After shooting the headshots with the black background, Kim had what she had asked for. But the last time I was on stage, I was captivated by some of the set pieces being prepared for the upcoming play. I had imagined using the lounge chair as a prop and the understated, yet beautiful wallpaper as a backdrop. And I couldn't get that idea out of my head. So after we wrapped up the headshots Kim had asked for, I suggested we take a few more minutes and try something completely different. I explained to her what I was thinking and she readily agreed to extend our session a little longer. She decided a change of clothes might work better for the new setup, and I agreed.
Setting up the shot (seen at the top of this post) took 5 - 10 minutes. I used nearly the same lights and light modifiers that I had used in the previous setup, so it was merely a matter of moving around some furniture, a few light stands and my tripod.
It only took a few shots to dial everything in. And after that, we captured some of the best images of the day. No, they weren't the images Kim had asked for – but she liked them even better (as did I).
So what did I take away from this experience? When clients hires you, they may have a set of guidelines (or restrictions) for you to follow in order to achieve specific goals. And there's nothing wrong with that. You have to give the client what they need.
But many times it's difficult to create the image that's in someone else's head, no matter how well they communicate it to you. So you do your best to give the client what they've asked for.
It may sound obvious, but here's something to keep in mind – anyone who hires you was likely impressed with the work you've already created. So if a shot really inspires you, it will likely inspire your client as well – so try to devote a few minutes to getting the shot you want to get, even if it's not a part of your agreed shot list. And then maybe both of you can walk away from the table getting more than you bargained for (in a good way).
"Digital Photo Professional (DPP) version 4.0 is the latest release of Canon’s free RAW image management and editing software, and this incarnation is heralded as the first major update since the software was launched. Canon has responded to feedback from Digital Photo Professional users and incorporated feature requests and suggestions into version 4.0 to create a better looking package that offers a smoother, faster workflow. In this article CPN writer George Cairns examines how DPP 4.0 is better equipped to support your photographic workflow – as you import, browse and develop large numbers of RAW images – and investigates new features, such as the ability to make selective hue, saturation and luminance adjustments for eight colour gamuts."
Read the entire article on the Canon Professional Network.
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"At Adobe, we’re working on a migration tool to help you bring your photos into Adobe Photoshop Lightroom from Aperture, but if you’re eager to switch before the tool is ready, this guide can help ease your transition. We recognize that this migration may be a challenging process and offer the following resources and methodology to help get you up to speed with Lightroom and provide a road map for successfully migrating your photos.
The first challenge is that the terminology, layout, and controls of the two applications are different. It’s a good idea to start processing photos in Lightroom and become familiar with it before you migrate your photos from Aperture. You can do so by taking some new photos, importing them into Lightroom, and then using Lightroom.
Here are some resources to get you started with Lightroom:
- The best way to get Lightroom is as a part of the Creative Cloud Photography plan.
- If you would like to try Lightroom, a free 30 day trial is also available.
- Learn the basics of Lightroom with this tutorial: How to manage your digital photos
We are providing a workaround solution for the second challenge of switching: Aperture and Lightroom use different image-processing engines, which means that Lightroom cannot read adjustments made in Aperture. For any photos you have edited in Aperture, you should transfer the original plus a .tiff file with adjustments applied. Then, in Lightroom, you can organize the original and the .tiff file so that they appear alongside each other.
In addition, Lightroom cannot read Aperture color labels, flags, or custom metadata fields. So, before you export your originals, use Smart Albums or the search filter to find images by those attributes, and apply corresponding keywords (for example, Color-red, Flagged, or Meta-ModelRelease-Yes).The steps that follow provide a generalized method for migrating your photos from Aperture to Lightroom. Please keep in mind that this guide outlines a basic workflow: you may need to tailor the steps to fit your particular setup."
Read the entire guide for full details.
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