Lessons

Lesson Info

Outsourced Workflow Part 2

Let's then pretend that we have waited a couple days and we've received an email and that email just has a link and that basically is my assistant or shootout at or whoever it is or maybe it's you took him and put him on your laptop so you sent that to your laptop and you and then you took it back right? And you got back from hawaii or whatever and you're really excited about the changes you made to your photos and now you have to put them back onto your main studio computer the way you do that is simply too here's the zip file that shoot out at it sends to me so they just sent me a link to that little zip file that zip file when I open it up has a job in it and that job has you can see right there it's got a light room file and then it's got a little approved stamp, but the only thing I need is that so what's going to happen then as soon as I get that zip file and this is really important as soon as I get it second, I get that email because this is what happens all the time I've learn...

ed this the hard way is that people will, like win something from me like I'll you'll win something at a workshop or whatever and I and I get your card and I send you an e mail and email says you have seven days to download your free you know presets or whatever and then they'll go oh great and they'll put a flag on the e mail and then they'll go do something else and then thirteen days later they'll email me and say her totally forgot to download the cool thing you sent me could you please send me a new one and I'm like really now it's costing me money and time to give you something free so anyway it's human nature to put a flag on an email and then never go back to it so when you get the email then what you do is you immediately click a download the the linked file, grab that job file and pull it out so that you have it available to you and if you like you could leave it on your desk top to remind you but what I do is I'll go to the job folder itself so I'll go into the job folder and I will take it and put it into the job folder like this so that it is there then if I want a wait and work on the wedding later that's fine now I can go back to accounting or whatever it was I was doing but it's inside the job holder ready to be used then when I go back to my work and I'm in photo mode, then I can right click this are coming to this file and say, okay, now, it's time to import the changes that have been made either by shoot dot at it or by my assistant that lives across town or by myself, who was on vacation traveling with these photos. So when I do that, and if it was me, if I had done this on the airplane and I just came home and I'm on my studio computer and I just want to grab the the catalogue that I was working on my laptop I'll have to do is turn both computers on and make sure they're connected to the wifi network and aiken, go dig into this computer and highlight the cataloged that's on this computer that I've been working on, so I'm going to do this watch I go file import from another catalog that's the key right there import from another catalogue, so in that file import from another catalog menu, I click on it and now I'm going to go find the file that was worked on by whoever it doesn't matter who worked on it doesn't matter if it was an outsourcing partner or assistant or you when you were on the road, you go find that file in our case it's way put it on it's on the desktop it's also inside the job folder and if this was you travelling around it would be on your laptop so go to your laptop and grab that file right there just point at it and hit choose once you do that it's going to bring in all the changes that were made by whoever made those changes and it doesn't have any previews associated with it because they just sent us back to catalogue so they're no previews but I get to choose several things here I get to choose add photos to catalog without moving I can tell it to update the metadata and the developed settings on lee and I can also tell it if I if I was worried about say, I'm testing out an assistant for the first time or say it's the first time I've sent images to shoot not at it or say it's the first time I've been working on images on the road on my laptop and I don't trust my eyes at the computer or something like that I can preserve all the old settings is virtual copies if I do that, then we'll be able to see the difference between start and finish now I don't usually check this because I don't want to look back at the old version I just want to look at these but I'm gonna leave it just so that you and I can see the difference between files between the original and what was done so I'm going to back off here and import and this is the fun part um as those changes come in I get to sit and watch them pop and change to different things and remember their jobs just science their job is to work on the files and and show me them corrected for temperature correct for brightness corrected for black point things like that it is not their job to add style that's my job later and cancel this import I think we are having a little weird issue with our dr because it keeps doing weird things so hang on sight for a second we're going to yeah we're having a weird issue with our drive so I just injected it did my own little force it jack there um I still have smart previews associated with this whole file so all of these have smart previews with him so I'm going to bring them in based on the smart previews and I still going to get to see the changes so I'm going to go back up here file import from another catalog on and choose the changes and hit choose and there we go okay so again I'm going to keep the photos without moving him I'm goingto import the metadata I'm a preserved the old settings as virtual tze and I'm going to import