Adobe Lightroom® CC for Beginners

Lightroom for Beginners cover image of develop module

CreativeLIVE – Adobe Lightroom® CC for Beginners

For those of you joining my workshop on CreativeLIVE January 14-15, 2017, this is where I will be posting links for the workshop.  Keep coming back here for information and links to things and places I discuss on the air.

Links for you to click:

What HARD DRIVE should you buy?  Check out the failure rates on the Back Blaze online backup service.  Great info HERE.  These are spinning drives.

For Solid State Drives, I love the San Disk Drives, check them out HERE.

My traveling RAID1 drive is made by CRU, called the Tough Tech Duo, which is a firewire 800 connection which I have connected via a Thunderbolt converter on my laptop. (CRU has a new Tough Tech for USBc as well, but USB3 cannot power it, so it has to be plugged in).  Find the Tough Tech HERE along with other CRU items, like the small green case of the Tough Tech Mini I talked about earlier in the class.  For the new version of the Tough Tech Duo USBc you will have to go to CRU’s website.

Check out the images I am posting on these FACEBOOK LINKS:

Facebook Page

Facebook Profile

See what I made on Adobe Spark Page

Those who purchase the CreativeLIVE class can see how this was done in the bonus video.

Adobe Spark Page

 

CHECK OUT MY UPCOMING SCHEDULE AND DISCOUNTS ON LIGHTROOM PRESETS

Find out where I am and what I am up to right now!  HERE.

JOIN ME AT MYSTIC SEMINARS JAN 16, 2017
LIGHTROOM WORKFLOW

Tim and Brittany’s Wedding at the Boojum Tree in Phoenix, Arizona

I photographed Brittany and Tim’s wedding at The Boojum Tree in Phoenix, Arizona. The wedding was packed full of beautiful ideas, tender moments and wonderful people.

My favorite photographs from the wedding

This first photo was one of my favorite details in the wedding. Later, during the ceremony, the bride and groom will braid and tie the three cords, signifying their partnership with Christ in their union.  I thought it was beautifully done.

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The dress (Tara Keely by Lazaro from Destiny’s Bridal) was absolutely beautiful. The bride had the sleeves added by Destiny’s and as you will see later, it was the perfect thing to do, and so well done.

Wedding dress Tara Keely by Lazaro

The entire wedding party was wearing little homages to Star Wars and it all starts with the bride’s R2D2 heels.

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The grooms cufflinks quoted the interchange between Han Solo and Princess Leah just before the empire puts Han into carbon freezing.

“I love you.”

“I know.”

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I love photos through reflections in glass and of course the moment was a perfect one.

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Getting ready in Wedding dress Tara Keely by Lazaro

The bride and groom choose a “First Look”

The first look is always a tender moment. It is such a wonderful way for the bride and groom to see each other for the first time. The traditional “don’t see the bride before the ceremony” is a fine way to do things as well, but I think that there is far more tenderness in the first look.

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Tim and Brittany took a little walk into the green house at the Boojum Tree for a little one on one time.

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With me shooting from a distance.

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Brittany made her own flowers out of cloth and buttons. They were quite impressive and I am told, they took a very long time to make. But they will also last a lot longer!

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There are the Star Wars Storm Trooper socks.  And who can argue with the fashionable and COMFORTABLE shoes. That is a bride who truly cares about her bride’s maids.

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The groomsmen were all a bunch of nuts and very happy with their hosiery as well.

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It’s all about the flowers and the dress. Brittany couldn’t have found a better dress.

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The wedding portrait session

Our portrait session consisted the couple of myself and my assistant (with a Profoto B1 off camera light). We spent about twenty minutes making their official portraits, but the moments between them are the absolute best.

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The Boojum Tree is full of perfect backdrops and locations. Everywhere you turn is another opportunity for a great photograph. It is a full 360 degree visual feast, which is great because that means you will always be able to find the perfect lighting condition. Some great open shade and the addition of one light is all it took.

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Oh, and of course the beautiful couple.

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I absolutely love this portrait of Brittany. She shows off the dress perfectly.

The bride wearing a Tara Keely wedding dress by Lazaro with added lace sleeves.

Tim is great in front of the camera, it was such a great experience photographing him. Many times, the groom is not all that excited about portraits and photos, but Tim loves the camera and it loves him.

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While we were take the couple’s portraits, I spun around to find a number of the bride’s maids watching from the gazebo. I asked the rest to join them to get this shot.

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Seriously cute kids were all over this wedding, all of them dressed to the nines.

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I loved the flower girls’ dresses. Full of texture!

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A tender wedding full of powerful moments to photograph

This is one of my favorite shots from the day. During the ceremony, the bride and groom will be reading love notes to one another, so the bride holds hers in her hands. The “kiss me” detail on her nail is perfect.

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This was another great detail. All down the isle were these texture rich collages with scriptures. I thought it was meaningful and beautiful.

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Here comes the ring. Notice the ear piece in the protective detail.

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The bride’s father lead her to the beginning of the isle and turned to her to read a special note to her before taking her the rest of the way down the isle to her groom. I loved this idea, it was a very tender moment between a father and daughter.

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When the bride and groom read their love notes to each other, it was just to each other, no mics. They were not speaking for the benefit of the crowd. They were speaking only to one another.

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That is the kind of tenderness and intimacy that makes a wedding great.

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The braiding and tying of the three cords was a great idea, but I especially liked the images I was able to capture during the process.

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Both the bride and groom are so expressive. It just makes it fun to photograph them. I could wait patiently, knowing that at one point they would both give me beautiful expressions that were full of life.

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How often do you see the Groom pick up his bride and carry her down the isle after the ceremony? So perfect!

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The tables were set in the green house, but the Tim and Brittany were the first to see the room.

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During the cocktail hour, we shot all the family portraits and a few others, like this cute little shot of the flower girls and the bride.

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It wasn’t visible to the crowd at the wedding, but the little boy in the wagon was carrying the safe to transport the rings.

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Another one of my absolute favorites. That veil was made for her and not by a dress shop. Her mother-in-law made that veil. So delicate.

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The battle at the cake table was intense!

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Tim and Brittany are too fun!

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Tim was a bartender at one time, so I thought this shot would be an appropriate image.

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With minutes to the end, the bride sneaks away to pack up her things for the get away!

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So much energy, expression and love.  It is always my pleasure to be a part of every wedding I photograph. Brittany and Tim, your wedding was an absolute joy as are you both.

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I wish you both the best of everything as you head off into the unknown!

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Photography by Jared Platt

Wedding location: The Boojum Tree, Phoenix, Arizona

Slideshow music by Hive Riot, courtesy of triple scoop music

The Prague Master Class – September 21-27, 2016

PragueMasterClass

Each year we travel to a new and exciting location for a world class travel experience and photographic workshop. You will learn everything from street photography, to portraiture, posing, lighting, and even post production. You will photograph fantastic models and locations, enjoy a new culture, eat amazing food, and increase your photographic skills exponentially.

