bradleywalter

<p>Geoff, they've got a load of products there... artic butterfly down to a simple 8mm brush. Which product, specifically, do you recommend, and how do you clean / keep it clea after use? I didnt see anything called a static brush. Shed light, please!</p>

<p> </p>

<p>Collections can't be stacked, so that option is out for my workflow. However, what was getting me was that I tried to rename AFTER i began editing in photoshop and stacking. For any having similar issues, my suggestion is to confirm order as part of preliminary workflow and then rename to (sequence) (original filename) in the rename. This way you can always go back to filename if you have to, and you'll constantly be able to sort by filename with your edits right there next to the original.</p>

<p>What Air-charged brush is recommended? How about care for this brush... any comments to share? I've been using a blower with resonable success, but want to advance to a brush and could use any advice I can get!</p>

<p> </p>

<p>Guys - we're sorted in "User Order". I understand that I could rename with a sequence and all would be solved with a sort by filename, but that isn't what I'm after. I would think, logically, that if I reorder something into a "User Order", and I make an edit, you wouldn't move the entire stack to the end as though somehow "User Order" sorting no longer applied because I make an edit - you would instead stack it next to the ordered master copy. So, because this make sense to me, and it's moving everything to the end, I figured I had a setting wrong somewhere. <br>

Test: Under "User Sort", when you edit and stack, does it move your sorted order too?</p>

<p>Appreciate the time,<br>

Brad</p>

<p>Hi everyone,</p>

<p>When i edit in Photoshop via Lightroom, and stack the PSD with the DNG, it moves the stack to the end of the sort (User Order). When I delete the stacked PSD, it moves the DNG back to where it belongs. Any ideas? I want, of course, for the stack to remaing next to the in-order DNG, not for it to move both the DNG and PSD to the end of the sort. </p>

<p>I am filtering, in this case, but that shouldn't matter. I can't figure it out. Any help would be greatly appreciated.</p>

<p>Brad</p>

<p>The primary reason for importing the album back into Lightroom is for the projection slideshow. I like to remain in one program while doing the projection, that's all.<br>

I appreciate your feedback, and I'm especially interested in your comment about it being convoluted. Is it my detail that seems to complicate things, or are there extra steps? Anything you have to suggest that might streamline it is exactly what I'm looking for.<br>

Brad</p>

<p>Hello Everyone,</p>

<p>I searched long and wide for a detailed workflow incorporating Lightroom with InDesign and Photoshop. Several blurbs were discovered, but nothing comprehensive. So today, I yield for community critique, discussion, and hopefully advancement of, the detailed workflow I use to generate an Album and Prints. I've also incorporated Projection topics.<br /> Let's see if we can't optimize this. Rather than presenting your differences, let's instead discuss evolving the workflow in ways of efficiency or productivity. Let's all share knowledge and progress together.</p>

<p>Without further adieu, here is how I generally work...<br /> <strong>Total Album/Print Work Flow (bradleywalter.com - 06-30-2011):</strong></p>

<ol>

<li>Create new Lightroom catalog for client/event in client folder</li>

<li>1^st cull – “x” reject all bad </li>

<li>Filter rejected</li>

<li>2^nd Cull – x reject remaining bad</li>

<li>Sort / rename with ( sequence ) (original filename) [ex: 001 IMG_0503.dng]</li>

<li>Exposure in grid edit mode (make group edits when you can see them in their place)</li>

<li>White Balance in grid edit mode</li>

<li>Crop</li>

<li>Yellow those for Album/Story</li>

</ol>

<p>10. Export all Yellow at 16 bit PSD into “Album PSDs (WIP)”<br /> 11. Create Album – InDesign, save file to root folder “ALBUM” within client directory. All edits/retouch done via LR/Photoshop linking and export overwrite/refresh to InDesign.<br /> 12. From InDeisgn, export Album JPGs (untouched or touched at this point) to root “ALBUM” directory<br /> 13. Import Album JPG Proofs into Client LR Catalog (keep in location, do not move, just “Add”)<br /> 14. Prepare Projection Sizes for sales presentation in the Print module<br /> 15. Prepare Slideshow of all images in the Slideshow Module<br /> 16. Setup Client meeting</p>

<ol>

<li>Slideshow in full size all Yellow and non-X</li>

<li>Slideshow the Album design, sell higher page count</li>

<li>Show the full set of pictures in contact mode</li>

<li>Flag those they want to see again / buy</li>

<li>Filter by flagged</li>

<li>Un-flag those they now reject</li>

<li>Show different sizes for those flagged in print templates</li>

<li>Make virtual copies of any changes (including crops) to ensure you don’t affect the album files used in InDesign</li>

<li>Take order on paper/excel by img # (from new virtual copy, if edited) and size, emphasize large prints</li>

<li>Offer discount on orders over $1000 and duplicates</li>

<li>Flagged photos become the client order</li>

</ol>

<p>17. Recolor all used InDesign files from original Yellow export in Lightroom to Green, leave Yellow on others<br /> 18. Retouch all Green album photos from within Lightroom via 16bit Photoshop PSD. <br /> 19. 5 star the Final Retouched PSD so you know it’s done<br /> 20. Export to “Album PSDs (WIP)” & overwrite <strong>or</strong> to “Album PSDs (Final) & update InDesign links<br /> 21. Export Album from InDesign, formatted as required by album company. Print these.<br /> 22. Retouch remaining Print files (flagged, exclude Green – Green flagged were already done) from within Lightroom via 300dpi 16bit ProPhoto Photoshop PSD (“LR>Preferences>External Editing” settings)<br /> 23. Export full res TIFF/PSD/JPG (enlarge as needed for prints) in either sRGB, ProPhoto RBG, or Adobe RGB depending on print lab color space requirements. Print these.<br /> 24. Rinse and Repeat.</p>

