In Part 1 we talked about how to take hundreds or thousands of slides and quickly turn them into digital images. This was done by photographing the slides with a good camera and a macro lens. While you will not get as good a result as a proper scanning of the slides, you will process your slides significantly faster than if you scanned. The goal here is speed and if your setup is done properly, and you understand how to work with Lightroom, you can get OK to pretty good results.
The problem with slides is that unless you can clearly see them, it's hard to see them well enough to know which images you want to keep or toss, like, or even cherish. Simply holding them up to a light is a very limited approach. By processing the images as presented below, you will quickly convert the photos of your slides into very viable digital images. However, speed is the operative word here.
I'm presenting a lot of information below, some of which may not be relevant to you depending on your Lightroom knowledge and experience. If you're already pretty good at Lightroom, there's a lot to skim. If you're new to Lightroom, there's information below that will help you process your slides as well as any image you encounter in Lightroom. Plus, it's always easier to learn an application while doing a project that uses that application. As such, this hopefully will be a functionally useful educational experience.
Also, as I stated in Part 1, I've processed over 5000 images at this point. I've tried a variety of approaches to speed up this process and the following techniques work for me. One of the advantages of Lightroom is how many ways there are to do the same thing. I find that I use many or all of some of these approaches to get the job done. That said, I'm sure there techniques that I'm not using because either I'm not aware of them or they do not work for me. As always, YMMV (Your Mileage May Vary).
Because of my approach here, this article on how to process your photographs of your slides is also a primer on how to use Lightroom. Lightroom is a wonderful application but very confusing to use because what you are looking at can change from one moment to another depending on what mode you're in or what you've clicked on recently. Because of this I will spend a few moments at appropriate times to make sure that what you are looking at on YOUR computer is what I'm showing on my screenshots.
In this article we'll discuss:
- A global view of what you're doing here
- Some tips on tethering your camera to Lightroom
- What you can and cannot correct on these images
- Tips on selecting and de-selecting images in Lightroom
- Cropping a lot of slides uniformly using Auto Sync
- Some techniques to self-review your slides
- Removing and/or Deleting images
- Using "Previous" to duplicate a slides adjustments
- Using "Copy and Paste" to duplicate a slides adjustments
- Using "Sync" to duplicate a slides adjustments
- Using "Painter" to duplicate a slides adjustments
- Fine-tuning adjustments on your slides
- Digital Dust Removal
- A variety of ways to Keyword your images
- Fixing misspelled keywords
- Face Detection
As stated, photographing your slides is a great opportunity to not only see your images, but to play Keep & Toss with your slides. If you have photos of nondescript mountains or nondescript people, they may have meant something at the time they were taken but now maybe not so much. You may chose to delete the photos of these slides from your hard drives or at least the image from your Lightroom collection. Because of the ability to better see your slides on your screen, what you do with these images is up to you. I will guide you on how to make these images as good as possible but you do not need to do ANYTHING from what I suggest. Just getting them into Lightroom might be sufficient. However, I found that since I can now see these images I might as well make the ones I like as good looking as possible. In addition, if there's any image that you particularly like, you can always pull out the original slide and do a proper scanning of the slide.
Just about everything that we'll be doing with Lightroom in this writing can be done with just about any version of Lightroom—you do not need the latest version. There are a few techniques that can only be done with the newer releases but these are not critical to the objective: converting vast quantities of slides into a digital format.
Part of processing the images can start as early as when you are setting up the tethering your camera and computer together. This set up can let you identify where the images will be placed in your catalog as well as start out with some keywords. [If you are not using tethering, you can do bulk Keywording during import from your camera's card as described in the Keywording section.] You can set your keywords to match the images' range you are processing. That is, if you've taken all of the images in one state (e.g., Florida), than that state can be placed in the keyword field. If in a specific location (e.g., Epcot), than I suggest you place both Florida and Epcot in the keyword list. Also note that I entered the slide box (or whatever location would suffice) that contained the slides. Again, this will help you find the slides at any future date.