and now there we go now it's working s o and you know that's a good lesson though in that when you have, um the file's attached so when you have the hard drive attached light room will always favour the original files wherever they are and so they're on a hard drive and there's an issue with the hard drive it's it's not getting to it you know it's not being able to find them or whatever it will favor those even though they not working correctly or whatever if you unplug it it will favor the the smart previews now this is where your life is going to change dramatically if you are shooting with a d eight hundred so you have massive file types and you're slow and your light room is terribly slow it's because it keeps accessing those big files if you will simply import the files, build the smart previews on import and then unplugged the driver with the original photos on it suddenly light room will scream fast for you because now it's not going and referring to the big eight hundred the d a hundred files it's referring to small, much more lean, better little smart previews and so you'll you'll move through the images much, much faster because it's not having to chug through all that data it's got small data that it can work with the only shortfall is that when you zoom in and try to see like my new sharpness it's only giving you about half the size so you can zoom in about halfway you can't zoom in all the way and see all the minute detail and so you'll in the end once you're done working on the files and you want to like really fine tune some sharpness or whatever that's when you'll have to plug those back in, but then as soon as you plug it back in its going to refer to the original files. So in our case, the reason it was hanging up because there was something going on with the drive where it couldn't access the original files on dh so it was chugging and waiting and trying to access it couldn't do it on dh, so once I unplugged it, then it refers back to the smart previews but assuming you plugged the drive in if it sees the drive it's always going to try and refer to the original files right, so that will help you in your speed of your light room catalogue so anybody out there who's working on really big files the best way to accomplish that is to plugging your drive, put in the information the images in the drive and then build your catalogue with your smart previous then unplug that drive and just work on the catalogue, but that presupposes the catalogue has to be on your computer, not on the drive I remember we had that question someone was asking you know should we put them on the drive itself yet you khun do that that's it it's not a problem but then once you implied that dr you obviously don't have access to the catalog either so I prefer to have the catalog on my computer and have the photos those on a separate drive okay so now we're looking at the original images here but now they're all adjusted and you can see that they'll change watch him change see that they're changing right now so everything you see how they pop everything is just changing so all of them are everything's changing love it so now I have all this is one of my favorite pictures by the way that dog that dog is just following me around and I was out you know girls were getting ready and the guys are getting ready and I was kind of going back and forth between that the two places you know they're the girls from the house and the guys were in like the back studio because there's they're musicians and so they have a studio that it's like an old barn that's turned into a studio supercool and so I'm going back and forth between the two freezing my tail off a zai go out to the other and then coming back but I'm from arizona I just don't deal with cold very well side like but I'm out there and this dog is following back and forth and I went to shoot the flowers and the dog was just kind of hanging around and so I was like, hey, there was great I loved it but this obviously needs to be rotated a little bit so I'm just going to fix that right now they're so now that's that's much better so now it's a matter of taking so they've done the science here all the sciences accomplished and now it's a matter of adding the style this is another one that I wanted teo crop because I want it to be straight like this and I want to just show it like just te ver peeking up so that's how I wanted to look so I'm a minute groups I'm gonna kind of just scan through and look for any kind of crop issues that I want to accomplish, you know? So I'm just kind scanning through looking for for changes that I want to make to the images there's some crop issues that I want to do here but here's here's an interesting option for you as well. Now at this point we want to add style we want to work on the photos and so the first thing I'm looking at is cropping just to make sure that the cropping is right these see how this one is a little bit off kilter I want that to be perfectly straight on dh so what I can do is I can take a number of these images so I could just take like, this image through these images and again, we don't want to spend forever doing this stuff and so I'm going to go into the develop module with these images and I'm going to go down to my lens correction and I'm just going to tell it to a level those images and if I'm on auto sync it's going auto sync the leveling across and you can see how it's leveled the images and it does a pretty good job so see that that's really much better, much better leveling job you can see there's a little bow and that's based on the curvature of the lens, so then you could also add the profile correction that that straightens up the original say that so now that's straightened up a little bit better so I can quickly do the leveling on those and then if I need to tweak it, I can always come