Feb 222012
 

Lightroom Published Photos

If you’re anything like me, you’re a really keen picture-taker, a fairly keen editor, and a grudging filer. Somehow publishing can get lost, but it’s publishing that allows people to actually see your work. Without publishing it, it’s like it’s never happened.

But, once you’ve shot, imported, keyworded, filed, chosen and edited your shots, it’s too easy to simply do nothing at all with them. Or too easy to feel that there’s one last edit that will transform the shot from OK to awesome.

These are excuses. Get publishing!

And I’m not addressing you exclusively, dear reader. I’m as guilty of it myself. For example, after my star trail fail, I’ve actually taken a star trail I’m really happy with, but have I shared it here?

Quite.

Fortunately, Lightroom has features which can help. In this article, I’m going to illustrate with Jeffrey Friedl’s excellent jf Flickr export tool, but others are available, and LR’s built in Facebook publishing service is probably one of interest to most people.

A note on Publishing Services in Lightroom.

Lightroom Publishing ServiceThis was explained to me really well in a blog post that I’ve since forgotten the whereabouts of. Basically, if you want to export a photo to – for example – email to someone, then you use LR’s excellent built in Export tools. However, that’s quite a fire-and-forget mechanism. It’s Export and be done. If you want an ongoing relationship with the files you’ve exported, you should use the Publish Services, which you’ll find down on the bottom-left in the Library module.

These allow you to set publishing destinations. You can then drag the photos you want to publish, and the next time you tell Lightroom to Publish them, the collections are updated in the destination. This is useful if – for example – you wish to use Lightroom to unpublish a shot. Remove it from the Publish destination in LR, and at the next publish, the shot is removed from the destination.

Next, think of these services in terms of Lightroom’s Collections functionality. It works the same way, you just specify an external relationship for the collection, rather than it beginning and ending with a virtual grouping in your LR catalogue.

Smartening your Collections

OK, so where the power lies in this is that you can create Smart Publishing Collections. In the screenshot above, the collections with the cog (Food & Drink and Edinburgh Christmas Market) are smart collections, whereas the ones with arrows are standard collections constituent of images you manually place therein.

LR auto-populates smart collections based on logic that you set.  So as you go about your normal business of importing, categorising, assessing and generally mucking about with your photos, Lightroom silently goes about sticking them in publishing collections for you. Once you’re happy with what you’ve done, a single button click takes care of it for you.

Lightroom smart collection

In this example, I am publishing Food & Drink shots into a Flickr set. Any image with the keyword “Food & Drink”, and which I rate as four star or above is automatically published to the set. I establish these rules in advance, one time, and LR goes on and on, publishing on my behalf. I don’t have to remember which collections, which sets, which rules. The trick here is obviously configuring the Smart Collection rules to your established behaviours.

You are Keywording, right?

Lightroom Metadata panelLR’s power as a cataloguing tool comes from the right hand panel of the Library module, not the left. If you’ve got a massive folder structure and not much in the way of a Keywords structure, you’re really not making as much of LR as you should be. If you build a keywording structure (read “The DAM Book” by Peter Krogh for more on this, even though he slags off LR as not being good enough for the task), you can build real searchability into your catalogue. After all, a successful workflow isn’t about putting images into your catalogue, it’s about getting them out.

 

So, the general thrust of this post is this:

  • Keyword your images and add meaningful star ratings to them.
  • Configure Smart Publishing Collections for specific image types that you want to publish automatically.
  • Sit back while Lightroom looks after things for you.

Jan 112012
 

A combination of circumstances led to a mini studio setup being ordered from Amazon and subsequently delivered to the Edinburgh Chap’s house. Followers of my photography will know that an interest in product photography has been lurking, spurred on by occasional forays exchanging crap unwanted valuables for cash on the world’s largest tat bazaar.

When you come down to it, product photography is a lot harder than it looks. Trying to get a base and background that are not distracting is a challenge, and then so is lighting it. Trying to balance the inevitable blend of tungsten and flash lighting can be a nightmare, and I actually found best success using natural light from an offset window.

Canon EOS 1D MkIII with EF 24-105 F/4L IS USM and 580EX II
40mm. 1.0s @ F/10 ISO 250 Flash: Fired

Flash used for fill around the left side and catch lighting on the knobs. Primary light source is massive window to the right. Huge edits required to sort out shadows and surface issues with the base for this shot. You can actually see the power cord disappearing into the table!

Canon EOS 1D MkIII with EF100 F/2.8L Macro IS USM
15s @ F/25 ISO 200. Flash: Not Fired

This image was shot with darkness outside. Four tungsten lights directly above produced a nasty mix against the colours of the flowers, so were switched off. There was diffuse light from 2, 6 and 11 o’clock relative to the subject, but a very long exposure was required.

