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Editing Senior Girl Shoot Part 1

Lesson 18 from: Build a High Volume Senior Photography Business

Matthew The Body Kemmetmueller

Editing Senior Girl Shoot Part 1

Lesson 18 from: Build a High Volume Senior Photography Business

Matthew The Body Kemmetmueller

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Lesson Info

18. Editing Senior Girl Shoot Part 1


Lesson Info

Editing Senior Girl Shoot Part 1

I really, really, really bad joke for this segment is why did all the frogs die they kept kroq ing oh they're so awful I really don't have any key don't I just really wanted to make sure I didn't forget that joke all right so let's get into it I'm gonna walk you guys through how I would really treat this senior session there's gonna be a little bit slower than the four segments I can explain more things so if you have questions speak up if there's stuff coming in on the chat room feel free to jump in with it but the first thing I'd do is I'm gonna load this memory card and we're going to double click this memory card and we're going double click where the files are and we're going to rename this raws were going to drag this folder onto the desktop and well that is copying I'm going to go to my new job folder which is what we set up yesterday I'm gonna copy that and paste that right next to it and we're gonna go in and renamed this job folder some arbitrary number that my studio plus af...

ter it would give me so we'll just call it three, three, three four and go in click that and we're gonna go in here and we can drag our raws into here and we could rename this job folder three three three three four all right and launch the catalog now what? I am going to show you guys well this is working is like I showed you yesterday I'm going to drag this memory card out we're going to eject it so the memory card I have the images we have all the raws on the computer right now who got a little click happy there so we have all of the images here they exist on the computer now if I take this memory card back and put it into the camera because we change that folder name because we changed the structure of how the images are where they're laid out they as I put this memory card back in I can see no images it's good tell me there's nothing on it now if I go in to format my card which is what I would do as they started which is what I would do when I was getting ready to start a new session it's going to show me that there's still information on it so like I was telling you this gives you a visual cue that you've downloaded these files that you have them and that you can use this card again but the files are still on that card until you're done with your job and you backed it up you haven't lost that okay, so uh how many files do we end up on this memory card? I think there were one, two, three, four, five, six, seven, eight, nine, ten, eleven sixteens when I took, there were twenty two and these are just pictures of the lights that I didn't know were taken, so I didn't format my card before we started. But I'll tell you right now that we could take all of these images and get rid of them. We don't need him. We never are gonna look at those again. I don't ever not gonna process him. I don't even need to think about it. That's john, the lighting demo image of her was junk. I don't want it. So we've gone in and we've launched light room. Now, remember, we changed our light room catalog to her five digit number, right? We could tell that we're in the right catalog because right up here, it's showing us that five did a number. Now let's, import our raws. Now, these are user, I think the body desktop. Ross. Okay, now on this computer, I have a default studio import preset already done. So I showed you guys how to make that yesterday. This is where you would run it in real life. So what we're gonna do is we're taking the images from the raw catalog we're adding them to the light room catalog with a preset run, important so now is that races across the top building that ridiculous preview size because of the retina screen, we're gonna have a second to talk about things now remember, we were talking about sellable images, and I am not the photographer that's like I think that the key to being a great professional photographer is not having every image be a perfect one hundred it's, not about competition photography for me, that's not what I'm trying to do. I'm not trying to do competition prints, I am trying to get great exposures with proper lighting that show personality that people will want to buy and that's two different things if you're like, and I'm not saying that print competition is bad, and I'm not saying that print competitions aren't great and that you couldn't sell print come addition images, I'm just saying that the nature of the work that we go after is to create images that show that that kid in a good way, that would be attractive on your wall. Okay, so you'll see that I know there were a lot of questions about before asking about our through this press is like, do we do? How do we know that we get the right shot? And how do we do the pose and that's all through sellable image, that's, that's, the goal like I don't want to go crazy funky modeling pose really aggressive, dramatic posing because that's not what my marketing is built on that's not what I shall on our website that's not what our clients come in for they come in for this type of work so we went through and we imported are images we got fifteen. All right, I told you we were going to do twelve so let's go through and sort our images so we're gonna hit shift tab that's going to get rid of those panels on the side and we're going to change some loop view, which is keyboard chuck e all right, now I'm turning my caps lock key on and we're going to pick and reject these files remember, we need to get twelve and if we go back to the grid view, we can see that we got one, two, three, four, five, six and this so we aren't really going to do anything with the blues. We're going to keep all six of those, so really the ones that were sorting through are going to be the ones of the end because we don't need all of them so instantly I can tell you it's going to be one of these two, not both it's gonna be one of these two, not both, so let's actually just focus on those you in here in here, here, here really pretty negligible difference is I like the smile a little bit better in this one over that one, but to be honest with you, like, if I were to show you one and then sell you the other one you probably would never notice they're that close. But we don't want to give the mom to images that are that similar. So we're going to get rid of that one, and we're gonna keep this one. So hit x to reject the first one it auto advancement in the next one. And then we hit pick p for the next one. Then we got this image in this image. This image, this image president I think she looks better smiling, but I think she's going like this the serious one better like I person. I like my I like smiley pictures, but I think she's going to dig the serious on so we'll keep the serious one. You were gonna keep the serious one and reject. Pick this one and reject this one. Now we know that we want this, this this and we also know that we want this last one because that smiling one at the end and I know you guys like I know it seems like dumb and stupid and it's not gonna work, it works every time you shouldn't say that it works every time that they have personality, and you're having fun at the session if you try that like it's, the first thing out of the gate it's going to be so creepy and they're going to like, what is this guy doing? Why in the world is he having me smile like this? So let's, go in now! Bring back our fuller's! We're going to turn on our filters and we want to see our