Lessons

Lesson Info

Overview of Adobe Bridge

I figured what we could get right into. I have I'm ready to go inside my computer was the images from yesterday. These are Azad told Russell earlier. I opened him up this morning and I went ahead and retouched him. And it doesn't take me a whole lot of time to retouch as you'll kind of see, But these are the ones, the ones that you're looking at right now or all retouched. So let me show you, Were you looking at him in bridge? And so I just sort of go through them one at a time. Here we go. That one, that one. I don't know if you'll remember me doing those yesterday. A couple of things you probably are looking at and saying I don't remember that background. Relax, Let me back up. When did when did he take pictures with that background? Well, that was the background, but that's what some texture and some all sorts of stuff, which I'll show you what I do. Same thing there. It's like through some saturation on that background. Pumped it up, turned it into a black and white, fixed her eyes...

, that kind of stuff. This was one of my favorite ones from yesterday. Wait, let me back up. One thing I thought so. There was a couple ahead of those. What do yo, my studio audience. Do you notice anything? Right off the bat? What do you notice? Something changed? You may be squinted. Yeah, he's quitting. No, Mo, is he? We'll play with that. There we go. That was the very 1st 1 of Lexi that we did. Then we did the one for the mom and dad. And then we did that one and that one and then that one. And then that was my personal favorite. One of her. I don't know. I just thought that was really, really good. I like the way the hair moves and the color on the skin. And I don't know, I like the flatness of it all. And with, you know, the light hits her in the face. So I think she's gonna really, really, really like that one. You like an hour? Okay. Good. And same thing. We moved into our buddy Shawn Black. And why does one that broke the rules when we talked about that? Broke the rules, had him his face, his nose this time turning away from the light. You can pull that off by the way and get away with it when you know you're a slimmer guy. And, you know, he had that little, long, chiseled face, so you could kind of get away with that. And like, like before. Didn't want make the moment was happy. And then there we go. Notice the light. We talked about that yesterday, Light right, rimming him out on the right hand side that, um, you know, rims it out and separate. Makes a little separation, skip flight would ever want to call it. There we go full length. And that one, if you looking at that on the screen, you think, Ooh, it's so great, E Yes, because I added that I wanted that that grain effect make it look, you know, I mean, I call that my, uh my soprano. Look, No, I'm just kidding. Okay. So and then here was our girl from yesterday. And even here we go, I think Correct me if I'm wrong. When you said something about high key, was this what you were talking about? That white, white, white, white. Whenever you make him or you was just literally talking about retouching. Ah, high key background. I was talking about the high key background. Okay, No problem. Which is coming up. We do want to hurt black and why? And then on that background, you know what I love about that background is it kind of looks like she's there, doesn't He was. I know, I know because of comments that were made about the backgrounds and someone made a comment because I felt the same way when I looked at that background, as in in person, I'm like, Hey, it's OK, But when I photographed that background, I like it. So that's just ah, side no. Anyway, moving on there, this was my attempt at high can have a high paper, anything. And when I actually play with this with you here in a little bit, we if you want, I'll take the line out to That was just a electrical line. But I left it in because I don't know. It didn't bother me too much. And then on the roof Boom, Keep a day job. Okay, so one of the points I made on the roof and I want you to take note of the exposure on his face and then look at that. I know that's not a chimney, but it looks like a chimney. Look at the chimney behind him, on the right, above his tap to notice exposures the same. You go all the way to the back of the church between the telephone pole and the chimney and exposes the same. And yesterday I made the point that if you know just because the all that stuff behind him it's the same son. Same song is hitting the chimney, hitting the church, hitting the senior. And so the exposure is the same all the way through. You get highlights in his hair because the raw sun is hitting him in the hair, skipping into the camera. And so that's the hair lights up. And so they had a little bit of reflector making things even so, that's I mean, yes, it's got a bunch of wires and stuff and I don't know. Personally, I kind of like that. That's kind of a senior risk looking looking thing, and I just got a little closer. This was the one I was. I had him. I don't know if you remember? He was doing all this squinty stuff on this one, and I kind of zoomed in a little bit, had him close his eyes. Here we go. Do. Ready? 