I'm really spending a ton of time on this I realize, but this is so critical, I've just learned over the years that so many of my problems had to do with color management. It didn't have to do with how I shot the image or other things. So the work space, we've talked about this a fair bit so we'll race through this. You want it 20 to 40 Lux like I said, with a light meter. You want it fairly dark, that window's open up there on the right just for my picture so it wasn't pitch black in there. But I do close these blinds, excuse me. When I work on images, this is the lamp I was talking about that's got the SoLux bulb that's D50. So it's 5000 degrees Kelvin. I have another one right over here that you can kinda see. And then I have my print viewing box, which we'll pull in tomorrow when we actually do start printing, right next to my monitor so I can compare them right there and then the printer's right here. And it's not like I'm printing all of my images all the time, I do make fine art...

prints for people who want them. And sometimes I make what I call guide prints for clients who are very touchy about color, that's not very often anymore these days. But you get a sense of my office. That monitor hood is also a very nice thing because it blocks out the light that might be falling down from your lamp. And my lamp's just pointing straight up at the ceiling so it's reflecting off a white ceiling. I do have some of my prints up, and I didn't paint my doors 18% gray, that seemed a little over the top. But debatable. I did buy a gray carpet on purpose. I understand, the funny thing is if say you're working, I'm at Amazon right here next door and you can't change the lighting, it is what it is. But we'll talk about that when we're calibrating the monitor, that's the other reason I have a monitor hood 'cause it'll block off a lot of that stray light. How you calibrate depends on how bright your work environment is, in terms of the brightness of your monitor. We've already talked about these neutral walls, consistent light, ideal Lux is 20 to 40 Lux, daylight balanced room temperature or white balance for the lighting in the room. You don't want the super crazy light in your sodium lights or something like that in your workspace that are at 7500 degrees Kelvin or 3200 degrees Kelvin 'cause that's gonna affect how you see your monitor. It's gonna be reflected off of your monitor. The brighter the lights in your workspace, the brighter you're gonna have to make the brightness of your screen. That's the thing, if you've got a really bright workspace like this and I have to work here well then I might put more material on the sides to kinda block some of this blue light from coming in and I might extend my monitor hood so I can really isolate this but I'd also just have to make the monitor brighter to make it the right brightness. This is a key thing, like how do you know how to make, how bright to make your monitor, we'll get to there. Color of the shirt you wear as I already said, I learned this from the Adobe gurus like they all wear black or gray shirts when they work on images. I just bought a lot of black shirts, this is the same if you're a studio photographer, all of your assistants, if you look at the guys behind you which those of you online cannot see, they're all wearing black, so if they're standing there holding a big reflector in the studio and somebody's using strobes they don't have a hot pink shirt that's reflecting color onto that subject. So that's kind of a thing in the photo world.

Class Materials

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Workflow Outline

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The Professional Photographers Digital Workflow Ebook Sample

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Michael Clark

Michael Clark is an internationally published outdoor photographer specializing in adventure sports, travel, and landscape photography. He produces intense, raw images of athletes pushing their sports to the limit and has risked life and limb on a variety of assignments to bring back stunning images of rock climbers, mountaineers, kayakers, big-wave surfers and mountain bikers in remote locations around the world.

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topics covered in this class

Business Adobe Lightroom Adobe Photoshop Photo Editing

Ratings and Reviews

a Creativelive Student

Michael is a true professional and readily explains all of the nitty gritty issues of a photographer's digital workflow, including important things like Color Management, Lightroom workflows, Printing, and more. He is eager to answer your questions and has a thorough knowledge (after all, he worked with the original engineers at Adobe and wrote a book on it) and passion that he loves to share. He can get way deep into the subject, which I found fascinating. You can tell Michael has great experience in teaching and also likes to learn from his students. He is very authentic, honest, and direct. I highly recommend this class, and look forward to another one of Michael's courses in the future!

a Creativelive Student

This is an excellent course. It reinforced what I already knew and enhanced my spotty skills with new knowledge. I really like Michael's explanation of saving the document for print and web and the importance of doing these differently. Using the histogram to show this was terrific. Each session there is some valuable gem.

Elizabeth Harrigan

This class is fantastic and is just what I was looking for! The teacher knows the subject WELL and he makes it understandable and easy to follow along. In each segment, he gets right to the point explaining just enough content to make it understandable. He doesn't waste your time. I highly recommend this class. It's the best tech class I have watched on Creative Live.

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Color Management: Workspace

Color Management: Workspace

Lesson Info

7. Color Management: Workspace

Lessons

Class Introduction

Shooting Workflow: Set-up The Camera

Shooting Workflow: Histograms and Exposure

Shooting Workflow: Sensor Cleaning

Overview of Color Management

Color Management: Monitor