Digital Photography Workflow: Wedding Photography using Lightroom
by Marc Williams
Digital photography requires a solid workflow, allowing for
professional preparing of digital photo files for the web and
print. For the Digital Photography Workflow series, we consulted with
a number of experienced professional photographers who are also
stellar photo.net members and frequent contributors to the Photo.net Digital Darkroom
forum, to walk us through their specific digital photography
workflow.
In this article, Marc Williams discusses his unique digital workflow
process tailored to meet the needs of his professional wedding
photography career, the set of software and tools he prefers to use,
and goals he accomplishes with his digital workflow. The article is
enhanced with illustrative figures and screen shots, and
includes example images from Marc William's portfolio. Whether you are
just entering the world of digital photography and need some tips and
advice on how best to post-process your images, or are a seasoned pro,
the insights shared here should be helpful with your own digital
photography workflow.
Pre-capture & Capturing
Figure 1: packed Kata roller bag
Like with any photo job, preparing for the shoot is half the
battle. On the day prior, I set everything up, charge the batteries
for the cameras and flashes (2 batteries per camera, 3 sets of NiMH
AAs for each flash,) and pack the roller bag. I use mostly Prime
lenses so my gear bag may be larger than someone using a couple of
zooms. I use a Kata system roller bag because I like the yellow
interior that allows me to better see the contents in dim reception
hall lighting. I also use a Boda Lens Bag so I can select from the
main roller in order to wander around. (Figure 1: Packed Kata Roller
Bag)
Equipment List
Digital Post-Processing Programs
Prep for location work
Figure 2: Card Wallet Configuration
At least two cameras are required for my work. I load all CF and
SD cards (12 cards) and systematically format them in camera. They are
placed facing upwards in a Card Wallet: 8GB CF & SD cards to use in
the high-res dual card Canon 1Ds MKIII, and 2 8GB CFs in a Nikon D3
(both of which capture simultaneously to both cards at once for
back-up). When a set of cards is full, I return both the CF & SD to
the wallet backside-up so I don't mistakenly try to reuse it. (Figure
2: Card Wallet Configuration)
I often take a second bag with a medium format digital camera,
which includes a 1000+ shot Image Bank and a Metz Potato Masher type
digital flash, or a smaller bag with a rangefinder digital camera and
RF lenses for specialty work based on the job requirements. (Figure 3:
Rangefinder Kit)
Figure 3: Rangefinder Kit
Important: all cameras to be used for that job are then time
synced to the main computer. This allows me to download an entire
wedding from multiple cameras into one "Master Folder", and sort by
time captured, which puts all the files in the exact order they were
photographed regardless of which camera was used or at what time. If I
am employing a second shooter, their camera is also time synced and
all their files are also integrated into the Master File.
I preset both cameras to ISO 500 and use the flashes on setting
ETTL HHS (high speed synchronization). Most all menu settings are on
Factory Defaults except custom "Second Curtain Flash" and "Enable HI &
Low ISO" are selected.
Capturing on location
I only photograph onto CF & SD cards. I do not download anything
to a drive or laptop during the shoot. Using 8GB cards that are backed
up by a second 8GB SD card provide ample security.
I capture in Aperture Priority mode when outdoors or when
photographing indoors without flash and ride the compensation wheel to
adjust for lighting conditions. Flash is set to HHS ETTL and is always
diffused unless I am photographing from a distance and I no longer use
a flash bracket. If I want off-camera flash I use a transmitter in the
hot shoe and hold the flash where I want it. I also ride the
compensation buttons on the flash to adjust for ambient lighting
conditions (like strong back lighting).
Transferring to the computer (Macintosh)
Figure 4: Stacked Card Readers
As soon as I return from the job, I remove all memory cards from
the wallet and cameras and set aside the back up cards. A Master
File is created on the computer desktop and labeled with the date
shot and name of the client.
To download the CFs, I use 3 Firewire Lexar Pro CF card readers
that are stacked and daisy-chained. This allows up to 3 CFs to be
transferred to the master file at the same time. If I have used an SD
camera like the Leica M8, I also load those at the same time. An
entire wedding rarely takes more than 10 minutes. Those CFs are then
also set aside as further security. In the case of the Pro DSLR
cameras, I now have the data in 3 different places. (Figure 4: Stacked
Card Readers)
Prep for In-Studio work
For portrait or commercial work, the prep consists of setting up a
tethered work flow to capture straight to the computer. For this type
of photo session, it's essential to set up everything and test that it
all works. For example, Firewire cards are notorious for going bad
without warning. I rarely use anything other than Medium Format
digital capture when in studio and the software is specifically
designed for tethered capture.
