THE LIGHTROOM WORKFLOW WORKSHOP - Jared … · IMAGE EDITING, RETOUCHING AND DAY THREE PRODUCTION 3 5 VIDEOS 1. Lightroom Retouching 2. Brush and Gradient Tools 3. …

THE LIGHTROOM WORKFLOW WORKSHOP

Whether you are a wedding, portrait, or landscape pho-

tographer, or a serious amature, creating a high volume of supe-rior images requires forethought, planning, organization and ex-ecution. Day one begins with a tour of my studio, leads you through the process of securing, selecting and organizing your im-ages. All of this will prepare you for the lessons to come which will take you even further into editing and publishing your im-ages.

The first day is critical to all pho-tographers, professional or en-thusiast. You will learn every step in securing your images and pro-tecting your work against theft, fire and corruption as well as how to organize yourself so that you never misplace your images. In fact, day one will get you start-ed down the path that will allow you to find any image you have ever shot within seconds. But it all starts with the lessons in Day One of the Lightroom Workflow Workshop.

VIDEOS

1. The Studio Tour

2. The Pipeline Workflow

3. Camera Operation

4. Perfect Exposures in the Studio

5. Perfect Exposures on Location

6. Computers and Hard Drives One

7. Computers and Hard Drives Two

8. The Lightroom Catalog System

9. Collections

10. Setting up the Working Catalog’

11. Setting Your Preferences One

12. Setting Your Preferences Two

13. Installing Plugins and Presets

14. Ingesting Photos

15. Importing Photos into Lightroom

16. Selecting

17. Selecting by Comparison

18. Organizing Your Images

19. Cleaning up Your Catalog

20. Fast Keywording

DAY ONEWORKFLOW & ORGANIZATION

11

22

DAY TWO IMAGE DEVELOPING

Once you have the organization down, and you have se-lected the images, it

is time to get into the very chal-lenging task of adjusting the im-ages you have chosen to show to your clients, or your fam-ily, or the world. But depend-ing on the volume of your work, that can bog you down and make you rethink your career.

On Day Two, I will walk you through two different work-flows. Our first workflow is for the high volume photogra-pher and it is an outsourcing workflow, which is the most efficient way to deal with wed-ding and portrait work, but in that workflow there is a lot to learn even for the enthusiast, the landscape photographer or the commercial artist. You will learn important lessons in Lightroom catalog portability.

Our second workflow is for ev-eryone else. You still need to get that work done as quickly as pos-sible, so we will teach you how to move your images through the

adjustment process quickly with synchronization methods, build-ing and using presets and even teaching Lightroom how to do most of the work for you before you even look at your images.

Finally, we will explore the De-velop module and teach you everything you need to know about the tools at your fin-gertips, how and when to use them and the most important lesson of why to use them.

VIDEOS

1. Outsourcing Editing One

2. Outsourcing Editing Two

3. Updating the Catalog

4. ShootDotEdit Stylematch

5. Default Lightroom Camera Settings

6. Syncing the Develop Module

7. Normalizing Your Images

8. Adding Style to Your Images

9. Creating Presets

10. The Develop Module Tour

11. Advanced Develop Adjustments 1





DAY THREEIMAGE EDITING, RETOUCHING ANDPRODUCTION

35

VIDEOS

1. Lightroom Retouching

2. Brush and Gradient Tools

3. Radial Gradients

4. Local Adjustments

5. RAW HDR Images

6. Adding Contrast to HDR Images

7. Merging Panoramas

8. Compositing Panoramas

9. Photoshop Retouching

10. Body Contouring with Liquify

11. Organizing the Job

12. Creating Proof Books

13. Lightroom Proof Books One

14. Lightroom Proof Books Two

15. Stylizing Proof Books

16. Finishing Proof Books

17. Online Proofing

18. Proof Prints

19. Slideshows

20. Animoto Slideshows

21. Smart Albums

22. Laying Out Albums

23. Finishing Your Album

W ith the basic adjustments done, you will either want to

send your images out to the client right away and start getting feed-back and orders, or you will want to further finesse your images in preparation for sharing them with the world. This all depends on what kind of photography you are doing and who your client is.

