It's certainly one way to work the problem, but I can't see that it is any more efficient or useful than a way that includes using Lightroom to do the whole process *and* to keep track of all of your work as well.
Go out on shoot. Once done: - start Lightroom - import contents of all cards (my biggest shoot so far was 1,800 exposures) :: import process included conversion to DNG, applying keywords and metadata template with location, client name and job date, standard captioning for all, copyright info) - grade rejects and picks. - filter to just ungraded, run through again to find missed picks. - delete rejects - make collection of picks. - as picks are rendered, mark 'in progress', 'done', etc with color labels - flesh out more specific keywords. (smart filters pick up dynamically and add keyword categories to dynamic collections for future use) - export finished work per client contract. - delete collection - delete rejects after final review - archive In the future, I can review/find/re-use any work without having to hunt for it: it's all there in the catalog. Just a different way to work. I never work from the card, though: that's often a situation that causes trouble. On Wed, Nov 24, 2010 at 6:23 PM, Tanya Love <[email protected]> wrote: > Let me throw a totally different perspective into the ring here... > > I know that this won't apply to those of you who don't shoot as prolifically > as I do however... > > I use Lightroom as an editing tool and nothing more. This is my workflow > after completing a shoot: > > 1. I open Adobe Bridge, and I go to the drive/memory card that contains the > images I need to import. > 2. Then I do a really quick scan and delete off flash misfires, out of focus > and eyes closed shots. I keep some that I might think are "redeemable" at > this stage. > 3. Then I "select all" and "copy". > 4. Then I go the folder on my external drive that I have dedicated to the > client I am shooting. (I have my drives sorted into "Commercial Clients" > and "Portrait Clients", and each client has their own folder under this for > not only images, but for contracts etc too). > 5. Then I paste. > 6. After everything has been copied over, I format the SD card, ready for > my next shoot. > 7. I go back to the folder containing the images (on my HDD), and have a > bit of a more thorough look and delete duplicates, shots that I don't think > will "add" anything to the collection, or shots that are "average" and that > I don't want people to associate with my name! (Ego? Erm, yes, just a > little!) > 8. I go into LR3 and import the shots in the folder that I just copied. > 9. After I complete my editing, and exporting of jpgs (one set in high res > for printing, and a second set that are in low res and watermarked), I > remove them from LR3. > 10. I burn to DVD/usb two folders for each of my clients - a "High > Resolution" folder, and a "Low Resolution" folder. In my contract it states > that they may use their images online, but that they MUST only use the > watermarked images from the Low Res folder to do so. For obvious reasons > this is not the case with my commercial clients. > > So, basically, the ONLY folders that I have in my LR catalog are those that > are waiting on editing, or partly edited. As soon as my work on the > collection is completed and delivered to the client, I remove it as my way > of keeping tabs on how much editing I need to do. We won't talk about how > many folders I have in LR right now, I'd rather not think about it, because > it is a tad scary... > > I use Photoshop ONLY for extra special shots these days. For custom editing > for commercial clients when working on their campaign "signature" shots, but > that is only after they have viewed the full collection of images and chosen > their favourites to give "special treatment" to, and likewise I use it for > working on canvas prints/collages/enlargements for portrait clients. And > obviously for my web design/maintenance/advertising materials etc. > > So a bit different to most of you, I would think, but helps me to keep track > of things so that I am not always drowning under it all. But, man is it a > SWEET feeling to look into LR and see NO folders! Something I have done in > about a year now! > > Tan.x. > > > > -----Original Message----- > From: [email protected] [mailto:[email protected]] On Behalf Of Eric > Weir > Sent: Thursday, 25 November 2010 1:25 AM > To: Pentax-Discuss Mail List > Subject: Re: Lightroom file management question > > > On Nov 24, 2010, at 12:34 AM, steve harley wrote: > >> On 2010-11-23 12:12 , Eric Weir wrote: >>> >>> A catch may be that in the camera the images are in subfolders by date in > a folder by year. Perhaps there is a way to change that on the camera side? > I'll have to see. >> >> in Aperture, at least, the folders the camera makes on the card are > completely irrelevant; i'd assume the same from Lightroom > > You've opened me up to the possibility of non-problemmatically importing > directly into LR, but it's going to take some experimenting to get the dated > folders in the camera to go just where I want them on my hard disk. I > appreciate your suggestions. > > ---------------------------------------------------------------------------- > -------------- > Eric Weir > Decatur, GA USA > [email protected] > > > > > > -- > PDML Pentax-Discuss Mail List > [email protected] > http://pdml.net/mailman/listinfo/pdml_pdml.net > to UNSUBSCRIBE from the PDML, please visit the link directly above and > follow the directions. > > > -- > PDML Pentax-Discuss Mail List > [email protected] > http://pdml.net/mailman/listinfo/pdml_pdml.net > to UNSUBSCRIBE from the PDML, please visit the link directly above and follow > the directions. > -- Godfrey godfreydigiorgi.posterous.com -- PDML Pentax-Discuss Mail List [email protected] http://pdml.net/mailman/listinfo/pdml_pdml.net to UNSUBSCRIBE from the PDML, please visit the link directly above and follow the directions.
