Small Catalog Workflow and Templates
Yesterday we talked about the entire workflow from start to finish we we started by importing images we talked about hard drives and where to put things and how to name them and then how to get him through and select him how to adjust them quickly using presets and using synchronization techniques and even calibrating and creating defaults for our cameras. And then we talked about the organization of cleaning it up and getting it to the archive so it kind of gave you a very encapsulated workflow and obviously there are adjustments to be made to that work full based on your specific circumstance. Some people are big studios, some people in small studios, some people don't have studios is there anybody here in our audience here that doesn't have a studio? You just you just home and you're on the road right strictly on location, so so you just have an office in your home or whatever where you work or maybe it's on the table I do have a little studio for for food shoots that I do at home f...
or stock on then for travel stuff. Of course I'm on the road, so mostly I'm I'm on location okay? So being on the road like that, I'm on the road a lot as well, obviously teaching and so a lot of my work has to be done on this laptop on dh so that changes the work flow a little bit because there are certain alterations that you have to make when you're on the road as opposed to when you're in a studio with a tower has four hard drives in it, so so we're going to talk mostly today about work for alterations, so if you watched yesterday and you thought, yes, but my circumstances a little different that's what today is for we're going to talk about all the different specifics in work flow changes and so in the end, all workflow kind of work it's the same, except they're just small alterations you have to make, they don't have to be drastic and they're not they're not completely unique, they just need a small alteration here, there, and then the rest of the workflow works the same, and so we still function with the same basic principles we just alter a couple little things. S so that's, what we'll talk about this morning is all about the small catalog. Now if you look at my catalogue here, it's ah it's, a working catalog and the working catalog has multiple jobs in it, so you can see that I've got, you know, cem, some corporate shoots, I've got some portrait's, some senior portrait, I've got a wedding, I've got some travel eso I've got all sorts of different jobs here and I understand that there are some people out there that we're worried that we're spending too much time on weddings and that we ought to you know, show some other work today so when we're working today in the third segment which is our kind of play time where we're going to actually start adjusting we will actually go into some travel photography and we'll work on that today so for those of you who are looking for something other than happy love and weddings, we will go into travel photography and maybe even work on some some some fashion shoots that we've done we'll do that later on today as we're adjusting, but for now we're actually going to talk about weddings again and I think weddings are a really good thing to see a workflow on because they're such they're so volume intensive that if you can get if you can get a wedding done quickly you can get anything done quickly so if I think that I think the great thing the best way to run someone threw a boot camp would be to say you have to do a wedding you know and that would put him through their paces and then they would go backto like commercial or they go back to their portrait so they go back and live like this is easy this is simple now because they don't have to deal with his many photographs so that's not to say that those other those other avenues are not hard, but they're hard in different ways. For instance, commercial you spend so much time setting up all of your you're its pre production that's the most difficult in commercial post production is almost nothing in commercial unless it's like a big composite. Whereas weddings there's not a lot of pre production there's mostly post production and so it's just this is just where you spend your time but and in travel there's no pre production there's valuable postproduction there's just a lot of travel there's a lot of waiting for things and looking around for things and scouting and stuff. So everybody has everybody's paying for it in some way with their time it's just a matter of where that time is being spent. So what we want to do is we want to show you a work float with a one job per one catalog per job workflow because there's a lot of people that do that do any of you have were you a one catalog per job type of person? I had to catalogue that I was working with and it was getting very confusing and one that was personal that had all of the thing all of the chutes that I enjoy doing and then one for projects and there are times when you wanted to pull one from your personal into the projects and then all of a sudden it's like okay, how do I do this? And it was making it more complicated than I think I needed to have it and it was definitely I envisioned it yesterday when I saw the one catalog and how you roll them out into multiple catalogues at the end and I like that good yeah definitely if you're using two different catalogues, you should combine them because personal work and project work or the sea saying there is no difference between the two but we're going to now talk about the idea of because there's plenty of especially wedding photographers and portrait photographers who they make a new catalog for every job and then they just opened that catalogue and work on it and then close it and that's a perfectly viable solution. But there are certain things that you can