This year, join Bob Davis and me for a week long travel adventure in Prague. Traveling to Prague should be on everyone’s bucket list. Make it happen this year. This is the ultimate photography educational experience. Explore the exotic and charming city of Prague, Czech Republic while taking your photography to new heights.
LINK: http://prague.mzed.com

WPPI Master Classes March 6-11, 2016, Las Vegas, NV

Jared Platt at WPPI

Every year, thousands of photographers gather in Las Vegas, Nevada for WPPI. This is a photographer’s dream. The show floor sports the very latest equipment and all of the books and albums, photo services and accessories that a pro and amateur needs to make their images, but there’s more than just an eye popping show of photo gear. WPPI is also a veritable university of photography education for a week in March. The very best photographers and instructors come to Vegas to inspire and to teach photographers how to hone their craft.

I will be at WPPI this year teaching two very special classes. In years past, you may have caught me with a thousand other photographers in a platform class where I was speaking about post-production in Lightroom. Well, this year, I have limited the size of my audience to 50 per class. I am teaching two Master Classes only! Each master class has only 50 people per class, which means you will get more personalized attention and I will be able to cater my instruction to everyone’s needs even better than I can in a platform class.

My WPPI Masterclasses are designed for two different levels, Beginners and Advanced. You are also welcome to take both, but you need to sign up and I suggest you do so now to ensure you get a seat.

Lightroom Workflow for Beginners

Monday, Mar 7, 2016 – 10:30 AM to 12:30 PM : MC12 (Limited to 50 Students)

Learn how to put Adobe Lightroom to use in your business and personal photography. Whether you just started using Lightroom or just don’t know how to use it effectively, this class with will change the way you work and think about photo post-production. Stop wasting time behind a computer screen and get out taking pictures. I am not often in front of a small classroom so take this opportunity to get more personalized instruction. You many not get this opportunity again.

This class is for Beginner and Intermediate Lightroom users.

Advanced Photography Workflow – Lightroom and Photoshop

Wed, Mar 9, 2016 – 10:30 AM to 12:30 PM : MC44 (Limited to 50 Students)

Your business depends on efficiency in post production. You also need to produce high quality photographic work. Come learn how to put the two together: efficiency and powerful photo editing techniques that will have you creating fantastic images in no time flat. If you’ve seen me before in one of my platform classes, you know how valuable a few hours with me can be. Now get instruction from me up close and personal. Take the things you know about Lightroom to a new level.

This class is for intermediate and advanced Lightroom users. Prepare to still have your mind blown!

Remember, only 50 people will be allowed in each masterclass, so you need to sign up now to insure you have a seat. And be ready for a ton of free giveaways from my incredible sponsors!

That’s a Wrap on The Best Workshop Ever!

We just wrapped

on an amazing four day workshop here in Arizona where we had 7 students who spent every waking hour learning, practicing and talking about photography. We had styled photo shoots on location here in Chandler and in the breathtaking Sedona red rocks. We maintained a small class size to ensure that each student was given all the attention they needed and deserved, and each one of our students have the very real possibility of having their images published in the national magazine, Pristeen, who provided a vast crew of models, hair and makeup professionals and stylists.

PJared PLatt Photography and Workflow Sedona

I may be tooting my own horn, but I am absolutely certain that there is no photographic workshop experience like the one my students just had. I was so impressed with the improvement of each and every photographer over the course of the four days of intense instruction. Our first styled photoshoot put each photographer into the fire. With a few hours of instruction on the equipment they would use, they all were put into very challenging and critical situations that required their utmost attention. Then, over the course of the next two days, amidst workflow lectures, we critiqued and edited their images. Then, we spent an afternoon working with their cameras and flashes again in preparation for the big Sedona shoot on the final day.

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Students that struggled on day one to get the shot, were creating beautiful images by the fourth day. I was so pleased to see each and every one of them creating images all on their own that were exponentially better than what they were attempting to make on our first day of class. Of course, I was not surprised.

My Arizona Photography and Workflow Workshop was designed to create success. I gave my students a year’s worth of university level photo education in four days, and I created a circumstance under which they could succeed. We limited our class size to make sure that I could spend a lot of time with each and every student, and each student spend the majority of the class at the controls. Unlike most photography workshop, my students were not stuck watching me shoot. Instead they were thrown into a real live, active magazine photoshoot with my expert instruction and direction at every step. I knew that they would succeed, because every hour of every day was designed to create lasting success. My students didn’t just see how to create great images, they created them, they were immersed in the process, and now they will return home knowing how to do that on their own!

Students Working Jared Platt Workshop Slide Rock State Park

That is the beauty of the socratic method of teaching. I teach my students how to think and let them experience how it is done, so they will always remember how to achieve success.

A small workshop like this cannot be done without a high price tag, and I can’t thank my students enough for their trust. They took a leap of faith and they found that it paid off. And even the high price tag would not have covered the price of this workshop without our sponsors, who so generously provided the incredible meals as well as providing the equipment and logistical support needed to pull off such a perfect workshop experience.

Finally, we must also thank the folks at Pristeen Magazine. They took a leap of faith that we would be able to take 7 workshop students of pro and enthusiast levels to a level that they would have two full magazine articles full of great images. They are now convinced! But we thank them for putting their trust in us to make this all happen. Not to mention, that Pristeen Magazine funded a full scholarship for our Pristeen Magazine Teen Photographer who joined us on the workshop and is now, at 18 years old, on her way to becoming an accomplished professional photographer. Wait until you see some of her photographs.

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Since all of our photoshoots were for publication, you will not see them now, but in April, after the magazine has published them. I look forward to sharing them with you.

Thank you to your Sponsors:

Master Photo Culling with Positive Selection

Most of you know that I select and process images in Adobe Lightroom. Although I have been using Lightroom from the day it came out as a Beta, I didn’t always have that luxury. For many years it was a hodge-podge of solutions. Each piece of software had its own unique skill set, and early on, Photoshop and Bridge did not even recognize a RAW photo file. So, it was one program to cull (select) my images, one to adjust, one to retouch and one to organize and yet another to deliver.  As digital photography evolved, Adobe began to make all of these processes available in one piece of software, and then… Lightroom was born. But as I traveled and taught seminars, I observed one common flaw in most photographers’ workflow; so in spite of technological advancements, photographer’s remained in the stone ages.  The flaw was an ignorance of a principle I call Positive Selection.

Expert Photo Culling with Positive Selection

Positive Selection is simply the act of recognizing the good images and ignoring the mediocre and poor images, to follow the same principles that are used in the act of “selecting” at the camera.  That is, we never reject images, we only select. This is the method we use in the camera, and we are generally good at it, so you are already able to own this method of selection, you just need to embrace it. In fact, if you are not already following this method and you try my five steps to Expert Photo Culling with Positive Selection,  I guarantee you will immediately cut your selection time by half.