If you are an artist and creating work for your own edification or a commercial photographer, you may find yourself retouch-ing a small set of images, but if you are a wedding or portrait photographer, you will need the client to provide feedback on your images. Either way, Day Three is all about this process.

We start with lessons on re-touching in Lightroom and ma-nipulating images for Panoramic and HDR work and we even dip into Photoshop a little for serious retouching and image structure manipulations. This work can be done before the world sees your images, or after you have

presented your work to the cli-ent and they have ordered prints and books and thank you cards.

So we close out day three with the production work required for sharing your images with your client. This is the time to push those images through the process of making proof books, online proofing sites, proof prints, slide-shows and album / book designs.

With these beautiful proof-ing products in hand, you will have the ultimate way to show-case your images in front of your clients so those orders can start rolling in. And don’t worry, if you are a travel or a wildlife photographer (or any other kind of photographer) you can use these production les-sons to make products like art books, portfolios and catalogs.

46

DAY FOUR WORKFLOW & ORGANIZATION

There are so many more things to learn about Light-room and workflow,

including tethered shoot-ing for studio and commer-cial photographers and using mobile apps to share your images wherever you hap-pen to be and selling your images on Adobe Stock, so we cover those workflow issues here in Day Four.

However, the most impor-tant aspects of Day Four are in the archiving and portfolio management lessons. You will find these lessons will take all of the organizational lessons you learned on Day One and bring them around full circle. That keywording you learned will now be in-credibly useful in finding im-ages at the drop of a hat for clients, or portfolio needs, etc. You will learn how to make perfect archives of ev-erything you have taken and with your backup systems in place, the process of ar-chiving is foolproof, you will be able to find your images

whenever your client calls and you will never lose a file, not even for a minute.

Day Four also includes a de-tailed wrap up to walk you through the entire process from start to finish so that you can put all the infor-mation you have learned in pieces together and solidify the process in your mind.

VIDEOS

1. Tethered Capture in the Studio

2. The Tethered Portrait

3. Completing Tethered Shoots

4. Combining Catalogs

5. Remote Client Collaboration

6. Tethered Shooting Wrapup

7. Sharing Images One

8. Sharing Images Two

9. Archiving One

10. Archiving Two

11. Portfolio Management

12. Shooting and Sharing Fast

13. Mobile Apps

14. Lightroom and Adobe Stock One

15. Lightroom and Adobe Stock Two

16. The Portrait Stock Session

17. Workshop Recap

18. Workshop Conclusion

16 BITPROPHOTO

RGBTIFF

• IMPORT

• SELECT

• CHECK FOCUS

• COLOR CORRECT

• SHARPEN

• VIGNETTE

• BURN/DODGE

• RETOUCH

• PERSPECTIVE

• RUN PRESETS

• TONE

• CROP

• GRAIN

• PRINT SHARPEN

• PUBLISH

JPEG 90 QUALITY

SRGB

JPEG 100 QUALITY

SRGB

SMUGMUGPHOTO SHELTER

WHCC

GOOGLE DRIVEDROPBOXADOBE CC

TIFF16 BIT

PROPHOTO

THE PERFECT IMAGE BACKUP SYSTEM

CLIENT

DRIVE 3

DRIVE 2

DRIVE 1

RAID I

RAID 1 consists of an exact copy (or mirror) of a set of data on two disks. These drives are contained in one drive enclosure such as the one I use, the CRU RTX220-3QR. Since the data is mirrored on both disks your RAID can only be as big as the smallest disk. Use RAID I for ultimate reliability and simplicity.

I highly advise against using any disk larger than 3T as 4T drives have a higher percentage of physical failure. I use HGST 7200 RPM and Western Digital RED drives (configured for use in

RAW

RAID environments.) The RED drives are slower, which means a smaller failure rate. I tend to use the RED drives for Archives and the faster drives for my working RAID. For up-to-date reviews on hard drives, Google search for “backblaze drive reviews.”

For travel photographers, the CRU Toughdeck Duo provides the same system in a portable unit. CRU RAID I systems are all hot-swapable so it’s easy to exchange disks without a second thought.8

• If your camera allows for simultaneous capture to two

cards, shoot RAW to both if possible. I use the Canon

5D MarkIII.