do to mitigate the problems as a result of it. So yesterday we talked a little bit about the advantages of a working catalogue situation where you have multiple jobs inside of one catalogue I've used the same working catalog since light room one it hasn't changed its the same catalog that started in light room one and advanced the lightning two, three, four and five so I've been using it since like two thousand three, that same catalog it has not changed I haven't I haven't made a new one it's just the same catalog that existed all the way back then and it has just updated over the overtime and now it is still my working catalog it's the same actual catalog file it's just been updated every time and the beauty of that circumstances that that catalog has been learning for a very long time about mikey wording habits and so it knows the key words that I use because those key words have come in and out I haven't had to change all of the settings and so as new settings come into photo shots are into light room I they I start working on them and then those get memorized into my life from catalogue all the settings in my lifetime catalog have been the same for years and so I've gotten to know the catalogue and the catalog has gotten to know me and so it's it's a much better situation for instance, there are all sorts of, uh plug ins and there are all sorts of public services now, especially with the latest two generations of light room and every time you make a new catalogue you have to reestablish the connection with your published services and you have to reestablish connection with say you have some templates or something like that and so when you, when you keep making new catalogues, you end up losing all the connection to that and so you don't have quite a cz much ability toe work quickly as I will in a working catalog because the working catalog it could set it up exactly the way I want it and then it becomes a working construct and jobs just kind of come in and go out it's kind of like it your studio so bob and I were talking at lunch I believe yesterday and bob was saying, you know, I really like working in a studio because people come into my studio they come into my space because he was a scientist and so he likes people coming into his lab where he has all his control groups ready and so he's comfortable there people come in, he sets his lights the way he likes them he knows where they are and he puts the person right where they should be and takes the picture it's a very comfortable working environment right? Because everything's there you have all the lights you need, you have the cameras, the battery's, the power you have everything you need and it's not cold and rainy so it's great. Well, the same thing is true of having a working catalog. A working catalog is like that cozy studio environment where you have everything at your fingertips that you always use and then a job comes in. You work on it based on all of those tools you have and then it leaves imagine trying to go to someone else's computer and work on someone else's computer every time you do say photo shop and then the next day you do photo shop on, you know, someone else's computer and then the next day you do it on someone else's computer and so it's always different, and you never get to create that cozy environment where you know where the tools are and they're always available to that becomes a problem. That's what working with one catalog of time is like because you keep getting a new catalog without all of the things that you're comfortable with. So what we're gonna do is we're gonna try and make that work your catalog that's one catalog at a time going to try and make that a cozy environment for you. We're going to make it into your studio where things come in even though it is a new cat along each time, so to do that we're gonna we're gonna quit out of my current catalog, which is my working catalog, and we're going to go to a blank catalog and in that blank catalogue I've already established some connections, so what I did and the way you make a new catalog is simply just you can do it from within light room, you can go up to the final menu and say new catalogue and creating new catalogue but you can also make it while you're opening light room if you just hold down the option key and I think it's the all key on pc and you click the the light room icon and hold the option key down until this dialog box appears. Once you get to that dialogue box, then you have the ability to create a new catalog just by clicking this button, or you can choose any of your latest catalogues. You khun, you can use those as well, but we're goingto we can create a new catalogue when we do that, it asks us where we're going to put it and what we're going to call it and that's all and then it'll just open that catalog and it will be blank. So I'm going to put this on my desktop, which you should never put stuff on your desk top, but I'm going to delete this immediately, so I'm going to call this test and I'm going to hit create and now here's my test cattle, you see, that folder just got created and here's the test catalog and now I've got hard drive all these published services over here hard drive be hands facebook flicker smugmug till they all say set up! I have to set him up every time I'm creating the catalogue and everything's blank. I have no images in here, I have no, I don't have any collections or smart collections available to me, just nothing there's, nothing there, so I'm not in a comfortable working environment. I am now in a brand new, you know, open shell studio that has nothing in it, and now I got to start going and collecting, bring all of my photo gear in and paint the psych and maybe build the psych, and I'm going to do all that stuff to get my photo studio ready and then if I were to go and