You'll note that I do not have much of any custom names (for the slides) at this point. I've tried various approaches to changing the name of the slides as I processed the images but l gave up as it was tortuous—too much stopping and starting. If you really wish to provide custom names to the images after they've been photographed, there is a MUCH easier way: when looking in the images in Library mode select all of the images that will share a name. Then from the Library menu select Rename Photos... Select option "Custom Name - Sequence" from the dropdown menu, provide the custom name, verify the Start Number, and tap OK and you're done. However, I honestly never found a strong advantage of customizing the names and often left the images with whatever name they received. Simply, Keywording is much more powerful and efficient than naming the images.
As stated, the goal is to process the images as efficiently as one can. If there are individual images you wish to enhance, you can always spend time with them in Lightroom one at a time. However, any time you can alter and fix more than one image at a time, the better. Lightroom helps this considerably by providing many ways to alter many images at a time.
What you can/can't correct on these images.
These images were first slides, not digital images. Therefore, there is no lens information to take advantage of Adobe's lens corrections. And part of this is you cannot expect to get any help from the new Transform Options of selecting the "Vertical," "Horizontal," or other options to remove the perspective of an building. Fortunately, if you use the "Guided" option you can fix a distorted building, but most of the time I don't bother unless the image has some real issues and I want to take the time to fix the problem.)
Even though you've taken these as raw images (hopefully), any option to change their white balance by selecting sunlight, shade, tungsten, etc. from the White Balance dropdown menu are doomed before you start. Despite that, you can get close to fixing the White Balance by clicking on something gray-ish in the image with the White Balance Tool (or press "w"). More on this later
Another critical option that's not available is any grain correction—Photoshop and Lightroom do not know how to get rid of photographic film grain, that's a film issue, not a digital issue. If you have an image with noticeable photographic grain and you wish to fix that, your best option is to use a high-end scanning software such as SilverFast by LaserSoft Imaging. I've a sample of the benefits of this feature in the beginning of Part 1.
If you've taken your images as raw images, you will have excellent success with the Highlight and Shadow sliders. Likewise, you can control the white and black regions on the histogram with either the White and Black Sliders or by going up to the histogram, mousing down in one of the five regions (as you mouse-over each region will slightly lighten up) and dragging left or right as shown below.
Fortunately, one of the tools that IS available to enhancing the slides is the "Dehaze" tool. Unfortunately this also is a fairly new tool and is not available in earlier versions of Lightroom.
Some basic info on selecting images in Lightroom
So that you know what I'm looking at (and referring to), when I'm looking at image in the Library mode, I'm seeing the following view. Note, to get this you need to tap the Loupe View (e) seen just below the left side, below the image. I tend to not use the Grid view much (press the icon to the left of the Loupe View). However, there is one area where I do use Grid view and this will be brought up at a later time while I discuss Keywording.
Also note that the tools provided in this region can change by your choices. This is done on the far right of the tool region. If an item is checked, it will show. Also be aware that if you switch to the Grid view, the various tools change and the selections below also change. Fortunately what you chose is sticky so set it once and you are done. But again, the options for Grid and Loupe are different, it's just that once set each view's options will be sticky for that view. Anyhow, if I'm showing tools that you do not see, that's why.
Lastly, if you do not see this Tool region, press the "t" key and make it show or hide as you chose. Similarly, if you do not see the image thumbnails across the bottom, if you look at the bottom you see a small "up" pointing arrowhead as shown below. [Note: the contrast is dismal but it is there.] If the thumbnails are not showing and you mouse-over this arrowhead, the thumbnails will show, if you click on the arrowhead, the thumbnails will show and remain.
The goal in this article is to process many images as fast as possible, it's important to know how to select a single image, many sequential images and/or many non-sequential images. You might already know this material but if you are weak on these details, it will bring you up to speed on processes that will be discussed later. All of the following is done on the thumbnails that line the bottom of the screen.
Tips on Selecting and De-selecting images
If you click ON the image, that image will be selected.
If you click above or below an image, you can also select an image. Let's call this "off-image clicking."
If you click on one image and then Shift click on an image many images away, all of the continuous row of images (from beginning of the selection to end) will be selected.
And if you click on one image and Control/Command-click on any other images (regardless of order) they will be selected even if discontinuous.
