Creating a Photo Book with Blurb Books

Join me as I take you through the process of a Self-Publishing Book Project with Blurb Books. You will learn how to think about your photo project, I’ll help you make decisions about your book choices and even show you how to use Lightroom Classic and BookWright to design your book. But first, let’s talk about your photos and the reason you should make a physical self-published book with Blurb.

The Case for Printing Books

Your Images are Competing with Billions of Images

Everywhere I go I see people buried in a phone, scrolling through Facebook or Instagram.  I was in line at the grocery store and 5 of the 6 people in line (I was the sixth) were scrolling through something.  I noticed that none of them were reading.  They were constantly sliding their finger up or down the screen.  So they were consuming images, or videos without ever once stopping to appreciate the imagery they were seeing.  It made me think twice about how impactful my images are when I post them on Instagram.

During my undergraduate studies, I took a course from Mary V Swanson, that was based in the business of photography and getting published.  We would take field trips to the book store and browse through all genres of magazines and books doing research on which publishing companies were using photos.  In the 1990s, the internet was still in its infancy and the gatekeepers to a mass market of viewers for our photographs were the publishers of books and magazines.  Sure, you could self-publish a book, but it was either that or buy a car.  So the vast majority of photographers either maintained an expensive hobby or continued to submit work to the gatekeepers in an effort to reach the mass viewers.

That is obviously no longer the case.  Today, any photographer can reach the masses with a free social media account and a smartphone.  Whether the masses will see their images depends now on searches, algorithms, and trends rather than an editorial board.  But this means that there are over 500 million people sifting through 95 million photos/videos that are posted to Instagram every single day!  No wonder the people in the grocery store line never stopped swiping through photos on their phones.  Who has the time?

Getting Past the Gatekeepers

When the gatekeepers of the photo viewing market fell to the open free-for-all arena of social media, blogs, and Wix sites, the world gained access to a lot of great photographers and those great images instantly got lost in the junk pile of cappuccino photos and eye makeup videos.  And worse, the public lost its ability to focus on a meaningful image for more than a second.  Muscle memory is hard to fight.  That thumb is going to keep scrolling even when the brain says, “hold on, that was interesting!”  Too late, it’s at least three swipes up your feed.

I both love and hate the brave new world of photography.  I love the access that technology has given us to tell stories and promote our work to anyone and everyone.  It’s no longer who you know that gets you access to the mass market… you have access; the market can discover your work, and you can even target an audience and drop it right in front of them anytime you want.  Unfortunately, the venue is less than ideal.  Your work will be appreciated for all of one second if you are lucky, maybe even a “like” or a “heart.”  

There are Too Many Photographs in Your Feed

For those who know their work is worth more than a passing glance on a continually scrolling 3-inch screen, there is print.  There may be a number of steps in the relationship between someone liking your work on social media and them buying a printed photograph, but you will know someone is serious about photography when they hang a print on their wall or hold a book or magazine in their hands.  I don’t think there is a better way to experience photographs than in a well-printed book or magazine.  It is the perfect viewing distance to really experience the image and the perfect opportunity to add contextual information with text about the image.

Early in my career, the only way to make a book project was to print hundreds of them and plenty of photographers sold the extra car to pay for the book printing and then spent the next ten years trying to sell the book to recoup the cost.  They did it because they understood the value of the book experience!  Today, we can print just one book (or magazine).  This is as big as the online photo revolution, but with a better outcome for the photos!  

In this video, I discuss the reasons for self-publishing and the kinds of books that are available through Blurb Books. Join me in my book project and make your own!

The Best Proofing Method for Client Photos are Books

I am a professional photographer and as such, I am paid to take portraits of people and document weddings among other things.  This new access to one-of-a-kind book printing changed the way I provide physical images to my clients.  Before affordable books were available, my options were to print a stack of loose proofs or post them online where the images would be viewed on the client’s uncalibrated monitor with ungodly saturation in the magentas and the sharpness turned up to 1000%.  I realized, with a book or a magazine, I could control the print quality and the experience the client would have when they looked through their images.  I could control which images were shown next to which, and how big each image would be seen.  There is no better way to show a client the images from their wedding than in a well-styled and beautifully printed book.  

Although I use quite a few different programs to design different books, Blurb Books has always printed them and my clients love the experience of sitting down and looking through their images from a wedding or a portrait session with a beautifully printed and designed book.