create a new one, so if I were to quit this catalogue and go in and option, click and create a new catalogue, all of a sudden I just moved to another studio that's blank has nothing in it, and I gotta build it back up, so we're going to avoid that by instead you mean delete this test catalog instead, we have created a catalogue that will become our template template catalog is where you will always go to create a new catalogue. So what I've done is I've I've put that template into my dropbox, so I have a drop box and that drop box, says workflow. Files and in the workflow files, you'll see that I've got two different catalogs and we'll talk about one of them later, but this one light lr catalog template, that catalog template is where we're going to start and I'm not I'm not going to once you've created the light room template, you leave it alone, you don't add photos to it unless you're going to add some like base voters that's what we're going to do so we're still working on it once we've got this thing the way we want it once we've built our studio the way we want it now, we need to duplicate it over and over again, and so we leave it the way it is and every time we started a new job, we just copy it over, so we just copy paste it here and go, so right now we're going to keep working on it, so we're gonna go into the catalogue, open it up and we're opening up directly from that um oh, and by the way, when you do this, the the drop box needs to be paused, so I'm gonna pause the sinking on the drop box so I'm going to quit this I didn't it was sinking while I was doing it, but the drop box if you have something in a drop box and you start working on it while the drop box is sinking, you could introduce the opportunity for corruption because a catalogue is a bunch of little files even though see how it looks like it's one big file, but if you right, click it, you can well, actually it's this one it's the previews you right, click it and you can then show the package contents when you open that up. It's got it's got little files inside of it, and the more pictures you have in it, the more information you have in it. Those get bigger and bigger and bigger until you have thousands and thousands of little files in there. It's not one file it's a whole bunch of little ones, and so you don't want the dropbox sinking while you're working on a file, so whenever you're working on file, go up, pause the drop box, work on it, then when you finish a npas dropbox and let it start sinking again, okay, so we're gonna open up this catalog. Once we've opened the catalog, you're going to see that cia installed all of so now here's, my smugmug has attached my facebook has attached my fate personal facebook has attached be hance has attached even my hard drive with ipad and iphone photos is attached so all of my published services that I used on a regular basis I've installed them, I've attached them, and I'll show you how to do that second sorry you there attached because you set this up behind. I set this up earlier because I wasn't about to set it up and really tight my passwords, and it'd be weird. Okay, so you didn't attach. I guess that leads to my question, which is, can you start a new catalogue and attach it to settings from a previous kind? Look, it's, just that you baked this and already I baked this, and so I set this up earlier so that you could see it attached to all of my services. I'll show you how to create a service now, so right before that, what you do is you open up your catalog, and the first thing you do is go down to your public services that hopefully you're using, and if you're not using him, you need to start using him, and you go to this little plus button, right. Next you're published services hit plus, and then you're going to create just goto, the publish service manager, and inside of that published service manager, you create whatever you want it so I'm gonna add a public service and you can add a hard drive published service, be hands facebook's, flicker, smugmug or any other public service you've installed so there's plenty of public services out there just make sure you choose the one that you are using and install it, and then you can install, I'm going to do another hard drive one and the other hard drive one I'm going to do is going to be my because tomorrow we're gonna work on albums, so I'm going to call this album production because tomorrow when we do albums were actually going to make an album with a publisher was involved in the in the working of that album, so we have to set that up, too, so that all of our working are working catalog, even if it's a small one one catalog a time is already attached to it, so we're gonna attach to a folder called album product ction and the album production we're going to choose the folder, so I'm coming in here and saying I want to choose a specific folder and that folder is going to be inside of my pictures in a folder called album production. So there's the folder that we're going to use for album production, we don't need to put it in a specific folder, we don't need to rename the images in fact, we don't want teo, we're not going to be including video files in album productions, and we're going to make these one hundred quality srg b j pegs if you want, you could make them tiffs or whatever, but we'll go with j pegs and image size and want to keep it in the same we don't want to do any sharpening, we we can remove the location, we'll leave all the meta data and the files on dh, then we're going to save once we hit save. We now have another, uh, publishers here called album production, so now if I drag photos and there's no photos in this catalogue yet, we're just setting up our environment, so if I drag photos into this album production, I can then start creating a folder that's going to synchronize with