As you might already know, Lightroom is extremely slow when it comes to image culling. Although Adobe updated Lightroom CC to be able to fetch embedded JPEG previews from RAW files for the sole purpose of speeding up image culling, the process is still painfully slow when going through many images. In addition, looking at the embedded JPEG previews from the camera is far from ideal due to the fact that JPEG images do not contain enough information to be able to judge underexposure and overexposure. On top of that, if one has particular color, sharpness and other settings set on their camera, those settings could seriously impact JPEG previews and lie about what’s actually contained within the RAW file. In order to avoid such issues and move away from Lightroom’s horrid performance, I have completely moved my image culling process to FastRawViewer. Thanks to this lightweight and powerful software, I am able to cruise through hundreds of images and select the ones that I will import and edit, while making sure that bad images never make it into my post-processing software in the first place.
As a photographer and a photography business owner, I go through a number of activities at the end of each year to close it out, just like many businesses do when performing year-end activities. These activities have become an essential part of my photography workflow, allowing me to continue using a very consistent and reliable method to not only store and archive my images, but also to be ready for future data growth and potential hardware changes. If you have not yet considered year-end activities for your photography, I would recommend to give the below article a read and see if it would suit your workflow. Basically, I have developed a set of procedures that I run on either December 31st, or the first few days of each new year to ensure that my data stays consistent, secure and fully backed up. Most of these procedures highlighted below are related to my current post-processing software of choice, Adobe Photoshop Lightroom, but if you run any other software, you should be able to run through similar steps to make sure that you are set for another year of successful shooting.
One of the biggest issues many of us photographers face is the gigantic size of our photo libraries, which creates a lot of issues for backing up and restoring images. While we have written a number of articles on properly backing up images, with a recent article on a backup workflow, we have not spent much time on managing the backup size and reducing it. After-all, if the backup size itself is significantly reduced, the time it takes to back up those images improves drastically as well! Let’s talk about some of the tips, techniques and potential changes to your workflow you can administer today in order to reduce your backup needs in the future.
Data loss is a very painful experience that unfortunately many of us go through at some point of our lives. In my workshops, lectures and this website, I spend quite a bit of time advocating the need for a well-established workflow that incorporates solid backup strategies to prevent data loss. And during this process, I came across many different backup routines practiced by other photographers, some of which I found to be downright scary. You have probably heard of horror stories of professional photographers losing their life’s work, or wedding photographers losing images of weddings that they were not able to deliver to their clients yet. It sure happens, and it usually happens at the worst possible time too! It is one thing when you lose your personal data / photos and totally another when you are dealing with a client who paid you money. I cannot imagine how one could even handle a situation with lost wedding photos, as it would be impossible to recreate those precious moments. Sadly, for many of us, it seems like data loss has to take place in order for us to seriously consider a solid backup strategy and workflow. But it does not have to! In this article, I will walk you through two scenarios for establishing a good photography backup workflow: a low-cost and painless workflow for hobbyists, and a much more serious workflow for enthusiasts and professionals. For the second scenario, I will reveal my own backup strategy.
Many photographers have been buying expensive wide gamut monitors in order to take a full advantage of their ability to display over a billion of colors. What many do not realize, is that their actual workflow is most likely limited to just 16.7 million colors due to software and hardware limitations. How does one achieve a true 10 bit per channel, or 30 bit workflow? What are the advantages and is it worth the effort? To answer these questions, I decided to dig into the 30 bit photography workflow in detail and explain its advantages, disadvantages and also discuss its future.
It seems that the continuous increase of megapixels in our digital cameras is inevitable. Year after year, camera sensors are getting better, image resolution is increasing and file sizes are getting bigger. If just several years ago 10 megapixels was plenty for a DSLR, that number has grown way higher lately, thanks to such fine tools as the Nikon D800. This increase of resolution and file sizes clearly puts a load on our quickly aging computers as well. Larger files require more storage and post-processing images in Lightroom and Photoshop is taking longer due to insufficient computing power and resources, dramatically slowing down our photography workflow process. While upgrading your computer could speed things up quite a bit, it is often a costly proposition. Instead of spending money on more gear, revisiting your workflow process and perhaps even revising it might significantly reduce the amount of time you spend editing images. In this article, I will show you a very efficient Lightroom workflow for high resolution images, which my wife and I adopted after acquiring the Nikon D800.
If you have been reading articles on photography and post-processing, especially from a professional photographer, you have probably stumbled upon the word “workflow” and wondered what it meant. In this article, I will explain what a workflow is and what it is comprised of in the world of digital photography. Please note that the workflow process can vary greatly from one photographer to another, because of too many variables involved and because there is no established, standard workflow that applies to everyone. Therefore, information that I provide in this article should only be used as a reference point to get an understanding of how workflows work in general. It will be totally up to you to establish your own digital photography workflow and you should ultimately design the process that works best for your needs.