Skip to main content

Final Client Delivery

Lesson 15 from: Action Sport Photography with Red Bull Photographer Corey Rich

Corey Rich

buy this class


Sale Ends Soon!

starting under


Unlock this classplus 2000+ more >

Lesson Info

15. Final Client Delivery


Class Trailer

Class Introduction


What Makes A Great Action Photo


Conceptualize the Shoot


Research Location / Wardrobe / Props for Action Shoot


Safety Tips for Action Photographers


What Gear Do I Need? Packing and Prep


Workflow and Asset Management


Ingesting and Organizing Files


Editing Down Your Selects


Post Processing Overview


Working with Clients to Select Finals


Retouching & Post Processing: Image 1


Retouching & Post Processing: Image 2


Retouching & Post Processing: Image 3


Final Client Delivery


Introduction to Snow Athletes


Setting up the Shot: Using Natural Light


Getting that First Action Shot: Snow Park


Scouting Location for Action Shot: Snow Park


Capturing Variation of Snow Park Action Shot


Refining the Snow Park Action Shot


Action Shot with Strobes Overview


Shoot: Action Shot with Strobes


How to Light Using Strobes


Action Shoot: Snow Park with Strobes


Refining the Snow Park Action Shoot: Using Strobes


Capturing Variation with Snow Park Athletes


Capturing Portraits: Snowboarder


Capturing Portrait: Skier


Shoot: Feature Jump Action Shot Afternoon Natural Light


Introduction to Today's Shoot


Building a Rapport with the Athlete: BMX Rider


Scouting Location for Action Shot: Indoor BMX Park & Natural Light


Getting the First Action Shot: BMX


Conceptualizing the Action Shot: BMX


Prepping Gear & Refining the Action Shot: BMX


Action Shoot: BMX Athlete with Natural Light


Setting up Remote Cameras


Capturing BMX Action Shots: Remote Cameras


Conceptualizing the Shot: Using Strobes in Indoor BMX Park


Lighting with Strobes: Indoor BMX Park


Action Shoot: BMX Athlete with Strobes


Capturing Variations of BMX Athlete


Shoot High Angle Action Shot: BMX Rider


Directing an Athlete Portrait: Indoors


Lighting a Portrait: Indoor BMX Athlete


Portrait Demo: Indoors BMX Athlete


Portrait Demo: Adding Atmosphere


Transmitting Live from the Field


Panel Q&A


Lesson Info

Final Client Delivery

Let's actually take the last five minutes, and what Brett Willholm in segment three, which was Work Flow Asset Management, Final Image Delivery, did not get to touch on, was that final image delivery to your client. I'm just gonna talk about some of those ideas, and Brett will cut me off, or Bligh will, if they have something to add, or something that's valuable. I'm gonna go in reverse order, because I think there are a couple of things that are more important, that are critical. Let's actually start with what we deliver. In the ideal world, what we're actually delivering to a client is, the final retouched file. Either as a Photoshop document, as a TIF, and as a high resolution JPEG. Often times, Red Bull is not the case. Red Bull is a very savvy organization, with very talented people on the photo side of the business, but many of our clients, they are not savvy, and they are not comfortable using Photoshop, or Lightroom or any of the image management softwares. So we wanna give the...