other programs out there and those other programs we're going to show tomorrow how we interact with light room and there's, a new program out called smart albums and smart albums will then talkto light room, and then we'll work together in making an album. So you're going to see that tomorrow, but we have to have this little published service active, so we're going to make that inside of our template, um, hard drive for iphone and ipad photos if I'm working on a job and I think, oh, I want to put I'm working right now, let's say, I'm working on this job and I want to put something in my ipad so that I can take it with me but I'm just working and I like, oh, I just finished that violent looks so cool just drag it there and then sink it and now all the sudden it's on my ipad if I want to throw out a work in progress on being I can do that just drag something there and just publish it and it's it's up on behan same with facebook so if you're working on something and you're like hey just worked on this file I want to put on facebook you don't need to export a j peg and then go to facebook and open facebook and then type in a thing and post it on your wall all you have to do is just you're working on inside of your light room give it a title inside of light room so if I if I if I right click this and I edit it settings you can see here that is going to do the file name dash title so type in the title that you want have in the title area in the metadata in light room and when you publish it will send it to facebook with that title on it all right and the description as well can go with it so there's a lot of things that you can do if you set up all of these constructs now then it will just make it very easy to share stuff as you're working on it. So instead of waiting until next week to publish something while you're working on a file you khun simply just push it out before you finish the job just push it out hey working on this day working on that same thing with smugmug this is where I interact with my clients so smug mug is where I'm putting so you can see all these jobs are sitting up on smugmug and you see that it doesn't show me the jobs right now it's just showing me what's there showing you what on smugmug right now and if I was to right click this I could synchronise that and it would show me any new jobs that are on there but it doesn't s o I have to draw the photos down it just shows me here's a bunch of folders it there and if I wanted to I could throw mohr photos into those folders or create new ones and this will slo mo has one of the best written plug ins on the planet I mean it is just amazing plugin has the most reliable interaction between light room and a published service on dh there published service I've ever seen it's just I can do almost everything to my client's photos from this plug in from light room so that kudos to them they did a great job so I've set up all my publishers is now the next thing that I want to set up is if I have any kind of smart collections that I need tohave available to me all the time, so for instance, I may want to make a smart collection, so I'm going to create a smart collection, and that smart collection will be, uh uh, warning so basically anything that if I tag something when I'm working, if I see something that's a little soft when I'm selecting, but I want to keep it, I'll hit as a pick, and then I'll give it a six, which is a red, and the red tells me that this is a warning, you really have to pay attention to these specific files and fix them, otherwise you have to throw them away, it's like polish, a turd, basically, you've got that news time to polish, all right? And if you can't polish it, toss it out. And so I need a warning that tells me these air images that you need to work on and make sure that you scrutinize them before you allow them out the door. And so once you go in and adjust all your images and you work out, then you can go to the smart collection say, is there anything in this smart collection that needs to be we worked on and I can scrutinize the five or six images that I'm worried about on then I can either reject him or whatever, and so this would be warning, uh, images. So I need to look at those warnings, and so what I'm going to do is I'm going to set up this criteria that it needs to match she's rules and it needs to have color label is red that's it that creates my warning images, and then I have another one that I always want to have, and I like to call it my dammit images, okay, now what that is is it has tohave a pick, okay, so it has to have been picked and it has to be flagged, so it has to be flagged and it also has to be, um I'm sorry not not picked has to be rejected, so it has to be rejected and it has tio have a cold label of red, so if I click something is red and rejected. Those two things tell me that I wanted to keep it because I put the red on it, but I rejected it because it can't be used then all I have to do is look for, and I would have to have the actual serial number for mike. For a specific assistant but once you have that serial number for the specific assistant you could also then say and that the camera info camera serial number is type in the camera number when you do that then if an assistant is working our shooting and then you look at their images and you see something you like I really wanted to keep the image but I couldn't because out of focus or it's under exposed or it's whatever if you flag it is red and you reject it than all of those images will come up in a pile here so when the when the assistant walks in you can say hey by the way come over here click on that those air all your problem images those are the things you need to work on your not, you know, focusing here or you should have used you know something higher than f one point eight when you