• If you have two sets of cards, place your backup card

in a fireproof safe, somewhere away from your work

station.

•Always keep one set of cards on your person until you

have three copies.

• Have enough cards on hand to never overwrite one

set till the job is delivered and archived.

STORE SECOND CARD IN A SAFE PLACE.

IMMEDIATELY

SHOOT RAW TO BOTH CARDS IMPORT RAW AND RENDER SMART PREVIEWS

OVERNIGHT

DRIVE 3

DRIVE 2

DRIVE 1

RAID I

PLACE IMAGES ON RAID I WORKING DRIVE

BEFORE END OF DAY

AFTER TRANSFER, SWAP DRIVE 2 & 3 – STORE DRIVE 2 IN A SAFE PLACE

WORKING DRIVE SYNCS TO CLOUD

THE PERFECT IMAGE BACKUP SYSTEM

• Use a 2 bay enclosure such as the CRU RTX220-3QR

in RAID I configuration for up to 3 TB of redundant

storage as your working drive.

• If you travel with a laptop, use this same system with a

travel RAID I drive like a ToughTech Duo 3SR by CRU.

• Other RAID systems are more complicated, prone to

failure and not universally compatible. Plus, you can’t

separate the drives for fireproof security.

• Store your catalog in your computer’s hard drive (preferably SSD) for speedy Lightroom access.• For traveling photographers you can store your catalog on an external 1TB SSD with ultrafast connection to your travel computer.• Use an unlimited Cloud Storage option such as Google

Drive. Set your RAID I working drive as your default

Google Drive local disk. Your working drive will auto-

matically sync to the cloud.

RAW RAW

ARCHIVE 16

ARCHIVE 15

ARCHIVE 14

PORTFOLIO

JBOD

DONE

FIRST OPPORTUNITY

SELECT IMAGES FINAL JPGS TO CLOUD PUBLISHING SERVICE* MOVE THE JOB FROM THE SYNCED CLOUD JOBS

FOLDER TO A NON-SYNCED CLOUD ARCHIVE

FIRST OPPORTUNITY COMPLETION

COPY JOB TO ARCHIVE & PORTFOLIO DNGS TO THE PORTFOLIO DRIVE*

DEVELOP IMAGES

• Use a cloud publishing service such as SmugMug to deliver your images to your clients.• Keep a job archive with DNGs on hand for easy access.• Keep a portfolio catalog next to your working catalog. • Maintain a portfolio drive for all your favorite DNGs, referenced in your portfolio catalog. * See Image Pipeline for details.

• Set up a non-synced archive folder on your cloud storage.• When you move the job from the cloud Jobs folder to the non-synced cloud archive folder, that job will be automatically removed from your RAID I working drive.

• Whenever you finish work in Lightroom, quit and backup your catalog settings to a folder called Lightroom Backups on your working drive.• Once the editing process is complete, follow the archive and cleanup steps listed in the Image Pipeline diagram.

JOB ARCHIVE

10 11

THE IMAGE PIPELINE SYSTEM

VERIFY COPIES WITH DELTAWALKER

DRIVE 2

DRIVE 1

WORKING RAID I

DRIVE 2

DRIVE 1

WORKING RAID I

JOBS JOB FOLDER

RAW (DNGS) JPGS PROOFBOOKS

SLIDESHOWS ALBUMDOCUMENTS (CONTRACTS

RELEASES)CATALOG

CREATE ONE FOLDER PER CARD

RAWRAWRAW

UNTITLED 3UNTITLED UNTITLED 2

RAW

ARCHIVE DRIVE

RAW

RAW

RAW

DONE

PORTFOLIO DRIVE

JOB FOLDERTest your service: proceedure differ from service to service

ARCHIVE

UNSYNCED

AUTOMATIC

CLOUD SYNCED WORKING DRIVE

INJESTING

IMPORTING INTO LIGHTROOM CATALOG

ADJUST

CAPT

URE TIM

ES

SELE

CT IMAGES

ORGANIZE & REN

AME IMAGES

KEYW

ORD

DESIG

N PROOF B

OOK

PRE-

DESIG

N ALBUM

ADD STYL

ES &

RAW RET

OUCHING

FINAL R

ENAME I

MAGES (if

need

ed)