in here with the crop and just kind of rotate just a little bit on the ones that need you know any kind of additional help but it's a good way to get a bulk of images leveled the way you want them to be any time you have a horizontal very strong horizontal or vertical line whether it's ah horizon line or cactuses or if it's trees or telephone poles it does a great job finding those of straightening everything up and you can even go as far as you know change a lot of the like vertical and horizontal perception you know, perspective issues and so I've here if shooting like this and you want it to be a little bit more like that, you could do that based on those lin in the lens correction area it's called upright it's brand new toe light room five but it's really really intelligent does a great job I use this for every job that I've produced sense light room five came out in some way shape or form I'll do an auto, you know on on, you know, shots of landscapes or shots of trunks you know that I've been shooting that they're kind of you know the perspectives often see just do an auto and it makes it square it's great so utilize that and that will speed you through the cropping issues or the straightening issues. But then of course you still need you you want to go through and make sure that you're all your crops look good, I try really hard to make sure that my the way I shoot is correct in the camera so I'm trying to crop within the camera the right way but I like tea I like to scan through and just see if there's anything that's a little bit off kilter before I go through and do my adjustments now once I have done I've kind of done a scan for glaring crop issues that I want to deal with then I'm going to go into the develop modules I'm sorry in the library module and I'm going to go down to the spray can and remember yesterday we talked about the spray can and relationship to spraying key words well today we get to use it to add this style so rather than going into a section of images like this and grabbing this image through this image and then going into the develop module and working on it you know that set of images toe add some style what I'll do is I will do bulk style changes based on just my impression of photo so I'm just going to scan through the photos and add my style to them so I'm gonna click on that little spray can and if you zoom in here you can change this to say settings once you change it to settings it's going to spray any pre sets that you have and so we're going to go here down teo our creative live presets so we're going to just spray creative lives presets on this so these are the four that we've made during the creative life period that are posted for those who paid with the class and let's just do this. Uh, this blue saturation film curve those that we did yesterday, it was kind of cool, and now I'm just going to go through and look for opportunities where that would be an interest. I think it would be really interesting here, so I'm just going to scan here and just click on this one and drag across those four and all of four of those get that setting, and then I'll just scan and look for any l that one could use it. Um, see, what else could we d'oh? I don't think I want to put it on food. That would be a bad idea, right? Uh, this is a cool I'm just going to use it on this. This would be an interesting place for it, so I'm just going to spread across the whole of those. So I get that interesting look, but now if I wanted to, I could also say, you know, also would be cool with this is rather than just that one. What if I used my every day favorites and added some, you know, age c p a to it, so now it's got the effect on it, but now I'm adding some warmth of the whole thing so they're additive to each other so if you if you spray one preset on there and then you take another preset like it's a vignette and start spraying it adds vignettes around and so the idea is that you just scan through a grid of images and as you see things that that fit the style you want just spray that style I don't I don't, you know go through all sorts of different styles I might have four, five or six styles that happen upon a wedding and so I'll go through and do all my black and whites so that's one that I always do is I go in and I look for all the images that need to have, you know, a nice rich black and white and so then I'll scan through and say what needs to be black and white? Well, clearly I don't want this orange shirt it's just two orange hers as well and so like for instance, in this shot right here, this girl here has an orange shirt it's too orange his shirt is too orange and so we can't see the bride and groom, which is the subject of the photograph because the orange shirts are drawing our attention and so every single one of these become black and white that's the decision making process any time I see something where the the the actual colors or distracting from the primary focus of the photo, it becomes black and white immediately and it's just a matter of spraying those as black and white. So there's that warren shirts again, so I'm just kind of I'm negating the orange shirt so anywhere I see those orange shirts throughout this rehearsal time, I'm going to spray those the other place that I'll do it is, you know, like this one where there's just there's there's not much to the photo for color color doesn't mean much to it, so black and white is a much more interesting way to see that photograph and saw just scan through there was another place here, and this one gets black and white because of what was said during this timeframe so her friend here the one that you can see just off frame here she was talking to her and she a tte this point at this exact point, she said, oh, you look like a black and white photograph because she looked in all twenties and what