As for the base/background, I struck a usable seam with our kitchen work surface. Jet black granite backing up to white brick-pattern tiles. Place the object far enough from the wall, and then use aperture control to defocus the tile grouting worked reasonably well, but then lighting control was still immensely difficult.

Canon EOS 1D MkIII with EF100 F/2.8L Macro IS USM and 580EX II on PocketWizard
2s @ F/14 ISO 100. Flash: Fired

Reasonably successful shot this, although I’m not completely happy with the lighting. The flash was held at around 7 o’clock relative to the camera, pointing straight at the ring at a flat angle.

 

Canon EOS 1D MkIII with EF100 F/2.8L Macro IS USM
10s @ F/25 ISO 200. Flash: Not Fired

Cheating! Because the angle between the camera and subject is much more acute, the texture of the granite can be seen in the F/25 shot. Accordingly, this one is composited with one shot at F/9, where the chilli is not as sharp through its length, but the background is relatively defocussed.

Doing a bit of research revealed that I could buy a light tent – a fold-out white cube, with detachable backdrops. These came in varying sizes and with various additional accessories. It seemed that some daylight-balanced electric lights would be a good plan too.

A kit from Ex-Pro offered a 45cm cube with two lights and a mini-tripod for around thirty pounds. I suspected that the tripod wouldn’t be able to support a 1d with a macro lens and a twinlight flash, so would be next to useless, and the lights came in for some overheating-related criticism in the Amazon reviews.

I ended up traversing slightly upwards in Ex-Pro’s range. A 75cm cube sold by itself (with red, blue, black and white backdrops) for around £25, plus a pair of midi tripod-mounded day lights for around £40 would ditch the unusable tripod, provide a larger “tent” and replace the criticised lamps with more universally well-received units. Here’s the link for the tent, and here’s the link for the lights if you’re interested in following my path.

They arrived today, so I unpacked them and used the kitchen table as a support, placing the lamps either side – in the case of one of them using a handy chair.

Although the subject I chose (a set of Bowers and Wilkins headphones) did not require true 1:1 macro shooting, I chose the macro lens anyway, partly because I wanted to use the twinlight flash for additional light (and catchlighting) and partly because it’s an immensely sharp piece of glass. However, the reach isn’t quite enough from a centre-mounted position on the tripod, so I detached the centre column and remounted it horizontally. This creates stability worries, but allows advancement of the rig into the tent from a floor-mounted tripod.

Now the experimentation begins, learning how best to place the three light sources to light various subjects. Here’s my first effort, which I’m quite pleased with.

Canon EOS 1D MkIII with EF100 F/2.8L Macro IS USM and MT-24EX
2.5s @ F/22 ISO 100. Flash: Fired

First go with the studio kit! Happy with this.

 

Jul 172011
 

Jessica on a Balance Bike. Picture © giles-guthrie.com

Camera: Canon EOS 1d MkIII
Lens: Canon EF 24-105 F/4L IS
73mm. 1/50s @ F/10 ISO640

I find photography to be a solitary hobby. I actually like it that way. In my head I mix my gear’s capabilities, my experience, what’s coming through the viewfinder, my knowledge of the situation, what’s about to happen, and what I want the shot to look like.

I press the button.

Sometimes it works.

But it’s mainly about me and the craft of photography. I need to shut out the parts of the outside world that are not related to the shot. The distractions have to go. And this often makes photography – for me at least – quite incompatible with family life. Children are – bless them – incapable of not being distracting. In the time it takes me to do my thing, they’ve probably run out in front of a car, goosed an elderly person or spilled a drink (not necessarily theirs). I’ve been doing macro in the garden, only to have the shot ruined by a child standing on the flower I’m trying to shoot, or frightening away the butterfly, or crashing into me just as I take the shot.

Every so often though, it all comes together, including the children, and I’m able to make a shot that I’m really proud of, and which has not required the exclusion of the ankle biters.

Above is a case in point. Here’s Jessica, during a balance bike (it’s a bike with no pedals) class at Center Parcs. Being an adrenaline activity, she was well up for it. While other parents sat on the periphery with their compacts or their iPhones, I got in amongst it. The shot above is uncropped and unedited (save for the watermark and Lightroom’s default sharpening).

Above, you’re seeing the experience of thousands of panning shots, the knowledge that to shoot a child you have to get down low, that you have to get in amongst it, ignore the stares of the observers, and that the wheels absolutely must be blurred.

Sometimes it works and I can bring the family back into my hobby, into my private world. I can cast off the worries and the insecurities that tell me I’m a crap photographer. I can point to an image, and say “There! There you were, doing your balance bike thing, and I captured it.” The pixels remain after the synapses have failed.