Assignment One: Workflow.

Assignment One: Workflow.

This week has been Deals carnival week.  During the week we have a raft race, live street music, theatre, a carnival, fireworks and a funfair.  This formed the basis for my project.

I decided to focus on the funfair and the fireworks.  What I wanted to obtain from the fair was a good shot encompassing the light and movement.  With fireworks it is only possible to get an impression of the display by employing extended time exposure. 

Planning and equipment.

The first choice was which body and lens combination.  For a body I chose my Olympus E3.  The funfair part of the assignment seemed like a good opportunity to use my 7-14 lens.  I packed a 14-54 lens for the fireworks.  From past experience I knew that I would not need a large tripod as the various rides supplied sufficient places to rest a camera.  I packed a table top tripod for the firework session.  Spare batteries and an extra memory card completed the kit.  I love using polarising filters but there was no use for them during this session.  I also dismissed the use of a flash as it would be very intrusive in this environment and would not assist in the style of image I was after.  I set up to shoot in RAW.

The venue.

I arrived early and had a scout round to see where the best shots would come from.  During this time I took some images of the the fairground folk.  The light was too bright to use the extended exposure shots I had planned but still took some general shots.

As the evening darkened the fair got busier and the shots I was after became possible.  One of the rides was the Mega Dance which was an angled super round-a-bout.  I found a suitable position to set the camera and jammed it against the structure.  This gave me sufficient stability to take the extended exposure shots I had planned.   The biggest problem with this ride was the illuminated sign itself because the lettering scrolled and flashed constantly giving few opportunities for a shot with all its letters displayed.  I took 37 attempts to obtained one with the full set of.   I produce this image at the end of this assignment.  I continued round the site looking for more photo opportunities, again using the structures themselves as my camera rest.  The choice of the 7-14 lens was spot on, allowing me to get in really close to the action with minimal distortion.   

The firework display was scheduled to start on the Pier at 2115 so I had to leave the fair and set up, with a pint, at the Royal Hotel.  I mounted the camera on the small tripod on a wall.  I changed the lens to the 14-54.  From past experience I knew that this was going to be pretty hit and miss.  To give myself  a chance at any sort of result I set the camera to manual focus just short of infinity and at f8.  I set the exposure compensation dial to two stops under so that I retained a black sky.  I anticipated that the fireworks were going to be bright enough to look after their own exposure.   I took exposures of between five and  twenty seconds hoping to capture some overlapping patterns.  Again I had no time to delete any images at the time but just kept taking the shots and occasionally changing the focal length to try and match the height of the display.

The download, file naming and storage.

The following day I downloaded the file from the CF card to my Mac via a card reader.  I immediately made a copy file.  These I named Fair 2013 and Fair 2013 copy.  From then on I worked with the copy, filing the original in the file named Assignment one Workflow which was in turn within my BA file.  

Inspection and initial rating.

I had 181 images to sort through.  Because of the depth of field of the 7-14 lens there was no problem with focus, but camera shake took care of a small number.  The largest number were rejected because of the conditions I was working under.  I was attempting to record the image of movement in a single still.  On one of the rides, The Terminator, a randomly operation strobe system gave interesting if intermittent illumination.  On all of them the illuminated would flash on off and then go into scroll mode.  As I wrote earlier it took 37 attempts to record the one successful image of the Mega Dance.  

I made a paper note of the first cut and removed them to a file with that name.  This file now contained 15 RAW images.

Final inspection and selection.

I worked my way through the 15 and made my final selection.  As I picked out the images I opened them in Photoshop.

Optimisation and fine tuning.

The light sources at the fair were a mixture of daylight, white strobe and coloured tungsten.  While didn't want to lose the variety and vibrancy of the fairs lighting I wished to give any skin tones a normal hue.  Therefor the first thing I sorted out was the colour balance.  I like deep blacks so ensured that the darkest areas were pushing the edge of RGB zeros.  As these were already garish I upped the saturation and vibrancy.  I sharpened the images with a standard sharp filter then an unsharp mask.  On this occasion I left the crop until last although normally I carry this out early in the tuning process.

Copying files.

I made two copies of each jpg, one at high resolution and one at low resolution, and put them in files called, lo res and hi res.  These I put back into the 1st cut file.  The remainder of the Fair 2013.copy file was trashed.  I will retain the main Fair 2013 file until I am sure I wont be requiring any more images from it.

 Leaving it to the youngsters.

 Try again Sir. You must have been unlucky.

Terminal speed.

Mega Dance.

Fire flowers.

The End of the Show.

Reflection.

The aim of this Assignment was to devise a themed topic that interests that is of interest to me and demonstrate technical and visual skills, quality of outcome, demonstrate creativity and show context.

It would have been very easy to stick a flash on the camera and click away at the fair ground but what I wanted was the feel of the rides and that meant getting the impression of movement.   I think I achieved this pretty well.  As I wrote earlier part of the difficulty was having the action coinciding with a fully illuminated sign.