Now, notice above how one of the photos in the image above is a lighter gray than the others? THAT image will show up in the big Loupe view above. If you click ON any of the selected images (not off-image), then that image will be displayed in the Loupe view. This means that if you have more than one image selected but wish to change the view of which specific image is showing, you can. If you click off-image (on any of the images), that image will be selected and all of the other images will be deselected.
If you press "Command/Control-a," all of the images will be selected. If you wish to deselect the images, you can either click any off-image clicking (and only that one image will be selected). Alternatively if you press Shift-Option-Command/Control-d, all images will be de-selected.
As you process your images, your ability to select and deselect the images is critical and the above tips will become 2nd nature in no time.
Processing the images: cropping off the slide's cardboard
As you recall in Part 1, I was very insistent upon making sure that each image was properly registered to a specific consistent location as you took the photos. The better you did this, the easier this next section will be.
Our first task is to crop the image so that none of the slide's cardboard is displayed. First, click on the Develop tab, or press Command/Control-Option-2 so that you are in the Develop tab (and not in Library mode).
The first bulk processing technique to demonstrate is "Auto-sync." I start here because this is one of the most powerful and consequently, one of the most dangerous adjustment tool in Lightroom. It's also a good place to start because it's a handy place to crop all of the images at once to remove the slide's cardboard. [Note: the way Lightroom works you cannot make any permanent changes to an image. Thus, if you crop an image in Lightroom and for whatever reason did a bad crop, you can always go back to the original image and nothing has been permanently damaged.]
Tap "Command/Control-a" to select all of the images. If you look at the bottom right of the screen you'll see a button called "Sync..." (More info on how to use Sync… a bit later.) On the left side of this you'll see a switch that's on the bottom. Tap that and it will flip to the top and now the button will say "Auto Sync." [Note, if you see nothing, than no images is selected and if the button says "Previous, that means you only have one photo selected.]
Now tap the "r" key (for cRop), select Crop from the Tools menu, or tap the Crop icon on the left of the tools (see below)
You'll now see crop lines on the image. The default crop lines are on the image's edges.
Now you need to start bringing the crop down to the image. Because this image has a bit of rotation, there's no need to try to get accurate yet. So grab a corner handle and bring it down to the image, and then repeat with the other handle on the opposite corner.
Now, if you mouse-over a corner, outside of the cropped region (see the bottom right in the image below), the cursor will turn into a double-arrow. Click on the arrow and drag up and down—this lets you rotate the image. To complete the cropping process, make any fine-tune adjustments for the sides of the crop to line up with the images' edges. Now click the Crop tool once again (or press "r" again) and everyone of your images will have been cropped all at once. Done!
While you still have all of the images selected and you're still in Auto Sync, it's a good idea to move the Highlight slider to the left and the Shadow slider to the right. If nothing else this is why you took the images in raw mode, NOT JPEG. Your ability to make as much of an enhancement to each image as you can at this point is due to the extra information contained in raw images. The exact setting is not really critical here, just close to the settings shown below will be fine. This is just a starting point for any subsequent adjustments.
Now, before you do ANYTHING else, press Shift-Option-Command/Control-d key to deselect all of the images (or click off-image on any one image to deselect all but that one image) and be sure that Auto Sync is turned off. It's important to get into the habit of this if you use Auto-Sync because if you start to make images adjustments with Auto-sync on, those adjustments will take place on ALL of your images, even the ones you just did a moment before. (And thereby undoing any fine-tuning you just did on any previous image(s)).
Initial Reviewing your Slides
Now that you can easily see your cropped images in full view in the Loupe view. Now is a great time to make sure that all images are properly cropped, which one's need to be rotated to Portrait view, and do a quick review of which images you want to spend time on and which images need to be tossed out.
The probable reality is, as you took photos of your slides, you inadvertently bump your setup and suddenly all subsequent images from that "whoops" point are not properly cropped as the previous images were. No fear. Select the first slide you notice this issue and then move over to the last slide and Shift-click on that last photo. Now go back to the first slide of this set, set "Sync..." to "Auto Sync," adjust the crop on that image. Next, be sure Auto Sync is off and deselect the images and continue. Every time you notice that things are off, do this semi-global adjustment and continue. Eventually you'll reach the end of the images and all alignment adjustments have been made.