The book Blink, by Malcolm Gladwell is about how well trained intuition is a powerful tool. Gladwell illustrates that many “choices that seem to be made in an instant-in the blink of an eye… actually aren’t as simple as they seem.”  In fact, he argues that to the trained mind, these choices are made up of the instant recognition of many minute indicators which add up to intuitive knowledge. Your intuitive mind processes these factors in the background and uses them to make snap decisions that are, nonetheless, correct. In my studio, I use a principle that I call Expert Photo Culling with Positive Selection to harness this intuitive power to make selecting images quick, easy and pleasant. You too, can train yourself to use your intuitive artistic nature and take the dread out of image selection.

The noted author Arthur Quiller-Couch coined the phrase “Murder your Darlings.” He meant that as a writer (artist, poet, photographer) we have to often reject parts of our work that we love because we recognize that they don’t help tell the story. This is an essential process that results in much better work, but it shouldn’t be the whole focus of editing. For many, the editing process is a painful experience. It involves hitting the Reject button one by one and killing our darlings till only the very best images remain. I will show you why this approach is not only slow and ineffectual, but also degrading and discouraging as an artist. Also I’ll illustrate how you can achieve the same results much more quickly and effectively, while training your photographic eye to make better intuitive decisions even while shooting.

Five Steps to Expert Photo Culling with Positive Selection

  1. DON’T GET REJECTED: Avoid using the Reject Button (X). Use the Pick button (P) instead. Imagine, an editing session involving 5000 images where you want to deliver 10%. In this example, if you use the Pick button to choose the best 500 images instead of the Reject button to reject 4500, that’s 4000 fewer button clicks, saving you 60 minutes of click time alone, to say nothing of the agonizing decision making time it takes to bring yourself to pull the trigger and off each one of those 4000 little darlings!
  2. SEE IN YOUR PERIPHERY: Use Survey Mode to compare a number of images at one time instead of just one at a time. I find that viewing 6 at a time is what I can effectively compare on a 27” monitor. Would you rather look at 5000 individual images or 1000 groups of 5 images? You will find another instant speed increase by surveying a group of images at one time.
  3. FASTER AND BETTER: Comparing 6 similar images at once in the survey mode will allow the best images to jump out at your already trained intuition and because your mind is making these intuitive decisions based on comparison, surprise, suprise… you will also make better decisions.  And with practice, it will become easier to do and you will get even faster.  As a bonus, this becomes a training exercise for better framing and decision making at the camera.  Faster and better, is definitely better!
  4. YOU DESERVE ONLY THE BEST: In every group of six (or however many you choose to view simultaneously), choose only the best. Force yourself to limit your selection to 1 or 2.  Don’t fall into the trap of selecting more.  More is definitely less, when it comes to similar images! (Watch for my upcoming blog post on The Economics of  Images). Let yourself feel the images, they will almost choose themselves, like they do while you are shooting. You need to learn to trust that instinct, and you will, if you practice and don’t give up on this idea. Only check focus or scrutinize images that deserve your attention, the rest don’t matter and will only cost you time.  There you are, saving time again and murdering your darlings without really even knowing it.  Don’t feel bad… I never do.
  5. CLOSURE IS FOR BAD RELATIONSHIPS: Give up the idea that you need to have closure on every image. You do not need to build a coffin for every dead image and you are certainly not obligated to deliver every half-tolerable image you shoot to your client. It’s your job to deliver the best images. The ones that tell the story best. The ones that stand out. The other images are automatically rejects because they were never selected. Don’t try to relate this to your high school senior prom, or your grammar school crush, otherwise your get all depressed about the rejection in your past.  This may sound harsh, but you are not only being hired as a photographer, but you are an editor as well.

When I asked my wife to marry me, she rejected every other potential suitor by saying yes to me. She didn’t open the phone dirrectory and call every other man in town and tell them they were rejected. They knew they were rejected by the fact that she married me. She didn’t need to rub it in. At the end of the day, it’s a numbers game. Giving your attention to images that aren’t standing out is just a waste of clicks and screen time.

This approach might be uncomfortably foreign to you. If so, I am even more excited for you to try it. I want you to experience the life-changing power of these principles. They will take the pain out of editing and strengthened your powers of perception.

Furthermore, if you stop focusing on your fails and focus on your wins and you will be much more connected to your inner voice. When you are shooting, you will begin to see this same positive selection mentality control what you point your camera at and when you click the shutter button. Because what is photography at its very core?  It is the act of selection!

Positive Selection will speed your image editing process and train you to be a better more intuitive photographer.

Do you have any editing tips that have made your image selection faster or more pleasant?  Do you have a favorite kind of music that gets you moving?  If you are about to mention your favorite TV show you like to watch while editing, please think about that… yep, you see the problem with that?  Good.  Now post away, I’d love to hear your responses.

Also, be sure to click the “Also Post on Facebook” checkbox when you comment. And if you have a friend who needs an intervention, make sure to tag them in your facebook post, we will all help them through their issues.

Look out for my coming PDF download on the Ultimate Data Security System, coming soon.

Avoid Data Loss and Corruption with Good Card Hygiene

As a professional photographer, doing everything in your power to avoid data loss or corruption is part of your job. Many years ago, I sent my film to the lab and waited a day or two on pins and needles while it was being processed, hoping nothing bad would happen to that film. In many local photo labs, complex chemical processes were often overseen by pimply faced kids with little to no experience and shipping film to a extreme pro lab was just as scary because of the transit. Occasionally, the ball got dropped and film got destroyed.  I once had a lab rip a roll of film from end to end, leaving one usable frame out of 36 (I have no idea how). More frequently though, photographers would set their cameras incorrectly, with no way to tell for sure what they had done, until the film came back with  nothing on it. Solution? Reshoot.

If you shoot weddings like I do, you know that is just not an option.

Avoid Data Loss with Good Card Hygiene

Of course, some photographers still shoot film, or have gone back to it (don’t get me started). While more reputable labs, have a professional overseeing the chemistry with very few mistakes, photographers are still waiting on pins and needles for FedEx or UPS to safely deliver their film to those reputable professional labs (and no, there isn’t a reputable lab in every large city, despite their claims). It is hard to argue that we haven’t taken a major step forward with digital technology. Today you can fire the shutter once, get two duplicate images on two separate cards, look at the image on the back of your camera to make sure it’s right, download it to a RAID 1 hard drive (I use the CRU Tough Tech Duo) which makes a fourth duplicate instantaneously, then upload a backup to a cloud service which makes a series of backups across its servers throughout the world.  And all of this can be done before your assistant can drive to the nearest FedEx, or local Film Lab.

Even with these advances, things can go horribly wrong. Only now, instead of losing a roll of film with 36 exposures, there’s the potential to lose hundreds and hundreds on one card. And when you capture tens of thousands of images in a month, it’s only a matter of time before fate catches up with you!  Fortunately there are a few simple steps you can follow to protect yourself from digital catastrophe.

