Skip to main content

The Lightspeed Workflow System

Lesson 2 of 23

Lightspeed Workflow Overview

 

The Lightspeed Workflow System

Lesson 2 of 23

Lightspeed Workflow Overview

 

Lesson Info

Lightspeed Workflow Overview

time savings One of their big things. I had a revelation. Ah, little while ago was I started to think about as people told me After workshops of years, Years of doing this they say I saved 50%. I save 75% of the time. I cut my wedding editing down from two days to six hours, which is very typical. Six hours, four hours, maybe for a wedding, Complete start to finish, Boom. Ready to show the client. And I hear that a lot. And so I started thinking about OK, so what does that translate to as faras time and money is concerned. So we look at these little graphs here. This is a really simple example here on the screen here. So they say an average user, if you cut your time by 50 to 70% this is this is conservative because I hear this a lot that people cut 52 7% off their workflow time. Let's say you're only working 10 hours a week on your workflow, which is probably low for last people probably working more that. But that's just me. Conserve it again and you cut that down to five hours on th...

at same amount of time are same amount of of work, and you take that into dollars per hour, five hours per week, which would be about $4 a month. If you're paying yourself or your assistant who was doing this maybe 20 bucks an hour again, the conservative for some of you, maybe it's about right. $4 a month over the course of a year comes about 230 hours and about $4700. That's 10 days a year, 10 days a year, 4700 hours. That's a vacation that you could sneak into your schedule without doing much other than changing your workflow system. And again, this is coonskin serv a tive, I think, based on what I've seen, um, other people report and do with their business. And, well, we actually will talk to some people later. Some real life people who have changed their lives and their businesses using this and how that this Israel, this Israel, when you think about it that way, is it is it not worth investing a little bit of time into getting this right? You know, and yet I see some people still consists struggle and they don't reach out to get the education to do it, cause it's the answers. We're all here. They're all here. Okay, so we're gonna talk about some basic concepts. One of those basic concepts we just brushed on his catalogs. Okay, so catalogue houses the information about your images, and there's a couple different ways you can work with catalogs. Typically, most users start with one catalogue, and they just dump everything in there. That's okay. But I'd like to offer you another alternative, which is to make a catalogue per job, fresh catalogue for each job. All right. The reason for this is MAWR security, safety. Ensuring corruption doesn't happen because I can tell you from personal experience. In fact, three days ago I have a catalog of personal images with 47, images in it have been testing the one catalogue concept just went corrupt. Unrecoverable unwra parable. But I have a backup that I can return to, but I'm the backup. Is several days old, son losing some things. All right? Even the backup shows corruption because of the bigger The catalogue gets the mortuary ance for corruption and This is one of the just the nature of the beast. With catalogs, they will get corrupt, and the bigger they get, the more chance of corruption. So again, I have this one giant catalogue. If that was my clients in there, I'd be really bummed that is now corrupt. I can't even open the catalogue of you gotta recover it piece by piece to rebuild all that information. So here's another example. If you were to shoot 40 weddings a year, you're busy wedding photographer. So you have 600 keeper images that get about 24,000 images a year. You say suit 100 portrait sessions at 50 keepers. Poor session, about 5000 MAWR and in five random projects at about 100 keepers 500. This could be higher low for some of you out there, but that would put you in about if you're in one catalog about 29,005 total images in one catalog in a year. Imagine year after year how that boom, boom, boom. And that's a lot of images. T Trust toe one catalogue. So years ago, I actually started the one catalogue for job system because I wanted efficiency when I'm working and security for that job and that clients information. So I switched over to doing one catalogue per job. So kind of the way that you could do this is you could throw everything in one catalog. That's easy, because you have one Kellogg to remember and everything is always right there. But it's not the safest. You could go down the chain and say, OK, I'm just gonna have all my weddings in one catalog on my portrait in one catalog and then everything else, maybe 1/3 catalog, and then you kind of break down your liability a little bit. Or maybe doing it by year, everything for this year one catalogue only, which probably would put you somewhere around the 29 30,000. If you're shooting this much per year, images, maybe more. The safest way, which is the