Daily Photo becomes a diagram

My daily photo today tries to explain my idea of photoflow being more important to the creative and originals, who need to know ways to do the craft. Not a step by step procedure within a rigid workflow (which tends to have all the output looking the same) but alas makes difficult to learn software at least a little attractive. I still like to idea explained to me by Misho Baranovic, a great local mobile photographer, the workflow is in fact simple just SHOT, EDIT & SHARE [the edit bit being optional]

I have written quiet a bit about workspaces, photoflow and workflow, and my views are getting stronger. It is important to understand the steps, what tools are available and how to use them. There may well be an apprenticeship period where you learn by copying and following strict recipes. However there will be a time when you need to open your creative wings and fly over new territory, if you have mastered your media you will have a wonderful journey.

Of course there are other organizational aspects, like culling, flagging, keywording, backups that are also important to the long term management of any photo collection, but they need not get in the way of creativity, or taking a daily photo.

Thinking about PhotoFlow, rather than WorkFlow

It would seem everything on the Net that is photography oriented will at some time try to sell the perfect workflow. I’m not a fan because these formalised workflows soon become constraints that limit what you can do. In other words I see a rigorous workflow as anti-creativity.
I much prefer the idea the physical flow of the photo  has a lot more to do with being able to work flexibility. (I know it is not truly physical but a spatial workspace is a good analogy). For start I have several mistresses (photosoftware  like Picasa, Lightroom, AfterShot & OnOne) on all of my computers and they don’t exactly play together well. Next I am progressively changing how I organise my photos. There is still an archive of everything (less the photos I cull on import). I now have four places (separate folders on network drives) where I save and work on photos, The most important is Portfolio which is the place I store my best photos, they are not necessarily shared on the net. I have become increasing convinced you need to save your favourite photos in their fully processed view. The three other grouping are PhotoScrapbook, VideoScrapbook & Family are more work places and photos can come and go. If these get post processed the sidecar gets sent to the archive. In all these workspaces I use albums to group the photos (Rather than folder location on the disk).   Finally I have two different ways I share via the Net, the obvious social network places (to open up the image to anyone), and more importantly “private” sharing (where I can select those to share with and only them).
My workflow is still essentially a simple Shot, Edit & Share but I also see it as simple steps to move working photos into a suitable workspace.

Learning Workspace & Tools rather than Workflow

I have never been a fan of the idea of “the” workflow to control how you work on images. At least for a creative person this approach will guarantee that your work looks just like almost everyone else’s. Instead I prefer to think a better way to "learn" your own style and skills should be a self exploration of the workspace and the tools available.
I'm actually falling back on the way an artist might be expected to learn to sketch. Some of that instruction might be how to hold the pencil but most of the time will be dedicated to seeing the subject and making the appropriate marks on the page, sometimes using a HB pencil sometimes sometimes much softer like a 4B or charcoal and other times maybe coloured like a watercolour wash or crayons. To this end I began a series of simple post where I described the workspace available in common software (specifically software I have used). This was a lot like opening the page of your sketch book or perhaps a setting up a ready primed canvas and getting out your pencils, pens and/or paints. However once you are familiar with the workspace it is time to find out what tools are available and what they can do.
What I am going to tackle next is an exploration of tool types, by tool type. Not trying to cover everything  but definitely those which I consider the important photo editing tools. This is somewhat like using different media in the sketching but I will be focussing on specific tasks that most photographers and/o artists will commonly encounter. I have picked a dozen common tasks and the tools to do them and divided these into three groups

Basic Tools	Flourish Tools	Special Tasks
White Balance	Sharpening/Smoothing	Noise Reduction
Exposures	Selective Refinements	Red Eye Reduction
Tonal Enhancement	Layers, Masks, Gradients	Lens Corrections
Straighten	Filters, Presets
Crop

You probably don't need to learn all of them or even learn them in the order given. They are just a set of tools I think are important to learn. They are not a comprehensive list of tools to answer every possible modification of a digital photo. I intend to discuss each tool, one at a time, and generally one tool in one or just a couple of software package at a time. I don't intend to explain every possible option for each tools but I want to start you on the journey of learn new tools and which tools can be used for which tasks. I particularly want to leave you with a desire to experiment with those new tools and skills.
So next time you have a photo you think has potential, look at which task/tool is likely to deliver that improvement and start to experiment with just that tool. Shift the sliders both ways. Look at the extremes. Perhaps even try the same image in a different package or the same tool on an on-line service. Like any artist you should become skilled at making your mark in the way you feel comfortable.  You could wait for me to discuss that tools (you might have a long wait) but If you aren't comfortable yet just set aside some time to experiment with the tool, try every which way. The big advantage with digital images is it will cost you little more than your time.

