Lesson Info

File Handling

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.

Class Description

Lessons

1. Class Introduction

   Jump into environmental portraits with an overview of the class. Prep for the class with an overview in this lesson.

2. Introduction to The Environmental Portrait

   What is an environmental portrait? Environmental portraits tell a story using a single image. Gain insight into the genre in this lesson.

3. Environmental Portrait Purpose

   Why shoot environmental portraits? Environmental portraits encompass history, story, and personality -- and they are more interesting than plain backgrounds.

4. Personal Work

   Personal work conveys your unique passion for photography. In this lesson, Dan discusses using personal work -- even for photographers with paying clients -- to avoid burnout and stay true to your passion.

5. Find Your Process

   Every photographer's workflow may feel a little different. Start finding your own process by brainstorming, planning out personal shoots, scouting locations and more.

6. Tethering

   Tethering allows your camera to instantly talk to your computer for review during the shoot. In this lesson, learn how tethering can boost your workflow and can help you easily pre-process your images during the shoot.

7. Purpose For Action Editorial

   Ahead of the live shoot, walk through the purpose of the action editorial shoot in the photo studio. Learn why studio-like shoots are often a requirement.

8. Prepare for Shoot

   Preparation is key to successful environmental portraits. Master what's essential to the planning process and learn how Dan prepared for the upcoming live shoot.

9. Action Editorial Process

   Dive into the workflow for an action editorial shoot. Walk through Dan's process for this type of image, from working with the client to delivering the photos and invoicing. Read through an actual editorial assignment from a real magazine and learn how those details spark the planning process, including preparing the dramatic effects from studio lighting.

10. Set Up Action Editorial Shoot

    Set up for the live shoot, beginning with the tethering software. Go behind the scenes as Dan sets up lights and explains the gear and his vision for the shoot. Work with studio lighting placement, including angles and the height of the light stand. Control strobe lighting with different angles and modifiers.

11. Shoot: Action Editorial With Athlete

    Begin the live shoot with a test shot to adjust the studio lighting and camera settings. Here, Dan shares his camera settings, like the 1/200 shutter speed and a white balance of around 5500K, then works with the "first layer" of lighting with the key light. Add fill light using a strobe modified with a silver umbrella and an accent rim light. Then, move into action shots.

12. Studio Portrait Shoot Overview

    Take a brief break from the live shoot and learn why studio shoots are often included to supplement the environmental portraits. Gain an overview of the process before heading back into live shooting.

13. Shoot: Athletic Studio Portrait

    Set-up the studio portrait using strobe lighting and V-flats with a bright white background. Learn how to manipulate the light to brighten the background without spilling over to the subject using side lighting and "cheats" with V-flats.

14. Shoot: Manipulate Light to Mimic The Sun

    With the right modifiers and light source, you can mimic natural light with studio lighting. Learn how to create hard light to mimic the sun in the studio.

15. Shoot: Change Background Color With Light

    Using the same white background, learn how to manipulate the color of the background with light. Remove the lights to create a gray background. Work with several different studio lighting set-ups to manipulate the background color.

16. Shoot: Create Soft Light with Umbrella

    After working with hard light, work with soft light by using a black and white umbrella with a diffusion sock to light the subject. Set-up the side light to feather on the subject without falling onto the background.

17. Shoot: Create Intentional Shadows

    Working with studio photography lighting is just as much about the shadows as it is the light. Learn how to create intentional shadows using studio equipment.

18. Shoot: Action Shots In Studio

    Go behind-the-scenes for studio action shots. Watch as Dan works with a handheld light without a light stand to replicate the look of on-camera flash.

19. Review Images in Capture One

    Review the images from the live studio shoots inside Capture One. Cull photos quickly with keyboard shortcuts and see the results from the live shoot.

20. Raw Processing

    Move into post-processing by working with the RAW files. Pre-processing with tethering offers a jump start -- learn the process of fine-tuning RAWs and organizing files.

21. File Handling

    Organizing files helps streamline the process and make invoicing easier. In this lesson, Dan shares his process for sharing and organizing digital images.

22. Retouching & Color Overview

    Strategize for post-processing in this overview lesson. Learn Dan's process for editing, including finding your style, and working with color.

23. Retouch Images in Capture One

    Work inside Capture One to perfect the RAW files from the live shoot. Find tricks and tips to working in Capture One, working with exposure, contrast, and basic color temperature.