way we're gonna talk about, is every job issue fresh catalogue and we'll find I'm gonna show you. We keep him all the catalogs accessible. It's easy to jump to a catalogue that you need most of the time. If you especially the portrait wedding shooter, when you're done with that job you don't really need to go back to those images very often makes the portfolio stuff which we're gonna be able to save in reference that anyway. So why do you need to have everything you ever shot? Always in one catalog? Surely it's nice. It's easy. I agree with my personal stuff that I was trying this giant catalogue. It was nice to go toe one catalogue and able to search through all the little things of snapshots and things in my kids. But, ah, then he gets corrupt. And this is not the first time I've had a big catalogue get corrupt to the point where I can't even save it anymore. But I have not had a small catalogue become corrupt and unstable. I think the nature of it being small keeps it compact and clean, and there is much less likely it's gonna get corrupt. The other good thing about that is this Now could be backed up as a system with that clients information altogether. So you got a question, Lorenzo? Yes. Um, now you're saying that you're you're building one catalogue for every job that you're doing, so it's not under a main like Okay, here's the Here's the entire catalog. So instead of going through like a table contents and finding what you need on page 37 through 43 you just have pretty much have Page 37 through 43 in one spot. But everything is just kind of listed instead of instead of, um, just like, one catalogue and then eats being Branstad on that kind of like that. Yeah. So if I shoot a wedding, that wedding gets a job number, I'm gonna show you guys how to do all this job number in my client tracking software. That job number is linked to the catalogue, the folder of the clients images and the clients catalogue. And then when I shoot a portrait session the next day they get a fresh job number. They get a fresh folder of images with a template, which I'll show you guys as well, and they also get a fresh catalogue. So I have one folder with all my catalogues, so it's really easy for me to go. Okay, there's the Smith Wedding catalogue Boom. Open that up and then I have a folder with all of their images. All the blog's stuff the slide show of the album all again in one folder, and I'm gonna show you guys all this, so it makes it a pretty clean. I always know that everything for that client is in this folder. All my catalogs in this folder. I know exactly where to go. My job database links and tracks all that so I can type into my job. Database. Smith Jones I don't what we always do you, Smith and Jones but scaly Wag Hussey Masa is their name. Okay? Scalia, whose masa type it and boom boom boom pulls up her job. It says, Your catalog is here. I click little button. It opens up her catalogue. All right, so it's It's a different way of thinking. A lot of people are used to this one catalogue because that's kind of the way light room first came out and kind of pushed through everything in this one catalogue. It's great, it's nice, and it's true. It's easy, but it's not safe. We want to find a balance between easy and safe, preferably safe because we're doing with clients paying clients. Yes, ma'am, Do you clean? You lie remedy another year because It's gonna be like 40 50 different catalogues. So you get confused or a d n r. No, it's not. It's ah, it's pretty easy to basically keep them all in one place. And you can make folders on your computer for wedding catalogues. Portrait catalogue. Want you guys clear in this catalogue thing here? All right, so we will look at this. They go, Wow, one new catalogue with every job. That's gonna be a lot of extra work. It's not because we're going to use templates. I'm gonna show you guys how to make a catalogue template, and you can restart that fresh catalogue with all the settings you need, all the collections, air there, everything you need to work that job. So we're gonna make it as easy as possible to be a safe is possible and is bulletproof. It's possible because I've had issues with corrupt catalogs and stuff going on here, And this Kellogg will get huge to the point where it may not fit on your hard drive anymore. Then what you gonna do? Whereas if you have each one compact, you can easily move those around or dbm up is you need to two different spaces on the hard drive or breaking down between the old ones Go archived. Often you just keep your current ones. Okay, Ready for a question? Sure. It's a tough one. So a lot of a lot of light room classes here on we do talk about this is this comes up every time. A big subject matter of the one catalogue, how and to me, I think the only drawback potentially is the search ability, the key words in the search ability. How do you solve that? How do you Yeah, that's, um a lot of people don't know or maybe haven't tried that If you use keywords inside of your catalogues in the metadata he hasn't made with metadata, you can attach keywords to the metadata for every catalogue. For I mean for every image