Even though I make my income in portraits, weddings and lifestyle photography, I am like all photographers on the planet.  I love making landscapes, still lifes, travel photography and documentary work.  And most of the time, that kind of work is completely personal.  But I want people to experience that work, but I want them to enjoy the images in a way that I control.  I can’t do that on Instagram or Facebook.  That is why I don’t just publish my photographic work online, but also in self-published books and magazines; total control over the experience.

Self-Publishing is Photo Training

Self-publishing also provides an incredible learning experience for the photographer.  There is so little thought that goes into the process of posting an image to Instagram.  That’s why people post photos of the cheesecake they are about to eat.   But reviewing and selecting images and designing a book around those images is an entirely different experience.  It inspires deeper thinking, more planning, and most importantly, it slows the process down a little.  When you decide you are going to make a book, the process of selecting your images becomes a much more serious endeavor.  You ask yourself more questions about the images and how they fit together.  Just the need to come up with a title for the book makes you think about the theme of your images.  

As you design your book, each image is placed on a page with a great deal of thought.  Will it be on its own.  Will there be an image on the facing page, or with there be any text to help explain the images?  Should the image fill the entire page?  If not, how big should it be?  Should the image be cropped to fit the page design a little better, and if so, how does that change the meaning of the image?  The process of putting images on a series of sequential pages also requires you to think of the sequence and the cadence of the images or the story being told.  This process of self-publishing is one of the most productive things a photographer can do to improve their photography.

I always have a few personal projects happening at any one time.  Right now, I am creating a book I call Notes, which is a small book with a mixture of photographs spanning my entire career and my personal thoughts about the photographs.  Often times those thoughts are stories about the photos and sometimes they are metaphoric musings inspired by the photos.  I have been working on that project for a little over a year now.  I have just completed my 0º project which is a large book of landscape images with a small behind-the-scenes companion book.  You can watch the process unfold in my video series Self-Publishing a Photography Book with Blurb Books.  In the series I discuss the entire process of reviewing and selecting images, honing in on a subject for the book, choosing the right kind of book for the project and even designing the book.  I also teach you how to use two different book designing tools: Adobe Lightroom Classic’s Book Module and Blur Book’s Book Write software.  I hope you will watch it and join me and engage in your own Self-Publishing project at the same time.

The internet and social media upended up the flood gates and connected photographers with the world.  But the availability and affordability of Self-Publishing finally made it possible for photographers to bypass the gatekeepers and present their art in a truly meaningful way to connoisseurs of photography.   Not only are my Blurb books a very large part of my professional photography business, but they are an integral part of my improvement as an artist.  If you have not created a self-published book, now is a great time to start.  It doesn’t have to be a big, expensive book.  It could be a simple magazine.  But take this as a challenge.  Watch my series on Self-Publishing a Photography Book with Blurb Books, and start your own project today.  You will walk away with far more than a book in hand.

Your Assignments:

Welcome to class. In this set of lessons and assignments, I will walk you through the process of creating your own Self-Published Book. Take it one step at a time. When you are done with your book project, I would love to see what you have created. Make it public on and post a link to the book project here in the comments so we can all see what you have created. Who knows, we might even order a copy of your book for ourselves.

Assignment 1:  Create a Collection

Using the plus button by the Collection or Album panels in Lightroom Classic or Lightroom Desktop, make a new Collection/Album and start collecting items into that collection.  You will be far more efficient if you assign that collection/album to be your Target Collection and you Sync it with the Cloud (the Lightroom Ecosystem).  

Assignment 2:  Start Searching and Collecting

Just start looking through your images and look for an image or set of images that will become your inspiration.  Once you have an inspirational image set, start searching for images based on that inspiration.  You can use keywords, or locations, people or dates.  If you go into the Lightroom Desktop or Mobile applications, you can search with A.I. help in the form of Adobe Sensei.  When you find images, throw them in your collection and move on.  Don’t be too detailed at this point, just collect on an instinctual level.

Assignment 3:  Pair Down Your Collection

Create a new collection/album and call it the same name, plus “pass 2” at the end.  Make it the Target Collection and start looking through your first collection.  Look for common themes and connections between images.  If you are telling a narrative story, look for images that will help push the narrative along.  Use the Command or Control Key with the B or T key to add them to the target collection (B in Lightroom Classic and T in Lightroom Desktop).  Or just drag the images into the new, smaller collection.  Be more selective on this pass.