were shooting and family photo type but you know, like you com'on instruct people based on their camera so right now we don't have a specific camera so we're just going to say pull up any images that our flag is red and rejected so that I can pull in any assistant and take a look and say, hey, you know, these are the things we're having problems with when we're shooting you know, let's fix those okay so it's just ways of quickly selecting images of finding groups of images that you need, but you don't want to create this every time you create a new catalogue. Okay, the other thing that you want to create before you start the process of working on these catalogs is you want to make sure that you have certain folders available, teo so I'm actually going to go in an import photos into this catalog simon hit import, and I'm going to go an import in my creative cloud files, so I'm on creative clouds, so everything that I have, adobe wise, is drawn from the internet, so I download all my programs through creative cloud, but it also gives me access to the creative cloud, which gives me a basically like a drop box, it gives me a space of about twenty think is twenty gigabytes up there that I have available and that's, where I put all of my template type files, the things that I use all the time, if you're if you're a composite er, maybe this is where you would put your textures, and this is where you would put your frames, and this is where you would put anything that you used that's, a template that you might use on any job you're gonna put that into a template file up on the creative cloud were on your dropbox, someway. So that for me is right here inside of the creative cloud quick creative club files I'm going to go to the templates folder here so there's template folder and I click on that template there's templates there that I'll use for any given purpose I also have textures that I can put in there so textures templates on dh then also designs you see that I've got a bunch of designs for various things, whether it's website faces or whether it's you know, marketing things that I put out. So these are the three things designs, templates and textures that iowa available to me on every job just in case I'm working on a job and it's time to create, you know ah marketing peace from it I could do that now rather than having to pull in those files each time, so I'm going to create minimal previews on it. I don't need to build smart previous or anything like that I don't need to add keywords because those keywords would already be in these templates and folders. So now I'm just going to hit import and it's just going to draw those options in so now you can see that I've got designs, templates and textures all inside of this set of images now if I want then instead of having three folders here aiken right, click a folder and tell it to show hey, mommy's, scoot in here, I can show the parent folder, and when I do that, it puts them all inside of my creative cloud files. I could I could further show this parent folders. So if I went up to the creative cloud and I showed a parent folder here, then it would show the jared be platt folders so you can keep doing that. Or you khun, you can click on that one, and you, khun hide this parent, and now it just does creative cloud files so you can choose how far you want the folder tree to go down. And so now I have all of those textures and designs and all that kind of stuff available to me on any job that I'm working on because it's attached to the creative cloud which, by the way, the creative cloud is attached not only to this computer but also to my studio computers. So then this template is looking to the creative cloud, not to some folder on my hard drive, looking to that creative cloud folder that's equally the same on the other computer, and so they're both going to look at that same folder, so no matter what computer this is on it's going to see the same folder. Right, okay and you could do that with a drop box too because the dropbox is always going in the same folder as well it's always going to say drop box on it's going to be inside of your home folder just make sure that your home folder on your computer and your home folder on your laptop are named the same thing so that it note when it's on that computer just looks to that and it finds the same pathway if you if you name your home folder jared be platt on one and jared platt on the other then it won't know where that isthe so you want the home folder always be the same name on both computers and if it's a it's a business type thing just make sure that you have the business name so platt photography platt photography or something like that so that your home full there's always of the same name. Okay, so now we have we have template type stuff inside of our catalog we have published service inside of our catalog we have smart collections inside of our catalog all the things that we use on a regular basis the one thing that we won't have inside of our catalogue is the key words that were using and unfortunately as you remove photos and as you get rid of photos you lose those keywords and so then you you don't pile them up, you can't grab them from somewhere else and just bring the key words, and you gotta bring the photos and with keywords, and so you just don't have you're always going to start from scratch on the key words you can set up, keyword sats, but those are system wide, so if you have keyword sets, so if you come over to the keyword ing area and you create a bunch of keywords sets here, you can create them as presets, and as you create those, those get saved into the the light room preset folder with your developed presets and all your tool presets get saved in there and that's a system wide, unless you go to the light room preferences. And if you go to lighten