Ten Tips to Avoid Data Loss

  1. MORE CARDS: Always carry more than enough cards for the entire shoot. Downloading and reusing cards at a shoot is just begging for trouble. This is so basic that it is hardly worth mentioning, but if you are guilty of it, you need to stop and seriously re-evaluate your professional practices.
  2. FORMAT UP FRONT: Another simple way to avoid data loss is to format all your cards before you start shooting. I format all of the cards I am using before I leave the studio. That way, if I find a card with no capacity, I know I shot it that day.
  3. INSTITUTE A SHOT SYSTEM: Create and adhere to a system for designating full cards. I use a plastic, hard sided weather resistant card case. When I load it, I put the blank cards in face up and after they are shot, I put them in face down.  And it goes without saying that everyone on your team must follow the same practices, so there are no accidents.
  4. KEEP YOUR CARDS CLOSE: To avoid lost or stolen cards, I keep my case for the day in my front pocket or in a sling bag.  Under no circumstances is it professional to set your cards down, place them loosely in a coat pocket, or leave them in a “safe place” off your your immediate person. Think of that case of cards as being worth – like – your whole professional career.
  5. DO NOT DELETE IN CAMERA: Never delete images in the camera. This is just begging for data corruption. A freshly formatted card makes all of it’s capacity available to the camera for storage. Once you delete a file, the camera starts breaking images up and writing them to the disk in unpredictable ways — a little here, a little there. This can have a negative effect on disk indexes and data trees.
  6. USE QUALITY CARDS: Use quality CF and SD cards. I use Sandisk Extreme Pro 120MBS UDMAZ 16 or 32 GB cards, depending on which camera I am shooting. I like to limit the number of files a card can store to around 250. Sandisk cards have never failed me yet, but if you have a trusted brand, stick with it! Cheep is not worth it.  Don’t go looking for random deals on cheep cards.
  7. SHOOT MULTIPLE COPIES: If you shoot with a camera body that allows for simultaneous SD and CF capture, take advantage and shoot full-size RAW files to both cards. This is probably the best overall system to avoid data loss (I use the Canon EOS 5D Mark III). It takes only an extra few seconds to switch cards, but the first time you lose a card, you will bless the extra time you took for added security.
  8. SEPARATE THE COPIES: Once the shoot is over separate your primary and backup cards and store your backup cards in a different location. When I am traveling, I keep one copy in the card case on my person and the duplicate cards in the hotel safe. When working from my studio, I take my backups home until the shoot is in the can. In the can means, I have copied the files to my workstation, backed them up and confirmed they are free from corruption by reviewing them in Lightroom.
  9. WAIT TO REUSE THE CARDS: Don’t ever reuse cards until you know your data is secure.
  10. NO SECOND CHANCES: My final step to avoid data loss is to immediately dispose of any card that you suspect as unreliable. The minute I suspect a card is having any issues whatsoever, I download backup and confirm the data and put the card out of commission.  This is done by drawing a large black X with a sharpie marker and once the job is completely confirmed, the card is broken in half and thrown away.  If I become suspicious of a card while I am shooting, I pull it out or commission on the shoot, mark it and start fresh with a new card.  Do not continue shooting on or working with a card that even hints at having an problem.

By maintaining complete control over my cards and by following these steps to Good Card Hygiene, I am able to say that I have never lost or misplaced a single client image in my entire career.  This is because I am fanatical about my adherence to these basic rules and my card hygene.  Those who do not follow them are doomed to suffer the consequences of loosing their data and the disappointment that is sure to follow.

If you have additional techniques to avoid data loss to add to this list, or card brand recommendations, post them below for everyone’s benefit. Please post your comments to Facebook as well.

Look out for my next post on how to reduce your image selection time by more than half through the simple technique I call Positive Selection. Additionally, look out for my coming info graphic on The Ultimate Image File Security Workflow — never lose data again!

-Jared

Profoto B2 on Location in Arizona

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The Profoto B2 is the most versatile compact lighting solution in my arsenal. When you are in the studio, there are a lot of great choices for lighting systems, but for quality, durability and ease of use, Profoto lights are unbeatable. They have a well earned reputation as world-class lights. Not too long ago, Profoto came out with a powerful, portable, battery powered monohead called the Profoto B1. These lights are fantastic for any size photo shoot. They are radio controlled from your hotshoe, using the Profoto – Air Remote TTL-C — syncing and changing power settings from your camera is a snap. These lights have been well thought out on every level and till now have been my first choice for location lights.

This year, the light shaping geniuses introduced the Profoto B2 lighting system.

Not as powerful as the B1 these little dynamos still pack plenty of punch for most portrait applications, and they accept the full range of Profoto light shaping tools. What makes these lights very attractive is that by moving away from the monohead model to a small strobe head with a battery-pack, Profoto has made an incredibly light and versatile little unit.

The Profoto B2 is small enough that you can even mount it on camera if you don’t want to bring an assistant or use a stand. My favorite setups include a small softbox or a large silver umbrella, wielded by an assistant. Which I use depends on how much light I require. The Silver umbrella is great if I need to overpower the sun whereas the softbox works best when the light is even and I want to create direction for added drama, but still maintain a soft feel. Two heads with white umbrellas on stands is another easy setup for large groups and can really make a dim situation bearable.

The Duce on Location with the Profoto B2

 

Finally the Profoto B2 lights work seamlessly with my B1 lights and all of my Profoto lights are controlled through my Profoto – Air Remote TTL-C which sits on the hotshoe of my camera. With my Profoto B2 lights as my first go-to choice for many situations and my B1 lights in backup for when I require more power, I truly have enough lights to shoot for a day on location and never plug in. And, I can do so with a rapidity and efficiency that makes shooting a joy.

While this is an unsolicited review, I am sponsored by Profoto and Profoto will be providing complete lighting kits for my Photography and Workflow Workshop attendees to use on location. I am excited for my students to get to use this equipment to make some amazing images.

Meet Your Bonus Instructor with a Lesson on Film

I’d like to introduce you to a very special photo instructor who will be making a regular appearance on my blog and Youtube and Vimeo channels as well as making several appearances at my workshop this February in Arizona.  For all of you film and film look lovers out there, she has put together a little lesson on making pictures with a HOLGA camera!

Introducing Indiana!

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Join Indiana and me at my workshop this February 17-20, 2016 in beautiful Arizona for a life changing photographic experience with four full days of photography and workflow education.  This is where you will learn to get better images, and deliver them faster so you can focus on what really matters in your life: family, God, you, marketing, more photos… you pick!