in the catalog, you can search those keywords right in your finder system or Enbridge. You can use your spotlight search to type in weddings, and it would actually dig into the metadata for every image on your computer and find that wedding, keyword or favorites or portfolio or whatever you want to tag images that you think you're gonna recall longer using that metadata properly. There's no problem finding those images later on, either. Via spotlight search right into your system of your computer sometime what MCA has spotlights and PC. I'm not sure what's called Search and then or using bridge because bridge you can say search in the metadata for this keyword and it pointed to your entire hard drive. And it will actually dig through your whole hard drive and read metadata from every single image as long as it's in there and show you those images. So that's it's accessible. The other thing is that you'd want to portfolio images you'd want to. Then, after the job is to make sure you keep those tagged and maybe put those into a collection or catalogue by themselves all your favorite stuff so that you know, if I ever need something for for polio work for an ad, I could go to that one place and find all the things I've ever created. When, uh, here's some tips, though, for catalogue maintenance. Inside of a light room, you have options, and once we get into light room in the next segment, terrible will kind of go into this more detail, but these are some things you can do to help keep your catalogues from getting corrupt is optimizing them. And there's a button or a selection in the file menu Goto file optimized catalog right inside of light room. And you could do that at any time. I suggest doing that after you've worked on it for a little while. The more you kind of work and had adjustments and meta data and that it there's just more information to get corrupt. Optimize it. Keep the catalogue small by getting rid of those to 1 the full size previews. If you don't know what I'm talking about, don't worry. We'll get to that. But these are things you can do. Get rid of them. When you're done editing, you can manually discard the previews. Um, bad images. If you know you're not gonna use an image, just get it out of there. Get it out of the catalogue. Trash it. I have been a pack rat passed, right. Keep everything. I still mark them is, you know, flag out. But I still keep them in there because I'm thinking, Oh, maybe I'll go back. Maybe I need to clone her foot from that bad image. That was the only good part of the image and put it on one of the other ones or something, an occasion that happens. But generally, if, if you know what about him is just get it out of there, get rid it. Keep the catalogues small and compact as possible. And then when you close a catalog, you can set it to test the integrity and optimize it. There's little options you might have seen there. Test integrity and optimize it and back it up. Make sure you keep backups of your catalogues right from the start. That's a good idea. All right, so if you kind of keep these kind of maintenance tips in mind, your catalogues should stay healthy and you shouldn't have any issues with him. But even doing these things with a giant 40 50,000 Kellogg image, your chances of corruption go up a little bit quite a bit, I think. Okay, All right, so here's a little peek a boo. This is a sort of an infographic cheat sheet that you guys, of course, can download with the course that walks through the major steps of our system just to kind of give you an idea of what we're going to be we're gonna be doing. And it starts with the importing, which is creating a client record in some sort of a client tracking software. Again. My software that I created from my studio. I built this offer for my studio years ago, and I've been offering it to my workshop attendees to help them with their businesses called Coon who used to be a kidney stew. Think a new you might have gotten it. That's right, because we were trying to upgrade yours. Right? Okay. Um, so we have renamed its COO now, which has kind of been my pet name for it all these years. And coo means teacher in Hawaiian. So that's kind of my I'm from Hawaii, By the way, I did mention that, So if I start doing some little who the I just can't control myself sometimes I just who is up for no reason. Okay, here we go again. Here I go. Stop. Stop. So, coup is our client tracking software? Um, you could use that or you can. There's a lot of other software out there I suggest just picking one that you feel good about. It helps you that it doesn't have too many features to overwhelm you. It's got enough to keep you the core of your business on track. And that's basically what I have use this my own business for 15 years or so and develop kind of improved it along the way. We're gonna use client folder templates and catalog templates so that each time we start a new job, we don't have to recreate the wheel. We just take that cataloger, that folder template duplicated Boom and put the new client name on it and start to work. And it has exact the format, the sub folders, everything. We need a huge