not? And so I immediately thought, okay, all of this those black and white because that's, what was said and so that determines what I'm deciding for, you know, the way the style of photo should be now this preset is doing more than just turn it to black and white it's adding black and white it's adding a curve to it to make it richer. It's also going in and playing around with some of the some of the the thie tone toning image toning. So, like it's got a little warmth in the highlights and a little cool in the black, so it's almost imperceptible. But you get this sense that it's got some kind of a color contrast to it too, so I'm adding a number of things with one spray, and that gets me really close or nails it right off the bat, so I don't have to do a lot more to him again. This one here there was a lot of distractions in the background so that it becomes black and white. This one becomes black and white, that one this one, that one. Those all become black and white. But I want this one in color, obviously because of the bars and stuff like that, I turn all these the black and white here. Um, so I go through and change whatever I want to black and white, and then I leave the rest in color, and then I'll go in and choose a different, um, a different style and start spraying that, so all in all, it doesn't take very long to kind of just scan through images and the color correction has been done, so I'm already you know, the color correction is already correct now, it's just a matter of adding style the other thing that you can do once you have a a set of images that has been done for you that has been worked on for you is you can change the entire set, so if you get them back and you think odd, all looks great except I want a little more contrast, just highlight the whole set of images and go over to the quick developed area. Now if you highlighted the whole set of images and went into the development agile and started monkeying with one of these he's in auto sync, remember that whoever was doing your post processing was adjusting very minute lee to different positions and scales and, you know, spots if you grab the exposure or say the contrast and move it, you're moving into that exact position on every single photograph, and it will ruin all the work that you had someone do, so you don't want to do that because these in the developed module our exact positions and these are exact positions now if you go then to the grid in library module, in the library module, everything in that quick develop area is relative, so now if I click on contrast, it doesn't move based on everything to the same spot on the slider it actually moves everything relative to where they are and so if you have an image up here that's exposed here and an image that's at the exposure here so this is that one and this one's that say half you know plus point five then when you hit the exposure all of them will go up like this relative to where they were and so that's the point of the quick develop section highlight all your images and then just go in and say I love everything they've done but I want everything to just be a little bit more contrast e a tiny bit more warm and I want the shadows I want you know a little bit more shadow on everything and then I start scanning through the images and see if anything needs to be tweet and once in a while you'll find a little segment of images that maybe you know like this image and this image or a little too dark or something like that and so then you just highlight the images that are a little bit too dark and just pop the exposure a little bit and then move on to the next so because you had someone scientifically producing the color and the contrast so that it it is correctly based in a good black a good white and a good temperature because you've had someone do that for you you can do most of your work here in this very simple grid without really scrutinizing the images because you are a had something you paid someone to scrutinize it. Now your job is just to kind of scan throne and add some style and you can do that by adding a little style bulk wise over here in the quick developed and you can add it by spraying in some effects. But then you can also when you they're going to be sometimes where you get to, you know, an image that you really really love so like for instance, where's my oh, this this set of images I really loved on dh you'll see that it's so this is what they look like when they came back from shoot not at it they were just neutralized, but I really I was just I was smitten with this whole series of images, and one of the reasons I was smitten is that she's a real bookworm, she loves books. In fact, part of the wedding was based in books like they had this holes area. That and all of the tables had books on it and different authors, you know, with the names of the tables and stuff, so like a really cool idea, and so I saw these books behind her, and I was like, oh, that's that's totally her. And so I was really smitten with this set of images because she's getting ready, you know, on her mom is there and her grandmother is there, you know, I love this shot. This shot was one of my very favorite shots, but I was smitten with this whole series of images no, and I was also smith I love this one because they were having trouble, that they didn't have enough pins or whatever and so there's a they were really having to work on the dress and they didn't have the appropriate tools because the the big selling kit was at the church already and they were home, and so this one meant a lot to me as well, and so there's a lot of things I was looking at that I was just totally I was I was totally smitten with and so this set of images to me was really important. So when I look at this set of images that's, when I went into the developed module and started really