LEARN MORE and REGISTER

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Classic Black and White Presets

Classic Black and White Preset:

My first experience in photography, probably the moment I fell in love with it, was when my sister taught me how to develop a black and white print in the glow of the red lamps.  I watched a blank piece of paper slowly drop below the developer and waited, not knowing what to expect.  Suddenly, splotches of black began to grow across the face of the paper, like someone had spilled ink and it was running slowly across the face of the print.  But the inky spill gave way in areas to a relief of white where the lamp of the enlarger had not exposed the paper and I began to see an image appear.  Honestly, I don’t recall what the first image was that I saw printed.  I am sure it was a meaningless high-school yearbook photo, but the experience is forever burned (exposed and fixed) in my memory.  In honor of those experiences in the black and white darkroom, I have created three Adobe Lightroom classic black and white presets for you to enjoy.  They won’t give you the magical experience I had in the darkroom, but they will give you the beautiful tones I was able to create after years of study and practice.

Of course, unlike in the darkroom, with digital images, we start with a color image.  The images I am using here is the original color RAW image directly from Lightroom.  What you will see in each subsequent image is a one click application of one of the three black and white lightroom.

Black and White Curves Lightroom presets example image - original color version

 

Classic Black and White Preset:

One thing that was lost in the digital world of high contrast, smooth, textureless images and poppy colors and has only been brought back by digital nostalgia, was the beauty of seeing all the zones in a black and white print on fiber paper.  If you don’t know what I am talking about, Ansel Adams (I sure hope the name rings a bell) developed a method for seeing and printing identifiable zones from pure black to pure white (Zones 0-10).  High contrast prints on glossy or pearl paper could never really exhibit all of those zones because they would invariably skip a zone here or there and head directly from black to light grey or white.  This was something my film students would get a bad grade for doing, and now almost every photographer on the planet does daily because they are in love with the contrast knob in Lightroom and they print only to glossy or pearl papers.  Well, I have created a Black and White Lightroom Preset for you that will take you back to the Classic Black and White era, and if you have a proper exposure, you will feel the the beauty of a full tonal range black and white print on beautiful fiber paper, even if you are using a pearl surface paper.

Black and White Curves Lightroom presets example image - classic black and white

 

 

Ultra Contrast Black and White Preset:

And for those of you who still want your contrast, you can get your fix with a truly high contrast black and white preset that comes from a place of subtlety and beauty rather than the brutish, blunt force of the contrast slider.  That’s right, there are other places that provide much better contrast than the slider that bares the name!  The tone curve is where contrast was born, the contrast knob is just a cheap imitation!  Well, give it a whirl and see what you think.  I’ve also added some rich and toothy grain to complete the look that you might get when you push your B&W film (which is where you would see such contrast emerging).  I like to think of it as a bit of a TMAX grain.  It always felt a bit like sandpaper.  Very beautiful sandpaper.

Black and White Curves Lightroom presets example image - ultra contrast black and white

Toned Black and White Preset:

Finally a bit of warm toned black and white for those who can’t stay away from color.  Now in the olden days of film, we bought warm tone paper, or cool tone paper.  Or we dropped our silver prints in a bath of sepia, or selenium toner.  This was very different then adding a wash of color over the top of our prints.  True print toning doesn’t stain the paper, it stains the silver (the dark parts of the print), which means that the paper stays white while the shadows change colors and do so a rate somewhat proportional to the amount of silver that is congregating together to make a deeper shadow.  The easiest way to accomplish a toned print in Lightroom is to add color to the shadows in the Tone Panel.  But I have taken you into a deeper, more robust realm… the tone curve.  Oh, yes, it seems I am in there a lot.  It is a very powerful tool.  Here I can change the response of each color channel to respond to the tone curve independently.  This give me complete control over the colors and allows me to create subtle toners that create depth and contrast in my toned black and white prints.  And I give you a taste of a warm toned preset from my upcoming collection of toned black and whites.  Don’t just use it.  Study it and play with it.  Get to know the Tone Curve panel in Lightroom.

Black and White Curves Lightroom presets example image - classic sepia toned black and white

Learn More About Lightroom Tone Curves:

Each of these presets are heavily based in the Tone Curve pane in the Lightroom Develop module.  To learn more about using the Tone Curve, make sure to watch this free video about using Lightroom’s Tone Curve pane.

Cover image for free classic black and white lightroom presets

Sign up now for three free Classic Black and White Presets

Custom Camera Settings – Don’t Miss a Shot

Using custom camera settings can mean the difference between getting the shot at just the right moment, or missing it entirely. One important distinction between a skilled photographer and a person taking snapshots is the ability to rapidly adjust to changing lighting conditions. Pros also develop a second-nature ability to properly adjust their camera. Being prepared to shoot in all sorts of lighting conditions takes planning and practice. One of the ways to ensure that you are ready to shoot when the action is happening is to make use of custom camera settings.

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Weddings are especially challenging because of all of the different environments you shoot in. Take for example a church. Inside the church, you may or may not be allowed to use a flash. The stage might be brightly lit where the audience is only dimly lit. There may be windows or not. Certain events happen very quickly and depending on which direction you are facing to get the action, you might need a different exposure mode ie shutter, or aperture priority or manual; you might need flash compensation, or a different iso. Making all of these changes in the heat of shooting, every time you turn around is distracting and time consuming. the distraction might be enough to cause you to miss the first kiss or the bride and groom coming down the aisle.

Custom Camera Settings Prevent Errors

Custom Camera Settings Make setting your camera a snap

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Imagine you are shooting a wedding in a church. One great use of custom camera settings in this scenario is to come to the church early and scout your shots. Turned toward the podium, set your camera to the settings that work best for that environment. Using your camera’s menu, set that as custom setting one. On my camera, a Canon 5D Mark III I choose that custom setting using the c1 position on the top left dial. Now, turn back toward where the audience will be seated and set your camera exposure settings for that direction — set this as custom setting two. For setting three you may choose to set your camera for when the bride and groom exit the church with the dark church entrance behind them.

Custom Camera Settings mean fast accurate exposures

Custom Camera Settings Include Pretty Much Every Setting in your Camera

You can set pretty much anything you want including file size, raw or jpeg, focus mode, drive and silent or high-speed shutter mode. Make sure everything is exactly the way you want it when you set your custom setting. Especially the manual, aperture or shutter speed priority modes. These three modes are really the only thing you can’t change within the custom setting after it has been created. Once you have created a custom setting in one of these modes it remains in that mode. That is a manual custom setting an aperture priority custom setting, or a shutter priority custom setting. Once you switch to a custom setting, however, you can change anything else that you want to, like focus point or exposure compensation. The custom setting acts as a starting point and you can adjust for environmental conditions from there.

As with any camera technique practice brings mastery. Spend time creating custom settings and working with them. You will find that you are better prepared to capture those rapidly changing situations. I like to be ready and never miss a shot so custom settings are an important part of my professional tool bag.

Equipment List:

  1. Canon EOS 5D Mark III
Linking Speed-lights for Dramatic Photography

Linking Speed-lights together is a fantastic way to increase the volume of your shot, dramatically emphasise your subject and tell a better story. When shooting events, frequently you are in a place with poor lighting. It’s your job as a photographer to make your subject look amazing no matter what the available light is like. This video will show you the basics of linking your speedlights to all fire in sync with your camera and how they can be controlled from your master speedlight.