As you look through your slides to make sure they are cropped, it is also a good time to quickly go through your slides to remove and/or delete photos that are just not worth saving. (If they are not worth saving, there's no need to spend any time correcting and/or enhancing the images.) As you progress through your images, you will find the occasional image that says nothing, means nothing, and/or isn't well taken in the first place. Time to play Keep & Toss.
You can either delete the images as you look though your images or you can mark your image so that you can "Find" the images with that marking (see next paragraph) and delete all at once. Whichever one appeals to you is fine.
In addition to deleting the images as you find them, you can be a bit more methodical and identify which images are either particularly good and/or particularly bad. This can be done by selecting an image and tapping the "P" or "X" key as you go through your images. If you look at the images below, in the upper left-hand corner you can see the white flag ("flagged") or black flag (rejected) icon identifying your choice.
Besides using the Flag and Reject, you can also use Ratings (*) and Labels (colors) to do the same thing, Flag and Rejecting are just two more ways to identify images.
The one advantage to flagging the good and bad images this way is that you've already identified which images deserve special attention. This might save you time later on.
To delete an image, select one image, several continuous images, or discontinuous images. Then, either tap the "Delete" key, go to the Photo menu and select "Remove Photo," or right click (as shown below on the left) and select "Remove Photo(s)" (if you select have two or more photos, this becomes plural). If you do any of these things, a new window pops up (shown below on the right) verifying if you want the images Removed from the catalog (but will still remain on your computer), or "Delete from Disk" which places the images in your computer's Trash Can where, if weak in heart, you can retrieve them again so long as you've not emptied your computer's trash can.
As stated, as you pan through your images it is a great time to find the portrait images you rotated to the landscape view to photograph. Here's something that's very cool: Lightroom remembers an images original orientation when making subsequent cropping operations. By this, let's say that the crops on the images were done in a side-to-side orientation. However, now that the slide has been rotated to a portrait position. If you select multiple images and make a side-to-side adjustment, all of the images that you rotated to portrait will automatically adjust in a top-to-bottom orientation. In other words, you do not need to do anything special to them after rotation, it all just works.
By the way, the process of rotating the slides is to either go to the Photo menu and select "Rotate CCW" (Command/Control-[ ) or "Rotate CW (Command/Control-] )." Because I always rotate the slide CCW when processing the slides, I always do Command/Control-] to right them again. This can also be done from the Tool menu from the Library view but the key-command is available in any mode so I tend to use that approach.
Next group process: Previous
Now we will begin to do actual image correction. This approach "Previous," and the next correction ("Copy and Paste"), are for speeding up corrections one at a time.
"Previous" is particularly good if you have multiple images that appear to need very similar correction. It doesn't make any difference if the images are near each other or not.
Below you see an image that has a color-cast and the image has had some color degradation.
I went ahead and adjust this image as well as I could in a fast fashion. (It's not a great image so I didn't spend much time on it.)
Now, I clicked on the next image
And simply tapped the Previous button
All Lightroom did here was to take the settings of the previous image and place them on the selected image. The advantage here is that this is real simple: you adjust one image and then click on any image that appears similar. (You can always go back and fine-tune any subsequent image as necessary.) So, as you look across the images in the thumbnail strip on the bottom, you can tap Previous as you continue processing. The disadvantages include that you cannot save multiple "Previous" settings (e.g., Previous A, Previous B, etc.), nor can you select multiple images and tap "Previous." In addition, if there were any corrections that were very specific (e.g., some rotation) on the initial image, those corrections will be transferred to any other image you tap "Previous" whether the subsequent images need that adjustment or not.
Next bulk process: "Copy" & "Paste."
Copy & Paste is similar to Previous but is best when you want to Paste "almost" every attribute you corrected. To use this set of tools, it requires an extra step before the Paste button.
You'll notice that the Copy button has an ellipse and that means that this will bring up a dialog box.
When this window comes up you can accept all of the boxes being checked or un-checked (lower left in the image above). As needed, you can check or recheck the options you want maintained. Notice, for example, that you can turn off rotational dynamics so they do not affect subsequent images.
