Capture One has been around for quite some time, and it’s partnered with Phase One—you know, those super-expensive cameras that probably none of us will ever be able to afford or find a very practical way to use even if we could. They’re great, don’t get me wrong—that’s not where I’m going here. I’m simply saying that it’s a $50,000 camera, so you can expect pretty high-end things from that company. Their editing (and really, originally tethering) program is called Capture One. Now, I haven’t used this for very long, it’s only been about six months, but what I can tell you is that once I saw the difference between Lightroom and Capture One, I just wasn’t satisfied in Lightroom anymore.
Every tool in Photoshop has a single letter you can tap to activate the tool. No multiple keys to remember (“Is it Shift or Alt?”), just tap a single letter on your keyboard, and that tool is ready to use. Many of the shortcuts make perfect sense, such as M for Marquee, C for Crop, T for Type and B for Brush. Others are a bit more of a stretch, such as V for the MoVe tool or W for the Quick Selection tool (since it shares the same slot as the Magic Wand). Some others make no real sense at all, making us feel that Adobe was running out of letters and just assigned them to random tools as there was nothing else available. Learning and remembering these single-letter shortcuts should be easier than trying to recall multi-key shortcuts (more on that later), but it will still take a while.
this isn’t an article that is trying to convince you to outsource your post-production. It’s an article to explain how inefficiency in post-production is costing you serious money, and I am going to show you the process for creating an efficient workflow for yourself. I will say, though, that I am of the strong belief that once you are shooting more than 25 weddings a year, it’s time to send your post-production to someone else. However, most photographers are still shooting under that number, and today I want to show you a process that will work to kick some of your inefficient habits.
Now, in the world of post-production, we tend to see two camps. There’s that of purists, who believe in just delivering images as they were captured, reminiscent of the days of film before we had Photoshop. And then there are those on the other end of the spectrum who believe in using software to shape, alter, and polish their images before presenting to their clients. I'd like to think I live somewhere in the middle, which I am sure many of you can relate to. What I would like to do here is explore how the right amount of post-production can help you and your business stand out.
If you want clients of all shapes and sizes to feel confident working with you, they need to first see that you have an active interest in welcoming them into your studio. It is very intimidating for a plus-size client to reach out to a photographer, no matter how beautiful their work is, if the photographer’s entire portfolio consists of only one body type again and again. What’s more, working with models will help you to become more adept at working with larger bodies before offering your skills to paying clients. When a photographer isn’t comfortable working with people of size, believe me, it really shows, and the results can range from awkward to devastating.
Choosing the right strobe for your needs is not only a question of budget but how you intend to use the strobe. The criteria and features desirable for studio strobes differ from those designed for location use, and vice versa. That said, strobes designed for location use can be used in the studio, and studio strobes can in some cases be used on location. So, if you can only budget for one type of strobe, don’t worry. Keep in mind that every strobe involves a series of compromises, and there is no one strobe that does everything and does it well. That’s why there are portable strobes designed for location work and larger, more powerful strobes intended for studio work. Each has its pluses, minuses and place.
The majority of compositors use Photoshop. Knowing the controls and options will allow you to focus on the artwork instead of stumbling around looking for a filter or tool. Yes, being comfortable and knowing Photoshop well will take some time and effort. But seriously, since when was anything worthwhile easy to do? Shut off Dancing with the Stars and The Voice and instead spend some time playing around in Photoshop. Make yourself better.
When it comes to editing creatives, I want to work in Lightroom so I can quickly apply different styles to my images with a single click. Beyond applying just a preset, you have the ability to add a more creative shift to your images using profiles. Applying a profile is the newest way to shift your corrected image to the next level without requiring you to re-edit—it’s the one-click solution you’ve been waiting for. Here is why I use profiles and how they’ve transformed my editing workflow.
As in all aspects of running a photography business, success relies on creating an efficient system. Get the images right in camera to reduce the need for post-production. Automate what you can. Use technology to your advantage. And find a system that is based on speed. Do all of these things, and you can easily shrink your post-production to a timeframe that allows you to conduct same-day sales.
When it comes to crafting killer quality of light, it’s all about modifiers. These light-shaping tools come in a variety of shapes, sizes and interior finishes. When attached to the front of strobes, modifiers help control the quality, shape, direction, spread, and amount of contrast, as well as how quickly the light falls off. While some have more versatility than others, there is no one-size-fits-all modifier. Each has its own unique characteristics, and each produces a different set of results.