from the tethered camera? I guess I could do a custom wb in my camera and that would get it close as the images come in. Once I have finishted a series with one lighting setup, I guess I could then sync those images.
I've not tested this with tethered shooting, but you can have Lightroom apply a profile during import, so I would guess it's the same while shooting tethered.

Edit:
I just tried it. It seems like it works. You could also select "same as previous" and then just do the adjustments to the first image.
 
Last edited:
You can also do it from the the Teather dialog box. From the Adobe instructions, #5.
How to import photos into Lightroom Classic from a tethered camera
  • Optionally, choose a preset to apply on import from the Develop Settings pop-up menu. See Apply Develop settings to photos when importing.
  • Click the Settings button in the lower-right corner of the floating bar to edit capture settings.
  • You can control the Shutter Speed, Aperture, ISO, and White Balance of the tethered camera from the floating capture bar.
I'm a little less prescise using a white,gray, black target as my first shot. I use a standard camera white balance for my lights of 5500, which is close and correct later in LR by adjusting my first shot to the target. The "creative side" of me likes the leeway of adjusting a color balance by eye. :apathy: Once I have the first one set, I highlight all of the images in the set to select, then click on Sync to apply to all.
 
Thanks, Smoke, I wanted to use ccpp to get "correct" color, then I usually warm it one or 2 warming patches, then have all images come in that way. I am also usually concerned about making sure the blacks are in a bit off the left side of the histogram to be sure they will print and darkening them doesn't introduce problems like trying to lighten them. Same with white point expecially on hair/rim lights. I can do it visually on the monitor can check to be sure they aren't clipped. I do that pretty much before client arrives so when they arrive, especially with short attention span kids involved, we hit the deck shooting. If I don't do a custom white balance which I don't do on additional light set ups, I can click on the gray patches on the ccpp to white balance in post then apply the ccpp profile, select all images and apply. I just like starting with proper color then can adjust if need be. I will try what I believe works in studio this after noon and let you folks know.
 
@mrca you mention a couple points that relate back to why I don't do much on the import stage. I want a full histogram before I set my WB because under/over exposures will affect it, so my first step in LR is to set the exposure using the histogram for guidance, then adjust contrast, then adjust WB. From there I set the White point, by holding down the Alt key and adjusting the slider until I see them start to appear. I repeat the same thing with the black slider. From there I complete my settings. I don't use presets much anymore, instead I prefer Profiles (which don't affect sliders).
 
Smoke, because I am shooting in a fairly dark studio, I have complete control of light, I can adjust lights using a meter to give me a margin for black point and get inside clipping and can check it on the LR histogram and fine tune. I'm not as concerned about adjusting contrast because I have set it with my meter and can fine tune it in post. I want to avoid pulling back shadows and producing noise or having shadows too dark to print. I have determined at what black point my printer/paper combination produces detail so want to start inside that. I usually want detail in the kicker highlights and can both see it on the monitor and watch the r side of the histogram, taking into consideration there may be speculars off jewelry etc so checking the highlight warnings dials that in. One those are set, I have the best file to work with in post. I guess I could set the sliders to do that, but why start with a less than ideal file. If I was in a situation where I was going to just print the file, like at an event where it goes straight to the printer, adding saturation, sharpening, contrast in the profile applied as shot could save time. Just another tool handy to have. But starting with good color eliminates one issue and being able to nail it is just part of the equation. In shoot, as so many are, where your time is limited, I would take the first shot with the ccpp and adjust color in post. Heading into the studio now and will test. Re positioned my hair light aimed down more thinking it would help with flare (that I didn't even see) and I think I got a floor bounce that hit the shiny board on the floor, bounced up against the 11' white ceiling and took the face with no other lights on from nearly black to recognizable. Interesting. Hmm, will put a black sheet on the floor behind subject and see if that confirms it. Gotta love lighting.
 
After re hanging my hair light, I had it aimed too high and towards camera. I took a shoot and didn't note any flare. I adjusted it but too low at the floor that is covered with white shinny board. A shot that way lightened up the face- I was only using the hair light and was rendering everything pure black without it. This time I noted the face seemed lighter not much but lighter. There was a narrow spike all the way to the top of the histogram just past the left block. So I placed a black sheet on the floor where the light was aimed, bingo the spike disappeared. Apparently the light was bouncing off the floor and around the room or up and into the lens. Adjusting the strip box about shoulder height, the spike was gone and a bit of a line at the edge of the histogram block but no visible change in the image. Lesson, having a pure white floor can bounce a bunch of light back at camera as well as all over my small space.
 
Lesson, having a pure white floor can bounce a bunch of light back at camera as well as all over my small space.

As can brightly colored objects hanging around the room - been there, done that. Have the bald spot where I pulled out my hair trying to figure out where it was coming from. LOL
 
Ah, is that where mine came from. I thought it was from those u turns.. nevermind. Fortunately black wallmart sheets are inexpensive. Mine resides in my suv and covers gear with passenger window back blacked out. But just ordered a spring loaded curtain rod and now can use it doubled over it to black out a picture window in my residential studio. Sheets real multi taskers, can have subjects sit on them and the provide padding that can be used to shoot.
 
@mrca my "studio space" does double duty as one bay of a heated/cooled garage. Everything is either mounted or close by in a storage area that lets me setup or take down in about 30mins. The only thing I've yet to come up with is a better solution for the concrete floor. It's hard, cold and unattractive, plus I always worry about dropping something. My original plan was to use gray epoxy, but that doesn't solve the other issues. Also thought about the garage mats, but not sure how they would hold up to a hot tire in the summer.
 

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