Assignment 4:  Brainstorm Your Presentation

While you are looking for this second set of images, you will have more concrete ideas coming into your mind of how the images could be presented.  When you do, write them down and entertain them as you go about your day.  It is time to start thinking about books and sizes… will there be text?  How much text?  Do the images need to be big or small?  Is it an intimate experience, or is it something to sit on a coffee table?

Assignment 5:  Choose the Proper Software to Design Your Book

Once you have a collection of images (even a loose collection) and you know how you want to present your images, it is time to choose the proper software to design the book.  There are three programs that will do an excellent job at building your book and will automatically submit it to Blurb Books for publication.  

Lightroom Classic:  Lightroom Classic’s Book Module has Blurb built-in.  It is very simple to use and my favorite thing about it is that I can design a book with completely RAW images.  This means that once the book is designed, I can edit any of the images right in Lightroom and they will be automatically updated in the book design.  I can also design the book in the Lightroom Catalog on a plane while the actual photos are sitting at home on a large hard drive.  I don’t need to collect the photos first, export them, and then import them into another program to get a book design finished.  So Lightroom Classic is an extremely convenient and efficient tool for designing books.  It does have two shortcomings.  First, it is not simple to work with Text in Lightroom’s Book Module.  Although the text editor has the same text controls as Indesign, it is cumbersome and clunky to work with text in the Book Module.  Second, there are limited paper and products available in Lightroom’s Book Module.  But if I am ok with the products that are available there, and I have a book to design with limited amounts of text, it is the most efficient way to design a book.

Blurb BookWright:  BookWright is a FREE layout program (downloadable at that is simple to use and quite powerful.  It has many of the simple functions for organizing images as you build your book that Lightroom does.  And it has a far easier text editing environment.  If I am designing a book with entire pages of text, I will choose BookWright over Lightroom Classic every time.  The major downside to Bookwright is that it requires you to export your images from Lightroom or whatever image program you use and then import your final images into the BookWright software.  This means you not only are making extra copies of your images but that if you design the book and see that change needs to be made, you need to go back to the original photos, make the changes, re-export them into the same folder and then synchronize those changes with the software.  That is a lot of work for a small change in a book.  But, you will more than likely save more than enough time to make up for it with the improved text editing environment.  BookWright also has a shape tool which helps in adding subtle graphic elements into the design of the book.

Adobe InDesign:  There is no question that the Gold Standard for page layout design is Adobe InDesign, but it is a complicated program to learn.  And that is InDesign’s negative.  If you don’t know how to use it already, you probably don’t want to learn how to use it.  But if you do know how to use it, it is very powerful and can create anything.  You can add photos, text, vectors, and even video to an InDesign document (not that the videos will be printed in a book, but their thumbnail could be).  It is similar to BookWright in almost every way, just more powerful and more complicated.  Anytime I am designing something that needs an extremely finer touch and especially something that is going to have a lot of text, like a magazine or a how-to photo book.  I am going to use InDesign because I already know how to use it and it is “all-powerful.”  But again, BookWright has most of the important capabilities that InDesign does.  

All three of these programs can create a beautiful book design and send it directly to Blurb Books for printing.  I have covered Lightroom Classic and BookWright in this book project set of lessons since they are the two simplest programs to use. Your job is to decide which of the programs to use based on your skill level and your book project requirements.  If the book is very minimal on text, then I suggest using Lightroom Classic.  But if you need more text in your book, or you don’t own Lightroom Classic, then BookWright is the best option.  Unless of course, you are an InDesign user.  So make you choice and let’s get started making a book.

Assignment 6:  Add Your Graphics and Logos to Your Collection

Make sure to add your graphic elements or logos to the Collection/Album before starting a Lightroom Book Module book or exporting your images for your BookWright / InDesign project.

Assignment 7:  Decide on Your Book

What kind of book are you going to make?  This is where you need to make some choices.  You should have been thinking about this the whole time that you were looking at images.  What is the purpose of this book?  How do you want it to feel?  What kind of price point do you want to hit for this book?  Is it for people to take on a vacation and enjoy, or is it a coffee table book?  Choose the type of book you want to make, the size, the shape and the paper!  You will be asked all of these questions when you start your project.  You don’t need to make a $200 Photo Book right off the bat.  You can make a Trade Book or a Magazine for $20.  Start there… it will be fun, simple and you will get a chance to experience the entire process from start to finish.