24. Retouch Images in Photoshop

    Moving into Adobe Photoshop, remove distracting elements like stray hairs and acne. Work with the patch tool and clone tool to clean up images in Photoshop.

25. Retouch Images With Presets

    Work with cropping inside Adobe Photoshop. Then, move into Alien Skin to work with presets to work with different colors and dramatic effects. Work with film-inspired presets, then learn how to fine-tune the effect.

26. Advertising Vs. Editorial

    Editorial work and advertising work have several distinct characteristics. Learn the difference between the two and how to please both types of clients.

27. Indoor Location Shoot

    Move into the second shoot of the class with an indoor shoot on location. Gain an overview of the goals and process for the shoot.

28. Indoor Location Shoot Process

    Prepare for the shoot with tips on the process of the environmental portraiture. Work with a checklist and a shot list, then jump into the first in a series of behind-the-scenes videos in an artist's studio.

29. Get to Know Your Subject

    Understanding your subject helps create unique, authentic images. Learn how to collaborate with the subject. Find the essentials to quickly getting to know the subject.

30. Test & Frame Your Shot

    With a shot list and understanding the subject, Dan then moves into analyzing the location and the natural light or ambient light that's already in the space. Work with testing the light and framing the composition.

31. Create Natural Light

    Placing lights where they'd naturally be in the space helps create flattering, dramatic lighting that doesn't look terribly out of place. Work in the shooting space with initial lighting and start shooting.

32. Natural Light & Alternate Light

    Every portrait doesn't need studio equipment lighting -- work with natural lighting and window light. Alternate lighting can build variety into your environmental portraits.

33. How to Shoot Indoor Location Portrait

    Along with action-based environmental portraits, a more formal, looking-at-the-camera shot is often part of each shoot. Work with shooting portraits on location, from setting up the studio lighting to composing and getting the shot.

34. Indoor Shoot Results

    Review the results from the indoor shoot in this lesson. Dan explains everything that went into the shot and why he made some of the decisions that he did.

35. Outdoor Location Shoot Goals

    In the third shoot of the class, head out to a location with natural light inside a garage and outdoors. Learn how Dan prepared for the session and the goals for the shoot.

36. Indoor/Outdoor Light Setup

    Work with outdoor and semi-outdoor locations by tackling the lighting. After scouting and settling on a narrative, work with studio lighting tools to create dramatic effects. Go behind-the-scenes for the three light set-up using artificial lighting.

37. Studio Light On Location

    Mix the natural light with the ambient light in this shoot outside the garage, continuing the third project of the class. Learn why you might use artificial lighting outside and how to mix the sunlight and a studio light kit.

38. Create Location Portrait

    Work with the location portrait from the third shoot of the class. Learn how to spot locations for the more formal portrait and work with graphic compositions and more dramatic light.

39. Outdoor Shoot Results

    Take a look at the results from the final shoot. In this lesson, Dan shares his thought process behind creating each shot and why he made the lighting and composition decisions that he did.

40. Post Processing Overview

    Make a plan to polish the images from the second and third shoots. In this lesson, get an overview of the editing process before jumping into the post-processing.

41. Choose Selects & Sort Images From Indoor Shoot

    Cull the images from the artist's studio and the garage inside Capture One. Review the images and go through the process of choosing what photos to edit and deliver.

42. Edit Raw Images from Indoor Shoot

    Learn how to polish those indoor shots inside Capture One. Work with exposure, contrast, and color with the shots from the artist's studio.

43. Finish Images in Photoshop & Alien Skin

    Work inside Photoshop to remove scuffs and scrapes on the walls and other clean-up tasks. Then, work with files in Alein Skin to color using presets.

44. Portfolio Management

    Moving into the portfolio and marketing segment, gain insight into building a strong portfolio. Dan shares tips on building a portfolio, from what order to use to choosing what images to include.

45. Importance of Website

    Websites serve as a first impression of your work. In this lesson, learn the dos and don'ts to building a photography website, like focusing on images and simplifying navigation.

46. Marketing 101

    Your portfolio doesn't do much good if no one is actually laying eyes on it. Develop strategies to get your work in front of potential clients for editorial and commercial work.

47. What About Reps?

    Reps work with the numbers while you focus on the photography. Learn the basic pros and cons to working with representatives or agents.

48. Bring it All Together

    Wrap up the course with a final chat on environmental portrait photography. Once you've built a successful business, remember to take the time to get back to your roots and shoot for yourself.