RE-ORGANIZE (

if nee

ded)

ADJUST

IMAGES

CONVERT T

O DNG

SHOOTDOTEDIT

EXTRA

SOCIALSHARING

CC

SOCIAL SHARINGBLOGPORTFOLIO WEB GALLERIESSLIDE SHOWSWEB PROOFINGWHCC PRINTS

DELIVERY

JOB FOLDER

BLURB

PROOFSMART ALBUMS

JOB FOLDER PORTFOLIO

BUILD 1:

1 PREV

IEWS

BUILD SM

ART PR

EVIEW

S

ADD TO M

OBILE C

OLLEC

TIONS

EXPO

RT &

SHARE I

MAGES

IMPO

RT O

UTSOURCE C

ATALO

G

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UTSOURCE C

ATALO

G

ORDER PR

OOF BOOK

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SHARE A

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12 13

“Profoto is my absolute, number one choice for creating

and shaping light in my photographs. As a location photog-

rapher, I require a lot out of my lights. Nothing compares

to the combination of quality, power and portability that

Profoto off camera lights provide.”~Jared Platt


https://bhpho.to/2l5AV6T


C olor and exposure are either correct or they’re not. Be-

cause Shootdotedit takes care of the science of color correction, I have time to stylize my images to perfection, focus on my clients, and publish my work. Shootdotedit is all about making image processing efficient, a passion I share. Not only are they a valuable resource for leveraging my professional time, we are quite like-minded about how best to accomplish that. In fact, I am proud to be involved in the design of their workflow practices and I whole-heartedly recommend them.

fast is best

®


http://shootdotedit.com/jaredplatt/



So you have jumped all of the hurdles and you

made an amazing set of images, good for you.

You have the treasure! Now it’s up to you to not

screw it up! That’s right. This is where people fail as

photographers. Storage is one of the most critical

aspects of photography (even for film photographers).

You worked hard to capture the decisive moment.

Now make sure you get to keep it.

I never want to loose an image and that is why I use

CRU Raid One storage devices. CRU makes high

quality, rational, easy to use and affordable storage

solutions, I trust them implicitly. During the workshop

I will walk you through the aspects of image storage

and backup and if you do it my way, with the right

equipment, you will never lose a file!

“Capturing people’s most meaningful moments is a

trust. Living up to that trust requires that we as pho-

tographers use the right equipment–equipment we

can rely on. CRU’s storage devices have never let me

down, which in turn makes it possible for me to say I

have never lost a client’s images in all my professional

career.”~Jared Platt


https://bhpho.to/2kQ2Id8




Tether Tools is a company that,

just like their gear, is always

good to have with you. They offer

invaluable support for workshops and

education in the photo industry and

more importantly, they make prod-

ucts that support photographers and

make difficult things possible. Tether

Tools makes the invisible products

that hold things up, mount flashes to

walls, tether cameras to computers

and even give you a place to put your

coffee cup. They are the unsung hero

of the photo world! When I open my

bags to you in February, you will see

their little orange logo everywhere!

Tether Tools products will change

the way you work as a photographer,

and you’ll wonder how you ever did

without them.

“Tether Tools is the unsung hero

of the photography world.”~Jared Platt


http://www.tethertools.com/jaredplatt







Making albums can be the biggest bottle neck in the

entire photography process. The design itself is a chal-

lenge, but the interface with the client can take months of

grueling back and forth. Smart Albums, my favorite album

design software, makes the entire process simple, quick and

effective. With Smart Albums, I can design an album in five

minutes and present it to the client in the same amount of

time. Then, the client can request changes that return to

me in my Smart Albums interface as a task list. Make the

changes, check off the tasks on the list and print the album.

And of course, Smart Albums knows all of the specs for

your favorite album company, like KISS or WHCC. That is

Smart!

“Albums were never my favorite thing to do. Smart Albums

changed that equation. Now, albums are simple to create

and I actually enjoy the process. It’s amazing what a good

tool will do. ”

~Jared Platt


https://bhpho.to/2kPRgOw




“Music is such an important part of my expression. But

music is not free for the taking. Musicians work very

hard to create, just like photographers do and they

deserve to be compensated when people consume

their music. Triple Scoop Music is my source for all of

the music I use in creating my multi media projects

from slideshows to promotional videos. They were the

first and are still the best source for music licensing for

photographers.”