123 Open your eyes. Boom. Click. And I was able to pull that off. That eyes were not dropped in on that one. And this was the one when we flipped around and make the blue sky right? And it's a little busy going on behind her and all of wires and poles and stuff. But, you know, if he was in a park somewhere the same concept, you know, it would be it would be kind of neat, So throw two glasses on, and that way you don't have that squinty thing. And then, in her case, she had those brown eyes that made the sun less critical so we could do something like that. And then we did a nice smiley one, and then you notice something changed on this back. The stuff in the back, Yeah, all the buildings and stuff. I just filled up with trees behind her, and it just made a little bit more fun to look at, and then camera dude. I mean, I wasn't going to sit down and re touch all that out of there, but just was the one we were pretending like we was in the street, remember? By the way, I want it back up to this to make another point. Even with all that stuff. I'm talking about all of that stuff going on in the background. He's got in tight, got in close, her focused on her. Look what happened to the background. It becomes kind of a cool effect, doesn't it? It doesn't. This is distracting. That was kind of cool. So sometimes you may look around. Go. There's just nothing to do here. Well, use use the tools at your disposal. So I want to make that point to. And then this was the one that someone asked me to do. A one with the flash and one without. This was the one with. I have the other one to show you in a little while, but same thing. It was just kind, fun. And in mister Splashy. So, you know, I think I made the point yesterday. That is not gonna sell. If anything, it will be cool in the group in the proof book. Maybe that's about it. But you know, it's just not going sale. It's not. But do you think that he had fun doing it? But yes, I knew he was talking about it. So he went, told his friends about that today. He wouldn't had a big fun time with that. He's so we splash, we get the girl, went blah, blah, blah. Ha ha ha ha. And that's what it's all about. It isn't It isn't necessarily every time all about making this deal. You know, it's about doing stuff that's gonna eventually lead to making the sale. You know, in his case, seriously, if Mom's gonna be looking at these things, he's probably gonna want, she's gonna want maybe something along there she's. Mom's gonna want that and he's going to really dig that. The girlfriend's gonna love that, too, and maybe one of these in here, you know, that's my if this was, you know, a riel buying, making a buying sale. All of that may be that they might think that's kind of fun, but that no, they're not buying. That boy was fun creating that talk, and that's that kind of stuff that we we like to do. All right in a Net world got questions about those retouched images. Let's check it out. So we have a question about 100. It's tricky because a lot of these I think you're gonna go into. But can you explain from Amy? Are how you go about selling a tightly cropped image in large sizes like eight by 10 16 by 20 etcetera, since it was taken very tight, with larger sizes making even more tight. Okay, I think, which I think what she's asking is, well, our answer in two different ways. One of the things is that yes, if you sell, if you do this really, really tight head shot and the mom comes in and says, I want a 16 by 20 it's gonna be a big, old head, big head on the wall, and I frankly do not have a problem with that. I mean, you will see, see images along those lines that are big heads on walls. Now it gets weird, since I used to be in a trailer with seven foot ceilings, you know, little tight quarters and you get the big head hanging over. It does get weird, but you don't necessarily always stay in the trailer. You know, if it's a house like if it was a house like this with this type of ceiling like you're having here, that looks like about at least 20 feet, maybe arm or in that type of environment you had a big head right here. It is kind of need. It looks kind of cool so that the whole brutal honesty there is, If I'm not, if I can't persuade them, maybe to an image like like our girl here with the 2011 with her hair and her shoes and laying on the floor. If I can persuade them into an image that is about 3/4 like that for a big image, that's a 30 before D. Yeah, that's at least 30 inches before the inches. And so that if I can't persuade them that this would look better and they want the big head, I'm gonna sell them the big head, you know, absolutely selling the big head. So I think that's what she's asking. Actually, a lot of people are wondering about that aspect ratio of cropping like full frame four by 6 to 8 by 10 because eight by 10 and also five crops up quite a bit. How do you deal with that? With those tight images, the