time saver. We're gonna put those images on an external drive, just like one of the drives we have right here. Here's an example of ah, portable drive and we a little smaller ones here is Well, okay, So the portable drives, I think if you're a laptop user, I'm kind of talking about most of us, which we work on a laptop. Maybe you might have another monitor. Nice monitor, color correct monitor that you plug into which your your office on, then you've got hard drives, right? Everybody's got hard drives to store their stuff, So the basis of our system is we keep all the images on a portable drive. We're not going to keep images on the laptop because that's gonna run out of space real quick, and that way it's also transferrable. You need to move to another computer. Laptop dies. You don't want all your recent jobs beyond their right. You want to keep working on it. So you take your drive, plug it into another laptop for another computer. Keep working. So I'm using these. Little dries here for my demos and traveled, and I'll talk about that. Here's another example of Ah, many drive so all the client images go here, then we're going to use software. One of the things that I recommend is called Good Sink, and I'll show you how that worked this up. There's a lot of backup software. This is one that I found to be super flexible and powerful. Um, I'll show you the reasons why, but we could basically tell good sink to back up all my client images that are on this drive automatically to this Dr as I'm working every time. If I add an image to hear if I tweak an image on here If I had a folder to hear good saying, just watches quietly in the background and as soon as it does it go bird puts it on here. I've got an immediate, almost immediate total clone of this information on to that because you gotta have a backup because these drives will crash. They will fail. At some point. You got have a backup, and that's the only reason I was able to save. My laptop was stolen, uh, Thanksgiving this past year. It was hideous. It was. I've never had a laptop stolen and to rebuild and recreate everything. I'm fortunate my major client stuff was all backed up. I had it in the cloud I got on my server in my office and all that, But there's still a lot of stuff I had to rebuild. I kind of tightened up my backup system since then so that my laptop now live all the time, is streaming all my any changes for my computer to my server in my office via good sink? Um and cloud services if we talk about so I use various cloud services. So if my laptop gets stolen, disappeared. Now, Jim runs of your grab my laptop of whips it on the ground starts stomping on it like you did to one of the other instructors. I mean, stomp, stomp, stomp, stomp, stomp! Crash, crash! I hate you. Here's your laptop is dead. Uh, I've only lost about five minutes worth of work, so I can go back to my office and everything is there that I've done, even if I've been working on stuff here. All right, so that's I think, really important. After you've had your left stop destroyed or stolen, then it becomes really, really important to you. Okay, So anyway, back on track, we're gonna download images to this Dr Good Sync will set that up so that good sink starts watching this drive and mirroring changes to this drive. The backup drive, but And once it's set up, you just kind of ignore it. You forget it. Then we're gonna import into light room. We're gonna set up some important client metadata on those images when we import them. If you have captured time errors between two cameras will fix those so that they're in sync chronologically. That's a big problem wedding shooters deal with. If their second shooter didn't sake the cameras before they started shooting. How do you fix that? So that they're all chronological, so we don't have the kiss and then he's going to the bathroom and then the kiss again. Then he's in the bathroom. Then the kiss. You know, no one time and they were gonna batch rename them, and I've got a cool little preset that will rename it based on metadata. That we're going to sign makes it all automatic. Convert them to D and G. This is an optional step. Here's my little key If you guys haven't seen it down the bottom blue things are optional, meaning that you don't have to do this or this may not apply to you. Um, I think converted G D and G is a good idea. DMG, for those of you don't know, is adobes kind of open source. Raw format. You can convert your cannon raw your Nikon Royer, Sony Raw two D and G and basically preserved the full raw editing capabilities. But D and G gives you a couple cool things. One is that it keeps all the information about that image in one file. So they if you have any f file, for example, and you make an adjustment in light room if you're not in light room, you wouldn't necessarily see that adjustment if you open that raw file and Photoshopped unless you have the X in P V. I seen that ex MP. If you save an ex MP, which is the adjustment information, then Photoshopped knows what to do. But if you don't, if the ex MP it separated or you don't have the X and P, it's going to go back to the basic