Apple® Aperture® 101

Lesson 10 of 36

Importing Workflow Part 2

 

Apple® Aperture® 101

Lesson 10 of 36

Importing Workflow Part 2

 

Lesson Info

Importing Workflow Part 2

Next we're gonna look at actions so my friend I'm joseph at after expert we were talking about this apple script and neither of us have ever really had a purpose for it and so I was asking him like have you ever seen anyone with a purpose for it and he went on twitter and a bunch of people chimed in so somebody has actually used this and had a function for it so I'll tell you about there's I don't know his name sorry I should have looked on twitter but he actually uses this he built his own script that works with his camera and it will actually find images that he shot bracketed and late and keyword them as hdr so that he can find them and work on them I was like oh okay that's really cool function I like that so but this is basically not an action like you would think that's a pre set in in after world this is an apple script action that you can have as part of your import so there might be some other uses out there if you guys have any and have used this at all in the audience please...

let us know in the chat rooms why you've used it for I would I would love love love love to know that the next one down is back up location this is a really great import option I don't think it's used enough this allows you to back up your images while you're importing images what so um this will let you choose where you want the back up to go and we can say oh on import we also want to send it over to a hard drive I'd say go to our colonel we're going toe you know put it on a new folder and it's going tio it'll be their event but on our backup drive in our two thousand fourteen folder so this is basically just another way to do to do redundant see onda back up your images when you're doing import so if you're importing using aperture like a lot of you are this is a great way to back that card up at this same time and do an import and back up both at the same time so that's a really great option also if you are using a managed workflow meaning you're keeping the images in after this really great option toe also keep a copy outside of that after library and move it to an external copy it to an external drive somewhere so that's great too perfect so we have all the important settings done I'm just going to make sure that we don't have anything let's go ahead ali a levy with the a couple of these that we use so I will keep that I'm going to check my copyright option make sure that's in there uh perfect I've done it once before so it populates nice and quick which is great we don't need to start rate any of these or do any of that I'm gonna back out a little bit so you guys can see how this goes he's ready we're going to import oh my gosh I feel like this has been such a buildup so let's go and do it I have two hundred ninety five images selected for this we're moving these files at the same time as we let's keep him in their current location I had a hard enough time finding him was it was right I'm so I'm gonna keep him in their current location and then I'm an import checked are you sure you want to store your files in location outside the after libby? Oh I must have cleared my settings because I don't get this pop up window anymore on this is asking you for the first time are you sure you want to stir your falls in the location outside of the apertura library? Yes, I want a reference library or I want to reference work flow so I also I'm going to check do not show this message again I don't need to see it I understand what I'm doing I have the power head okay and the great thing too is that now you can start right away did you see the loading loading I finally get to show it to you so when you see a little loading symbol wish we actually selected that preference in the preferences men knew at the beginning of the day today so that will show you when you're looking at the preview versus the rock or the raw file with the slight adjustment on it so it's just a little bit of that quick loading but you'll notice if I go to quick preview this is the quick preview button it's alsop is the shortcut key piece so I can flip through these images nice and quick and just figure out which images I want to keep or not keep and there look at that my import is already complete and you can check this if you don't want to see this again I like pop up saying it's complete just to know so that's a preference if you want to as well so you can go through really quickly and do adjustments on picking your images and quick preview but remember if you go into an image and you go oh I wantto I want to crop thiss I want to do some stuff to it and then you go over to I'm not I'm not in quick preview mode you can see quick preview mode by p right there I was like why did it let me do that I'm I'm gonna go teo this one are going to adjustments and it's like no can't do any adjustments because you're not working on the raw file but this will fly through really quickly and lay look at images if your machine is slow or you're having slowing issues for some reason older peter something you can always go into quick preview mode to quickly look through the images when you call and then take it off quick preview mode when you're ready to do adjustments rachel's in quick preview you can call images in quick preview you just cannot adjust them crop them and then you start calling while it's still importing or do you have to really no any no waiting zero waiting yeah and even if you're important takes a long time I mean we have thousands of images with our wedding images you can start calling right away and there's literally if you're in quick preview mode there's literally little to no lag at all which is great they made the import tool really nice so then if it's still importing the quick preview because we're taking it from the camera those air all up like immediately