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Shooting receptions and parties can be a lot of fun. There is usually a ton of action not to mention poignant emotions like love, and humor. Lot’s of shots from these events look like snapshots – overly contrasty and lit from a single source. Bouncing light off a wall or ceiling helps, but can only take you so far toward your ultimate goal of rich vibrant images. By placing speedlights at various points around the room you can greatly enhance the drama  of your shots.

Try linking speedlights to create different effects.

Hair-lights separate the subject from the background, cross-lights bring out detail by building contrast; background-lights fill in the background adding it to the story — especially in large open environments; and fill-lights soften the light on subjects, adding to their beauty. You can use a number of tools to place the lights where you want them, including a variety of stands and wall mounts. A photograph taken while linking speedlights properly will emphasize the natural drama of, say, a bride and groom’s first dance.

Link Speedlights for great reception lighting

Start with a master speedlight on your camera rather than a transmitter only. This will provide syncing capability, a backup light in case you have to grab a quick shot away from your setup and equally important the focus assist beam on your speedlight makes it possible for you to focus in very dark environments.

Using the link button, you can slave your disconnected speedlights to your master flash and once you have them linked, from your master flash you can set up your groups, change their mode, or turn them on and off. When shooting an actual event like a wedding reception, plan ahead for your most important moments such as cutting the cake or tossing the  bouquet. Discuss with the bride or DJ where these events will happen and plan your vantage and lighting accordingly.

Link Speedlights for amazing drama in dark locations

The best way to become skilled at linking speedlights is to get ahold of a few speedlights and go out and practice with them. This video shows you how to set up your speedlights to be in sync with each other, but being ready to shoot requires rapid deployment and changes to the settings. So, once your lights are set up, familiarize yourself with rapidly changing the settings on multiple lights. Learn to turn them up or down and on or off light – that way you can adjust or disable any lights that are causing you problems, or turn up lights that are making an effect you want to emphasise. Practice, practice, practice is the key to success with this technique. Pretty soon, making adjustments becomes natural, and you will see a significant increase in the drama and beauty of your photographs. Your audience will ask you again and again “how did you do that?” and “how come my shots don’t look like that?” and that, my friend is what makes you a pro.

Equipment List:

      1. Canon 600RT Speedlite
      2. Yongnuo Wireless Radio Trigger for Speedlights
      3. Tether Tools Rapid Mount SLX Speedlight Wall Mount System
      4. Tether Tools RapidMount Cold Shoe Elbow Mount
      5. Think Tank Urban Disguise 10 Bag

If you would like to be among the first to be notified of new videos and free downloads as they are released, be sure to sign up for our newsletter.

A BIG DEAL! $4000 of Photo Stuff for $99

Information on the Big Deal for photographers

This is a BIG DEAL!

Over thirty photographers and photography companies have come together to give you the BIG DEAL! Look at this list of contributors and items and tell me that $99 isn’t a great price for this. My item alone is worth $110. You will be getting your $99 back over and over again… and you will be helping a good cause at the same time.

20% of your purchase will go to charities like Team Jessie.

Take a look at this list! It is unbelievable… and yet, it is true! Even if you already have my presets, its worth it for all the other goodies you will get.

Lindsay Adler – Designing an Image & Studio Lighting Guide, Subscription to NEW website
Jared Platt – Comprehensive Collection of 400 Lightroom Presets & Lightroom Webinar
Mylio – 1 Year Subscription
Dave Cross – 1 Year Subscription
Tony Sweet – 13 Videos Covering Macro Photography, Texturing, Infrared, Mirroring plus more
Rick Sammon – Master the Art and Craft of Bird Photography Video
Simply Color – Simply Cash
PhotoshopCafe – Photoshop Destination CC LIVE
Lee Varis – Online Course in Mastering Image Creation & Photo Illustration in Photoshop
Bobbi Lane – Posing & Directing Video
Craig Minielly – Retouch Toolkit & BeautyBar Pro set of Actions for Lightroom/Photoshop
Phlearn – PhlearnMethod Bundle, Photoshop 101 & 201, Beginners Guide to Levitation
SharkPixel – Landscape Photography Presets for Lightroom
Lesa Snider – The Skinny Ebooks Series
Scott Wyden Kivowitz – E-Book: Time Is On Your Side: Exploring Long Exposure Photography
Lance Sullivan – Architecture Power Pack of Presets
Tyler Meade – 73 Sports and Commercial Photography Lightroom Presets
Sean Duggan – Photoshop CC Essentials: Selections, Masking & Compositing Video
Nik Pekridis – Video Training Course: Wedding Photography in Action
Gavin Gough – Photographers Workflow: Ebook & Videos
Perfectly Clear – Photoshop and Lightroom Plugins
Cris Duncan – Photography Business Starter Set: Ebooks & Video
Dane Sanders – Fast Track Photographer Audiobook
Andrew S Gibson – Mastering Photography & Understanding EOS Ebooks
ViewBug – 1 Year Membership
Eyefi – 1 Year Cloud Subscription
Peter Eastway – Subscription to Better Digital Photography & Photoshop Layers Class
David Ziser – Ebooks and Training Videos
Stephanie Cotta – Mastering the Art of Newborn Photography
KelbyOne LLC. – KelbyOne Photoshop and Lightroom Creativity Bundle
Richard Sturdevant – SturDaVinci Art Tools Photoshop & Corel Painting Bundle
Photofocus – Develop Great Images in Lightroom & 72 Essays On Photography EbooksRead More

Reviewing Old Film Images

Reviewing Old Images is a Must:

Going through my portfolio on a regular basis is a very nostalgic experience.  This last session revealed some old photographs from my college days when I was shooting film (yes, this was in the last century)!  I am feeling inspired to create some Lightroom presets to match the look of this film.

Lightroom CC: A Short List of Great Features

Adobe Lightroom CC

It’s official! Lightroom has joined Adobe Creative Cloud. To this point, Photoshop, Indesign, Premier, Illustrator, and others have been a part of the Creative Cloud and enjoyed the constant and simple updates and the inter app connectivity of the cloud. But Lightroom has always felt like the outcast from the group.

Today, though, it’s official; with Adobe’s release of Lightroom CC today, Lightroom is now a legitimate part of the family, and that means the future is very bright for Lightroom.

With the designation CC, comes more frequent and automated updates to the program, which will be a welcome change. It also means we can expect greater inter app connectivity in the future. Some apps are already taking advantage of the Lightroom Mobile sharing, like Adobe Slate, which can draw from any of Lightroom’s mobile shared images. I think the CC designation was long over due, so I am glad Lightroom has finally gained its spot on the Creative Cloud.

Of course there are a number of new features and capabilities in the new Lightroom CC, which Matt Kloskowski and I will be reviewing on CreativeLive.