raw, raw, raw file. All right, so DMG packages that ex MP the adjustment into one file. Now, here's the good thing about that too, if you get a corrupt catalogue and you had not previously saved ex MP information for all all those files that you adjusted in there, Um and you can't recover that catalog. You have no backup. You're starting from scratch. You can import those images all again. All the adjustments, ratings, everything start from scratch. But if you have the DMG file. The DMG saves the stars, the labels, ratings, all the metadata, everything in it. So you could technically lose your catalog, start a fresh one. Bring those D and G's back into a new catalogue and it would rebuild and you'd see everything minus your collections that you set up. You could see all the file informations, the adjustments that you made on and everything would be there so it wouldn't be that hard to recover if he had DMG files of all these. So that's one good reason. Second good reason is that you can compress large raw files or reduce the size anybody or shoot with a D 800 night guns. New camera. I have a date 100. Love it. Except for those giant files. I was like, Oh my God, I do buy bigger pants to store those cards because they're so huge, you know, because it it's like almost 50 megabytes for one full size raw file. It's crazy. DMG offers me the option. I can reduce that to, say, a 15 megapixel raw file and have full quality almost almost exactly the same quality but say I don't need more than 15 megapixels. 20 megapixel er, 12 megapixels even. But if I convert to T and G, I can actually downsize that raw file and make it a lot smaller. So if you're concerned about storage space and speed, that's a good option to convert your files with dingy or compress them. Okay, so once we do that, we're ready to edit. Boom. This is where your brain has to take over. See, little brain? That's your brain on it. It So you were edit. We're gonna pick, are in and outs. We're gonna pick our favorites. We're gonna assign the labels help. These are all things. Help us organize and build up our workflow. We'll do fast fixing so quick adjustments in light room using your presets using tools that I'll share with you guys. At that point you're ready to enhance. And that's where we can use light rooms. Cool enhancement, develop module tools. I'll show you how to best use those and how to make your own cool presets. Zap those on there And of course, there's gonna be times when you just got to go to photo shop because life doesn't have everything in it, but you want to do compositing have a job that we're gonna use for examples in our workflow next couple of days? Um, where I purposely shot a variety of things that we can talk about and see how you do composites and things really quickly and easily. From light room to photo shop, I'll show you how to create a fun, little whimsical fantasy shot with him composites, heavy retouching or just cool borders or vintage effects and things that you just can't do in light room you want Apply those force photo shops away to go and then bringing it all back into light room, pulling it all back together and updating your motor data. So this is the park man s just, like, save in any program. That's when you actually tell light room. Save all these adjustments, save these ratings, save these tweaks to into the DMG file or into an ex MP sidecar file. That's when it happens. You have to say command s. You don't have to do command s. You don't have to save to keep the adjustments in light room catalogue will remember that. Remember I said if that cattle gets lost or corrupt or destroyed the images themselves. They don't know what you did to them. Unless you do command s and give it X and P files or embedded in the D and G. That makes sense. Your head. Yeah. Okay. Good. Good. Any questions on the gym side? Okay, good. All right. We have a question. Can I have a quick question? I'm sorry. Going back to that. TNG had Bean doing that. The n g conversion for a while. My struggle is about that big, huge raw files. So would you advise that after my job is all done, I can get, actually get rid of my raw files and save myself some hard drives? Face the original Raw for the original? Yeah, yeah, yeah. You could convert them to maybe a lower megapixels, compressed D and G, which would literally preserve everything. You need to make a good 16 by 20 maybe 20 by 30. Print that you wouldn't be able distinguish from the original raw file print and probably cut the file at least in half. So, like my date hundreds, I can cut that raw from 45 megabytes, two under 20 megabytes. If I apply reduction less if I want to go down to maybe 12 megapixel so you could do that at the end of your workflow, or you could do it right at the beginning, right When you bring him in there and just say, you know, straight off, I'm gonna just downside these making small d and G's and working there. Okay, cool. And I've done some comparison test between the compressed smaller D and G's and the original raw files. And really, unless you're doing a big even bigger than these prints appear like a billboard type image where you need