Internet world did not look through my camera, however, the studio audience did, and yesterday, multiple times during breaks and stuff, they asked me about those black lines inside my camera, and they was like, What's that? Like big beak marks inside there? Well, you can have an aftermarket done. You can have these lines drawn on your corn, your chip on your screen inside your camera, and I can and sells one. I think that there are definitely some Have several after market companies out there that will draw these lines on your screen. And then when you put the screen in the camera when you look through the camera, I see the eight by 10 aspect ratio, and everything that I shoot is is considering the at eight by 10 aspect ratio I'll use. I'll use this as an example. If it's up on the screen right now, the image that's on the screen that if you notice there's airspace below her feet in the air space below her above her head on. That is because, you know, I was pretending she's buying an eight by on the back of the camera. I think you heard me yesterday when the senior was looking at the back of the camera, said something about those two lines. Just ignore those two lines. That's not really there. Will, in actuality, on the one D X and several of the other Canon DSLR cameras. They have that in your custom function, where you can add the eight button for by five crop ratio and it drops those lines in. Now it does not drop the line on the image is just it's a little black and overlay. Well, I shoot everything for the eight by 10 crop ratio. If they order a four by six, will they get the whole image? They get more. If they order a five by seven, they get just a little bit more. If the order and 11 by 14 they get a little bit more if the order of a but 10 16 by 2020 24 they get the 8 10 crop ratio. If they order a wallet sized image, then they get just a little bit more than a deeper 10 crop ratio. And so that's how I do. And I anticipate everything to be on eight by 10 and then that solves that problem. I'm never caught in off too much. When I send it to the lab, everything is then center crop. I don't I don't actually have to go in and do a pretend cock crop and a 57 crop and all that stuff. I don't do that. I just send it off to the lab and say, center crop everything. And that again, what did I just do? Did you catch what I just did? What? What did I do to go? I took posted notes off my wall is exactly what I just did. Because now I don't have to drop all that crop in. That almost sounds obscene. Done it. Drop the crowd. I dropped the crop. Okay, I don't have to do that. I don't have to do that. I already pre crop while I'm taking the picture. That some crop? Okay, that's really interesting, because the first house, a lot I shot with it had those guests guides on the viewfinder, and I got that. How handy that was while shooting. That's why I do it now. Hypothetically saying, Let's say, for example, myself, or are in Cotton also has the same question. Let's do We haven't been shooting with that crop guide. And we got in really, really tight, and we didn't, you know, Crop Board eight by 10. And the client really wants an eight by 10 but they want everything in it. What's the solution? Is it getting maybe eight by 12 print? One solution is an eight by 12. Another solution is to grow the image. So I'm gonna I'm gonna allow her him her, uh, r n cotton. Not sure him her to get written on the board. Okay, when a grow image awesome. And I'll try to grow an image in the next segment. When we play in in total, there's away certain that happens to me sometimes where the mom goes. I don't like the way you cut in the head, and they want it, just like they saw it on the proof. And so you have to grow the image. Okay, good deal. So let's look at let's look at these images. Not retouched. We're gonna do this much faster. So here we are. This is straight out the camera, and they just make sure this is straight out. The camera. This is resettle. Yes. Okay, so these nothing has been done to these, and I go much faster. Notice his eyes. Noticed the lines and wrinkles that double the to catch lights in her eyes. Highlight weirdness is look at the floor. Look, there are a little bit of wrinkle on the background. Much fan? No, look at the look at that dot on her arm. Was that a mole? That would still pretty good. That was pretty good. That one look at Look at the line. This was This was the feminine crop member. I did too. I didn't retouched that. When women across masking crop look at the blood vessels in his forehead. Took that out. That was the one we did with the other light. All right, moving on there. There's that same same thing. Look at the floor. Hi key. I don't know why I did that. There is kind of blinky. Then he wasn't blinky. And then he was kind of forehead problem. And that was better. There's that one straight out the camera that was shared out the camera. That that was the one I grew. All the trees see the building behind her? Actually, I think it was that one camera. Dude, this was the one without a