To use this, you first select an image and make all of the adjustments you wish to make, then press Copy… Be sure that all of the attributes you wish to paste are selected. Then select an image and press the Paste button. All of the settings you copied will be pasted onto the new image. The advantage here is let's say that you had selected an image and made a bunch of corrections, including rotation. Assuming that you have other images that have the same problems but do not need rotation, by using Paste instead of Previous, you can pass on all of the adjustments but not rotation.
Once you've copied the alterations you've made, you can then select new image and then press Copy and repeat until you've adjusted all of the images with similar issues. What you cannot do with Paste is to select a number of images and then tap the Paste button—it doesn't work. That's when you need to use the "Sync…" feature described next.
The biggest limitation of Copy & Paste is that like Previous, you can only do it one image at-a-time.
Next bulk process: Sync…
The last option for bulk processing is the "Sync…" button (last seen when we were talking about "Auto Sync").
As before, if you select one image, this button says "Previous." If you select more than one image, the button now says "Sync…" The way to use this is to select a number of images, either continuous or discontinuous. Now click ON one of the images (not off-image because that will deselect your collection), that will be your master image for this process. Make any and all of the adjustments you want. Now tap the "Sync…" button. Up pops almost the same window as shown above. However, the button above that says "Copy" now says "Synchronize." Press the Synchronize button and you are done. This is safer than Auto Sync because you actively have to press the Sync… button each time you wish to alter a bunch of images. Sync is much faster than Copy and Paste for bulk operations because you do not have to select and then Paste on each image. Rather, you can select two or hundreds of images and boom, your done!
Fine-Tuning Adjustments on your slides
After making any bulk adjustments, you'll invariably need to do some fine-tuning on those same images. This is because it's extremely unlikely that the group of images you bulk-adjusted were exactly the same. What the bulk adjustments did was to get a group of images close to being finished, now you can finish them. Making the fine-tuning adjustments on photographs of slides is not much different from making adjustments of regular digital images but with some limitations.
As stated, depending on the age of your slides, who the manufacturer was and/or the product type, and how they were stored, the amount of degradation may be nothing or significant. It's also a sad truth that the degradation is not going to be completely consistent from one image to the next (but there will likely be groups of images that are similarly, but not uniformly degraded).
Probably the most common issue/problem is white balance caused by fading of one or more of the emulsion colors. Fortunately, using Lightroom's White Balance eyedropper (and if something in the image is probably gray), you can sneak fairly close to what the correct temperature and tint should be.
At the top of the Basic panel, next to the Temperature and Tint controls for White Balance, is an eyedropper. You can either tap on that with your mouse or press the "w" key (for "White Balance").
Now, click on something in the image that you think is probably gray. As you can see on the left image below, I've chosen the sign. I have no idea if this is true gray but it's probably good enough to get close to what a balanced White Balance should be. On the right in the image below is the instant result of clicking that eye dropper on the sign.
[Note: how does the White Balance Tool work? As you probably know, gray is an equal mix of red, blue, and green but the trick is that there must be the exact same amount of red, blue, and green. When you click on something that is (or might be) gray, Lightroom will adjust the colors in the image so that if they were not the same before, they are now. (A mid-gray is a better choice than light or dark gray.) In the image above I had nothing else better to click on so I opted to use the sign.
Occasionally there's not enough information in "white" for Lightroom to make a correction as shown in the image below. Here, the white of the jonquils was too light and I could not get sufficient information for Lightroom to work with and could not use this technique to white balance the image. (Note: if you make the image temporarily darker, this approach will still will not work.) Your only recourse here is to "eyeball" it. While challenging to do when you first start trying to white balance by eye, the good news is that the more you do the faster it gets.]
To finish up this image I noticed a tad of blue in the upper left corner meaning that even if this was Great Britain, it wasn't a completely overcast day. So I dropped the Exposure a tad, bumped up the Contrast a tad, dropped the Highlights as much as I could and pushed the Clarity up a bit. Below is the "before" these adjustments and below that is the "after" these adjustments.
