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It's so easy when I follow you 😊 because you're so good at going slow and explaining things... now if I could only figure it out on my own without your tutorial(s)! 🤔 Thanks once again for including details and keeping with the latest versions to learn from. 👍

Just subscribed simply because you're a lovely chap and seem so genuine and sincere. Your explanations were clear, easy to understand and full of information. I mostly do portrait photography but this helped a lot, keep going Mr Terry. Love your work from the Philippines 🇵🇭

This has to be the best video I’ve seen on this subject…and I’ve watched a ton! Very clear and logical progression through the steps. Sadly my D500 doesn’t have this feature 😢 so manual stacking is my only option.

I watched the whole thing once, then went back to work on the photo I'd selected. The whole right side of my LRC disappeared. Yes, I'm in develop. There's nothing there except gray on either side of my photo. I'm making this harder on myself than I should be. Thanks for any help you can give. I even closed the app then reopened it (the Microsoft solution) but it didn't make a difference.

Just found your CZcams site, Terry often used to listen to your Podcasts so i am very pleased to find these videos, although I thought I knew Lightroom and Photoshop pretty well, I have certainly learnt new procedures, thank you so much

Great video, Terry. I've been thinking of "filling in" the two gaps in my Nikkor Z prime lenses, the 24 and the Plena 135. I love my 50mm f/1.8 and my 85mm f/1.8. I'd rather spring for the Plena than the Z6 iii (same price) since I'm currently shooting on a Z7 mark 1 and a Z9. I've got the cameras covered. YOUR video was wonderful.

Happy Valentine’s Day, belatedly 😂

Love the titmouse! 🤣

Of all the video I have watched on this subject….YOU explained it in a nice pace, the hows and whys….and it makes sense! Also bought your book!

i disagree...too jerky...not slow motion at all

This is such a fun filter! You're an excellent teacher!

I believe LR has changed catalogs a bit and they no longer recommend creating more than one catalog. They can now hold unlimited images.

Can you make a Lrc for videos editing

A fantastic video. I've learnt so much. Very many thanks for sharing your knowledge.

I already knew this but I watched anyway, great explanation.

Thank you Terry Vander Heiden for another great video. Your explanation and attention to details is great.

This is really beginner guide, no lie! Great tutorial, thanks.

So tired of sales pitches.

So add 2stops with the nd filter? ( analogic photographer)

Great job. I am learning LRC mostly from your beginner videos, and this was a great supplement to your first LRC introductory video where you mispell a word (I think it was the word "first" spelled as "frist"). Anyway, this was a veriy helpful video, it really clarified some things I found a bit confusing. Thanks again.

Here's a shallow dive: keep your DSLR's for now.

Excellent tutorial. Thank you!

0:00 Introduction 1:49 Zeiss Conquest 10x42 ($699) 3:20 Canon 15x50 IS ($1200) 6:58 Swarovski NL Pure 10x42 ($3500) 9:37 Conclusion

Personally, I strongly advise against shooting RAW. It can be a significant drain on time and mental energy, often leading to unnecessary editing obsession and potential mental health concerns. Professionalism in photography is about both approach and results. It's about harnessing light effectively, not just relying on megapixels or formats. Making mistakes with the intent to fix them later is not professional. Most of the edits you do with RAW can be set up in-camera. Create various profiles, adjust settings like saturation, contrast, sharpness, and warmth to get consistent results you want straight from the camera and avoid losing time later. Overexposed skies and completely failed white balance are your mistakes, not a reason to shoot in RAW. Get your exposure right, use exposure compensation if needed, and take advantage of built-in modes like ADL on Nikon (the "High" setting squeezes at least one more stop of highlights into the JPEG). On older cameras, decrease the contrast setting to store more highlights in challenging conditions, since contrast in camera is applied using RAW data before storing as JPEG. Not to mention multi-shot HDR modes. It's also good to use real gradient lens filters to balance exposure naturally and avoid relying too heavily on editing skies. It's not always important to preserve every single highlight in your images. Sometimes, a few blown highlights can add a natural, artistic touch to a photograph, conveying a sense of brightness and contrast that enhances the overall composition. Over-focusing on retaining every highlight can lead to flat, unnatural images that lack the dynamic range and emotional impact viewers appreciate. Instead, prioritize capturing the essence and mood of the scene. As a creator, you have the power to redefine what is considered a mistake versus your own creativity and unique perspective. Important: you have LCD previews and histograms, you have metering data, you have clipping indicators, so why make mistakes? It's not a film anymore! And cameras are not that bad at metering nowadays. For small unavoidable mistakes JPEGs allow for moderate edits like shadow lifting and color correction. While severe editing rarely works well regardless of the format. Save time by refining your photography skills and spending more time shooting, not editing. While RAW files store more information, the need for significant adjustments indicates poor shooting and poor knowledge of your camera's abilities. Ignoring exposure or white balance setting with the thought "I'm shooting RAW, I don't care" isn't professional at all! Focus on getting the shot right in-camera. Consistent, well-exposed images with minimal need for post-processing show true professionalism. Save your precious time by honing your skills and capturing great photos from the start. Save RAW for the pixel-peepers. Pixel-peeping is a largely meaningless activity since almost no one can tell the difference between RAW and JPEG in a downscaled or printed image. Yes, RAW captures more detail, but you can control such aspects directly in-camera. Think in reverse: if you're photographing a subject with fine, low-contrast texture with intent to do cropping and emphasize that fine texture later, increase the sharpness in-camera before shooting. The JPEG will then store more details than usually. Still choosing a different lens or adjusting your distance to the subject and adjusting lighting of the subject might yield a better image, emphasizing real photography workflow over excessive reliance on editing and RAW data preservation. (I mean, if you don't know how to use light to enhance fine textures and your only solution is to rely on "texture", "clarity", or "sharpness" sliders, you're not doing a professional job. Simply switching the file format to 'RAW' doesn't make you a pro or improve image quality, even if you spend ten hours editing that image.) Ultimately, viewers value composition, lighting, and the overall impact of an image, not the format or how much highlight or fine sharpness you've preserved.

