The Professional Photographer’s Digital Workflow

Lesson 7/47 - Color Management: Workspace

 

The Professional Photographer’s Digital Workflow

 

Lesson Info

Color Management: Workspace

I'm really spending a ton of time on this I realize, but this is so critical, I've just learned over the years that so many of my problems had to do with color management. It didn't have to do with how I shot the image or other things. So the work space, we've talked about this a fair bit so we'll race through this. You want it 20 to 40 Lux like I said, with a light meter. You want it fairly dark, that window's open up there on the right just for my picture so it wasn't pitch black in there. But I do close these blinds, excuse me. When I work on images, this is the lamp I was talking about that's got the SoLux bulb that's D50. So it's 5000 degrees Kelvin. I have another one right over here that you can kinda see. And then I have my print viewing box, which we'll pull in tomorrow when we actually do start printing, right next to my monitor so I can compare them right there and then the printer's right here. And it's not like I'm printing all of my images all the time, I do make fine art...

prints for people who want them. And sometimes I make what I call guide prints for clients who are very touchy about color, that's not very often anymore these days. But you get a sense of my office. That monitor hood is also a very nice thing because it blocks out the light that might be falling down from your lamp. And my lamp's just pointing straight up at the ceiling so it's reflecting off a white ceiling. I do have some of my prints up, and I didn't paint my doors 18% gray, that seemed a little over the top. But debatable. I did buy a gray carpet on purpose. I understand, the funny thing is if say you're working, I'm at Amazon right here next door and you can't change the lighting, it is what it is. But we'll talk about that when we're calibrating the monitor, that's the other reason I have a monitor hood 'cause it'll block off a lot of that stray light. How you calibrate depends on how bright your work environment is, in terms of the brightness of your monitor. We've already talked about these neutral walls, consistent light, ideal Lux is 20 to 40 Lux, daylight balanced room temperature or white balance for the lighting in the room. You don't want the super crazy light in your sodium lights or something like that in your workspace that are at 7500 degrees Kelvin or 3200 degrees Kelvin 'cause that's gonna affect how you see your monitor. It's gonna be reflected off of your monitor. The brighter the lights in your workspace, the brighter you're gonna have to make the brightness of your screen. That's the thing, if you've got a really bright workspace like this and I have to work here well then I might put more material on the sides to kinda block some of this blue light from coming in and I might extend my monitor hood so I can really isolate this but I'd also just have to make the monitor brighter to make it the right brightness. This is a key thing, like how do you know how to make, how bright to make your monitor, we'll get to there. Color of the shirt you wear as I already said, I learned this from the Adobe gurus like they all wear black or gray shirts when they work on images. I just bought a lot of black shirts, this is the same if you're a studio photographer, all of your assistants, if you look at the guys behind you which those of you online cannot see, they're all wearing black, so if they're standing there holding a big reflector in the studio and somebody's using strobes they don't have a hot pink shirt that's reflecting color onto that subject. So that's kind of a thing in the photo world.

Class Description

Setting up a practical and efficient workflow with your photography feels like a daunting part of your business. Internationally recognized photographer Michael Clark introduces you to techniques to allow you more time to shoot the images you want. His workflow philosophy is that you must first know how you are going to edit the image in post production to know how you need to shoot it.

In this class Michael teaches:

  • Best practices for a shooting workflow from setting up your camera to histograms and exposure
  • How to clean the sensor on your DSLR camera
  • Color management workflow including your work environment and monitor calibration
  • An overview of Lightroom® and multiple ways to speed up your workflow including file folder and batch naming as well as metadata and archival processes
  • Techniques to finalizing your images in Photoshop® with basic adjustments and retouching
  • Making fine art prints, choosing your printer, paper, understanding ICC profiles, and much more!

Michael covers everything you need to know in order to streamline your post production workflow in Lightroom® and Photoshop® and best practices for printing your art at home. Digital photography is far more complicated than shooting film ever was. Knowing the best practices for a digital workflow will make you a better photographer.

Lessons

1Class Introduction 2Shooting Workflow: Set-up The Camera 3Shooting Workflow: Histograms and Exposure 4Shooting Workflow: Sensor Cleaning 5Overview of Color Management 6Color Management: Monitor 7Color Management: Workspace 8Color Management: Monitor Calibration 9Color Management: Do I Need This? 10Introduction to Lightroom® 11Download & Import Images With Lightroom® 12Lightroom® Preferences 13Six Ways to Speed-up Lightroom® 14To DNG or Not to DNG? 15A Logical Editing Process in Lightroom® 16File & Folder Naming in Lightroom® 17Batch Renaming in Lightroom® 18Entering Metadata in Lightroom® 19Managing Images in Lightroom® 20Introduction to the Develop Module in Lightroom® 21Lightroom® Develop Module 22Sharpening, Chromatic Aberration & Vignetting in Lightroom® 23Graduated Filters & Spot Tool in Lightroom® 24Converting images to Black & White in Lightroom® 25Creating Panoramas in Lightroom 26Creating HDR Images in Lightroom® 27Lightroom® to Photoshop® Workflow 28Export Images to Photoshop® 29Finalizing Images in Photoshop®: Basic Adjustments 30Finalizing Images in Photoshop®: Retouching 31Finalizing Images in Photoshop®: Saving Master Files 32Make Fine Art Prints: The Cost 33Make Fine Art Prints: Ink Jet Printers 34Make Fine Art Prints: Ink Jet Papers 35Make Fine Art Prints: Understand ICC Profiles 36Make Fine Art Prints: Sharpen Image 37Printing From Photoshop® 38Printing From Lightroom® 39Compare Monitor to Physical Prints 40Printing Black & White Image 41Extended Workflow: Back Up Images 42Extended Workflow: Storage Options 43Extended Workflow: Archiving Images 44Submitting images to Clients 45Prepping Images for Social Media 46Alternative Workflows 47Final Q&A

Reviews

a Creativelive Student
 

Michael is a true professional and readily explains all of the nitty gritty issues of a photographer's digital workflow, including important things like Color Management, Lightroom workflows, Printing, and more. He is eager to answer your questions and has a thorough knowledge (after all, he worked with the original engineers at Adobe and wrote a book on it) and passion that he loves to share. He can get way deep into the subject, which I found fascinating. You can tell Michael has great experience in teaching and also likes to learn from his students. He is very authentic, honest, and direct. I highly recommend this class, and look forward to another one of Michael's courses in the future!

a Creativelive Student
 

This is an excellent course. It reinforced what I already knew and enhanced my spotty skills with new knowledge. I really like Michael's explanation of saving the document for print and web and the importance of doing these differently. Using the histogram to show this was terrific. Each session there is some valuable gem.

Angelita Sanchez
 

A fantastic course to give you a complete view of the full process of photography. Michael is an awesome instructor, very organized! A clear mind, and an approachable instructor always willing to answer your questions! A must for all photographers!