<p>Guys - anything?</p>

<p>50D</p><div></div>

<p>Chas - opposite problem. 40d seems <em>darker</em>.<br>

Now, I felt I needed to come back with this. It wasnt as dramatic as I had thought when viewing them at the time of capture, on the two different LCDs. Maybe a kudos to Nathan Gardner's point.</p>

<p>Here they are. Any new thoughts? These are identical settings. 1/80th, ISO 1600, 2.8 @ 200mm on a 70-200mm lens. 5d has a Tamron, 40d has a canon lens.</p>

<p> </p><div></div>

<p>Also note, both had the same lens type, 70-200mm, but 40d had the canon and the 5d had a tamron. Guys - metering and AF modes are irrelevant here - everything is shot full manual.</p>

<p>Bob - no polarizer! :)</p>

<p> </p>

<p>What's bad to me is that I've assumed this whole time that equal settings equal equal exposure... does the mfg not calibrate for such differences you point out, Leo? It makes learning exposure almost imposible if this is true. </p>

<p>I'd really like to hear from someone else with both crop and full frame to see if they have any examples of the difference existing other than on my camera?</p>

<p>Really appreciate it!<br>

Brad</p>

<p>Here we are:</p>

<p>Full Manual, no flash. I will get the pics to confirm it with you, but this really boggled me. I do want to note that I sent this camera in for repair (40D) - is there any sort of calibration that could have been off?</p>

<p>Thanks again for any light you can shed on my weak sensor :)</p>

<p>Hi Everyone - yesterday at a wedding I noticed my peer shooting the identical ISO and aperture, but was able to capture much better light at 1/80 or even 1/100 when I was forced to use 1/20 or 1/30. Anything I'm missing here? Why would my 40D capture light differently than the 5D on identical settings?</p>

<p>Thanks for any insight you might provide!</p>

<p>Fixed aperture and IS make all the difference to me, especially for events where I'll be manually controlling the settings and zooming. A variable aperture, in my situation, just frusterates me.<br>

Hope this helps,<br>

Brad</p>

<p>Between Paul and David, I'd say the clear winner is the D3 - unfortunately. I have canon gear.</p>

<p>I always question that site. It seems from the looks of it that the L is actually far INFERIOR to the 28-135, which we all know is bogus. Look at the abberation on the angled lines at the top for the L. It just doesnt make much sense.</p>

<p>Orwig talks about this in some of his training. I think the idea is to take away from the attraction, the awe, and shoot.</p>

<p> </p>

<p>I just wanted to add that I went to the planetneil site and WOW was that a great few hours or reading. It REALLY opened my eyes to what I was so confused about, and I recommend it to anyone at all confused about flash use and manual metering. I feel so much more aware now.</p>

<p>BW</p>

<p>Smugmug!</p>

<p>check mine -www dot bradleywalter dot com</p>

<p>There is a ton of customization with Smugmug - including adding the slideshow like I have. Good luck!</p>

<p>BW</p>

<p>If I might ask - would you all kindly detail why P is so much more preferred over Av in this situation? I see at least three mentions of it, and I'm curious to know what type of results occur on one versus the other, especially why it is preferred in this type of situation? I've had trouble with Av in the past, and I think many "noobs" (read: me) reading this may benefit from a shining of light on this one...</p>

<p>Thanks!<br>

BW</p>

<p>Just to clear things up a bit - I wasn't insinuating I had some clairvoyant power to assess what the bride would fall in love with - but I do think most of us would be able to pick those that she would hate - such as horrible expressions, no light, blurry shots with no detail, etc. <br>

I'm gathering the consensus that most do not deliver those obviously bad shots, and of course there are some of us who don't take those bad shots to begin with thus not having to worry about it :)</p>

<p>The reason I ask is that I have experience with two couples in particular...one of them hated that none of the bad shots were pulled from the overwhelming proofing/gallery site, so she felt as though she didnt even want to share that site with her family until it was refined. The other is a couple I will be shooting for in January who had the same feeling about their Son's gallery from his wedding. </p>

<p>Perhaps the best of both worlds might be two sites...one of the formals and great shots that tell a mini-album story for bride to showcase and for friends and family to purchase from...most of which will probably be album candidates, and another gallery for use solely for proofing.<br>

Any thoughts on that?</p>

<p><br /><br>

BW</p>

<p>Is there no way to subscribe to a thread other than email notifications for all responses? I want to be able to bookmark them from withing photo.net account, not in my browser or via google, and I can't imagine why this forum wouldn't have this functionality. I don't want emails about every reply, I just want to note which I found interesting and be able to revisit them as I choose.</p>

<p>Any advice?</p>

<p>Thanks for the input. I think what's turned me off is the massive amount - nearly 1500 - that this photographer took and posted on my cousins wedding site. They were overwhelmed and had a real hard time choosing and wading through all of them. The photos I took of their wedding were refined down to an album order where every photo meant something - and they were much more drawn to that type of presentation. <br>

I'm thinking somewhere in between might be best, but the overall take away is that the photographer probably shouldnt have taken that many "blah" shots to begin with, and this would have lessoned the amatuer feel she gave the couple...</p>

<p>Hi Everyone,</p>

<p>I'm interested in opinions or practices of those who have <strong>honed</strong> their approach to posting the cleint proofing set. What bogles me most and seems to distincly seperate the weekend warriors from the pros is the quality of the online proofing gallery. <br>

In general, how do you go about choosing which photos you will "toss out" before the client has ever viewed them? How do you keep from overwhelming the cleint while still ensuring the photos they remember getting taken show up for review? Do you generally only post the images that have potential for sales or album making?</p>

<p>I appreciate your input,<br>

BW</p>