Great, even me can follow that😅

Good Video,but i have a Problem,-after stacking the photos, Helicon give me different sizes,about 5 to 10Pixel different.Then,when i try to give them to the HDR prog it says that it need same picture sizes. What i do wrong here?

Thank you for all of your informative videos. They really do help me. I appreciate it. Thank you.

Thanks for an excellent video. I know how to go from Lightroom Classic to photoshop and back. But If I open an image and edit it in photoshop, without first using Lightroom Classic, how do I get imported into Lightroom classic?

Fantastic, all my questions have been answered.

Thank you so much. I've been using Photoshop for many years, but I learnt so much in just this half hour on selections 😊. You have a very easy manner and explain the process in an easy-to-follow way. I shall be checking out all your other videos.

Thanks for your review, Terry. I had been waiting for Nikon's 135mm Z mount lens for a long time. So long, in fact, that I picked up a used 200mm f/2 VR - more on that later. I haven't picked up the PLENA yet, because I haven't had situations come up where I needed to be a bit closer or have a lens just a touch faster. I know if they added VR to the lens, it would have been even more expensive, but it would have been a nice touch for hand holding. Now I'm not a professional photographer (and my business card says so) - and I heard for a long time other photographers say, "you buy the 200mm f/2 to shoot it at f/2, so I never shoot it at anything else". Well, it took me a few months to realize the nonsense or bias built into that statement. So I began to toy with closing down the aperture for environmental portraits - and you know what I learned - even at f/7.1, the bokeh of the background was so smooth, that my 70-200mm f/2.8 couldn't compare. The 180mm f/2.8 really didn't compare. My question to you is, how does the PLENA render stopped down, and do you ever feel you need or want VR? Any other aspects (positive or negative) you can share? Focus speed? If you've ever shot the 200mm f/2, how would you say they compare (differences or similarities). Blowing out backgrounds smoothly is the forte of the 200 (and looks like the 135mm). I personally find, that while I love the look now and then, it ages on me. Not being able to identify anything in the background (the fast lens trap) seems more a function of the equipment (yes, I know distance to subject and from subject to background is important), but I find for me, now at this point, shooting stopped down and making everything in the frame have relevance a bit more challenging (compositionally). Happy with the color rendition? I can't tell you how happy you made me when you spoke about "what kind of portrait" (i.e. 3/4 or full length) this is good for. Long story behind that, but I've often said the same for the 200mm f/2. Thank you for kindly taking your time to make this video, and for providing your examples (i.e. DOF) and example shots.

Hi. Question. When you were filming the birds, did you have it set to single or continuous focus? Thanks.

I cannot get any tools to work either in Beta or PSCC 24. any ideas? I have done defrag, disc clean and rebooted I have also used different images in jpg and raw. I'm using Win10.

Hi, friend I can't find the preset tool in my Lightroom PC, can you help me find it?

amazingly helpful!

Excellent video. You are a good teacher Terry. These videos have taken me to a new level in Photoshop.

The tutorial is great and THANK YOU for posting it. I am new to Lightroom Classic and I have followed the tutorial but all the changes that I made in masking it did not save after exporting it. Can you please provide an information on how to save it with all the masking changes? Thanks a lot!

Hi Terry, I create a mask on subject when I É.g. Increase the exposure it does to the entire photo how can I fix? Thanks (Daniel from Quebec Canada)

Terry thanks for this excellent video that really helps a Lightroom old geezer who needs to learn the newer features. This masking capability is fantastic.

A thorough review. Thanks for your effort.

I have been dreading and avoiding learning Photoshop because of how daunting it is. I have tried several other videos attempting to get familiar with the program with no success. You are explaining every step so clearly, that I am finally understanding the program and how to use it! I do have one question. If I missed this in the first video, I apologize. When you are in Lightroom and go to the edit in photoshop and that box pops up to ask if you want to edit the original or with Lightroom edits, which one should you be using? In another video I was watching, it said the best way to edit is to use the original photo without any Lightroom edits. If I edit an original photo with no edits in Photoshop then bring it back into Lightroom, because of the type of file it becomes, I will not have all the tools available to edit the photo in Lightroom. (ex. jpeg file vs raw file) What is the correct process for that?

Lesson 9. 10 out of 10 again! 👍🏻Also several very useful tips during this lesson. Thanks again Terry.

Excellent, Terry!

Thank you for a very informative video. I am still a bit puzzled about how many shots to set and how the camera determines where to end the process. For example, if I have a flower that is about 3 inches deep from the closest point to the end of what I want in focus, how do I determine how many shots are needed. Likewise, if I am focus stacking a landscape that may be hundreds of yards deep, how can I tell the camera how many shots to take and what is the distance interval between shots. Thank you in advance for your reply.

Cropping in is the better option always ,

great advise. i have just subscribed 😃

Thank you, these lesson are fantastic. Much appreciate you making these videos available.

Another great lesson. Thank you Terry 👍🏻

I've been using LrC exclusively for many years because, frankly, I've been a little intimidated by PS, but, no more! I look forward to working my way through your course.. Thank you!

Terry, you are a fantastic teacher! Thank you!