Here is a list of the most notable new features and upgrades to Lightroom CC:

Speed

Import, export and general computing speed has been increased by allowing Lightroom access to the graphics processor with GPU Acceleration. This is not a toy kind of feature that people get to play with, so I suspect it won’t get the face time it deserves. It is no small feature and will improve the entire experience of using Lightroom.

Import Directly to a Collection

A simple little feature like this one, makes a lot of difference in simple speed of organization.

Auto Size Standard Previews

Previews based on the size and need of your monitor.

Small Adjustments in the Quick Develop Panel

The quick develop buttons have finally been given a dose of subtlety.

True RAW HDR and Panorama Editing

This one is revolutionary! No more going to Photoshop to merge TIF versions of your RAW images and round tripping back to Lightroom. Lightroom CC will now merge your RAW images into Panoramic and HDR images and maintain the images for true RAW manipulation. This will open up new worlds of possibility for photographers everywhere. It means I will actually start to use HDR and Panoramic techniques in my work.

Movable Brush Pins

I have been waiting for this one for a long time, and it is finally here. Brush pins can now be moved, which allows for far greater synchronization of the local adjustments between images.

Refinement of the Local Adjustment Tools

Now, with the introduction of a modification brush tool inside the radial and gradient filter tools, working on images feels a lot more masking in photoshop. Now I can make broad strokes with the gradient and radial filters and then erase back the areas that have over stepped their bounds.

lightroom cc announcement

The People View in the Library Module

This is one of my favorite features. Lightroom CC has facial recognition built in!  Imagine the ramifications of this for event photographers who need to identify the people in their images for more accurate and faster image tagging.  Suddenly massive amounts of key-wording is something that can be done literally in ones’ sleep.

lightroom cc announcement

Slideshow Enhancements

The slideshow module also gained a few new features, including the Ken Burns effect and synchronizing slides to the music.

Of course, this is not an exhaustive list. Matt Kloskowski and I will be reviewing these and more features today on creativelive.com and I will be going into incredible depth on these tools and more during my new CreativeLive course, Lightroom Crash Course, featuring Lightroom CC.  During this course we will not only show you what is new in Lightroom CC and how to use it, but also how how it fits into the overall post-production workflow.

I am truly excited about the release of Lightroom CC with its list of new features and all that the CC designation offers now portends for the future of Lightroom.  Lightroom’s future looks bright.

Grand Canyon Wedding for Chrystal and Richard

Here are the images from Chrystal and Richard’s Grand Canyon Wedding.

The Bride and Groom came down from North Dakota where they serve in the military (I love you military folk, thank you). Now a wedding in the spring at the Grand Canyon can be warm, cold or perfect. Crystal and I talked a lot about this topic as she was planning the wedding. But no matter how cold it could have gotten, it still would have been warmed that Minot, ND. So we were prepared for anything. And as fate would have it, the weather was absolutely perfect, and so was the wedding.
My first interest at this wedding was the flowers and the dress. The dress, by Vera Wang, has beautiful beaded flowers all over it, and I found myself comparing the wedding flowers to the dress. So… I shot a lot of flowers that day.

Wedding flowers by Jared Platt

Wedding flowers by Jared Platt

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Wedding dress by Vera Wang

Grand Canyon Wedding.

I think Richard was trying to hide the tears from the crowd. He was pretty successful. But we all know he was crying…

Grand Canyon Wedding.

Crystal was more open with her tears. The contrast between the two images is perfect.

Grand Canyon Wedding.

Anymore, it seems that weddings are full of people taking photos. Probably half of the people attending this wedding, were taking photos or videos at one point or another. Perhaps it is the location, but I see it a lot. Everyone is recording life these days. The real trick is to live it! I sometimes wish I could set the camera down during a wedding and just experience the moments the wedding guest are having. But, alas, I must do my job. I think it is great that people are interested in creating things as they attend a wedding, or go to a kids soccer game, etc. But I will tell you this, when I go to my son’s baseball game, I wish I had a professional taking the photos, so I could experience the moment and since I don’t, I tend to put the camera away in favor of experiencing the moment. My favorite part of this image is the set of young men on the left hand side of the frame. They chose to stand in a position where they could take it all in, the whole scene.

Grand Canyon Wedding.

The Grand Canyon had a magnificent sunset that happens twice every day. The first sunset happens inside the canyon when the light hits the various ridges and plateaus inside the canyon and criss crosses the canyon with shadows and light. The second happens above the canyon when the sun sets on the rest of the world. Both sunsets are beautiful in their own way. This next show is the second sunset on the canyon. We took a series of photos very quickly as the sun set for the second time that evening. Moving fast is critical at this point in the evening. I have to give a lot of the credit for the speed at which we can get these shots done to the Profoto B2 Off Camera Flash System we use. It allows us to maneuver quickly and get accurate TTL flash exposures with absolutely no fuss. So we are able to think more about the photo and less about getting the flash to cooperate.

Grand Canyon Wedding.

Crystal is not a big fan of heights. In the photo above, she was a little shaky about being close to the edge, but at least there was a nice barrier of stones between here and the “cliff”. I had intended to keep her at that distance, but she worked up the curate and said, “I am going to do this! Put me on the edge with my feet hanging over the cliff.” OK! Let’s do it. We carefully put her on the edge and took this next shot, which I absolutely love and hope she does as well.

Grand Canyon Wedding.

Then she got even more brave and stood up (with our support) and we got the next shot, which I love as well. So, this set of shots just goes to show you that there is a prize for those who show courage.

Grand Canyon Wedding.

Like I said, I was extremely interested in the flowers at this wedding. Debra, the wedding planner (a fantastic resource for any unique Arizona wedding) always does such an amazing job with the flowers and the details of her weddings.

On our way back to the hotel for the reception, the moon caught my attention. I hadn’t seen a moon like this in a very long time. It was the perfect phase, the perfect cross between night and day. I must have shot 30 versions of this moon. So I am giving you two of them.

Grand Canyon Wedding.
Photography by Jared Platt, Platt Photography
Wedding Location: The Grand Canyon
Slideshow Music by Kevin Burdick, courtesy of Triple Scoop Music
Wedding Design by My Arizona Guide
Image Post Production by Shoot Dot Edit

Going Back in Time to Photoshop 1.0

Happy Birthday to Photoshop this month as it hits its 25th Birthday! While I was at creativeLIVE for Photoshop Week 2015, a number of instructors (including me) had the opportunity to travel back in time and use Photoshop 1.0.

This was something I used as a sophomore in college in the early 1990s. That’s right, LAST CENTURY!

When people talk about how things were built better back in the day, or that life was better way back when, they are obviously not considering the explosive chemistry in a 19th century darkroom, the weight and fragility of glass plate negatives, covered wagons or Photoshop 1.0. I for one, would like to say thank you to all those inventors and smart people who have improved our lives over the past 150 years. I don’t miss the darkroom, I don’t miss polyester pants and I don’t miss Photoshop 1.0.