once you start importing yep so you could basically rough it at the whole thing anywhere on the card if you wanted like you go to the end of the event and start rapidity even though it's not important yet exactly sweet well I think we have just enough time left to show the video of the shooting so I'll give him a little idea of what they're going to see. The video that we put together for you is from the shoot that we did in san diego with this couple morgan is the female obviously well, that could be a guy they morgan and morgan the female eyes morgan lee and it's l e I g h I think about if I'm feeling that right and she is a country singer she's fantastic, you guys amazing, you have to hear her stuff, so definitely go check her out, but this was a really great shoe with her and her boyfriend, david manning, who is also a wedding for darfur in san diego and a dear friend of mine. So this was a really, really fun shoot to dio and they were such troopers and so great with letting me take so much time to do some instructions and stuff and talk about these photos who also are getting a selection of the photos. I'm just to show you the variety of different lighting situations that we did and also to give you a chance to do some adjustments and stuff with me, which is really great on we'll have some homework later on tonight they'll tell you about but I just wanted you guys to have access to the images and also just to come on issue with me it's so fun to see what where the images came from how hear me kind of talking with with the models and call them models with the lovely couple and just kind of work them through howto work work together and look great and enjoy themselves I'm really excited to do a little shoot with you guys today I want to take you in the field and give you a little insight into how I shoot with post production in mind so we're going to do a really cool shoot today with a a couple that's amazing I'm gonna give you a little bit of setting ideas and tell you exactly how I shoot with post production in mind so I hope you enjoy this part and then we'll get back into the studio and start working on these images right away are you guys I set up this very first shot with a couple right on this beautiful nice background with this gorgeous would texture and I'm going to set my camera settings specific to the area that were in there in really great neutral light so the camera can really help me in this case so I say my settings they're going to be my I s o which is one hundred beautiful and bright and light out today we don't need to be any higher than that my second setting is going to be my shutter the shutter speeds going to vary because I'm going to be in aperture priority so my aperture is the only thing that's going to be set here it's going to be set at one point eight to start with we're going to play around with that a little bit and then we're going to let the camera decide what the shutter speed needs to be teo get the perfect beautiful light in post production we're going to take these images and do the adjustments and you'll be able to see how shooting an aperture priority is it the most ideal for post production because of the case where it will vary a little bit the images of very so but I'm going to show you how to make that nice and easy on yourself to make those adjustments on the back end all right let's get started I want you to reach in and kind of like a proper race beautiful you can reciprocate a little even touched him in some way way now I feel the connection before it was all him wanting you now it's all about ah there you wait all right, so for this shot him setting up morgan with her guitar mornings actually a country singer so we're going to highlight a little bit of her personality a little bit of what's going on for her we're still shooting an apt your priority none of our settings of change, our cameras making all the great decisions about what the shutter speed should be my aperture is being controlled by me we're staying around one point eight one point six to point now is somewhere in that range all right, here we go nice I said do you mind if we set it down just yeah yeah and then do the lane for me again yeah I'm not yeah don't totally go missing good so awesome back there a man looking so good ok, so in this next set up I'm having david play the guitar he's actually a very good guitarists as well and we're just going to do a couple shots here I have been noticing that in my camera damages have been a little bit underexposed so I went ahead and bumped up the exposure I just did an exposure compensation of one s so it is coming up a little bit so that would make it easier and post production so I will not have to do that adjustment after the facts it should be pretty dead on right there is perfect yes, like right over her arm even like their yeah it's great perfect love that lay your head on this chest right there yeah, they go perfect love that okay you guys for this next shot we're going to do it backlit shot and we're going to go into my favorite camera settings which is manual all manual that means we're going to choose the shutter speed and the aperture on the reason I love to shoot in manual for post production is that once you've made the adjustment as long as you're lighting isn't changing that much your adjustment can be this same for that whole group of images so it's really great to control so you're so you're not going up and down in an exposure and you're not having to adjust each individual image you can really adjust blocks of images so for this shot we're still on one hundred s so it's still nice and bright and sunny out and I'm set on five hundred as my sugars speed my aperture is set at one point eight and I may adjust that a little bit if I go down to one point six I'm going to come up to six forty for my shutter speed and vice versa so you couldn't really just play around with it that way and make your adjustments just minor