Figure 5: Dual Screen
Tethered capture and storage is done straight to a desktop folder
and can be backed up on a separate hard drive. Whether tethered or
reviewing a Master File from CF/SD cards, I work on side-by-side
monitors that allow Thumbnails on one screen and the work file on the
other. (Figure 5: Dual Screen)
Organizing & Editing
For larger jobs with the number of RAW images running in the
hundreds, I initially tend to use
Adobe Lightroom 2. I load the Master
File mentioned above, cull any obvious bad shots by un-checking that
file, and import using "Sort By Capture Time." If desired, Lightroom
simultaneously will create a back-up file in a separate location. I do
not renumber the files yet in case I have to retrieve a RAW file again
later. (Screen Shot 1: Importing Images into Lightroom)
I do not use any stacking, key wording, or any other add-on
info. My job files tend to be by date captured followed by client
name, then saved to a dedicated Hard drive for "Weddings 2007,"
etc. Commercial jobs are cataloged and stored by my clients according
to their production department system of storage and retrieval.
In Lightroom, I first select all Master File images that I
imported and apply a universal 7x10" custom crop aspect ratio available in
the Library Quick Develop module. This is a standard album Mat opening
of the albums that I use. (Screen Shot 2: Custom Crop)
Screen Shot 1: Importing Images into Lightroom
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Screen Shot 2: Custom Crop
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Processing in Lightroom
I select groups of similar images while in the Library Bowser and
batch process for WB and general exposure control. At this time, I can
select certain images that will be printed for the album and mark them
for a "Quick Collection" status. This Quick Collection group will get
more attention later.
As I move through the images I can also switch to the Develop
Module and revise the 7x10" crop if I prefer that image as a square,
Panoramic or an 8x10" aspect ratio, all of which are ratios that
correspond to wedding album mat openings. Custom ratios can be added
to the standard ones in Lightroom. (Screen Shot 3: Set Cropping
Ratios)
While in the Develop Module, I'll also straighten images and do
more exposure control, red-eye reduction, etc. if needed. (Screen
Shot 4: Develop Module)
Screen Shot 3: Set Cropping Ratios
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Screen Shot 4: Develop Module
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When this is all done, the entire set of images is exported to a
new Desktop file, sized as 10" on the long side @ 240 dpi, 8 bit TIFFs in
sRGB color space. These are the files the client will receive on a
DVD. The files are provided in that manner so the client can go
anywhere to get re-prints up to 8x10".
Screen Shot 5: Quick Collection Selects
The Quick Collection selects for the album prints are also
processed as 10" on the long side, but @ 360 dpi as 16 bit TIFFs in
ProRGB color space. These are sent to a second file folder. (Screen Shot 5:
Quick Collection Selects)
Processing in Photoshop CS3
From Lightroom processing of the RAW files, I now have a desktop file of
TIFFs that are pretty close to presentation form for client review.
That folder of TIFF files is now opened in Photoshop CS3
(PSCS3). At this point, batch re-numbering is applied and I use
PSCS3 Bridge Browser to move around any images to alter the order to
tell the story more clearly if needed. Once that reordering is done,
"Batch Renumber" in the "Tools" drop down menu is used to create the
final numbering: 001, 002, 003, etc.
I can also open individual files I want to enhance or apply any
pre-set action in Photoshop. I can also batch sharpen at this stage
because all the TIFF files are the same size - 10" on the long
side. These are correct enough that a client could go almost anywhere
and get a good print made.
Figure 6: Sample Contact Sheet
When that is complete, I use the Contact Sheet-II feature in PSCS3
to create 13x19" files to provide prints to the client for identification
of the DVD contents. I do not do 4x6" proofs because of the different
aspect ratios of the cropped images. (Figure 6: Sample Contact Sheet)
Note: Square and panoramic prints are available to the client
from most print labs, as are mats and frames from frame shops.