flag pictures. Our flag pictures are twelve, which is exactly what we were going for. So I'm going to hit control a to select those images, and we're going to go in and rename these photos. I figured out what the problem was yesterday it's the mouse software that's why my keyboard shortcut wasn't working f two is absolutely the correct shortcut, but if you don't have the keyboard shortcut ingle library right here, all right, so we named this session custom name sequence, and we are going to edit that because it's set up wrong, we want to delete that step. We want to go to two numbers done so that's giving me a show of it, and I'm going to change this to three, three, three, three, four, all right, and we're going to rename all of those images and now, well, we are on the one thing that is important when you create the sub folder thing where it can get goofy for you is if you aren't clicked onto the raw folder, it won't let you create the sub folder it's going to give you an heir message, so I clicked back to the raw, awful there. Now you'll see that it's showing me the images is that we rejected, but we aren't we haven't highlighted those images, so they're fine now we're to go up right here and click add sub folder, and we named this our picks, and we're going to include the selected photos create all right now, if we go back to our original folder, we see that we have gone in, we have a raw folder, we have our raws, and now we've gone into the picked folder oops! And why did my renaming get goofy? Hold on and we're going to change the start number two one so now it's gone and it's renamed all of those photos it's we've moved the ross to a new location where we know where they are, we only have the rods that we're going to work on, and we have them all named what they're going to be for the entire client experience, okay, so going back to light room now we can click on this sub folder and only deal with the images that were working with so let's go to the developed module and just so you guys know I'm going to work on one image at a time here then we're just gonna ply everything because the lighting and the exposure and everything's constant but I do want to show you some things that you can see if you hit the why key that's her before and after so I'm going to do something kind of drastic here just so you can see the difference so as I hit the waikiki it's going to show me what it is at import and where we are currently now there's a lot of stuff going on in this window that people don't necessarily know about and I want to make sure that you guys explore it because there's a lot of things that can really make your images go I really like you confined to your images like nobody's business if you know how to use this window so again just for demonstrations sake when you're like that okay cool yeah exposure down we'll put it back up okay we're gonna go here now let's mess with our white balance um it's like right there okay, we're good so let's say that I go here and here and here and here and here and here and here and here and here problem with the before and after window is always showing me where we started and it's always showing me where we're at if I want to compare it to something that I have done through that steps, it doesn't out it's not intuitive to you that you can do that, you're always just going to get the start and the current state. But if you go down to this window right here, your history steps and you go and you click any one of these and drag it, it'll actually compared to that step so you can actually check anywhere you're going. You compare your current weight balance, any step that you did now cool, all right, now, another thing for a long time, and it realized that, like, when you're working with skin, tony, you want to make sure your skin tones look good, right? So when you're working with the skin tones, if you go in like, it can kind of be hard, if you're like, like, like there's, other stuff in the image, I can't really see this skin tone next to that one. If you hit shift, why it's gonna take you to a split screen so now you're gonna be able to go weigh in and see before and afters. And it's a great way to make sure that your skin tone is perfect if you tweak it just a little bit if you're making small adjustments and you want to see what it wass and where it iss this is an awesome tool I like it so I don't know if you guys know about that that's like a big thing about the before and after everybody just nose like the one way of just like this and it's always the original in the end and there's so much stuff going on in there that's actually really awesome scott hamel pointed out like I've never seen that before and I said but I agree I was like oh now that's what I want to do it I love it yeah and it's it's again it's a really simple thing to do and it's just it once you know it you know I don't get this drag it over so let's go in I'm gonna reset this image so what it was when we started I'm going to get rid of the before and after because I don't I need that and we're gonna go back up to our default studio import which is kind of makes a little bit more contrast you know the explosion on these a little bit under which happens every once in awhile so we're going to adjust it bring our highlights down just a little bit I actually use for the white balance I generally will use in studio the flash preset is where I start from now often times you need to find two in it but that's generally if you're in studio and you're using studio strobes and that's her main light source it's going to get you close doesn't make sense so let's go and let's go down here it's a little bit contrast e for me like that are these backgrounds not incredible like these are white house custom color, our white house backgrounds and that's where we get all of our backdrops from their awesome they sent these I think this is brand new like I don't think it's it's just going for sale now so if you want to check out a background company definitely check out white house, they have a ton of stuff it's what we use in ours business is actually like a good like I like I think this is this is good, we're okay with this so now there's a bunch of ways that we can distribute this across the images because everything's about the same in copy it just check all because we want to do all of them I don't really want to do that though I like to see it on each image, so what I do, I'm going to go over and click this previous button and go over quick previous now previous now see like this one I still want to brighten up just a little bit more previous does exactly what you did to your last image on the next one so it's a tricky tool because like for example, if I go in and do a funky crop and then I clicked previous it's going to do a funky crop on it so it does everything so but I don't do too many funky crops so I like that that's good let's go bring it down just a little bit previous bring it up just a little bit previous this way when you do it this way though you're giving yourself you're actually checking each image as it goes through you're actually seen it so you just I just like to make sure that nothing funky goes on I'm not skinny enough to pull off that pose right? Did she had liquor stomachs taking on that one? And I was like, I just know that that's one that if it was my daughter the eye would rage on the photographer that dick creations of my daughter's something sticking out so I was like, I don't know where dad he might not be nice like I don't wanna get troubles so we're just going to tuck that in and the laughing photo which I like and it is one of the few where I actually am going to crop because apparently, I was sitting crooked when I took it. We'll go like that. That's. Good, good, we're done right. Select all e file export with pre set standard expert go.