playing with those images and so the image this image to me was really important, so I started adding a lot of stuff to it, like I warmed up the image quite a bit, I wanted to be really, you know, warm and bright because because these air overly warm anyway and so I wanted to take it into that you know, yellowish realm and then I you know, want to take the saturation down just a little bit and I wanted to add, you know, a little extra clarity so that she popped out of the background some go and and then I went into the tone curve and played with the tone curve and did kind of ah limited blacks thing I'm just showing you what I did I actually did these with presets but I'm showing you what was accomplished because otherwise it would be too quick esso I did kind of a a contrast curve so that she's contrast it but then I took the blacks out a little bit and then I went like we did yesterday into the reds and the greens and the blues and played around with you know, the the style of the actual color like what's happening in the color and so in the green, you know, put a little bit more red in there and then with the blues you know, bring them lose out and then you gotta de saturate the whole thing just a little bit more so there's a lot of work that went into this particular photo and then I added too that I added some grain so I just there's there's the grain that went into it so this photo to me was I don't know I just I was just in love with photo and so you find those photos that you're super in love with and then you kind of play with those yeah and then you end up with something really cool but but you have the time to do that because you didn't spend all of that time work king on the particulars of the science of it now you can spend time style izing him because someone else is doing the grunt work on dh whether that's someone in studio it could be you know, if you have an assistant like this person that emailed us are that scent in their question about, you know, using light room and then the photographer using bridge that's an example of a photographer who has someone who's doing the grunt work who's getting all the basics done and then he's probably coming in and adding and tweaking styles that's the way to do it that's a much more appropriate use of your time as a photographer if you could do it. Um, there are some times where you know, outsourcing doesn't make any sense, like for instance, if I'm shooting landscapes and I'm gonna work on one file doesn't make sense to outsource all my landscapes causes one pile, you know I'm the artist I do it makes sense and so there's stuff that I don't outsource but weddings uh lots of portrait's those types of things are very good outsource options so for those who are wedding photographers out there outsourcing is a great option now but that doesn't mean our discussion has only been for wedding photographers and I know that we've been looking at wedding photos and so that may make people think we're only talking about wedding photography but we're not we're talking about the concept of portability of catalogs catalogs khun b poured it out and then ported back in you saw me take a catalog right click that job and exported as a catalog to wherever to my laptop to a disc anywhere and then take that with me and work on it without the files present files were not present I could either send them off teo outsourcer I can put him on my laptop and travel with him when I get back to the studio and I want to look at them on my main computer I simply open up that main computer, go to the file menu here import from another catalog and then point to that catalog that's been worked on outside of this system and it will bring in the changes so I can send catalogs out and bring catalogues back and seamlessly transition back and forth between two different computers or twenty different computers and the beauty of a catalog because catalog is so small you could drop box a catalogue too so you can put your catalog dropbox and then open it up on another computer and pull that in and work on it and if you leave if you include the smart previous with it then you've got that drop box that's sending it up and overnight the two gigabytes gets uploaded and downloaded so that on the you know you have it available to you and then when you work on the catalogue the catalogs the only thing that's changing remember once the smart previews are in the drop box online and on both computers the catalogs the only thing is changing and it's tiny the smart previews don't change so they don't have to constantly be uploaded so it's not like you have this siri's of you know constant up loading you have one serious upload one serious download and then after that the drop box is very easy to use because it's just updating the catalog but remember if you're going to use that drop box theory make sure that when you start working on the file you go to the drop box come to the little gear box here and posit from synchronizing just posit work on it than a npas it will take all the changes upload um download onto the other computer and then if you go over your other computer and open up that same job you'll have all the changes you made here and so then if you use dropbox accordingly, with onley smart previous you wouldn't want put your your your actual raw files in john box because it would just be too big but if you if you utilize dropbox on dh just smart previews, you could run a lot of your work just off dropbox and it would be available to you every where you went and so just keep that in mind that that drop box is a very good place for for sending stuff back and forth it will be updating the previews the regular previews the j pegs that you're looking at but those don't have to be all that big so if you just all in fact if you want your drop box to operate faster, you go