I'm pleased with the outcome.  The first shot was one of a number I took to show the fair as a whole.
I like the feel of the man in green leaving the scene and paying no attention to either me or what was going on round him.  All the others in shot are teenagers and seem to leaving it to them.  I cropped it put the man's head in the phi point where it cannot be ignored.
The second is of one of the stall holders.  As it was a quiet night he had time to chat and I took a couple of images as we talked.  He typifies the travelling fair ground man, stocky, tanned an looking out for the next punter.  I took pictures of another stall holder but I selected this man because of the mischievous look in his eye.
The third one is of The Terminator.  When this ride gets up to full speed all that can be seen is the underside of the cars so I took it at the start of the ride but with an extended shutter time of 1/13 sec.  This gives the impression of speed even where it was lacking.  I would have liked more detail on the passenger's face but that would have meant losing the motion blur.  Taken with the camera jammed against a barrier.
This my favourite.  37 exposures to obtain just this one where all of the Mega Dance letters are illuminated.  1/6 secs with the camera again jammed into part of the guard rail.  The images with non-illuminated letters look incomplete.  This little bit of detail makes this my favourite.  Below is a selection of the unsuccessful shots.  They are OK in their way but not as good as the one with the full illuminated lettering.

The two fireworks pictures were the product of planning my viewing position, staking it out early and patience.  By changing the exposure times I planned to vary the number of fireworks in each shot.  Too many and the picture just burned out, too few and I got just one lonely star burst.  I think these two images demonstrate the beauty of a good firework display.  I included the two figures at the bottom right to give the image some scale.  The moon and it's reflection act as a nice counter to the display and its reflection.

Not many images for the 181 I started with but that's the way it went.

The following evening I attended the actual carnival and took shots of the passing floats, carnival queens and marching bands.  Unfortunately I manage to format the memory card before I download the images.  I shouldn't have popped into the pub on the way home.  Alcohol and good workflow practice don't mix.

They say confession is good for the soul.

Reflections on my workflow.

As long as I don't format my card before downloading it, my system works pretty well.  Lightbox has been recommended by a friend and I am thinking seriously about buying it.  I am also looking a Bridge CS4.  I am not going to change to another system until I can see the benefits and I feel at home with it.

My Workflow in brief.

Pre shoot checks.

Check Photo brief.

Choose suitable equipment for planned shoot.

Check equipment.  Batteries, memory etc.  

Set up camera for conditions.  ISO, WB etc.

On location.

Check conditions tally with what was planned.

Take pictures.

Back in study.

Down load memory card to Mac. 

Name file and make a copy.  Put original in separate holding folder and work from  copy.

Sort out usable images and put in 1st. cut folder.

Open in Bridge and then Photoshop for corrections.

Name finished images and make hi and lo res copies as required. 

Repackage images with original master file and store in my filing system. 

Editing.

Exercise: Editing.

For this exercise I returned to the batch of pictures I took at Botany Bay, North Kent , on Wednesday 10th. July.  As I have written earlier in the blog I have tended to keep images that I am never going to use again.  This seemed a good opportunity to practise what I intend to be my new work flow system: download, check, then either re-file of discard.

 The images I shot were of three main subjects.  The first group was of the sun falling on the white cliffs.  The second was of the sun sinking behind a headland.  The third was an attempt to capture the image of birds passing across the face of the setting sun.

As I took the images I checked them as they appeared on the cameras rear screen.  Each of the sequences had difficult light conditions.  The white cliffs were tending to make the camera under expose by attempting to darken the pure white of the chalk.  The sunset shots were almost silhouette shots with the sun actually in view.  This gave rise me having to ignore both the histogram and the cameras sensors.  The only way I could get what I was after was to view the result of each shot and make any necessary adjustments.  Obtaining a successful shot of birds crossing the disc of the sun was pure hit and miss.  I set the frame and waited until birds approached, hitting the shutter at what I thought was the appropriate moment.  Had I the time I would have deletes many of these images then and there.

This was a set of images I already had on my desktop but tried to treat them as a previously unseen file.

As the original file was still on the desk-top I started by making a working copy of the whole file and naming them, Botany Bay 10.07.13, and Botany Bay 10.07.13. copy.

Step one - the technical edit.

I opened the file using the Macs basic browser and found I had 243 images to sort through.  Because of the lighting conditions I had encounter at Botany Bay I had many that were wrongly exposed or where the focus poor.  These I removed to a To Be Deleted file.

Step two - the selects.

I went through the remaining images and made a pen and paper note of those that were worthy of another look.  Many were similar and would require closer scrutiny.

Step three - the first selects.

I went through the remaining images and selected a dozen from which I would make the final selection.  These I transfered to a First Select file.  The remainder were added to the delete file.

Step four - group and review.

I opened up the First Select file and expanded the images for a better look.  I also used the quick view facility to get a larger image.

Step five - a final choice.