[Let me repeat, if this was a JPEG, the final results would not have been as good. A raw image contains significantly more information than a JPEG.]
There will be times when the emulsions have faded to such a degree that doing a simple White Balance as above will not work. If this is so you'll probably have to manually tease the Temperature and Tint controls or in extreme condition, open the Hue, Saturation, and Luminance Panel and see if you can control the problem from here.
Below is a great example where regular white balance completely failed but making adjustments in Saturation solved the problem. In Image #1, you can see the problem. I'm in a train station and the cement floor and walls appear moss-green. They probably are not this color. So in Image #2, I try to white balance the image off of the wall and this was a failure; you can see how in the distance everything is now bluish purple. The problem is probably the light source from the ceiling is giving the area a color-cast.
So in Image #3 I go to the Hue, Saturation, and Luminance Panel and select Saturation. If you look in the right hand panel, you can see that I've circled the Targeted Adjustment Tool. If you click on that and go to a region that has color in the image, you can click and drag up and down on the image and that will increase (up) or decrease (down) the saturation. Using this approach you can see that it did a good job in removing the errant green from the cement. Obviously this will not work all the time but since cement shouldn't be green in most circumstances, here it worked fine.
If the colors are really really bad due to the degradation of the film, I'll strongly consider converting the image into a Black & White image. If that fails, it's a true tosser.
However, just keep in mind that anything you do to help the image is better than the image sitting in a box continually getting worse and worse. If the image is the only known image of Aunt Maude, you do what you can and be happy that you caught the image before it was completely totally gone.
Despite dusting every slide prior to taking its photo, there will be an occasional bit of dust on the slides that will show up in the photograph. Fortunately the dust is as easy to remove in Lightroom as is sensor dust from a digital image. In image #1 below you can see the small spec of dust. [Note: The big difference between dust on a slide as opposed to dust on your sensor is that the dust on your slide will probably be sharper then sensor dust which will be fuzzy and out of focus.]
To remove the dust from the image, select the "Spot Removal" tool shown in #2 (or press the "q" key) (you can vary the size of the tool's active circle by pressing the "[" or "]" keys to encompass just the speck), and click. You will see two circles with one having an arrow pointing to the original circle. This indicates where the new fill for the spot you clicked on will come from as shown in #3. [Note: if you think there's another region in the photo that would provide a better replacement to Lightroom's initial selection, just drag this second circle to that spot. For example, if the dust is on the edge of a cloud and Lightroom selected the middle of a cloud, move the second circle to the edge of a cloud somewhere else.] Image #4 shows the results of this spot removal. If you have a hair or a long thin item you wish to remove, rather than "click" with the Spot Removal tool, simply click and drag over the errant item. Otherwise the process is just the same.]
Like the many approaches to moving image enhancements from one image to others, there are many ways to apply keywords to one or many images.
Again, if you haven't been looking at these images in years and years and you want to see specific images in the future, you need to find them. So the last piece of the puzzle is to keyword the images.
Important: you must be in the Library tab to do Keywording. You can either click on the Library tab, press Option-Command/Control-1, or go to Window (menu) and select Library and then continue with your Keywording.
One of the advantages of Lightroom is that you can easily set keywords for single images as well as do global Keywording (apply keywords to a bunch of images at one time) and wherever you can do add Keywording, you should.
When I photograph a new set of slides into Lightroom, the Keywords I always automatically enter include: the box # (the metal or cardboard box containing the slides (you do number or mark them, don't you?)), the country, and the date (slides always have the date of processing pressed into the slide's cardboard). This date will invariably NOT be the day you took the images but it's close enough if you do not know the date otherwise. If all of the group of slides are from one state or one city, I'll enter that in at this time as well.
The very first image in this article shows where and how to automatically place keywords if you are tethering your camera to your computer. If you did not tether and will be importing the images from the camera's card. you can alternatively automatically enter the default keywords by setting up to import the images and before you tap the Import button, from the right hand side select the "Apply During Import" Panel. From there you can also set automatic Settings, Metadata, and Keywords.
At this point you need to refer back to any notes you have from your storage box or whatever else you have and go through your slides in groups to narrow down the slides to your keywords.
