Proof Book Template with Q&A

 

Build a High Volume Senior Photography Business

 

Lesson Info

Proof Book Template with Q&A

I want to show you guys the next step in our workflow would be taken all of these images and take him back in the light room. But why? Matthew there already developed unedited simply because this is where we're gonna build our proof books out ofthe okay, now you can set out there the actions to do this. I don't know if labs will do it for you. You can just send him the files and we'll do the border for you. But because created in order catalog and because because creating order catalogs and we're going to every time and it's exactly the same and because create proof book we're going to create all the time, it's could be exactly the same. I made it a preset I mean, it's dumb for me not to do the work that way because it just makes sense to speed it up. So we go back to light room and we're gonna go to our to our print tab. I've already created the order catalog layout, so I'm going to do is click that select all print the file we're gonna go on, desktop session number, ross picks and in...

this cattle in this we are going to name it our order catalog, we called the o c and be cool. All right so light room's gonna go through and start setting that up but I won't show you guys how we do this I'm going to create the one for our proof book right now in front of you so to create these what you're doing is you're going in to the print module and we're going to create a single image contact sheet okay you want to make sure that you go all the way down to the bottom and change this print too to a j peg file we aren't sending it to a printer we're creating a new file okay what we're going to create is a five by seven way want to go in and we need to edit our identity plate okay the identity plate is that background image that I had in there that order catalog wall paper thing I'll give that to you guys in the corps stuff I don't know if I don't know what's in there not so we did already get the chorus and downloaded the bonus stuff there's gonna be more because I'll make sure that you guys get this it's just a nisi grid that I set up and it works and I'll give you this preset to so we're gonna go in quick at it template now this one would make any sense for you to have but we're going to go in and click at it and we want to change this topographical identity plate okay we need to locate the file now for this I've already made oh I didn't make it let's make one so what I need to do is create oh here it is it did make it I just didn't say about what we need to do is just create a five by seven background image that's going to be what we use as our graphical identity plates I'm just going to save this in documents speaking stuff digital workflow background images safe call close that now we're gonna go back to light room and we're going to find our identity plate locate file right there choose it's gonna give you this morning dialogue just say youse anyway that's fine yes ok I go in and I change my background too black to match it and we wanna make sure that we're one hundred percent capacity in one hundred percent to scale now we want to go up to the top here and we're changing from the six grid system tau one so when changes toe one toe one we want our grid size to be for oh six by four because that's the size images we want to put in there and we need change this two that's what this is freaking out a point two five so the height iss x and this is for now we're gonna go up and we are gonna have a stroke to the border just to make it look nice white and we're going to rotate to fit. And the other thing that I like to make sure is on is my photo info. Okay, select all groups. Hit the wrong button. Select all print the file done. Send it off to the lab and now you'll see that we have gone into the session here. I'll show you guys that original folder. Now, in this little itty bitty folder, I have her raws her light room catalog. I have three folders with oliver j pegs. I have her exported order catalog and her proof book. I mean, that's it that's done. Now I'm not gonna stress to you how important this little folder is. So this is the thing that we need to back up. We need to have multiple copies of this boulder, but this is I mean, that's it that's real life that's I mean, that's done. And so the order catalog it going here. There's oliver images with a file number and a box to check you go into a proofs there's oliver images the file number underneath to compare to the order catalog. So theo and the crowd goes while, uh, what I'm sending about is that this afternoon segment for we're going to be able to see you shoot at it and get it to this point all in one ninety minutes segment is that correct? Correct we'll have it it's gonna be exciting so and I'm excited to show you guys even some of them to show you some of the custom created stuff that will do like I'm going I'm going to even go a little bit more in depth with how we create things in that session so I'm super excited to share with you guys but this one I wanted to make sure that I showed you at a little bit slower pace even I mean that was slow I mean and I did that in an hour and that was like and I'm not sweating or anything we everyhing you when you work faster so wonderful matthew memories by elissa who's from colorado springs I asked do you try to keep the style of the images the same across the board or across the same location or do you ever do quite different editing looks for each photo depending on what you think it looks good and then I just also wanted to add that because quite a few people are asking about you know what if the client