preferences in preset area there's store with catalog if you click this and I'm not, I'm not no one should under think that I am suggesting to click this button. I'm talking about this, but I'm telling you, don't click this button, but if you click this button, it will store all of your pre sets in the catalogue, which you would think is a cool idea, but the problem is, is that then if you're not using that catalogue and you let's say you let's say you make a new priest or you take some of the presets that I've already put up online, by the way, so if you purchase the course the presets we made yesterday plus one more than I made last night that you didn't even see that was a really cool so I put it on there are on there now so there's four presets for download that that were created on creative life so let's say you take those four presets and you put them into your catalog after you click this button, which I'm not going to click this button I'm not telling you to click this button I'm saying, don't click this button have to be rare emphatic about that because I don't want anyone thinking I you actually say that that's a good idea I don't even know why they offer that, but if you click that button and you take my presets and you put it into your catalog and you're working on it, the next catalog you make won't have those presets if you go over let's say you've made catalog a for the jones wedding and then you did the smith wedding, so you've got the jones wedding over here and you added my presets to the jones wedding and then you close that one down and went over the smith wedding and open it up you wouldn't have the presets because they were saved in that one and each one has its own unique set of presense so then you just have no ability you never know where your pre sets are and it's worse than any kind of file management nightmare you could ever think of so that being said if you if you always started from a set of pre sets if you click this and you start from a set of pre sets that are inside of your template then that template will copy all the presets every time you copy it but the problem is we make presets while we're working and so that's when you run into problems because then you're making presets on this one and then suddenly all of your other previous jobs don't have access to it so don't click this button leavitt unclipped so that your system wide light room catalog you have access to every precept that you make even if you go back to a job that you worked on in night in in two thousand three in light from one if you go back to that job now you still have access to your new presets because you're in like five and as access system wide to the presets so do not click that button but now you know what would happen if you did okay so you can store them in the catalog but I don't think it's a good idea system wide is much better okay the other thing that you want to do before you finalize those catalogs you want to go up to your light room catalog settings and you want to make sure that whatever catalog settings you prefer our set up inside of this catalogue and you have three options here first is in the general when do you want to back up and the correct answer is every time light room is its that's when you want it to po that's when you wanted to warn you to back up every time it exits and every time it does you need to hit yes it doesn't take very long to do it just hit yes and let it do it all right this is not a survey says thing by the way it's you do it the only time you don't do it is when you're teaching and you don't wanna wait and have dead air while you're waiting for it that's the only time you don't do it file handling in the file handling you need to set up what kind of standard preview you want what kind of quality you want on the preview and when you want to discard your one for one previews you want to set this up now because that's what it's you constantly are going to get that as your preference and so you just want to make sure this is set up because it's not a system wide thing it's fire a catalog my catalogue same thing metadata you've gotten the metadata that you have certain options and one of them is automatically right changes to the ex mp now what that means is remember yesterday we working on regular raw files and at the end we baked in the changes to the dmg. So we saved that ex mp data of the keywords and light room changes and crops and stuff like that into the dmg. So now the dmg actually has keywords in it has all the adjustments and things like that. So we we have that inside of there if you click on the automatically right the changes to the ex mp it will constantly feed that out. So not only is it saving it in the catalog itself, which is kind of like rooms brain but it's also sending a copy of that same change that you just made when you slide the slider it saves it to the catalog and it would save it to the ex mp data. If it's just a raw file it saves a sidecar file right next to it that tells this raw file what it did with it if it's a d n g it saves it into the dmg and keep saving into the dmg that makes you double secure and so if you're worried about momentary security constantly and especially for people who take like you know, weeks and weeks and weeks working on files and then just not getting done with it and whatever, and they worry that they might lose their changes over time. This is a good option to make sure that there's always a secure like fail safe setting so that if your catalog got corrupted and you weren't saving, you weren't saving the backup every time you quit, which you should be. But if you weren't doing that, then your fail safe would be just re import the entire set of images back in the light room and those x and peas would tell light from what you've done with it that's the idea, however, it