every little bit of information, you're not gonna notice it. You're certainly not gonna notice it on client portrait and wedding stuff. Wedding stuff. You know, the biggest thing is an eight by 10 or by 14 in an album or something in which 12 megapixel compressed D and G was more than planete. Yeah, but you know this again, this is different. If you're a commercial photographer and you're shooting product that you want every little bit of detail on that thing or high end fashion work, then you might want to consider whether it's worth it. But what you're losing, but do some tests and I will get bet you that you will find most of the time you will not be able to see a visual difference between the compressed reduced size and the original when you make a print. Thank you. And I'm glad we went there because Red Li did want to know. Why wouldn't you convert to DMG immediately upon importing into light room? Why wouldn't you? Why would Why would you not? Could you? Yes. And in part of what we're going to do in a workflow will import them and immediately convert them and actually trash the original raw file to save space. You don't have to. The I didn't at first because I was nervous, but you know is deemed you gonna be around next year. Can I still open it? Is it stable? So I would keep my originals and convert the d and G s for my work on. But I always had those original still backed up and archived, and I've never had to go back to the originals in how many years have been doing this. So it's kind of convinced myself that I'm safe with just the D and G. I don't have back up to the G, but I've never like over the D and G and God day. I wish I had a little better quality. You know, I'm gonna open up the original raw file, but it's gone now. I can't, you know, has just never happened. So So I am smiling because this is my first ah change since four years ago. I remember you mentioned I burned my raw files to DVDs and store them. So that step is no longer in your workflow. You come for convert to DMG and back up through good sink, and then you eliminate euro files. Yeah, and the memory into DVD part has changed because we used DVDs anymore, you know, Instead, I just back up everything to my server In my office are another hard drive if you don't have a server. So I keep home. And then I also have started to implement cloud storage for important stuff will talk about as well, but I basically have my own personal cloud set up in my office, which you can also set up in your own home or office that you can access from anywhere over the Internet and story images separately, safer and backing up our giant follows a DVD would just be paying the But these days storm on hard drives that are replicated and and rated know that we'll talk about question from Sam Cox. Is adjustment info automatically stored in a DMG? Or do I need to take a separate step to tell light room to save the file into the DMG? That's where the command s comes into play cool that will update whatever changes you make to the the engine we initially create the D and G. It will automatically put whatever adjustments you had on that image to say. You work an image in the normal raw mode and you adjust it and you tweak it. You had some stars and you may be boost the contrast, whatever. And then you converted to DMG that D and G will have that information. But let's say now it's a DMG and you go and you work on it some or you boost it. You change that you had color, make it black and white. Whatever. That D and G doesn't necessarily know that until you do command s And that just says, update the metadata and it's really quick. It just goes down for your whole catalog. All right? That's good. No, it's a good question. Glad you brought that up. Okay, OK. Any of you guys have a question so far, Ho is going like, I just want to make sure that so when you go when you in the enhancement section where you're from light room enhanced photos up, huh? The command s does that important back in or exported back into light room. Or that's Ah, yeah, Arctic aggression. Yeah. We're gonna bring a kind of left out that little detail step here, but once you're in photo shop, all you gotta do is if you use the process that I'll show you to take it from light room to photo shop. In the beginning, you work it in photo shop, and they just close it and save. Just hit s okay on the dialogue, and it will go back into light. Okay, then we switched a light room and an update or metadata. Yeah. Good question. All right. So that we have all our images. They all look fancy pants or your enhancements around there. They're tweaked out. Beautiful in all that. Now we got a present. This is what it's all about, right? Why get all dressed up and don't go to the party? We gotta share these images with the world. So we're gonna blawg our favorite images. Very important. We're all about the social media marketing and sharing and getting the word out You will have blog's. You heard of a blawg? Ok, ok, so I think that's a really important tool making another another workshop here, all about social media and marketing a lot, but having a blawg and sharing your images