Class Materials

bonus material with purchase

Lightroom Start to Finish Guide
Order Catalog
Step by Step LR5 and PS Workflow
Keynote 1
Keynote 2
Jen's Design
Lightroom Templates for Ordering
Keynote 3
Syllabus and Keystroke Shortcuts
Order Catalog PSDs

Ratings and Reviews

a Creativelive Student

I decided to listen in on the free course of Build a High Volume Senior Photography Business w/ Matthew Kemmentmueller...I thought it would be good to have the skill sets even if I chose to do another photography forum other than seniors. And I was laughing thru the whole thing...he is one funny guy!! So, I decided to buy it...not only is this course full of great tips/advice/ and "did you know facts" but it's really informative and again, he is down right funny. I'm learning lots. Thanks for having him on Creative Live...this one is a keeper.

Diane Yvon

I absolutely loved this course. I am primarily a maternity and newborn shooter and to my surprise what I learned here applies to my current work as well as developing my senior work. I thoroughly enjoyed Matthews delivery of each topic as it was clear, precise, fun and non intimidating. I will watch this over and over and the course downloads were amazing! 100% satisfied with this course


Matthew's class is excellent! I watched it live, but decided to buy it since it's so foundational. I think his information and materials are excellent, whether someone wants to be "high volume" or not. I love how he continually drove the point home about how so many photographers overwork themselves and gave excellent ways to resolve this issue. CL does such a great job of covering the gamut in education of all types. Thanks!

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