~Jared Platt

Triple Scoop Music: Photography is just one avenue of expression and even though it is often complete on its own, pairing our art with other art forms has great power. Video, text, the spo-ken word and music can enhance the power of our photography. As a recovering musician, I love enhancing my stories with music and that is where Triple Scoop Music comes in. They make it pos-sible to find just the right music to tell my story.

Triple Scoop Music makes it simple to licence the rights to use the perfect songs and furthermore, they do it in a way that is fair to the musicians who are partnering with us in telling our stories. Triple Scoop will become an integral collaborative partner in your story telling process too. Let me introduce you to this process and show you how I incorporate music in everything I do.

Triple Scoop Music has graciously agreed to provide every one of my students a Pro Photogra-pher’s License for one song of their choice. Go to Triple Scoop Music now and start listening. Then, watch your email for a free Pro Photographer Mu-sic License from Triple Scoop Music ($60 value). Your images deserve great music, and musicians deserve recognition and compensation. This will get you started on building that relationship.


http://www.triplescoopmusic.com









“To reach workflow Nirvana, one must find the simplest

and quickest possible route from the beginning to the end,

and that requires the very best tools. Lightroom is that

tool, and the perfect companion to Lightroom is the Cre-

ative Cloud. There is no substitute for Lightroom.”~Jared Platt


“It is so important to get physical photos out into the

world. People don’t just live in a digital world. People need

to touch things and interact with their memories in a physi-

cal way and you need to be able to make that happen for

them. Give them something they can touch. Blurb Books

provides a simple and cost effective way to provide clients

a physical book directly from Lightroom. ”~Jared Platt


http://www.blurb.com

http://www.blurb.com

“As important as capture and workflow and lighting all are... if you can’t show that amazing detail and perfection in print, you

may as well go home! That is why I work exclusively with White House Custom Color for all of my proofs, prints, canvases,

framing and so many other printed products. No one does it better and no one delivers faster!”~Jared Platt


http://www.whcc.com

http://www.whcc.com


“For twenty years I’ve bought equipment from B & H. They

are competitively priced, offer quick delivery and have the

largest selection of pro equipment in the world. Their site is

super organized and informative with plenty of reviews on

everything they carry–and these are typically profession-

als reviewing the gear. The customer service is exceptional

and the salespeople are absolute experts on photo equiip-

ment.”~Jared Platt




“If you care about color accuracy and fidelity like

I do then you want to know X-Rite. X-Rite makes

the tools that make color accurate the world over.

Whether you are shooting, editing or printing, X-

rite allows you to calibrate your color from cap-

ture to print and everywhere in between. Cali-

bration is an essential part of my workflow and I

couldn’t do that without X-Rite.”

~Jared Platt

https://bhpho.to/2mafSnb

Throughout the workshop, I will present the absolute best practices for capturing, editing and presenting your images to the world. Everything I teach you is something I have tested and use myself and you can rest assured, I have tested a lot of software, a lot of equipment and every conceivable way of doing the things we all need to do. If I recommend it, you can trust that it is the best option available in its class. Here are some of the brands and products I use and trust:

Test every copy with Delta Walker.Deltopia.com

SmugMug Pro makes delivering to your clients simple and it connects to

WHCC for professional prints. Even better.

Smugmug 20% off follow this link: http://smu.gs/14F3ATI

Think Tank is my bag of choice.

Everything about their bags is so well

thought out. I wouldn’t transport my

photo gear in anything else.

Free gear with every order! Go to

ThinkTankPhoto.com and enter the

code below in the “Affiliate Code”

box: 192722.af38e

The Spider Holster saved my back.

Camera straps are so last century.

Use this code for to save 25% on your order at spiderholster.com

JPLATT2017


Documents

THE LIGHTROOM WORKFLOW WORKSHOP - Jared … · IMAGE EDITING, RETOUCHING AND DAY THREE PRODUCTION 3 5 VIDEOS 1. Lightroom Retouching 2. Brush and Gradient Tools 3. …