adjustments on bulls sides and you don't have to completely reset your camera so it's a really great way to shoot if you haven't shot on manual before absolutely give it a try and I'll show you why it's so great in post production when we do the adjustment on these images perfect kate get back in there gorgeous yeah put your right hand on his hand if you can take reach across love that look who was that do that again? Yes perfect okay for this shot I specifically and setting them up in this beautiful room light we have something dark behind them so it will just make it so that they pop right off the frame, which is great and we'll make the image just so much easier to adjust in post production they will be perfectly lit for using a little bit a reflector on them and some in some of this spaces but really, if we change our camera settings and just over suppose this image for their skin specifically, then we'll get that beautiful perfect adjustment be really easy to do the post production on this image but it's going to look great mary actually care lean in honor yeah good, beautiful little I love when you guys actually towards each other that's even better you that's adorable for this particular shot? What you find a lot of times when you're working with backlit images or backlit shooting is that you get some light into your lens even when you have a great lens like this and a great hood that goes on it, you could still have light coming into your lens so I'm gonna show one way that we block light if we need it we have a reflector here that we can use to bounce fight we can also use it to block light when we need to because what you don't want you might want it, but it makes it harder and post production when you have light coming into your lens fogs the image up isn't as chris burns clear and condemn it will be out of focus so one of the ways is to block light with your reflector and an assistant another way that you can dio I'll show a cz well where you put your hand over the portion of the lens that is being blocked, then you focus on the couple and then you couldn't remove your hand and shoot so those air two ways you can make sure you're getting a shot in focus so that you have a great image to work with in post production turn towards me a little bit more manning so you see that yeah good and then look towards him beautiful yeah I'm gonna focus on you guys oh, yeah right there and then she stood in a little tighter morgan good only poses way better for you. What? Let him back up just attacked measure and it did spot get in there. I want to see you really working it on him? Yes. Oh, that one so cute. One other technique I love to use when shooting back light is opposition the clients in a spot where I'm just at the edge of where the shade and the sunlight is coming through and I'll move my camera just so that the shade is in the lens off focus on the clients and then I'll reposition my lens to let a little bit of the sun flare in and then boom, I get a great shot a little bit of back light you can even get a little bit of flair in there, but you have a great focused image and you don't have a ton of back I just flooding the image is perfect. All right, you guys for this last shot, we're just waiting for the sun to go down because I'm really excited to show you a little trick that I do with video light and show you how I manually set my white balance to get this just beautiful image. So I'll tell you a little bit about the trick, so basically what we're waiting for is that really like after sunset, just barely a little bit of light in the sky that kind of time you're looking for about fifteen to twenty minutes after sunset, and then what I'm gonna do is I'm gonna set my camera for manual white balance and the manual white bounce I miss select is tungsten because I have a tungsten video like and so my video lights are going to be used to light, the subjects will be set for tungsten, everything else will be daylight, so that will turn very, very blue. And the images straight out of camera are going to be gorgeous. We won't really have much manipulation to do in post production and that's. Why it makes it so much easier to do this in post production as well. So I want you guys to give this trick a shot, and I think you're really going to enjoy the images we get from it. Gray later down on his shoulder right there. Good and turned towards me with your face. Yeah, yeah, yeah, perfect right there. You guys love it. Yeah, good, perfect, yeah, yeah, why don't you take a couple steps at least go slow, but good manning, look forward. Yeah, yeah, yeah, yeah, nice you back up a little bit, just give them a little softer light, perfect right in there. Snaggle, er and good, gorgeous, nice light, so great. Oh, my gosh, that was so from the watch. I loved it. I hope you guys really enjoyed it, tio.

Class Description


Apple® Aperture® is a fast, intuitive editing and management solution for photographers who want to deliver stunning, professional-quality images. Join Sara France for an immersion into the tools, tips, and tricks you’ll need to use Apple® Aperture® like a pro.

This course will teach you everything you need to know about using Apple® Aperture® to create an effective, efficient workflow for your editing process. You’ll learn how to seamlessly import your existing library of images into Apple® Aperture®. You’ll also explore the full range of adjustments, functions, and retouching options that Apple® Aperture® has to offer. You’ll streamline your workflow by using the Apple® Aperture® keyboard shortcuts, and even create customized shortcuts of your own. You’ll also learn how to make gorgeous photo books that will thrill your clients and boost your studio’s profits.

By the end of this course, you’ll have the Apple® Aperture® skills you need to create any photo project – from editing a single image to a creating multi-page event album.

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