flash. This is the one with flash without with without with no dog going down did that wrong? This is without the flash. This is with the flash without with Without with. Okay, there we go. And this was him. Getting ready was him. You get preparing. This is the 1st 1 and this is the splash one tonight. All right? Now what I'm gonna dio is what I would really do is I would go through these and I would look through and I would say, All right, let's see Enbridge. We had that head tilt I didn't like, so I'm a delete. And that one like that one like that one, that one. That one. Good. Good. Don't like that. Didn't like that. And which one was it? It was I think the Elite Keeper Keeper Keeper Keeper uh bleak keeper Lee Lee keep Li li keep. All right, So there you go. That's that's very real what you just saw. I go through just that fast, so this would be the moment. Let's just say when the customer has come in, you know, I did the first Could could, Could could click six shots. Maybe I shot one. Then I shot another one right behind it because I knew he was in that feminine tilt or whatever. All those images still get transmitted to the computer, even though I deleted on the after it. It's already transmitted by time. The customer looks at him as well, unlike that hey, I'm gonna delete that one. I'll delete off the camera, but it's already in my computer and it does happen. It's very rare, but it does happen where they made the wrong decision. And if it is that much better, I keep the one I keep the one they said to the late and then you have it on both cards to absolutely still it's still in multiple places. But that is right. I mean, that would be say, if I did 100. That's more like 500 seniors. That might happen one time, Okay, but for the most part, they say make it go away, Make it go away. All right, so after I have done this process of going through editing really, really crap really, really quick, the next thing I have to do in bridge is I have to re number them. Well, actually, in reality the next step, that they're in a a hot folder. Okay, there everything gets sent to one specific folder. One specific folder, one specific folder from that point. The next thing that happens is I need to move them into the customer folder and my hierarchy looks like this. I have a folder. Have the hard drive. We're gonna call this sample workflow that you're seeing on the screen right now. Let's say that's my hard drive than on the hard drive. I have a date. August 27th 2013. Inside that folder, I have the customer name folder. Okay. John Smith. Susie Q, whatever their name is. All right. Inside the customer name folder is where I throw all the images. So in the case of the creative live people that I photographed, which is these people here, I'm going to pretend that this is in the customer named folder, okay? And I'm going to highlight the images, which is? I clicked the 1st 1 that hit Commander Control A. And then I come up here to tools Batch rename, Okay. And it gives me this little dialogue that pops up, and in this case, I'm going to name these name this person cl dash to day for the sake of conversation. And then sequential numbering is going to start with one. Have you can have two digits. You could have 3456 digits only used to You know, you can have all sorts of options down here. It's showing me right here. New file name CL Dash. There's showing me what the file is going toe look like and then I just click rename. And so if you notice all these images have now been renamed CL Today Dash 01 all the way Cl today, Dash 27. Okay, let's say I have Mawr images now come in and again, I'm always looking for ways of speeding up my world and bridge Adobe people they realize, Hey, Kurt wants his world sped up as much as possible. And of course, everybody else to realize is that well, what could we do to speed his world up? Well, let's same or images come in. And these three images on the screen right now or the next three images that just came in. And now I need to pick up the numbering from 27. Right, Because the next one will be 28. 29. 30. Watch what happens when you go. Tools, battery name, boom. Photo shop already knows that. See? Right there. Sequential number 28. At this point, the next set that come in is much faster. I don't have toe. I don't have to put CL today. I don't have to put the number. All I do is go tools re name, and then click the word rename. I'm not gonna do it because I already got these name, but I want, But I think you understand how fast that can happen. Yeah, and that's just a little time saver. That adobe done that. Thank you, Adobe. Appreciate it. Keep those workflow speed, things coming. Love that stuff. So, as you can tell, if you're really starting to think right now with bridge, you're saying Well, it kinda works like light room, huh? I mean, It doesn't work exactly like light room, but it's the same concept. It is. A light room is primarily a file management software now because my my file management, because of the way it works, is that I want a folder date on the folder. And then