into your catalog settings and the file handling changed the standard preview toe one thousand twenty four pixels, which is the least amount of pixels and that will make that faster it won't it won't have as much trouble uploading and downloading those j peg, so they're smaller because the standard preview is what the catalog is working from as it changes a file and adjusts it then it's rebuilding a new one it's using that standard setting to describe the photo any questions out there? Yes sir, we got a ton, so I'm going to start with um evans photo and this is going back just a hair do you when the clients ask for the color photos as well as the black and white do you offer them up to them, or how does that relationship work? I specifically miss interesting situation because I assume that right now, either erica or erica's mom or somebody from the family might be watching, and so maybe they've already seen the photos they've seen the final photos and they've seen the black and white, so this is the first time they've gotten to see what they looked like before they were adjusted. But it is it is my contention that as the photographer is my job to make those decisions and make those choices, because as I was there, I was making calls based on things that were said based on ideas and so it's my job, they pay me to make decisions about photographs and because they want my vision. Now this family in particular is is an interesting family because they're very artistic. They're musicians, the mamas, photographer like they're very they're very artistic family, and so I could hand them the files and let them work on. I'm sure they would do amazing things to him, but they didn't hire themselves to do the job. They hired me to do the job because they want to see what my vision will bring to the wedding. And so I have to trust that a client who hires me is expecting me to make decisions and show them the way I see what I am experiencing when I hire a photographer and I do this I have friends there photographers and when I bring them in to shoot my family portrait and they say do you want the d n gs I say well I like I'd like the d angie's because I can blow them up and make them big and whatnot but I don't want to see them original I want you to do whatever you're gonna do to him and whatever you do to him that's how they're going to stay because I want someone else's vision I don't want my own vision on my photo photos that I have someone take of me I'm asking someone else to do the photos because I want to see what they think of me and what they think of my family it's you know and so so no I don't provide black and white and color to the client I provide black and white fried color I provide whatever the image is supposed to be that's what I provide to the client great thank you aunt speaking of black and white bmp photography would like to know can you spray black and white as a preset fromthe left hand presets oh I think I know what he's saying ok so in the developed module these are the left hand presets again something exactly right. Every single preset that's in this left hand panel is also in two other places in the grid module it's right here above the quick develop so if we go right over here here's the quick developed area and there's there's one area here saved preset right there all of those air available here is well in this dropped down, and they're also all available inside of the spray can in the settings here, right here, every single preset that I have is there a swell? So, yes, you are spraying from the left hand panel grape because it's available in all three of those places, you're just choosing it at the time. Yeah, yeah, you just don't spray inside the developed because there is no grid, right? So the grid is where you spray because you want to be able to spray across multiple photos at the same time, so you're in the mood for spray canning go out of developed go back to the library spray there, right? Because the great is really built for the ability to do bulk work. The develop module has made mohr specifically to home in on one image or several images, although yesterday when we talked about synchronizing, we showed that you could do a lot of book work inside of the develop module but it's very bulk specific work it's very very fine tuned bulk work this is very you know it's been spray you are spraying styles but they worked really well because the underlying image is correct so the underlying the image I already know is right because I've had someone do it that did it scientifically right cool andi I think that's a really good time for beauty of the lake would love the eyes isn't she given us hard won the okay it's ah lim embrace it's a little bit of ah reiteration I'm still a bit confused on how you get the outsourced edited images catalog back together with your original working catalog okay let me just recap that so it's here that would be great if we were to take all of these images and reset them so that they were normal way could show it to you again very easily but let's just say that the these are normal right now as they were shot if I if I have this catalogue and I've sent it out so remember I right click the job and I said export is a catalogue and when I exported as a catalog I then made a catalog name and at the end of the so scott wedding s the right and then I included the smart previews and I included the available previous I didn't include the negative files and I sent it out and then once it was sent out either I worked it on there on the road or shootout at it worked on it or my assistant next door worked on it. Whoever worked on it worked on it and then they gave me back the catalog file and that catalog file looks just like this. All it is the catalog file there are no previews with it there's just the catalog and that catalog file is very