By the way, if you don’t know what to expect, and want to see some books and magazines, just go to and buy a few books from the Blurb Book store.  You will find some very interesting book projects there and you will be supporting other artists like yourself.

Assignment 8:  Design Your Book

Don’t get nervous now and stop.  Keep going!  You have nothing to lose.  You don’t even have to order this book if you don’t want to.  But you need to start the book.  And not just so you can finish it, but so that you can experience the process of laying out images in relation to one another and the words that go with them.  There is a lot of education in this process.  So get started.

Lightroom Classic:  If you are using the Book Module in Lightroom, just choose your second, third or fourth pass collection/album and then go into the book module and start placing images.  Have fun.  Watch the full video lesson on designing a book in Lightroom Classic.

BookWright:  If you are designing in BookWright (or InDesign), you will need to select your final collection/album of images and export them as full, high-resolution images, most cameras today are high enough resolution for a 12×12 inch book.  So just export them at their native size and you should be just fine.  If you are shooting with an older camera, you might need to increase the size slightly when you are exporting them.  sRGB JPGs at 100% Quality at their original size is perfectly acceptable.  Watch the full video on designing a book in Blub’s BookWright software.

Assignment 9:  Order Your Book

It’s time to order your book.  All three of these programs can submit your book directly to Blurb from the program.  Just order one for now, even if you plan on making more.  It’s good to see the book and confirm that what you are expecting is translating on the printed page the way you expect.

A word of warning: if you have never calibrated your monitor, you may not be seeing accurate color, contrast or brightness.  If you edit your photos and put them in a book design without a calibrated monitor, you may end up with very different results on a printed page than what you are seeing on your monitor.  It is a very good idea to calibrate your monitor.  To learn how to do that, watch my video on Calibrating Monitors.

See The Final Books

You can see the final books here. Just click and browse the books and even order them directly through BLURB BOOKS. Enjoy!

The Art Book

Behind the Scenes, Companion Book

Portrait of Bride at a Wedding in Chandler Arizona

Enlarging Photographs for Print with Lightroom

Portrait of Bride at a Wedding in Chandler Arizona

I was producing a seriese of 30 inch prints for Hype Parke Jewelers, for a bridal wedding event at the Biltmore in Phoenix, Arizona and obviously needed to enlarge the image from about 20 inches to 30.  Shooting with the 5D Mark II, make enlargements a rare thing because the file is so big, but anytime I need to go beyond a 16×20, I need to do a little enlargement work on the image to make it work for the larger print.  In the past, I used Genuine Fractals  to enlarge my images and it did a fine job.  Recently, Genuine Fractals was apparently purchased by OnOne Software and then renamed to Perfect Resize.  I have been playing with it and while it does a god job, and actually does the math a lot faster than its predecessor, the interface is much, much slower.  Which lead me to ask myself, “do I need to use a third party software for standard enlargements?”

So, I decided to do a test.  I do a lot of tests… but I swear I do not have OCD.  But my obsession, turns out to be to your advantage.

First, I enlarged this image in Photoshop with the Perfect Resize 7.1 plug in to 30 inches wide at 300 dpi.  The results were acceptably good for the print.  You will see on the image below, that the process of resizing an image tends to create a painterly texture, but when printed, that texture is generally swallowed up in the texture of the print surface and the grain patterns of the emulsion.  So, I am pleased with the results and they will print nicely.  But, remember, I had to open the image in Photoshop and run it through the Perfect Resize plugin or run it through the Perfect Resize plugin in Lightroom, which has a very slow interface.

Enlargement by Perfect Resize 7.1 by OnOne Software

Then I went back to Lightroom and simply exported the image from Lightroom and told Lightroom to enlarge the file to 30 inches at 300 dpi with a standard print sharpening added to the image on export.  The process was a lot faster than dealing with the Perfect Resize interface and the results were just as good, if not better.  If you look at both images on the dark pupil and iris of the eye, you will see more of a painterly texture with a bit more banding in the Perfect Resize enlargement above than you will in the Lightroom version below.

Lightroom enlargement with print sharpening

So I wanted to see if I could do it even better right our of Lightroom without using any other software or Plugins.  And I promise, I am not OCD, I am just curious!  So I added a bit of grain to the image in Lightroom.  You can certainly see the grain in the image below, but observe what it has done in the pupil and iris area.  No more weird patterns.  I’m going to go with the added grain and no painterly patterns.  It is far more beautiful and takes a fraction of the time to make the enlargement.

