Editing The Raw Files...Part 2

Continuing from the 'Editing The Raw Files' post on Monday, May 28th :

9) With the DCIM folders safely backed up on multiple drives or disks ( DVD, CD etc...), its time to create the 'Editing Folders' that will be the back-bone of our 'Workflow'. To keep things organized, their must be a designated place for each edited or processed file that can be quickly accessed from your editing software and in the final stage from Adobe Photoshop. I find it easiest to create 1- 4 folders on my Computer's Desktop to hold the edited selects, before and after the software ( Conversion to Tiff ) processing. Each folder can be given a name that clearly explains what is inside. Example: ABCorp_RawEdits, ABCorp_Tif, ABCorp_WIP ( Work in progress ) and ABCorp _Final. The final folder is obviously the 8 or 16 bit PSD's or Tiff files after all color correction and manipulation. If you do anything freaky to them after that, create a new folder off the desktop for them and label it appropriately. When the job is edited , processed and delivered to the client you can move the folders off the desktop to a final 'Work Folder' with just the clients name and date.

Continued ...

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Plan Ahead....Part 2

Continuing from the 'Plan Ahead' post on Tuesday, May 15 :

5) Batteries! Batteries! Batteries! ...... Yes, I know it's a little condescending to be reminding other Professional Photographers to carry enough batteries to get the job done. But it's not just about your Ziploc Bag filled with Double A's and Triple A's. It's more about being prepared with fresh ( New ) batteries before you show up for the job and also about having the right type of Battery!

Yes, I can hear it now ' This jerk is gonna tell me what batteries I should be using! Next he'll be telling me what kind of equipment to bring! '


What is the right battery for your Digital Camera? Well, that depends on whether or not you want to have your camera die right in the middle of an important job or shoot like a madman all day without having to crack open the battery cover. There's nothing lamer than having to fumble through a dark camera bag to find enough dollar store double A's to get you through the hour. That's a sure way to "NOT" impress the CEO whose portrait your shooting. So....what is the answer? I believe the modern Lithium Ion batteries that come with your Canon, Nikon etc... are without a doubt the most efficient, long' lasting energy sources you can load in your camera.They are designed for the correct output for proper camera functioning and are easily recharged (hopefully after the job is over) and have a lasting power far beyond any Double A's you might use. Most camera manufacturers give you 2 slots for batteries in your factory grip and I would recommend using both batteries at the same time. They are designed to last longer used in pairs than the same batteries used individually. Some of the newer cameras won't even function properly with name brand Alkaline batteries and Rechargeable Ni cads are no match for the Lithium Ion's that came with your camera! Buy extras when you purchase a new camera, even the off brands that they sell at B and H Photo, Adorama etc...for your particular camera are fantastic. Personally, I haven't seen the halfway mark on my camera's battery display once in nearly two years!

To be continued...

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You Have To Have A Plan!.....

If you've been shooting Still Film professionally for any length of time, you have certainly already come up with a workflow that suits your personal style and needs. Everyone has they're system for culling through slides, negatives and prints that works for them . But photographers new to digital can spend several years and waste lots of money trying to figure out the best way to manage the voluminous amounts of data created by our modern high res digital cameras. I personally have benefited from working at a studio where major investments of time and money have been put into the switch from film to digital. It has not been easy and the learning curve is painful (to both your wallet and behind). It requires many long hours in front of your computer and a healthy vocabulary of good cuss words...and Coffee, lots and lots of coffee! I still wouldn't trade my digital for all the fujichrome Velvia and Ektachrome 100 in the world! If your still fighting the switch from film to digital........ go ahead and retire, I will gladly take the jobs you could have had.

1) I know exactly what is going to happen to each image before I press the shutter button, how it will be edited, processed and delivered to the client. Without that foreknowledge you are already at a disadvantage.

2) Don't try to edit your images on the job site. Keep everything you shoot (Don't be foolish and delete in camera) and back up that CF/SD card as soon as is possible without slowing down the job at hand. I don't ever format a card until the job is backed up on two hard drives . I sometimes don't format the card until the client has the final high res files. CF cards are Cheap, your reputation is priceless! Buy enough cards to shoot your job and have a few extras available just in case alien spaceships land on the highway on the way home! Be prepared..

3) You should never go out the door with cards still full of images from your last job! Stop being so lazy and clean (Format ) those cards before you go to your location or start your studio session. Nothing is more frightening than having to format a card when you are unsure that backups have been made of the Raw Files. Once again buy enough cards, don't be a weenie.

4) If you're not a Wedding or Sports Photographer, shoot in Raw Format. Jpeg's are for sissies. Sure, those jpeg's come pre- sharpened and overly saturated straight out of the camera and they look great, but miss your exposure and you're screwed. Raw files contain all the data captured (More than you can see) and can save your bacon with an underexposed or slightly overexposed image. Every highlight or shadow that your camera is capable of producing exists in the lossless compression of the modern Raw format. For all intent's and purposes it is a perfect negative. Ansel Adams would be shooting in Raw format if he were still with us.

To be continued...

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