small it's sixteen total megabytes and if you zip it it's less than a megabyte so it's very tiny, very tiny file but it has all the data in it about what to do with the photos. So when I go back to my original catalog I go back to the catalog that has no change is the one that I exported from the main master catalog. My working catalog I go up to the file menu import from another catalog and then I point at that catalogue that was sent back to me and I hit choose when I hit choose it's going to bring in the changes. And if I bring this in right now it will literally overwrite the changes that I have here because I've been messing with these write write if I want to take him and restore him backto what my post production companies set back to me, I could do that don't even preserve the old copies and bring in the metadata and import and watch what happens as it imports these it's actually unchanging back we're gonna lose all I mean it it's going not it's not going to send it back to normal it's going to take him and see how it took the black and whites and turn them back to color because that's this is the change they sent to me right so these are the changes they sent to me so now if I go back down to my here's here's these that I put that little blue effect on and now the blue effect is gone so it brings them backto whatever the scientific correct version of the photo is and then I can spray my images that yeah exactly answered thank you andi do you happen to have a before and after of a shoot dot and it it it you mean between what they gave me and what I shot yeah yeah let's let's look at that let's maybe one of your favorites I talk about well let's go yeah let's go to this one here this is one of my favorite siri's right here so this whole set is I love it so I just like this one I love that shot that was fantastic and if I show this image and I'm going to go to the entire job here so that we can see this image next to the original image so this is before on the right and this is after so this is what I shot and this is what I received back from shootout at it so someone else did this I didn't have to do this and they went through every single image and painstakingly made sure that each one had the right skin tone, the right exposure of the right contrast, etcetera. And so then all I have to do is add this style on top of this. Now do you want to see what this looked like in the end? Yeah, that'd be great and that was a request from ian let's do that. So we're going to do this again. Now watch what I'm gonna do. I'm gonna go in to file import from another catalogue, so now I'm bringing in the final set what I did to the photos. So I'm going to go to the original catalogue that I finished okay? Because that catalogue so there's three catalogs involved first catalogue is basically right it's start when I imported images no change is made that's what got sent to the post processors? The post processors sent me another catalog back and that's the one I imported so I have changes that neutralize all the images and then I worked on that until it became its like finished style that finnish style is his own final catalog what's going to the archive so I'm going to go and import what I sent to my archive. I'm an import that back so that we can see what my final changes looked like. So I'm gonna go to the drive. I'm going to go to the scott wedding and I'm gonna go pull in my final catalog. So I'm clicking on here and choosing this catalog and I'm importing the final catalog and it's going to ask me gonna wait for it it's gonna ask me if again, do I want to create of the original files? Do I want to create another virtual copy so that I can see what the changes that were made were? And so I'm going to say yes on that. Then we might be still having that issue. So I'm going to show you how we'll deal with that. So we're gonna go and grab that file all we need all we need is this little catalog right there. That's all we need the rest of it doesn't matter. So now I can inject that disc again. Go back to your okay, so I'm gonna go back. File import from another catalog. I'm going to go to my desktop, grab that catalog, this is the one that has all the final changes on it. I'm going to choose it it's gonna import from there he's going to wait for it on it will show us any questions while we're waiting for this important we've gotten a few handful of questions from people that are doing wildlife photography is that is this something that they this workflow that they could bring into their you know, using presets and adjusting in light room and potentially sending to shoot got at it? I don't know if shoot got at it necessarily does wildlife photography but I'm sure they could call shoot dot at it and and talk to him about it but in the end the principles are the same it doesn't actually matter what you're shooting you could be shooting wildlife, you could be shooting you could be shooting nature, you could be shooting buildings, people it's all the same photography is the same no matter what you're shooting it's just a matter I have to work on photos that's what I have to do and so the process of using presets and sending catalogs in and out and all that kind of stuff, that kind of process doesn't change from one to the next all it there's just basic alterations as do I am I sending a lot of files out or a few files out of my working on a big file or a little file in like you know those are the things that change but in the end, all of the adjustments. If I teach you how to do vignettes, it doesn't matter if you're vignette ing a dog or a person or a building. It's the same it's, a vigna on so you can get too stuck on your particular, your particular idiom. Yeah, you have to realize that everything we talk about here is applicable in all circumstances. It's. Just a matter how you apply it.