Lightroom enlargement with LR sharpening and grain

Now, this was a fairly simple enlargement from 20 to 30 inches.  I am not saying that Perfect Resize is not a good tool for enlargement, it is very good, and indispensable when it comes to extreme enlargements, but for the day to day enlargements, I find that Lightroom does a fantastic job all on its own.  So I will trust Lightroom to make the enlargement and save my time for the more important things in life.

Now, I’m off to help my son solve an particularly hard level on Angry Birds.

For a step by step lesson on what I did to get these results in Lightroom, see the Lightroom Podcast below.

Making Photo Enlargements in Lightroom 3 from Jared Platt on Vimeo.

There are plenty of plugins and photoshop methods for enlarging photographs beyond their native size, but Lightroom 3 can match or beat even Genuine Fractals or Perfect Resize on standard every day enlargements.

In this video you will learn how to use Lightroom to enlarge your digital images without the use of Photoshop or a Plugin.

Photography Details

Photography by Jared Platt, Platt Photography

Subject: A Bridal Portrait

Location: The Inspiridor in Chandler, Arizona

Infant portraits by Jared Platt

Photographing Children without Stress

I have the greatest respect for multiple birth parents.  One baby is life altering.  Two must rock your world.

Like parenting twins, photographing them is also exponentially challenging.   Fortunately, I think my photographic style gives me an advantage in the challange.  Because I am interested in real life, I love a photograph of a crying baby as much as I do a smiling baby, and I am not consumed with getting a pre-determined shot that may not come, I am liberated to simply create and enjoy the challenge.

 Infant portraits by Jared Platt

Of course, parents, will generaly stress out about the photoshoot because they have paid for my time and have certain pre-conceved notions about what a baby portrait should look like and what kind of shot they want to get.  But, my advice to every parent, weather they are hiring me, or just trying to photograph their own children, is to simply go with the flow.  Never force the photograph, and let it become what it will.

A twins infant portrait is the perfect laboratory to prove this hypothesis.  In this case, I arrived at the home in the late evening and the mother and father know me and trusted what I was doing, so there wasn’t a lot of stress over the photos.  Of course, this is crucial to the success of the shoot.  If mom is stressed, baby will be stressed.

The first thing I tell parents is that we are going to keep shooting and get lots of great images and that babies are cute, no matter what they are doing, so relax and let’s just have fun, even if the children are crying.  The other thing that I do to maintain the relaxed atmosphere is to plan enough time for the photo shoot.  If the baby needs to eat, then we need to take a little break and I can take photos of the babies toys or talk with dad.  Rushing the parents or the baby, will only end in failure.

With plenty of time and a relaxed mom and dad, the stage is set for a successful photo-shoot, but the most important element is the understanding that I am there to photograph children as they really are, smiling or crying, and that gives me the freedom to concentrate on the photographs that I am making.

 Infant portraits by Jared Platt

Some people are not comfortable with this concept and want to control the final outcome, and there are some very good photo factories that are perfect for that.  A parent can go to the mall and choose from the catalog of props and sets and have a photograph of their child in a chefs hat in a cooking pot and they will walk out with the print they saw in the catalog, with their child in the pot rather than the model baby.  It is something akin to keeping buying a frame at the store and pasting your kids faces over the happy people in the stock photo that came with the frame.  It is very predictable and the people who work at these photo factories know the menu and they know the recipe for this shot and that.  It is predicable and safe and there is nothing wrong with that.  But the parents who come to me for portraits are interested in something special and unique to immortalize their child.  They want something real, something that means more than just a cute portrait.

 Infant portraits by Jared Platt

Coming into the home, allows the child to be photographed in a unique environment that is filled with memories and spirit and as I use this natural surrounding, the child is placed at ease and more importantly, nothing is a prop, because everything has meaning.  And by discarding those pre-conceved shots and just taking things as they come, we are all open to letting things happen and enjoying the experience.  And we still end up with some of those cute traditional photographs, but without the stress.  However, I will always maintain that the less planned images are always the best.

 Infant portraits by Jared Platt

It certainly is not a predictable way to photograph a child, but children aren’t predictable anyway and in the end, no one can doubt the outcome.  The images are full of emotion, humor and joy and are extraordinary portraits that will be cherished forever.

Of course, you can judge the results for yourself.

