Let's move on to file handling. We're gonna go through the full keynote and then I'll do it live here on the screen. I think it'll be a little easier and a little less convoluted. So with file handling, when we talk about that I mean folder structure. It's vital to the organization and the efficiency within your business, within your studio or within, if you're a hobbyist, just knowing where your pictures are when you want to post on Instagram or Facebook or share 'em with your family. So knowing how to organize that. I know my dad's recently gotten more and more into photography. Just bought himself a new camera and his laptop is always giving him, you know, he'll, how do you use this thing in iPhoto or whatever, and I'm looking at his computer. I said, these are all your pictures, I have no idea where you're putting them when you're uploading them. Here's how I do it, and maybe he's watching right now, he can follow some of this. As far as being able to organize the files, I have a s...
tructure that goes by name and date and then that way I can coincide that with my calendar so if I need a file from a shoot from, again, last June at a law firm, I can look on the calendar, oh the shoot was that day, which means the file name is gonna have 2017, 06 for June, 04 for the fourth of June and then 01, it might be the first shoot that day and then it'll be file 0001 through, if we take up to 9,999 files, we're covered. And most jobs are never gonna take more than 9,000 images. Most of the time it's not more than a couple hundred. So that's kind of mine. I'll show you some file structure. We'll make one up for the shoot for today and I'll show you how we work from that and then, again, being able to find 'em, and that's how my invoicing all works too. An invoice for a client might be that client's name, that date, and those numbers, so the clients, if they refer to an invoice, I always know which files they're talking about, because it all coincides, it all makes sense for me and it's easy to find and then it's always numerical because of the way the date's arranged with the year first. It works out pretty well. I use external drives for most jobs and I backup a lot of my work in the cloud. So with that said, there's some pretty intense and unique backup systems that photographers have, whether they have these whole racks of whatever, I don't even know. I'm not that technical when it comes to that stuff. What I do is pretty simple. I use a combination of these guys, multiple times over, some solid-state ones, then I also back up all my raws and raws only into the cloud. So I just have several terabytes of storage there. By keeping it always backed up and also loading those files up there after every shoot or every a night automated, I don't have to worry about bringing down our WiFi at the studio with a whole bunch of work. It's pretty well done. I keep all the jpegs on the drive and the raws, but then I keep just the raws in the cloud because those are the files that I really care about, those are the ones that I can work from, those are the lostless files that I like to save and I don't put all the raws there. When I'm making these selects like from our shoot today, I'm not putting all 262 images of Brock in the cloud, I'm taking those 34 selects because those other photos, I got rid of them for a reason, there's no real reason for me to go back and look at those again and save an extra 25 gigs of photos to the cloud when really all I need is the first six gigs. So don't overthink it. If you want to save everything, great. There might be a different solution for you, but mine is more quick, efficient and easy. And I keep all the jpegs on these drives and on the bottom, this drive doesn't have it because this one's new, but generally speaking I just put a piece of tape on the bottom, Gaff tape, and it'll say, 2018, quarter one. So it's January through March of and that'll have all the raws and jpegs. These are usually in two or four terabytes and I get two of 'em at a time so I just write to two of 'em. One of them never leaves the studio, one of 'em never seems to leave my backpack, so I just plug those in and go. And I know, again, there's probably safer or more efficient ways for the real, the technical people out there, but this works for me. It hasn't given me any trouble and it seems to work out just fine. That's how I do it. Again, there's probably great ways, you can read about that online. I keep my computer clutter free by saving everything to drives, into the cloud. I don't put a ton of photos on my actual laptop. I've had this laptop since 2013 or 14, so we're going on five years, and it still runs like day one and that's because other than the shoots we just did this week for CreativeLive, I have no files on this computer whatsoever. It only has a 500 gig hard drive, and I know when we're in Capture One, when you go to export, which you'll see eventually, you can see I still have 290 some open gigs. I'll move all these files over to this drive here before the day's over and get this thing back up to almost 400 free gigs because I like the hard drive to be free, running empty, I like to keep my software up to date and get rid of all the old stuff and I just don't like a lot of clutter on my desktop to slow the computer down and all that. So, again, I work from external drives and it works pretty well and it also keeps my computer running good even after five years. Not a lot of problems there, I just keep it simple.
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Confidently create environmental portraits
- Light any portrait, indoors or outdoors
- Compose strong environmental portraits
- Cull and polish high-end images in post
- Develop a portfolio and marketing tactics
ABOUT DAN’S CLASS:
Create dramatic images anywhere by mastering on-location scouting, planning, lighting, and composition. Join professional photographer Dan Brouillette in a start-to-finish course on the art of environmental portraits. From planning and scouting to post-processing and portfolio building, gain the skills to shoot high-end portraits, anywhere. While designed for environmental portrait work, this class is also for any photographer that wants to create better light, on location.
In this light-intensive course, learn how to craft environmental portraits using photographic lighting techniques working with both natural light and studio lighting equipment. Work with multi-light strobe set-ups and natural window light to turn difficult lighting conditions into beautiful light. Then, learn how to mix natural light and studio lights for dramatic effects that complement the scene. By incorporating light in new and inventive ways, Dan will help you push the boundaries of your portraits and improve your workflow.
Finally, work with culling and post-processing. Learn how to polish images using a combination of Capture One, Photoshop, and Alien Skin software. Then, gain insight into building a portfolio and marketing your work to work in editorial and commercial areas for environmental portraiture.
WHO THIS CLASS IS FOR:
- Budding portrait photographers
- On-location portrait photographers
- Photographers eager to learn on-location lighting
- Photographers branching into commercial and editorial work
Capture One 11, Adobe Photoshop CC 2018, Alien Skin 2018
ABOUT YOUR INSTRUCTOR:
Dan Brouillette's high-end editorial style has lead to work with celebrities from Anne Hathaway to Scarlett Johansson. A commercial, editorial and senior photographer based in Nebraska, he's known for giving everyday people the Hollywood look. His previous work as a lighting technician helped him build his signature style using dramatic lighting techniques typically used for commercial work. With an insightful and easy listening teaching style, he helps photographers learn to craft with light.