The 1_ingest_and_cull folder is used only when processing my previous photo archive. Once, I've reviewed the seconds, I'll simply press 'C' to copy the raw files into my ~/photography/2_geotag folder ready for step 2. I plugin a loaded SD card, and within FastRawViewer, I tag each photo as Reject, Second, or Select using the above features where needed. It covers exposure statistics, focus peaking, and fast shadow and highlight recovery to help establish the best 'keepers' and I was smitten. I discovered a brilliant tutorial on FastRawViewer and its objective culling process workflow. Eager to minimise this pain, I invested some time evaluating Photo Mechanic and FastRawViewer, two tools that provide extensive culling features. Indeed, with some kinds of photography and situations, rattling off tens of rapid fire shots is the way to increase the chances of one sticking.Ĭulling will always be part of my workflow and it's typically mundane and frustrating, choosing between 8 almost identical images is like choosing your favourite child. However, it's doubtful that any amount of improvement will ever see a 100% keeper rate. Not taking blurry photos with poor composition and exposure is the most efficient way of reducing culling time. I practice techniques such as visualisation, deliberate composition, and exposing to the right using a live histogram to maximise image quality and minimise the number of shots taken to get a keeper. I believe improving my photography will ultimately require me to slow down when behind the camera. Progression through stages 6 and 7 are managed by moving images between catalogue albums, and step 8 archives the high quality images to my DAS. The final tiffs are imported into my main archiving catalogue ready for keywords to be applied and rendered as web optimised jpegs that I publish to my portfolio and Flickr account. My workflow consists of 8 steps across two phases, and can be illustrated with two screenshots respectively.
#ADD KEY WORDS FASTRAWVIEWER SOFTWARE#
Overlay keywords onto images using digital asset management (DAM) software to allow taxonomy restructuring, and to lean heavily on smart albums rather than physical folder structures to allow effective navigation through my archive. This provides simple backup, security, and also eliminates vendor lock in. Follow Dave's advise of keeping ALL archived photo files in two main folders: originals and complete. Simplify the data model by baking edits and metadata into the final processed photo files.
Increase editing quality by embracing detachment and objectivity by incorporating a long review process. When in less ideal creative environments, I still want to be able to efficiently cull, keyword, or publish these photos online. These tools include my colour calibrated monitor in a dark room and graphics tablet. Optimise the workflow to maximise throughput, whilst balancing opportunities to do creative work when I've sufficient creative energy and the tools and environment needed. Make work visible and ensure that any time, I can easily identify those photos that need work, and at what stage of the processing pipeline they're at. I immediately adopted his workflow, but after experiencing technical problems and awful customer services experience from Adobe, I decided to rework it to use Capture One(C1), Affinity Photo, and also tailor it somewhat to suit my specific needs.īefore embarking on this redesign, I identified 5 important principles that would guide this design: tiff files ready for archiving into his portfolio.
It also ensures raw files remained untouched and edits baked into. Unexpectedly, I was introduced to his thoughtfully designed workflow that allowed easy insight into the progression of edits. Last year, I enrolled in Dave Morrow's Landscape Photography Journals course with the aim of improving my Photoshop skills. Further, I found Lightroom's approach of layering non destructive edits over raw files brittle, fragile, and I had concerns that it locked me into Adobe's toolset. My library had grown to several thousand images, and I was still having trouble identifying which photos needed work. I soon upgraded to Apple Aperture, and then to Lightroom which provided great improvements over the ad-hoc directory system, but I still found my system troublesome. It was difficult to locate specific images, and impossible to differentiate edited and unedited images. I was generally disappointed in this approach. When I first started to become interested in photography, I followed the typical beginner approach of having a date and event based folder structure that would host my RAW and processed images.
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