As you enter Keywords, you may have a group of photos that will all receive the same Keyword. You could enter the Keywords as a one-at-a-time process but that's a big time waster. Rather, you want to select a block of images and set any keywords at once whenever possible.
If you are at the first image of a set, you then need to find the last image of that set to make the group of them all selected. But, while searching for the last image of the set you've very likely will have misplaced that first one.
One way out of this problem is to mark the first image to make it easy to find. The way that I like to do this is to place a color label on the first image. After selecting that image, if you go up to the Photo menu, and select "Set Color Label," then select a color. You can also tap any of the 6 to 9 keys and get a color. Alternatively you can right-click on the image and find "Set Color Label" and set the color.
Note that the color is neither profound nor in your face. As shown below, if the image is selected, there is a thin (color) border around the image and if the image is not selected there is a (color) tint to the region around the image. Not significant, but it is something to look for as you look for that first or last image to select.
If you want to set the color so it's easier to see, you can change this by going into the View menu and select "View Options…" toward the bottom of the menu (or select Command/Control-j). Then select the Grid View (the results will show up in either view). As you can see, go to "Tint grid cells with label colors" The default is 20%, I've found that for my purposes here I like 40% or 50%. This makes it much easier to see the first in a set of images I wish to mark with specific keywords.
So, you've colored the first image, gave it a color label, found the last image, select it and backtrack to find that first image. Now you can Shift-click on the first image and they are all now selected.
Syncing keywords is a great way to tag a number of images at the same time. The screenshot below shows the right side of Lightroom's window in Library mode and shows the Keywording Panel. You can enter multiple Keywords (place a comma between each keyword). Once you have all of your words entered as you want, and you are ready to import, press the import button.
Be aware that Lightroom tries to speed things up by doing a variety of automatic entries. For example, if you just entered the keyword piano, on the next image, when you click your cursor into this field, it will have "piano" ready to go. In addition, if you type "p," Lightroom will show that word and any other previously created keywords. So, it could display a list showing "painter," "piano,"Piccadilly." If the next letter you type is "i" than it will just show "piano" and "Piccadilly." As you continue to type, fewer options will present themselves and if the word is a new keyword, Lightroom will stop guessing waiting foryou to finish. That new word will now be a new word in the Keyword list.
Also note that there is a field just below the one shown highlighted above where you can also enter keywords. (It is hard to see that it exists because the contrast for Lightroom's fields are not very good.) The advantage of this one is if you tap the Enter key after each submission, Lightroom automatically enters a comma, ready for the next word. You can also enter multiple keywords in this field as long as you place a comma between each keyword.
Assuming you have multiple images selected, after you've entered in the Keyword(s) you want, notice that there are now two buttons on the bottom available to click on on the bottom as shown below.
On the right is one called "Sync Settings" which does the same thing as when you are in Develop mode (and let's you sync the image enhancements from the primary selected image). The "Sync" on the left which provides a whole new window shown below. The very last row in this window is for keywords. This should display all of the keywords that were entered for the primary selected image. If you want, you can enter more keywords here. The good thing here is that if there are images with unique keywords (e.g., someone's name), when you Sync the unique Keyword will not be removed. Lightroom respects these unique Keywords and leaves them alone.
At this point, be sure the check box on the left is checked, and then press "Synchronize" and those keywords are now entered for all the selected images.
By the way, if you have a group of images selected and any of them have an asterisk "*" following the keyword, that means that one or more (but not all) of the images selected have that Keyword. As shown below, not all of the selected images have the "Farmer's Market" keyword, but all of the selected images have 1984 April, Box 5, and Great Britain as keywords.
Let me show you one last way to set keywords: the Painter (aka the Spray Can). To use this you must be in the Grid view in the Library mode.
Using Painter is kind of a mash-up of "Previous," "Copy & Paste," and Sync" for enhancing the images but cooler.
Using Painter is a four-part process. Below I've found a set of images (between and including the images with the red label) that were taken in Sherwood Forest and I want to add "Nottingham" to their keywords.
Notice in Tool region there's an image of a spray paint can. If you click on this you can see the word "Paint" and a dropdown menu. From here you can see the range of stuff you can "paint" with the Painter tool. Select Keywords.