says oh, I don't want that in black and white which we did talk about yesterday can we just absolutely that so the beauty of how I do my work flow is like I told you guys yesterday I'm a stickler and a firm believer that as a professional photographer your client's should never see anything that is not retouched I think that that's incredibly important so and I think that you should think that you need to show black and whites and I think that you need to show colors and I think that you need to do some vintage things I think that you need to do texture so you don't know if that's going to hit a home run, but if you show a black and white photo, what is it before it's black and white three touched? We retouch it before we do all that funky stuff, right? Because we don't do all the funky extra editing to an image that isn't retouched, so my philosophy is because we're going to retouch it anyways I'm just going to save it there and then opened them up again and have them that I may do funky things too that I may go more in depth with and if I ever have a client who wants to see one that's in black and white they wanted in color that's great, I'll change it for you no problem, no price, no fuss, no muss and I can show it to you that minute the moment you come in to do your ordering session on a whim, if you decide to do it, I can show it to you right there so that's the beauty of this is that um even though it might not take me that long to go at it and image I don't have to leave the client and say I'll be back in ninety seconds I don't need to leave I could just say yeah, here it is it's done today and so that was a that was a great answer thank you for that very much any other final questions we'll wait I think I did miss part of it though and was do I change the editing for the style of the client? I guess we didn't really get into that I think I skipped that well, I think the question was more would you ever do on the same shoot do like extremely different edits that feels absolutely but the thing is like if you're going to do extremely different edit the further you get away from center the less you're gonna hit like the mohr crazy stuff you do, the more aggressive you're editing the mohr textures you throw on the mohr you know, really making your images pop and doing the more you do that the less people are going there's a smaller segment that's going to enjoy that you know what I mean? Like people enjoy in my experiences my clients enjoy great images, they don't enjoy graphic novels of their kids and so I would do that, but that would be a discussion that would be something that I kind of would come up as we talk about it and there might be something were like a kid comes in and he's like, really into guitar, any skin bring his guitar and they wanted to a collage of that, yeah, like I'll do, like I'll go crazy on that because that's kind of in the spirit of the image, and we've discussed the ideas of doing that, but if the mom, if the mom's like I want a collage and I just want this picture here in this picture next to it in this picture and a little white box, but I'm not going to go crazy on it, so I'm capable of doing all that stuff. I just don't think that it's necessary to drive up your sales, and in fact, it can actually turn off some of your clients, but if they want it, give it to him and just a follow up question on that it's interesting to think about what the parents want versus what seniors want, and I'm just wondering, how popular is it was seniors tohave funky filters and patterns and kind of gritty? Or is that popular right now? You know, I don't like way always well, I always throw one and that's gotta texture on it. And I always throw in a couple that are black and white, and I'll do one that's got a vintage tone on it, so I always give them that as an option, and we also tell people your work can be done any way you want it. So your proof book is is my vision for how your images look the best, but I'm not telling you that this is your only option because we're customer service based business if a kid came in and she's like I love this look and they even if they ask me, they say I want to see this it with this filter applied to it, I will hop back at that point. I'll go knock it out real quick and I'll edit it the way they want to think I could do it fast and I'll show it to him, so deliver your clients what they want, but show them their options, have a dialogue with them and make sure that your goal is to make sure that they love what they get. So if they don't love it, speak up and I'll help you out. But in general, I don't have a lot of people saying they don't love it so well, I love it.

Class Description

The success of your photography studio depends on your business model, not your location. Learn the key strategies that have propelled a booming second-generation family photography studio for more than 40 years in rural Minnesota.

In this course, Matthew Kemmetmueller will show you how to set up your entire high volume senior photography business step by step — including successful sales tactics, shooting techniques, and efficient workflow practices. You will see Matthew’s strategies in action as he takes you through two live shoots from start to finish — each in under 90 minutes. Matthew will also teach you how to increase the value of your services, market directly to new clients, and create unique products that will delight your customers.

Whether you’ve photographed thousands of seniors or just looking to learn high volume tactics, this course will give you a comprehensive, replicable roadmap for multiplying your revenue.

Reviews

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