I don’t know about you, but I got into photography so I could spend my time taking photos. What I did not get into photography for was the post production, the marketing, the meetings, the consultations, the pitches, the proposals, and the networking. Or the countless hours away from my family. For that I could have kept practicing law and left photography on the shelf as a hobby. The things we do in life always look different to those on the outside looking in.
Just like my non-lawyer friends were convinced that all of my courtroom appearances were worthy of a “Law & Order” script, I find that many of the non-photographers in my life have a totally warped view of what those of us who make a living with our cameras do every day. Realistically speaking, I’d have to say that maybe only ten percent of my life as a photographer is about shooting.
Tips, tricks, and reviews related to all aspects of digital photography workflow, from shooting photos to processing to backing up to sharing. What is Digital Photography Workflow. Any digital image has a lifespan that begins the moment the shutter is pressed and the camera begins to capture the.
The other ninety percent is the stuff that makes me wish I could afford a full-time assistant. For me, it comes down to the best use of my time.
Does “ insert activity here” take time away from shooting and/or family? If so, what I can I do to switch that around? Post Production Tips Post production is– by far– the absolute biggest time-suck there is in my life as a photographer. It’s like disappearing into a black hole or something. Because I’m my own worst critic/enemy. When was the last time you opened a photo in Lightroom or Photoshop and justleftitalone?
No tweaking the contrast. No bumping the levels. No healing brush or clone stamp. Just happy with the result. Chances are, your answer is the same as mine– almost never. We scrap it and start over.
That’s fine when your images need it, but what about when you rocked it in the camera and it doesn’t actually need any of that? SET TIME LIMITS ON EDITING AND POST PRODUCTION. Every photographer knows that editing an entire shoot can be a daunting task, especially when you’ve shot a wedding or some other day-long assignment that’s yielded over 1,000 frames. I’ve actually been able to save time by giving myself time limits, the length of which varies, depending on the type of shoot. I’ve found that by forcing myself to handle this task in increments of no more than two hours at a time, for instance, (1) I don’t lose myself in any one image for too long, and (2) I’m able to look at what’s left with clear eyes and a fresh attitude when I come back to tackle the next two-hour block. SPEAKING OF TIME LIMITS Except under some very rare circumstances, I’ve found that any image requiring more than just a few minutes of post, probably shouldn’t be going to the client in the first place.
I know that a lot of photographers disagree with me on this one and I respect that. This kind of goes back to me being my own harshest critic. There’s a part of me that is always thinking that if I need to spend more than five minutes “fixing” something in Photoshop, then I must have failed while shooting it in the first place. Again, this is my own photographic neurosis, but I find that giving myself a time limit– not just on editing the entire shoot, but on individual images as well– actually helps maintain the quality standards that I set for myself. While we’re on the subject of “fixing” images in Photoshop, please take my friend rule to heart– “If you’re ever saying in your head, ‘Oh, I’ll fix that later in Photoshop,’ stop what you’re doing and slap yourself as hard as you can.” 3.
LEARN TO THINK LIKE A PHOTO EDITOR. Learning to think like a photo editor was the first and best step towards freeing up so much of my time in front of the computer. Knowing how to assess 100 frames, for example, and cull them down– not to the best, but the absolute best of the best– isn’t always easy, but you’d be amazed at just how more productive you can be once you are able to take a step back and look at your photos more objectively. Showing the client 14 almost identical versions of the same portrait or product is going to (1) make the client’s decision on final choices that much more difficult, and (2) make them think that you needed at least 14 attempts to get it right. Not exactly the stuff of which confidence is made. Learning how to show the best of the best cuts down on the number of images you need to edit and thereby cuts down on the amount of time you need to spend doing it. DELETE AS YOU GO?
I confess to going back and forth on this one. My usual mantra on the subject is, “Never delete from the camera– only from the computer.” I vividly remember the day early in my career when I was spinning dials and pushing buttons on the back of my camera so fast that I deleted everything on the card. I was lucky that a recovery program brought everything back to life, but it could have easily gone the other way. As I’ve gotten older, wiser, and more careful with my camera controls, I do sometimes clear off bad images when I have time for a break. Fewer images on the cards means fewer images to edit. LEARN LIGHTROOM.
I will confess to being a Lightroom hold-out for a long time. I’d gotten so good– and so fast– at editing my images in Photoshop, that learning to process in Lightroom was incredibly frustrating. I abandoned Lightroom several times, feeling that the learning curve was taking way too much time and making my job take even longer. Fully embracing Lightroom was a time commitment at first, but the time spent learning it eventually paid off in the form of shorter post production times. How do you spend your time? Image Organization Tips Gone are the days of paper files, contact sheets, and shoe boxes full of negatives. Today, we need systems that will allow us to not only organize and store our images, but do so in such a way that we can actually find what we’re looking for when when the client calls two years from now, wanting to license another image from the shoot, or when you’re looking for a particular image that’s always been one of your favorites.
COME UP WITH A SYSTEM AND STICK WITH IT. When I got my first digital point & shoot in 2001, I stumbled across a program called. I had been using ACDSee for so long by the time Lightroom came along, that re-cataloging my entire digital image collection seemed so daunting a task that I felt it wasn’t even an option. As a result, I still use ACDsee for dowloading and organizing my images first, and then importing the “keepers” into Lightroom for processing. Either way, and whatever your system, finding a way to organize your hundreds or thousands of digital files is a key step to a smooth workflow.
DON’T ORGANIZE BY DATE. I know that a lot of you do, and bravo if it works for you. For me, though, I’m much more likely to remember “Cookbook 004,” “Smith Wedding,” or “Grand Canyon 2014” than I am to remember what I shot on October 24th two years ago. Coming up with a strong file structure that is not based on dates will work wonders for your organization. I found the article to be a a really great resource for this. USE KEYWORDS.