from there I went inside of that customer name. And then that's where I want the files to be stored. Already have a system. Now let's say you, for whatever reason, the type of photography that you do need to be a with the later call up. All girls six foot tall with blue dresses on and blue eyes. Man, that would be wonderful if I could just request toe have all girls six foot tall with blue eyes and blue dresses. Would that be just wonderful? Man, I would need something like that in my system. Now, before I go further, Do you think I need something like that? No. If I'm gonna need to find a customer's file, what do I need to know their name? What else do I need to know? What year that they graduated and school day? I shot him. That's it. That's all I really need. to know. And then I confined the customers file once I find the customer which have their name, have the date that I took the picture in the year, of course that I took the picture. August 27 2013. And the name is Kurt. Vocal Susie. Q. I go straight to Suzy Q's folder, and at that point in time, if Suzie Q. Wants to order an eight by 10 I take the folder. I send it to the lab. Took the M. Excuse me, send it to the lab, order the A. But 10. What else am I going to need in the future? So I'm not taking these files and selling them to, say a magazine where the magazine calls me up and says, Hey, card, we need We need something. We need a girl in a blue dress with blond hair. I don't do that. I sell to the person. And so once the person buys it, it isn't often that they come back and buy more. It happens, but if it happens, they're going to give me their name and the date we took the pictures. So So for that reason, bridge is all I need light room. On the other hand, we'll let you key in all sorts of information like that. Do I need that? No. Thus why spend the 100 bucks? That's my reasoning. To buy light room if you need it, then light room does a great job of that. But like Bridge came with, you know, it's part of photo shop, and when I bought photo shop, it had bridge. And so it's wonderful for that kind of thing. Now there are some photographers out there that do a lot of volume work and for one, understand the way light room organizes that volume work. It is wonderful. And if I was a high volume shooter, I might actually use light room because of what I've been shown. But for the low volume that I am, Bridge does a fantastic job. So that's for me. That's that's me and my system Back to my sticky notes on the on the wall. See, this is my flow. This is my sequential How I go from step one. Step two, Step three all the way through The process makes sense so you can Onley. You're the only one that can answer that. I don't think I'm I guess I'm repeating myself because if someone comes in right now, all of a sudden into the into the creative live world, they like godly Kercher was knocking light room. But I'm not knocking. It is just doesn't work with my flow. That's it. I'm not knocking it. I think it's a really good Visa software. It is pretty, too. I will tell you that. You know, and I have I have talked to some some really light room pros out there and told them my system and the way I use it. And every one of them across the board says, Well, I can see why you used bridge and that's that's just sort of validated because I don't mind by in the thing, But they really validated that. Yeah, what you're doing is you're doing it the right way you're doing for your system in your way of doing things. So, you know, you wanted me to talk light room. I'm talking like Rome. I I think it's a wonderful piece of software, and if it's working with your workflow, I'm not saying get would get rid of it, But that's my world. Cool. So far. So a few things inside of bridge as far as the organizing process across the top. Here, if you noticed as Kurt default. This is something that once I got this whole thing set up the way I wanted it, I think created a new default and that and I named it card default. Now, like like I must switch over to essentials, Watch and see how this this whole thing just look totally different. And so you know, there's keywords and there's eso speeds. And there's exposure time and there's camera raw setting it. And it laid it out on the board here, and there was these favorites. And then there was a folders tab and see. I could take this folders tab and move it down into here and put it right there. And, you know, I could get this whole thing laid out differently. And once I get it to where I like it, I love the way this is working now. Oh, I could create my own tab So that one Any time you know you you something messes up. Are you want you want to go exactly the way you're used to working. You click yours and bam! Everything flies into place. So for for people who have, say, one main computer, but maybe three people, a studio where three people use that computer, let's say there's a team that works in the morning and a team that works in the evening or something like that. And one person, Suzie Suzie Smith, might like it this way. But