Next type in the word you wish to paint, I added "Nottingham." If you want to add more than one keyword, simply place a comma after each word (e.g., "England, Nottingham, Sherwood Forest")
Now bring your cursor (shaped like the spray paint can and seen in the top-left image) up to one of the images you wish to add "Nottingham" to the Keyword list. It's important to place your cursor ON the image, not off the image.
From here you can either simply click and/or drag on/across the images you wish to add the keyword to. This will not affect any keywords that are already assigned to the images, it only adds to the images. Also, notice the image below showing a white line around all of the images where the Painter successfully sprayed. If you inadvertently clicked or dragged over an image that should not have this keyword, simply press the Option key and re-click on that image and that (those) image(s) keywords will be removed.
If you ever misspell or mistype a keyword, not too worry. Go to the Keyword List in the right hand Panel in Library view and find the misspelled word. Than right-click on that keyword and select "Edit Keyword Tag…" This brings up a new window where you can fix the word, click the "Save" button, and every reference to that keyword will be updated. Quick and slick.
Especially if you have photos of friends or family, turn on Face Detection. this is done by going up to your name in the upper left corner, clicking, and dropping down to the bottom of that menu as shown below.
Please note that this will index (and look for) faces in your entire catalog, not just any specific folder. And, if you've created a large number of photos before starting this, it will take some time for all of the images to be indexed.
Face Detection is very good for identifying full face or mostly full face images in your photos. Profiles and back of heads are not good for automatic face detection (but that doesn't prevent you from identifying who these heads are).
If you want Lightroom to point out potential faces and if you've already selected Face Detection (above), in the tool region above the thumbnails you can see a face, click on this. and Lightroom will point out what Lightroom considers a face. This is shown in the image below where Lightroom says "Draw Face Region." I should point out that in the beginning Lightroom can be howelingly wrong in determining what's a face or even the sex of people, but as you teach it faces Lightroom not only gets better at determining what in an image is a face but also becomes very good at recognizing who's who.
Also note the face image to the right of Survey View (circled in green) below, this gives you "People" (or tap "o"). If you click on that, you will get a grid of all of the faces that Lightroom thinks it sees. From there you can easily run though these images and identify who's who. AS you progress though this, Lightroom will get better and better. And for the images that are clearly not faces or people you do not care to know, simply tap the Delete key and not have to deal with them again.
The difference between having a region drawn around faces (with Draw Face Region) is that you can see the whole image and can therefore see the images in context. If you select to view the People option, all you see are faces in a grid fashion and will not have the rest of the image to put the face in context.
The advantages of facial recognition is pretty obvious: let's say your parents are having their 40th anniversary and you wish to prepare a book of their anniversaries though the years. Do a search on their name(s) and bingo, after some selection, you've got your gift.
Using keywords to find images
Although this has nothing to do with setting keywords, let me point out one of the easy ways to use keywords. Just below the keyword entry region mentioned above, look for the listing "Keyword List." In this section you will see every keyword you've assigned in alphabetical order. If the list is long you can search for specific keywords in the field at the top. [Note: I truncated this list at the purple line to show a sample and the top of the list.]
If you mouse-over the keywords, you'll see an arrow pointing to the right on the right side of that keyword. If you click on that arrow, every image that has that keyword will be there immediately. In addition, you'll see a check mark on the left side letting you know that you're seeing all of the these images. You'll also note a shaded check mark just below that for California. This lets you know that for this example Calico Ghost Town are images that are also part of the images in California.
If you've read this far, you win an ice cream cone. The amount of actual process listed above is not all that much, but I've shown a considerable amount of extra attention to what's happening within Lightroom to help as much as possible. Lightroom is a fantastic program with the one annoying aspect that items you just finished observing are now gone or different because you just tapped on something in the window. It's kind of like when you put your keys down a moment ago and now your keys are gone for good (or so it seems).
I hope you enjoy obtaining access to your slides as much as I have. It's been great seeing friends, family, and places I've been but haven't seen in many a year. It's also been very interesting to see how I've developed (or not) as a photographer in the 40+ years I've been taking photos.