If you're an active portrait wedding, whatever photographer is really important to share your latest work and the quicker you get it on there. Like when I was shooting weddings, I would try to get literally before the even the night was up or by the next morning of the wedding. At least my favorite few images up onto the blawg like a teaser for the couple, um, and to share with their friends and because we had cards, we give out with the links to our website and all at the wedding and that it us that we're marketing all the time, and it was easy to me to get my favorite. You know, five images from the wedding, maybe boom, tweak, um, putting up in the blawg and have that as a teaser than they get excited. And they can't wait to see the rest, you know, and they're sharing that, sharing that building buzz about it. That's a good marketing strategy, and you want to make that as quick isn't easy as possible. I'll show you had a light room quickly. Boom. Exported a couple steps. It's up on your blog's Make a slide show. Um, big advocate of showing slide shows to clients in your studio or wherever you're meeting places home. Whatever slide shows cell period. When you show a slide show up on the wall, you will sell mawr images than you will if you just plop a proof book where you sit in front your laptop and flip through the image of your client. If you make a beautiful presentation investing in a projector. If you have a space to show and use, it will pay for itself. Uh, and generally 1 to 2 months if you're inactive. Photographer 1 to 2 months, you can pay for the cost of projector in increased sales. I see it all the time. Friends tell me all the time. Student summer time. I bought a projector, started using your sales techniques. Projector is paid for first session. My average sale is 500. I just told 2500 pay for the projector. Okay, so slide shows are big and whatever. Whatever way, you can do a slide show, whether it's projecting on the wall in your home, your studio, your office. Um, if you have to go to slide shows down in your laptop, it's better than nothing but make a slide show because it's an emotional pull. We're talking. We're a multimedia age. Were not so much. People expect multimedia. They expect music. They expect motion. They expect things that turn. Have a short attention span. If you're not showing them, it is in a slide show. You're kind of losing a lot of attention. I don't want to devalue just showing an image because sometimes you have a standout image. You want to make a big print? Just go. Yes, take it in. I enjoy my work there. Sit with it. wait for it. Ah, there it is. Yes. Um, so sometimes that Zim Porton. And of course, we want images that have that court of wow factor that will stand alone by itself. No music, no nothing. But the fact that matter is, most people like things to move, like slide like that. Engagement, all the senses, your ears, the movement, your eyes, the emotion. Okay, and slide shows do that. So we're gonna quickly export images to make a slide show or do a slide show right in light room. You can sell with light room. We'll talk about selling directly with lightning. You don't have a special presentation. Software. Last step here, in the present part, is the uploading full rez. If you use a lab, for example, um, we've smugmug toe host galleries and clients can actually order images directly. They have an option where they will do fulfillment for you so that you don't have to do with that. Some people like that. Some people, don't. I personally, I would rather have the client come to me and I want to inspect the image and check it and sign it and put in a nice package and all that, So I have them send me. But you could have the lab do it right for you, and that's totally fine if that works for you. But you're gonna need to upload for as images so they can print on demand for you. So that's where this is an optional step. Normally, I just upload low rez for viewing on Lee. But if you do have your lab do fulfillment, you want to give them four as images and then we're going to sell. And the sales part is gathering these into collections, which we'll talk about in light room for your selling print. Ready virtual copies. If you don't know the virtual copy is, don't worry about that, but you can create virtual representations of an image to say you want. You have this image that's really cool, but you want an eight by 10. You want five by seven. Mom wants it four by six, but black and white and then dad wants a 20 by 30 and color, and often this one image. We make a virtual copy that points to that image, but you can crop each one and modify each one separately. and then order print without having to duplicate the major file on your hard drive. There just one one raw files that really takes up no extra space. But you have the flexibility of exporting everything you need for that client, okay, And exporting for lab would be. What I normally do is when I'm ready to make a print, I send the files to White House via their rose software. So I haven't export preset that has already dialed in with all the settings, the quality I need for a