Jackie Gene might like using a different way. Well, you can all have their own little tab, and they could be set up exactly the way they like it. But I'm pretty sure that you guys are the ones that are gonna be doing this. Or maybe it's your wife. You know you might like it a certain way, and your wife might like it a different way. So hey, get your own low taps. Makes sense. OK, so what? That said. That's one neat thing about that inside bridge. There's also some preferences inside bridge, the way you can set up. You know, the color background you like. The interface can be the coloring that you like. The favorite items is a like a default area to the favorite items. There's the way the thumbnails air show there's the way it plays back The meta data keywords the labels by cash to start a script advanced I'll put all these little things All these little things can be tweet to get bridge working exactly the way you want it to be working Okay, after you get bridge all tweet like that, then there is camera raw preferences. OK, which is a whole different set of preferences. This is how Adobe Camera applies things and does part of the conversion. Now at this, you know, we could I told you my workflow system. You know what? I'm those just those two things that's about 2030 minutes worth of Let's go and let this decide. Do you want this or do you want that? Let's tweak this. Let's do you like this, You know, this is this is not the way this is not all of that is such personal decisions that you almost need to go there individually on your own and go through each little staff and say, OK, you know which which setting is best for me in my system. Thus, the reason I went ahead and made this these movies. Okay, The first move part of the movies is two hours, courtesy of H and H Color Lab, that where they literally take every button inside of bridge and they go over every. But this button does this and this. In fact, I caught myself about two hours and 45 minutes into it. It's like, uh, will this thing ever in? And I'm telling you, if you have to watch it my daughter. When she decided that she wanted to start doing photography on her own, I made her sit there and watch it. It was hilarious because she where she watched, like, 10 minutes of the 1st 1 Okay, and there's two segments about bridge, and each one of them is over an hour. And she worked. She watch 10 minutes of the 1st and then, after watching 10 minutes, she just watching that no more. She skipped. She went right toe the next movie, which was a little short 10 minute movie, and she started setting up her photo shop. And then she did her little presets and she got her actions and she got it all set up and she started doing stuff Daddy. How come? Whenever I clicked blah, blah, blah, and it won't and it doesn't go. I said I didn't watch the movies, did you? I did. I did What? I said you probably watched about 10 minutes. It was like, How does he know these things? Well, because all of these crazy questions that you're gonna have are addressed in that movie. If you're an agent age customer, this is free to go watch on their website right now. Okay, So anyway, this is This is also part of my work flow system. They have allowed me to show those movies in that video, so But, you know, this is how my bridge on the screen is set up. I have three across. Now let's say you don't like three across. Let's say you wish and remove this little slider down. You say you would like four across? No problem. You can have four across. Let's say you look at that and you go. Well, I don't like all those grids. I wish you could get rid of those lines. How about that? Got rid of the lines for you, Okay? Or you just say you wanted just one image at a time to look at. No problem. Let's say you wanted a bunch of images. There are times when you want to look at a bunch of Just move that little slider across the bottom and tweak it the way you want. Get it set up however you want. Personally, I like the lines. And I like to see three at a time, roughly three at a time. There we go since. And why do you think you're starting to get weirded with me? Why do you think I like to see three of the time I do six shots, man have thus I could have six shots on the six that I did right there on the screen. And look at all six. If I'm looking at seven one's got to go Something. Something happened. Why is there seven? Oh, yeah, that's right. I shot two groups. The camera with click click. You know, whatever makes sense. OK? Another thing. I'm gonna see how good she is. She she said something. You said something and I wonder if you realize why does Kirk shoots six? Do you know you bury one of the very last things you said is the answer. See if you can figure it out. Got it? No, I'm putting you on the spot like it has something. It waas. Yeah, I shop with NASA Black for so long and has a 1 2012 shots to 2024 shots. Most every senior walked in with four outfits. Hello to 20. You would shoot six shots in each outfit and on the waste in one roll of film off the gate B process and weddings use used