Album Image Work: the album file of larger TIFF selects that was
processed from the Lightroom "Collection" (usually 40 or so images) is
the last step in processing. I almost always re-organize the sequence
in PSCS3 Bridge to better tell the story. It's much easier to use the
"Drag & Drop" feature to organize story flow in Bridge than moving
around prints spread out on a table. Once this is complete, the images
are separately batch renumbered with "Album" added to each file:
01-Album, 02-Album, and so on.
These are more heavily retouched in PSCS3 than the main body of
hundreds of images. Wrinkles, blemishes, exit signs and so on are
attended to.
I primarily use the "Patch Tool" as opposed to the "Clone Tool"
for these type of repairs because it preserves the texture,
noise/grain and lighting of the area being repaired. In the sample
before and after illustration provided, the Patch Tool was used to
remove the unsightly elements while maintaining the look of the stone
and foliage. (Figure 7: Patch Tool)
Figure 7: Patch Tool
I also use the perspective controls in PSCS3 to correct distortion
and correct any color fringing and vignetting. Perspective corrections
have a use beyond the obvious architectural applications. Often we are
forced into small spaces or cannot move back far enough to get a shot
without resorting to an extreme wide angle.
Figure 8: Perspective Correction
In the sample provided, I simply could not get far enough away to
get a photograph of the whole Bridal table and was forced to use a Canon
14mm wide angle. The before image shows the effect that had. It is
important to actually go for a wider crop than you want in order to
give yourself room to apply the perspective corrections. The after
image provided shows the final crop after the 14mm perspective was
corrected. Wide angle lenses also produce visible vignetting, which is
aggravated by light fall off from an on-camera flash. This can be
corrected at the same time when using PS "Lens Correction" (Figure 8:
Perspective Correction.)
The amount of time spent on each album image varies widely. I do
what is necessary regardless of time.
An 8x10" contact sheet is then generated in PSCS3 for the "Album
Sequence" and used as reference to put together the album.
Exporting & Archiving
DVDs are now burned of the whole job for client use. A CD-ROM of
smaller JPEGs is also provided for easy use. Since I allow clients
full use of their images, no watermark is necessary. I use iPhoto to
create slide films set to music. These are usually 100 images using
music that I've secured limited usage of.
The final corrected TIFF file is then copied to a second
location. I do not use an off-site location at this time, but will be
looking into that in the near future. I am adding a 4TB hard drive
system to accommodate the amount of images now on multiple smaller
hard drives. These drives are dedicated to types of work, like
"Weddings-2007" or "Commercial 2008", and are organized by date and
client name. As stated previously, commercial clients have their own
storage and archiving systems.
Finally, using an Epson 3800 with Sunburst RIP, all 40 album
images are sent to be printed. The RIP allows for one operation for
printing. The images do not have to be loaded individually like with
using the PS plug-in. A RIP is worth the money in time saving, and the
print quality is visibly higher.
Each wedding client also gets 17x22" display prints, which are
printed on the 3800.
Conclusion
Over the years, I've developed a process that is simplified, quick,
and delivers professional results to my clients. I've tailored my
system and workflow to suit my needs. Everyone's workflow will be
unique and the most important thing is to find what works for you.
More
About the Author
Marc Williams attended the Center for
Creative Studies in Detroit, Michigan, where he later taught as a
visiting instructor. As an Art Director, working on national
advertising accounts, Marc had contact with some of the best
photographers in the world. On his intercontinental business travels,
Marc carried his Leica M to photograph candid B&W street work. Other
art directors took note of this work, citing the insightful capture of
human moments, and began asking Marc to photograph their weddings in
the same style and manner. It snowballed from there. Marc now
specializes in what he calls "Romantic Photojournalism."
More »
Example Wedding Images from Marc's Gallery
Marc Williams - Franklin/Mich.
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Marc Williams - Franklin/Mich.
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Marc Williams - Franklin/Mich.
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Marc Williams - Franklin/Mich.
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Marc Williams - Franklin/Mich.
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Marc Williams - Franklin/Mich.
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Marc Williams - Franklin/Mich.
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Marc Williams - Franklin/Mich.
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Marc Williams - Franklin/Mich.
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Original text ©2008 Marc
Williams, screen shots and photography ©2008 by Marc
Williams.
Article created May 2008
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