Photographing with the Panasonic GH4

I had the opportunity to shoot a wedding in Ripe, England with the Panasonic GH4.  This camera is a compact, light-weight camera with lenses so small you can fit them in the pocket of your jacket.  I have always carried around a little Canon point and shoot that takes RAW images, but no point and shoot can match the experience of a SLR style, through the lens viewfinder experience.  So the GH4 made for the perfect traveling companion.   I kept it with me throughout the wedding, and as I traveled throughout the country before and after the job.  While I shot, I has little experiments in mind, like latitude experiments and macro experiments, low light and motion experiments.  I have posted the results here in the blog.  The incredible thing about this little camera is that it also captures 4k video as well, but we will stick with the still photos for this post.

In this image of the pipe organ in St. John the Baptist church, where the couple was married, I was able to truly test the Panasonic GH4's exposure latitude capabilities.  The church was quite dark inside and yet, I was able to capture full detail inside and outside.

In this image of the pipe organ in St. John the Baptist church, where the couple was married, I was able to truly test the Panasonic GH4’s exposure latitude capabilities. The church was quite dark inside and yet, I was able to capture full detail inside and outside.  I fully expected that I would not be able to maintain any detail in the exterior exposure, but I was pleasantly surprised by the latitude on this little camera.

The wedding couple took a walk along the southern coast of England before the wedding.

The wedding couple took a walk along the southern coast of England before the wedding.  Carrying a heavy SLR and its heavier lenses on a long walk is not all that much fun.  In fact carting equipment around makes me wonder why I chose to be a photographer in the first place.  But with a camera as small and light as the GH4 and its sharp little lenses that weigh almost nothing and fit almost anywhere, I was carrying three lenses and camera and I hardly knew I had anything with me.  At times I had to double check to make sure I had a camera.  Typically a light, compact camera means poor photos, but the GH4 breaks that rule.

It was a leisurely stroll and yes, we stopped to admire the flowers.

It was a leisurely stroll and yes, we stopped to admire the flowers and I tested my need for macro!  The GH4 was perfect, in fact, the digital view finder allowed me to see exactly what my depth of field looked like while taking the shot.  That something that a traditional SLR won’t do for you.

The white cliffs made for a stunning coastline.

The white cliffs made for a stunning coastline.  Here again, I was battling a latitude challenge with the bright sun peeking through the clouds, but the GH4 held the detail in the brightest spots of the clouds and even in the shimmer on the water behind the couple walking near the cliff.

Silence at a wedding is golden, especially in an old stone church.  The GH4 has a completely silent mode that makes  me as a photographer invisible to  everyone at the wedding.

Silence at a wedding is golden, especially in an old stone church. The GH4 has a completely silent mode that makes me as a photographer invisible to everyone at the wedding and since my greatest wish is to be invisible at a wedding, this was a perfect camera for the job.  While I was shooting the wedding with both my Canon and the GH4, I found myself choosing the GH4 for all of the close shots as I crept down the isle.  They may have seen me there, but I can guarantee you, no one heard me.

Wedding in Ripe England

Not only could the GH4 give me great back and white images from the church, but it provided excellent color in a dark church. Not only could the GH4 give me great back and white images from the church, but it provided excellent color in a dark church. Smaller chips often yield more noise, so I tested the GH4 for noise and found that the color noise was extremely low and the grain structure feels ver natural. I am a sucker for a beautiful grain structure. I know… its nerdy.

 

Wedding in Ripe England

Not only could the GH4 give me great back and white images from the church, but it provided excellent color in a dark church. Not only could the GH4 give me great back and white images from the church, but it provided excellent color in a dark church. Smaller chips often yield more noise, so I tested the GH4 for noise and found that the color noise was extremely low and the grain structure feels ver natural. I am a sucker for a beautiful grain structure. I know… its nerdy.

 

Wedding in Ripe England

This little angel was my subject for a few days. The grooms niece and I chased each other around the grounds of the church for a little while as the bride and groom chatted with heir guests. The articulating screen on the camera allowed me to follow her around at a long angle and grab shots of her as we ran. Ordinarily, I would be taking shots like this completely blind, wasting 20 shots to get one that was in focus and composed correctly. But because I could see her in the articulating screen at all times and the GH4’s auto focus was tracking her face, I never missed a shot. It’s always nice to have a lot of images to choose from.

Wedding in Ripe England

Like many churches in England, the cemetery surrounds the church, so when the little girls play on the church grounds, they play amid the tombstones of their ancestors. The groom’s Godfather rests in this cemetery. Was was fascinated by the casual and playful attitude of the children amongst the stones. They see them as just that, stones. I couldn’t present this image in color. It needed to be a black and white. It just deserved it. The GH4 makes exquisite black and white images from its RAW files.

After the wedding, I took a drive to Stratford Upon Avon to catch a little Shakespeare.  Before the show, I took in the character of the old english buildings.

After the wedding, I took a drive to Stratford Upon Avon to catch a little Shakespeare. Before the show, I took in the character of the old english buildings.  It handled the latitude and the saturation issues on the chimneys very well.

After the show, I tested the higher ISO settings on the GH4 and at 3200 ISO, the camera produces a very nice grain structure with low color noise.  I was completely happy with its extremely low light capabilities.

After the show, I tested the higher ISO settings on the GH4 and at 3200 ISO, the camera produces a very nice grain structure with low color noise. I was completely happy with its extremely low light capabilities.  I couldn’t have asked for a better image in that light.

My total experience with the Panasonic GH4 was wonderful. It’s small and lightweight body and lenses make it the perfect camera for hiking, and traveling. The quality is quite good and when compared to any small sensor camera, is absolutely fantastic. One could use the camera as their only camera and carry four times the lenses in half the space. Using it in conjunction with my smart phone was helpful as well. Rather than taking decent photos on my iPhone to post on social media, I was able to take superior images on the GH4 and send them to my phone for social media purposes.

The only draw back on the camera is the increase in depth of field due to the chip size and lens lengths. But that is a standard issue with micro four-thirds cameras. For those of us who like to live on the edge of focus, it feels like a limitation. But you get used to the feeling of having all your photos in focus and after a while, it stops feeling like a limitation and starts feeling like a blessing.

Panasonic is making exciting things for photo enthusiasts and pros alike. My good friend and photographer, Isaac Bailey, shoots with a Panasonic micro four-thirds camera and here’s what he has to say about it:

“I love my Panasonic mirrorless camera. It has opened a new realm of fun in personal photography for me. Using the control I get from my big DSLR with tiny size and weight, I can really go anywhere with this baby and make great shots” -Isaac Bailey Photographer Phoenix

Traveling with a camera is the only thing I know. I have never been able to go anywhere without needing a camera with me, but there is always a battle between high quality and compact size. The micro four-thirds market has opened up a new world of possibilities for compact PLUS quality and Panasonic is leading the charge. Heavy cameras may be a thing of the past in the not too distant future. Hurray for that!