to only get one roll of film shots. Know whether I had to do was how your wedding very first wedding. That was the rule in my world. Weddings were to pro, too. 22 22 five packs of to 20. So 10 rolls of film. 24 shots E 2240 shots. It was like Boom, that's what I did every time I get a wedding would have supplied. But that's where the six shots come from. Has a sense, and it is so funny that when you get for years and years and years into a pattern like that of six shots, so here comes Digital and I could shoot hundreds and I still only shoot six, because at six, my brain just shuts down its hilarious anyway. So all right, so that's just some little little tweak things about Bridge. Another little Twinkie thing about Bridge is less say like, for example, this J Peg folder right here where all of the retouched files are underneath. Cl fixed. Let's say I wanted toe quickly have access to that. I could just simply take and drag that down here into my Favorites folder. And so now I can go over here to sample workflow, but then click J Peg and it brings me right to it. So what? That the purpose is Member. I told you I have a hot folder that the camera transmits straight to that hot folders always being transmitted to that hot folder. Well, that hot folder might be here, and all these images drop in into the hot folder from there. If I want to move the images somewhere, let let me just make a folder and I'll do that. File new folder, move. Let's say I want to move these j pegs this J Peg folder into that hot fold into that folder that I just made high highlighted him right click move to look. There it is. That's the last folder I just made. Did you see that when I click? Move that move folder. It just took everything out of that J Peg folder and it dropped it into this move folder. Got that? And so that's how I get my files. That shot, that's how I move it from one place to another so quickly is right before the senior walked in, I had created her folder. Thus it was It's the very first folder on the top that comes up when I've highlight them all and then move them into that folder. That's it. It's just that fast. Now, if I wanted to copy them for some reason you could copy them into a folder, or you could move them into, And I don't know if you caught that. That was that was some of the options I could look copy, duplicate, move the trash moved to all of here, or copy to all of these different places. So those were some of the things. And to get that dialogue box, you right, usual white, right click, in my case with the little stylist that's pushing this little button right here hovering and pushing my little button is like doing a right click. Alright, several people at the break was asking about my Wacom tablet, and I use a walking tablet. It's weird how, like if I'm open, if I open up word and I'm gonna do some sort of typing, I can't use the walkie pallet because that's how my brain is. Use a walking tablet inward. I can't even do it. I have to put the pin down and get the mouse and used miles whenever I'm outside of photo shop a bridge. But if I'm in bridge, the mouse workshop. But I was like, I can't do it. I have to have to use the pin This It's the way I've done it for so long that if I don't have the pen in my hand, I simply cannot do it. Another question that might be coming in right now is well, which walking town do we use? Yeah, well, I use the 66 inch by 91 at the studio. That's the one I use. I love that one. A lot of times people think, Oh, Well, I can afford it. I might get a present. Whatever the big one. Bad move. Don't get the big months. The one, OK? Because this is what happens. You have this big Wacom tablet right here. And to get everywhere your pin touches, that's where you are on the screen. So if you have this big wacom tablet like this and you want to get down to the bottom, you're way over here. Now. You want to get way up to the top, you have to go over to here and then in your in your movement. And you got big muscle on this side and you know, that's what. Whereas when you got a smaller tablet to get from the top to the bottom it my mother back in my poem just never moves. Another thing. When you use a walking tablet, you're gonna get Don't know how close to camera guy could get to me. But you're gonna get one of these right here. That is what I call a photo shop. Callous. Okay. And it comes from your finger, your little finger touching right here and then moving around like this. And so I get this big bulb right here. And you'll have one. It is funny. I had other people who do a lot of photo shop, and they all got the same bump. And they used the Maybe it should be called the Wacom tablet score something I don't know. Anyway, that's another little thing that someone asked me about. No oneto address. So there you go. That is just really quick. A quick, fast, fast, fast, fast, fast, fast, fast overview off bridge. Now, if you are a member of Over Shooters Anonymous and you need to you don't like to delete, okay? And you would rather just have tags and things like that. Yes, you