This is another one of those things for which I was late to the party. For a long time, I had no problem recalling images. I had a great system in place for cataloging my photos, and hardly ever had a problem going back to find older images. At some point, though, I realized that the catalog had grown in size to the point that I was starting to have trouble finding images when I needed them. Over the past couple of years, I’ve found that taking an extra couple of minutes at the end of the post production process to assign keywords saves me a lot of time later on when I need to find specific photos. EDIT EARLIER, RATHER THEN LATER. Even if all I do is get rid of the garbage, going through all of the images the same day they are shot helps keep me organized– especially during busy weeks where we may have several back-to-back shoots.
RENUMBER EDITED IMAGES. This is one of my final steps (right before keywording) before sending images off to the client. I do this for two reasons. First, I want to make sure that the client and I are both working off the same set of file numbers. Second, I want to make sure there are no gaps in the file numbers that go to the client. I learned this lesson the hard way a few years ago, when the client sent an email demanding to see everything.
They thought I must have been hiding images from them, simply because there were gaps in the file numbers. Wrap-Up Workflow is a personal thing and every photographer I know handles it differently. That being the case, there are still a lot of things we can do to streamline our processes and get us out from behind our computer screens. While this article addressed some of my suggestions for post production and image organization workflow, it’s important to remember that establishing a regular and consistent time management and client workflow are two more steps you can take to reducing some of the stress and making all of those non-photography-related chores go a bit more smoothly. What about you? Do you have any suggestions or tips for improving workflow?
Share them in the comments. Pie Chart Credit: I stumbled across the pie chart comparison a year or two ago. Unfortunately, there was nothing at the time to indicate who created the graphic. If you know who did, please put them in touch with me so I can give proper credit where credit is due. Pie Chart Credit Update: One reader provided us with a link to a 2009 article entitled It might actually be the first appearance of the graphic, although it’s been borrowed heavily since.
I started using LightRoom 3 years before I started shooting digital. Yea, that’s right, until 2014, I’ve used film; I still do.
I like the cataloguing capabilities of LR as well as the ability to adjust photos and crop. I haven’t made much adjustments with film, except for the C-41 B&W films to make it look like traditional B&W; Kodak BW400CN has a sepia tone of the scans and Ilford XP2 has a cyan cast. I do keyword. I also use a film roll numbering system that I’ve used since 1980: Year-Roll Number-Picture. With 3 film cameras, I started adding a prefix to the year for the camera body.
For renumbering, you simply can use tools such as IrfanView. Free, powerful, easy to use and on my Windows machine I use it anyway to replace the crippled original Windows Preview program. And you also can easy resize the files to a web friendly format/filesize. But for me, I do not renumber my photos. And I do not intend to do so. They got their number when created in the camera and they keep it during the whole workflow until they are deleted. And if a client argues that I did not hand over all pictures I can explain why.
There are so many occasions when a renumbering system fails:. you review your pictures and delete some of them because you are not happy with them anymore. You renumber again?. your customer asks you for a picture of uncle Richard – regardless of the quality. You look into your RAW files and find one. Does it get the latest number?
Out of sequence and context?. your customer comes back to you, asking to improve picture ABC0027.jpg (or remove uncle Richard from it) but the RAW file has not the same number on your archive anymore?
A number is just a number and has no meaning in itself. But it connects RAW, LR, PS, TIFF, JPG and whatever else files together.
A digital photography workflow is the sequence of steps you take to capture, process and output your images. An effective workflow is one that you can follow repeatedly and that will save you time and provide the best possible results. The right workflow for one person may not be appropriate for another due to a variety of factors such as personal preferences and skills, available software, shooting style/subject matter and time requirements.
However, the best digital photo workflows share a common set of basic steps. (Each step may be comprised of a number of variables, the details of which are not covered here.) To develop a workflow that suits you, consider your skill level, equipment (camera and computer), subject matter and your intentions for the final images. Your workflow will evolve as your situation changes over time. Capture Using your digital camera, capture your photos in either RAW or JPG mode. RAW provides the highest quality but requires processing in the computer. JPG is lower quality but can be viewed and shared (such as in email attachments) right out of the camera.
Transfer Images to Computer Using a card reader, copy the files to your computer and immediately make a backup onto another hard drive or removable media such as CD/DVD. Depending on the software available, you can automatically rename the copied files, convert to other file formats and add metadata during the copy. If using catalog software, import the images into your database during this step. Review and Edit Using your file browsing or catalog software, review the photos from the shoot(s) and begin rating them for further processing.
Mark your selects with flags, stars, labels etc. To filter them from the rejected files. Optionally, delete the rejected files to save disk space. For the remaining images, add more detailed metadata, especially copyright notices and keywords. Sort the images as desired and create collections. Process Selects Using your photo editing software, process your selected images to perfection. Consider tone and contrast (the range of light to dark), color (accuracy and saturation), sharpness and the need for any cropping and retouching.
Apply creative effects such as black-and-white conversion, colorizing, multiple image composites, localized dodging and burning etc. During this step. Save Master and Derivative Files Using Adobe software, save your Master working files as PSD or TIF. You can also save flattened and resized files for other purposes, including JPG for web, etc.
If you intend to make prints of your photos, prepare the necessary files during this step. Make regular backups of your working files. Print and Present Using your finished image files, you can make your own prints or send them to a lab for printing, upload them to a web site, email them to friends, make multimedia presentations, etc. The requirements and specifications for these scenarios will depend on the situation. テつゥ2007 Nathaniel D.
All Rights Reserved. No Reproduction or Distribution Without Permission.