perfect print, and I just export it and then pop it into rows and semi order in. Okay, And then, lastly is a good measure. I update my metadata one last time. I mean, close out that catalogue, right? So that's kind of a big picture overview of what we're gonna be talking about for the next couple of days and in our hand out that you guys can download that if you are watching the course, you get the course. There's a pdf of all the stuff that's on the screen here that has all this flow chart, and I have a very detailed step by step. Um process that's also listed in here in this handout that you guys will have as well. So it's a good cheat sheet. A lot of people print this out, stick it up on the wall behind their computer. And just kind of What was that next step? That's it, right there. A boom. Just help you stay on track. And then the detailed one is great for referring to the little brakes in the things that I didn't mention. Their smaller steps. All right. Questions on that body. Yes, sir. I'm sorry. We're gonna have a ton of questions. No, I like questions. I don't Don't apologize. I like Right where? Like in the enhancement section again. Where goes update metadata and then in the sail west of data metadata. Are you adding more metadata terms, or is it saving? Okay, well, I'm saving the block favorites. That's part of the metadata. That in the slideshow is part of the meta data. So it's updating that Yeah, any any. Any adjustments? If I add a star A labeled maybe I boost the rating from one star to a three star in between here, and then I enhance it. And this is part of what I do is once it's enhanced and like, this is a really beautiful. It's been fully worked. I boost the star rating up. So I know this is an enhanced versus a one star, which is just a good image, but I haven't really done anything to it. So whenever I boost that say 23 stars, this metadata just updates the DMG or the X and P so that it knows that. Okay, I like Indian as you go on to block. Favorite Slide showed an update and gathered. All that is still. So when you get to the very end between that first enhanced metadata way, you boast it from one star to a three, the other things that go that you're going through with that is that also saving that into the metadata? It's it'll save any adjustments I make, so this may not necessarily affect any of the metadata, Okay, But it's just a good last measure at the end of your job, almost a fail safe, all the images and just save. So I do this command A which is select all command s save metadata. Okay, that's kind of like the last thing you do when you close out your job command a command as 10 seconds later, you're done. Okay, so it's again, That's it was a really good question because you may not necessarily have any changes for the metadata, but you want to ensure that if you did make changes because a lot of times I'm working that I'll see another image, and they're like, you know, when this will be a little brighter and I'll go back and tweak it, you know? Oh, I forgot to mark that one boom. And you kind of just make some other random changes. Just want to show you Capture that at the end. Now, keep in mind if you don't do this, command s everything you do is saved in the light room catalogue without you having to do anything seems to make an adjustment. It's there. It's saved. If you close the catalogue, open it up next week, it's there. So Bobby will say, How do I save what I do in light room? You don't. You don't have to, but this saves it to the actual file. So if your catalog blows up or somebody steals it the file will have that information. So you don't have to redo that work, okay? Make you sensi. Okay, So here's your step by step. I'm not gonna were gonna go all through this the next couple of days, but just you guys knowing that download this is all here, the more detailed step by step of what we just talked about.

Class Description


When you consider what separates good photographers from great photographers, words like “artistry” and “versatile” might come to mind — but “efficient” is just as important. Join Kevin Kubota for a course that will equip you with a seamless, productive Lightroom and Photoshop workflow.

Kevin will take the stress and frustration out of capturing, saving, and editing images. You’ll learn about creating and protecting an image database that allows you to find the image you need when you need it. You’ll build strategies for working efficiently without sacrificing your creativity or the quality of your images. You’ll leave this course with concrete, step-by-step instructions that will help you be more productive in every step of your process, from image capture to output.

Reviews

fbuser 471f6dc7
 

Amazing.... Amazing.... Amazing

smilies
 

This course has been more than helpful in the areas of organization and functioning more efficiently with my photography. Thank you for all you do Kevin Kubota and CreativeLive!! :)

a Creativelive Student
 

This course was really helpful for me to speed up my workflow. It gave me ideas about how to keep things organized and backed up, making me more efficient and my images safe.