 Infant portraits by Jared Platt

 Infant portraits by Jared Platt

 Infant portraits by Jared Platt

Dust Storm Rising: Coolidge, AZ

A Dust Storm Rising: Takes Me Back Home

Living in the desert is a unique experience.  Forget about the 120 degree summer days and the horribly unfriendly plant life.  To me, the weather is quite fascinating.  I love the monsoon rainstorms and the lightning is fantastic.  Other places in the world have their own challenging weather situations, many much more dangerous.  There are tornadoes, hurricanes, earthquakes, blizzards, etc…  and none of these options are very appealing to me, which is why I prefer my native state of Arizona.  But we do have our own unique weather effect: the dust storm.

I was traveling back from a job in Tucson and took a back road route home (rather than the freeway).  I enjoy doing this because everything goes by so quickly on the freeway and there is no inclination to stop and look at anything (and of course, it would be illegal to do so).  So the back roads are much more enjoyable as road trips go.  On my way home, I saw an approaching dust storm and immediately pulled off the road and pulled out the camera and went hiking.  The Arizona dust storm has a beautiful effect on our world.  It creates a ghost of anything in the distance if not, it completely obscures it.  Like a blizzard, it creates a thin sketch of the landscape with little to no contrast.  I am generally haunted by vacancy in an image.  I am not sure why, but of all the photographs I would select to hang in my home, it is those filled with quiet and solitude that appeal most to me.  That doesn’t mean that I choose to photograph this way all the time, but it has the deepest emotional affect on my soul.  I think it is because that is who I am at my core.
 Dust Storm Rising: Coolidge, AZ

If you are drawn to a particular style of photography, or art, and looking at that work brings you home, you can be sure that that attraction says a lot about you as a person.  In fact, weather you like a photograph or don’t, says less about the photographer or the photograph and more about you as a person.  Which is why, I think, that I get along so well with my clients.  They have selected me as their photographer based on their emotional and intellectual response to my work.  Which means that they, in some way, deep down at some root level, are like me.  We agree on what gives us peace and brings us home.

When I got home and started working with this image, I asked my wife about this image.  “Am I off base, or is this image extremely haunting and beautiful?”

“I can see what you are attracted to in the image,” she replied, “but it’s not all that great!”

No, I wasn’t devastated by her comment.  I just decided she was wrong.  It is great, but perhaps only to me and people like me.  Remember, her reaction to the photograph says more about her, than it does about the photo.  In contrast, I think my friend Isaac Bailey would like it.  But I think we share a common love for solitude (or perhaps it is a sullen longing for sleep).  My wife grew up in the city with all of its distractions and noise, I grew up on the prairies of Northern Arizona where the only noise is the constant wind.  So, my wife’s take on this photo was an instructive reminder to me.  My wife is a good judge of a photograph, which tells me that this image is different, my attraction to it isn’t just about some other brilliantly employed compositional strategy, I didn’t make this picture to sell something or even to make a statement.  I made it because something inside me wanted to go home for a little while and relax there in the shadow of the Zuni Mountains and look over the endless flat land, smell the dust, swap stories with my brothers and wait until dark for a ride back into town.  This was a free ticket back to Bitter Springs after the long climb through The Gap to witness the brilliant view from the tops of the Vermilion Cliffs.  Sometimes photography isn’t about the subject in front of us at all.  The subject is just a catalyst for memory, a sort of psychiatrist’s couch for introspection and self discovery.  And sometimes, a photography session reminds you of who you are.

These introspective moments almost never happen while the camera is in your hands.  They come in the quiet times in the darkroom, or the Lightroom as you study the results.  And while my mantra is always about efficiency in post production. When I feel that prompting, I do my best to slow down, and examine my work closely without distractions or deadlines and find out what it is, I have been trying to say to myself.

A few more images from the series that I think you might enjoy.

 Dust Storm Rising: Coolidge, AZ

 Dust Storm Rising: Coolidge, AZ

 Dust Storm Rising: Coolidge, AZ
 Dust Storm Rising: Coolidge, AZ

Tech Talk: All of the images in this post were completely processed in Lightroom.  They were never opened in Photoshop.  Tones, grain and vignettes were all added in Lightroom without the use of any additional plugins etc.  Below is a video about creating custom vignettes in Lightroom like those you see above.  This video is also on iTunes and on the Pictage Blog.  Check out more of my podcasts at iTunes and more blog posts at Pictage Blog.

Creating Custom Vignettes in Adobe Lightroom 2.6 from Jared Platt on Vimeo.