can do that inside Photoshopped to see we could We could give this five stars. We could give this three stars. We can weaken tag colors. We can give different color codes to different ones. And you can I don't do any of that. I'm editing basically in the camera. So all those stars and colors and codes and all that stuff is just useless for my system, you know? So So So after I get him all numbered and I have them all sort of organized The next thing that's got toe happen is you've got to start converting them. And there's a question there in couple topic or couple topical questions before we move on to kind of converting the files. For instance, you were saying for the files that you just don't need anymore Do you delete them forever? Forever, Forever, Forever. And you only keep the good ones. Don't keep Okay. My, frankly, why shoot that? Why did you shoot it in the first place? I hate to be that guy, but tell me again why you shot a bad picture, huh? There should talk that through before you ever pushed the button. Don't I like bad ones to be accidents? Well, it was an accident. Okay, I can accept that. Well, she blinked. What? She's going down the road. Go. I really want that blink shot. Not gonna happen, you know? And then and then for the people, the people who have asked that question. I asked the question back. Whenever people ask me that you really why would you delete it forever? What if What if they come back? And what if they want one of those? My question back to them is. How long you been shoes? Oh, I've been shooting for a year or I've been shooting for 10 years. I've been shooting for 15 months or whatever in that. Whatever time frame it ISS how many times has that ever happened? What was never, never happened? But it might happen. Yeah, My Reign Morrow and in my own kinds of things by getting an accident might be dead. You know, Let's go through the list of might live my life might I live in for What are they really going to do? They want this when they with good 1 may save the hassle. Learn to delete Delete it, your friend Powerful, but no. And it goes. It isn't really deleted. It just goes into the trash until I empty the trash. So there has been time when I went to make the leap to be believed in and zoom in and I go Oh, wait, What? What's with the Blur? What was I thinking? And so that I'll have to go back to the trash and go hope this one is a little better and pull it back so that probably makes everybody just everybody in the world went from Mr Oh, never are. Yes, Enbridge. When you hit the lead, it goes into the trash. All right? Who? But we have another? Another question. I think this will a few actually about when you rename and re number your files. And then you lose the original and you need to find the backup. But the file is renamed. How do you find that weight? So when you rename, do you lose the original name forever? Yeah. Wow. I want original like the crazy canon name. Like, Yes. So you have you rename it and then you already have, like, a backup system may be off cider. You have a few backups after you rename it, Do you re back up again So that it's all sink Tup. They're wondering, Well, if you know if it has the original canon name on that backup file, But you've renamed on your you know you're working hard drive. How do you How does that match? Okay, I have. I think it's called a carbon copy. It's a It's a Mac software. It's not on the that is not on the laptop. It's on the main computer at the studio but it's called a carbon copy. Just Google quarterback copy. I think it's a very inexpensive, awesome little piece of software that it's constantly cloning and copying my hard drive every 10 15 minutes. I think I have it set to copy the hard drive to another hard drive. Then every 10 to 15 minutes it takes that hard driving cops into drove. Oh, and so thus it's in three places. So if I rename it here, but it's already copied it to the secondary hard drive, Well, now it has a news new image to copy over to the hard drive. And it is this one, the one that is named the customer's name. That's the important all the other ones are or useless. But remember, I'm working on this stuff right now right now, and it's going to, Ah, hot folder. And so if the original Canon name is there, it's in that hot folder. So all the stuff that gathers up on the other hard drive in that hot folder periodically I could delete, I think I'm answering the question right. Okay, I think I understand the question, but yeah, the original number means nothing to me Kurt? Yes, a dis point. My pictures are already in. The computer is not in The camera. Is not like is not, Is not okay is already in because now you're going to do what? After this is a step. The next step, The images are now in the customer's folder on. We're going to begin to convert them right now. They're raw files. CR two. So you want to overturn J, But before you over tripping? Don't you do that little tweaks? Yes. That's what I'm about to show you. So you don't did the lyrics before you convert? Yes. Okay. The little tweaks, okay?