m versions of the file, that they can work with. If their printer needs the Photoshop file, they have the Photoshop file. If they need the Raw file, they have the Raw file. If they need the high resolution JPEG, we've given them a high resolution JPEG. We always give a very 'relatively low res' preview image, a thousand pixels, versus the high res files, so that it's something they can move around via email, very efficiently within the office, or within the art department. Sort of 'FPO', for placement only, that's really important. Email in general, has a 10 megabyte limit. Quickly you realize, I cannot deliver files, by just emailing them to my client or to my athletes. And that's a really good point, sometimes your client is your athlete. You're out there with your friends, you're shooting pictures, you want them to be happy and make them feel like it was worth their while, and so the way we deliver those files, it's that low resolution JPEG, the preview image, you can shoot that over via email to your athlete. But with the 10 megabyte limit, if we're delivering individual files, or large batches of files, Dropbox or WeTransfer, or larger organizations have their own FTP sites that they prefer you to use if it's confidential information, or images that are very sensitive. But there's amazing tools out there today. It's just gotten easier and easier, year by year, the clients and the tools for transferring large amounts of data over the internet. Be realistic about your internet connection. If you were trying to transmit from Katmandu a large set of images, or from the middle of the Sahara desert, no matter how good your tool is, if your internet is awful, just plan on that. So JPEG compression is valuable in those worlds. Dropbox, WeTransfer, usually we use a two Gig limit. Two Gig's even on a pretty fast pipe, for upload takes some time. As soon as we cross that two Gig threshold, then we start looking at shipping drives. Whether that's shipping thumb drives, shipping actual hard drives, the sky's the limit. You can ship as much data as you desire, when you start putting them on drives. There are some real limits when you start dealing with online file transfer protocols. We find that over two Gigabytes, just things start failing, and breaking and connections drop, and some of these companies have physical limits, they'll cut you off. Brett alluded to it, we use PhotoShelter. They're both our web host and the engine behind our website, but it's also our select archive is online. The beauty of PhotoShelter is it's always on, the images are always accessible, and it's automated search and delivery. This is great if you're a one man band or a small office. Sometimes we're half way around the world, we're all busy, we're shooting in Lebanon, and a client needs something now. It's a Sunday afternoon, no ones in the office, we can't get anyone to go to the office, but we can from Lebanon, log on, and actually give them access to that PhotoShelter account, or download links so they can pull down the final image in different sizes. One other thing that I think is really important, and there's legal documents that you can use, but you can also put it in the metadata, and in the body of your email. It's being really clear what you're delivering, and why you're delivering it in the formats, that you're delivering it in. With athletes, this is a great example. I want the athletes that I photograph to get the pictures. They are 50%, if not more, of that process, of making cool pictures, but I set the expectations, for what I'm giving those images for, and what they're allowed to do with those pictures. If I'm expecting to get credit when I hand those photos out or distribute those images. I'm not a watermark guy, it's just I'm not a fan of using watermarks, but I do embed metadata. Let's see, what else, any questions? I'm getting the countdown, that we're truly running out of time, but this is our chance to touch on- On that note, do you ever put a disclosure that people can't put filters, or change the integrity of the image you're sending out? If it's to an athlete or a friend? I'm not that much of an artist I guess. At the end of the day I don't want people to go and manipulate my pictures, and truthfully, it almost never happens. Unless it's the client, and at the end of the day, hey, they paid- You're a service provider for them. Yeah exactly, they paid for the shoot. I can put my ego aside. Whatever makes them happy, makes me happy. Brett, any other thoughts? [Audience Member 2] I have a storage question for you guys, so you have a fairly big office. You probably can afford to have lots of storage. For the people who can't, when they've finished a shoot, what would you suggest for them to keep? When you've got those variations of photo files and stuff, like JPEGs, TIFs, DNGs, RAWs. Do you think it's okay for those people, to just keep the RAWs on file only, or what do you suggest? I would start at the highest level. I would say if you can afford to do it, do not throw away images. So keep all of the RAW files from every shoot, you ever do for the rest of your life, that's my advice. Hard drive space is getting very affordable. That's number one, when you get into the select world, which is you're manipulating those hero images, because that's 1% of the pictures that you shoot, probably less than 1%, you're actually going and doing real heavy lifting post processing. In those cases my recommendation, is obviously keep the RAW file. Definitely keep the Photoshop file, where you have all of these layered elements, If you wanna go and manipulate it later. And I think for ease, keep some kind of a JPEG. If we have the RAW file, we don't keep batches of TIFs, and JPEGs, we don't need that, we can always regenerate that data. So my advice is, whatever it takes keep those RAW files, because one day you might actually need them.

Class Materials

Bonus Materials with Purchase

Action Sport Photography Gear List

Ratings and Reviews

a Creativelive Student

If you're looking to learn from one of the greats of action photography who also happens to be an incredible instructor, look no further! Corey Rich and his fantastic team will show you every facet of being a great action photographer and they share all of their insights from A to Z. Their instruction is heartfelt and they laid it all out there for everyone's benefit. A huge thank you to Creative Live and Red Bull Photography for bringing this to the world. This is a must have class in your library!

Zoe Heimdal

I really enjoyed this class! I am not an "action sports photographer" -- just an avid photo enthusiast, and I found this class highly informative/interesting. Corey has a very down-to-earth quality in the way he presents information... a regular guy, who knows a ton, and is sharing his wisdom. Clearly many topics/tips were off-the-cuff as he ran into situations during his shoots -- it just felt very "real" -- like I was there with him, getting a private lesson. There was quite a bit of info dealing with camera cards/photos/apps that was ubiquitous to any photographer. And then it was interesting to hear about his travel bags and what he brings to shoots (a ridiculous amount of gear, but everything with a purpose). There are hours of on-site filming for an outdoor ski and an indoor bmx shot... with Cory trying/failing/succeeding in many attempts at things -- just like a real photo shoot would happen. His advice for capturing a good/workable shot from the get-go and then spending the time on the riskier/more-creative shots, was solid -- as far as keeping your clients happy no matter what. I was genuinely surprised at how interesting/useful I found this class (being that I rarely take action shots) -- and I'd encourage any photo enthusiast, or person in the earlier stages of any professional photography career, to check out this class. My one piece of constructive criticism for Cory/CreativeLive -- try to represent women? This class only had the briefest of inclusion of females, and left me with the impression (I'm hoping incorrectly), that the world of action sports photography, is a man's world.

Student Work