slows the catalog down because it's constantly riding changes and then it becomes slow like bridge is a little slower than light room because it writes changes constantly, whereas in light room it's writing it to a database so it just takes more time it's not a noticeable change, especially if you're working on a catalogue by catalog like small catalog basis. But if you're working on a big catalogue it's a huge slow them and so I don't have it checked. But then I get my stuff done from start to finish as soon as I start a job it's done pretty quickly and then I'm saving it to dmg anyway and then I'm putting on an archive dr and so once I start a job it doesn't take very long to get through it okay? So on dh then of course you can turn on your gps options here but just make sure that your preferences of the way you want them to be before you finalize this catalogue well are catalogs ready? We're all ready to go we're going to quit this catalogue and we're going to skip the backup because we don't want to wait for it but don't do as I say not as I do in that instance make sure that you back it up but now we have this light room catalog template ready to go and so now if we have a job that we pull in we simply open up our job and we say okay, we're going to make a job and we're going to actually I've already brought in a job it's the scott wedding and we're going to say okay here's the scott wedding and now we need a catalogue for the scott wedding and so we're going to take that catalogue and we're going tio option and drag copied then we can close where our template resides and we can go into the scott wedding and we're just going to double click that file has nothing on it right now and now it's time to import our wedding so we go to the scott wedding and I just gotta go find that job and just click on the scott wedding itself and this one's this wedding's already actually done and so what we really want to bring in is just our raw images and we're going to import them but we're importing the raw images with no changes to them so you're going to see the entire job with no changes you're seeing just the selects but you're seeing no adjustments to it so this is as is shot time and then if if we right click this raw see how this raw folder just is raw by right click it and tell it to show me the parent folder then it shows me the job name right there so now I've got that generally speaking you would just click on the job folder itself because it's a brand new job and it would pull it in so now we're all set and we have our images but notice then that we have connection to all of our public services we have the ability to have all of our images, warnings and all that kind of stuff and so if I'm going through and I see an image and it's just not right and I you know I'm upset that it didn't work out and I say six and reject its inside of my warning to fix but it also because of that rejects signal it says this is an image I need to you know, talk to somebody about and in this instance, because I was the shooter, I don't talk to myself about that image so way actually are picking that one, so we'll see how it disappears if I hit pick, it disappears, but it's still in the warning where I have to go and work on that image. So we're going tio take off the red because there's nothing wrong with the image, and we're going to go back to the wedding itself. So they're any questions about creating that template or bringing something into that template? Yeah, I'm gonna go down my list, but I'm going to start with this one from stargazer jared, I am an assistant in the studio manager uses bridge. I use light room is checking automatically, right xml a good idea for us. Will it make it so he can see any changes I have made when he opens a raw file in bridge? Yes, that's me, that's. The best reason for actually using ex mp if you write changes the ex mp and you have someone that's just looking at it in bridge or looking at them and photoshopped or even looking at them, you know, drawing them from another catalog writing the ex mp is the perfect way to share the changes instantly so literally his his photographer could be open in bridge and looking through the network to his computer and actually monitoring him you know he could be big brother there and just monitor what's happening and bridge would then be able to see the changes that were happening all he'd have to do is refresh and he would see his assistant's work happening because bridge looks at the ex mp data like it's always constantly looking at that whereas light room is always looking at its own catalogue and just sharing the ex mp data out so that's the perfect reason to do that however I'm curious as to why the assistant is using the better you know when I was learning that myself probably you know what I found though people I've found is that there are photographers who shoot and they leave the post production other people and that's a smart deal you know if you're in a studio and you leave the post production to other people that's great because that's wise management of your time because as a photographer you can make a lot more money making relationships with clients and shooting work then you can doing post production and so probably what's happening in that studio is a photographer is wisely using his time or her time for something better and then leaving assistant to do all the post production work which is the time consuming less money it's a it's a money burner not a moneymaker and so in that case, that's, a smart way to do it. And then that was probably just looking at changes and maybe tweaking it here. They're something like that, which is which is once. But I've still interested as to whether the yeah photographer is just not savvy and light room, or just doesn't, you know, figures that's, not his job. Yeah.