There are dozens of expensive books that follow elaborate workflows but I don't think you can beat learning how to use one tool at a time on a task that is important to creating/enhancing your own image.

Once you know the way in which you want to use the tools and you find yourself doing the same tasks time and time again, then  this is the time to considered work flow, But it should be something that suits you and enhances your creativity.

Its about Workspace, not Workflow

Something has been niggling me recently about many of the changes in digital photo management. Its not the move to store everything in the cloud, or the move to lite apps, auto “Awesomeness” versus subscription services. Ok this trends are not thrilling. I realised what it was when I read Matt Kloskowski’s recent post for lightroom killer tips about the difference between managed and referenced photo organizers.Then it hit me I have always resisted as soon as a software suppliers or “experts” starts talking about “the” workflow, because I know that means they want me to follow a set prescription and they want to take total control. As a creative I want to be in control of my work.

This is not the way an artist wants to works. Certainly they need skill to use their tools and media, which will include knowledge of how to use those tools and media to make the marks, forms and create well made images and object. The procedures and layout of their work places are likely be highly personalized. I suddenly realised the issues that are bothering me, at least the artist side, is about workspace not really the workflow. Providing I am able to assemble the tools I need into the space (both physical and computer based) I have at my disposal, I should then be able to craft photos and images in my own special ways. What’s more as an artist I want to be able to do that in a manner that maintains the integrity of the medium. Further I realise that often it does require a quiet space and time to reflect to bring out the fullest potential of an image. So I am starting with the spaces and computer hardware I have been using and rethinking how, when and why they are connected and where and when I should be using each. Next I need to reassemble the tools to best suit my more creative workspace.

ABC of my photo flow

I have been quietly reviewing several aspect of my digital photography, including the physical aspects my photo management, what I do and what I have to carry as I travel around (a couple of trips are coming up). So I thought I might share some of this here.

A for Aquire

This is the step where I first take the photo and then transfer it to some other storage device (typically a laptop or net book computer) . I have two options here either by removing the card from the camera, or connecting a cable. Wireless or Net based transfer could be used here as well but I'm lagging behind the times a little in that regard.
 

B for Backup

This is the step I think a lot of photographers over look but it may be the most important. At the same time (or very soon after) you transfer your images from the card or camera you should also make a backup copy (doing this automatically is best). At my office I have a Netgear Stora (a duplicate drive raid system) that is set to automatically backup everything from the local user drives on my network. So loading photos into my picture folder, for example, automatically creates two copies on the stora. When travelling I usually have a small USB backpack style hard drive and I manually copy any photos uploaded to it. Whilst I have gone from a single copy on my camera/SD cards to two copes on harddrives, travelling is a higher risk time for this style of storage, so just in case I carry a couple of empty USB keys in my camera bag to make sure I have additional backups of any "keepers". These backups copies are short term and can be cleaned out once the photo sets go into archive collections.

 

C for Collection

My Primary Copy/Collection, the long term access and storage location, the true archives, are updated regularly usually monthly, but sometimes after special trips or events. I have an permanently running external hard drive connected to my LAN and which contains a master PhotoARCH folder, this is shared between my all my computers, and under that folder are subfolders for each year, then subfolders for each month and finally sub folder for each day.  I have found archiving by date is the easiest way to organized my new digital photos. At the same time I update the archive I also make external copies to optical media (eg DVDs). In the past I made two copies of the DVDs and stored one off site. Recently I did some sums and it is now actually cheaper (a set of 50 DVDs for $24 means the long term cost of storage is around $0.11/MB whereas a 3TB drive for $120 means storage is $0.04/MB) to use a large external hard drive just loaded with your photos and sitting on the shelf, compared with the same storage sitting on DVDs taking up the whole shelf (3TB is equal to approximately 670 DVDs). So now I have two external drives for my archives, one on-line (just on my network) all the time and the other on my shelf. I still make a DVD set to store off-site each month.
If you are a fan of the 3-2-1 approach to backup you will notice that this system incorporates those principles (3 copies, two media and some physical separation between the copies.) I prefer to call it my A-B-C.