The final choice of two was difficult as the evenings shoot covered three subject.  After some thought I selected two that best overcame the conditions at the time of the shoot and which best gave the feel the that evening on that beach.  The picture of Tony looks like a night shot, which was the silhouette look I was after. They are not technically brilliant or artistically dazzling but are not bad for what was an unplanned club shoot.  

Tony on the beach.

Birds against the setting sun

Further Thoughts on Workflow.

Further Thoughts on Workflow.

I have spent the last two days trying out Aperture 3 and have realised I don't need it.  It's great at downloading, organising and checking my work but is not really adding to the efficiency of the work flow I have been practicing for the past few years.  In fact it has acted as a brake on the flow of work through from the download to the finished product.

If I was handling many download files at the same time I would no doubt find it useful but I am rarely working on more than three open picture files at any one time so I will carry on with the manual system I have used until now.

What I will change is the way I have stored my photos.  I have in the past tended to keep all my photos regardlesss of how good or poor they were.  I gave the reasons for this earlier in the blog.  In future I will keep only the first, and possibly, second selects plus of course the finished product.

Thoughts on Workflow.

Interim Thoughts on Work Flow.

I have been using my own workflow system for some years now but have decided to try out a ready made system.  These have proved to be interesting times and have brought a halt to any other work.  

The first system I tried was Digital Photo Professional.  Looked good and all the suggested features were present.  I fed in a file from my Canon and and worked through the pictures.  All was well and I was pleased with ease with which I could manipulate the pictures.  Trouble came when I tried to upload a file produced in my Olympus.  DPP refused to recognise it. 

The second system was the Olympus Viewer 3.  Looked a slightly simpler program but had sufficient features to cover my needs.  Worked well with an Olympus file but refused to load up a Canon file.  

Now working on learning about Aperture 3.  Have not as yet fed in a file but will practice on some discarded files from my Trash and old files full of pictures I am never going to use.  It's about time I stopped keeping these old files and this seem a good way of thinning them out.

I am not going to move on until I have got at least a working knowledge of Aperture 3.  Hope it doesn't take too long. 

Histograms.

Exercise: Histogram.

For this exercise I used my Canon G1X as its live screen and histogram are easy to see and use.  

Mid contrast.

For the mid-contrast pictures I used a run down byre.  The grey of the byre itself was similar in tone to the ground on which it stood and the sky was not too bright.

I took the three required pictures.

The picture taken as the camera suggested had a well centered histogram with little at the extremes but a well defined start and finish.  The white house in the background and the pitch black interior of the byre account for the edge details.  The whites do not reach 255 and the blacks are short of 0.  All within range.

At one stop over the histogram had kept its shape but now had a warning at the right edge showing that there was some highlight clipping.  A quick reading with the Digital Colour Meter confirmed this with the white houses reading the full 255 for RGB.  Even the chalky soil was registering in the 240/250 region.  Most of it would be recoverable but not the true shade of the houses.  When I took the shot the camera was showing a gamut warning for these highlight

areas.

In one shot under the histogram had kept its shape but had moved over to the left and showed a warning at the left edge indicating a loss of detail at the dark end.  This can be seen clearly in the screen shot with the blue gamut warnings in the shadow of the byre.  Even the dark windows of the houses have the same gamut warnings.  Again a reading with the DCM confirms that these blacks are registering 0 for RGB.  Most of this picture would be recoverable but these true blacks could not be brought back.

High contrast.

For the high tone I photographed a field of Holstein cattle.  Their contrasty colour, plus the black and white of the farmhouse, cover the full range from true white to true black.

The suggested reading gave the following.  The histogram is further to the left than I would have expected but it still shows some clipping to the right.  A quick check with the DCM shows that white of the house is slipping out of gamut.  The black of the cattle is nice and deep and well into the low numbers on the DCM and slight signs of clipping.  There was no sign of clipping on the histogram at the shadow end.

The one over shot showed a similar histogram but shifted to the right.  The highlight warning is more pronounced, which I confirmed with the DCM.  The white in all the buildings had slipped over the 255 mark and even the white on some of the cattle had gone as well.

The one stop under shot displays clipping marks all over it.  The histogram is well over to the left but has retained its shape. It has a small warning line indicating that some shadow detail has been lost.  Most of the shot could be recovered but not the lost shadow detail.

Low contrast.

I made a number of attempts to take an attractive low contrast but in the end settled for a picture of a wall.  The wall lacks both dynamic and colour range.  Not attractive but perfect for this exercise. 

The suggested exposure has a neatly centered histogram with smooth slopes on each side tapering down to the base line.  This is almost a sine curve.  No clipping warnings.

The one stop over showed a similar sine curve but it was both moved to the right and bent to the right.  I was not as aware of this bending on the earlier examples but in this purer curve it became so.  There was a small clip warning to the right of the histogram but the DCM failed to find any point that had truly burned out.  Although wrongly exposed the picture would be recoverable.

The one stop under shot gave a near perfect set of sine curves.  No clipping was visible, and although dark would be perfectly recoverable.  There was no lean to this histogram.

In the three examples here there was more clipping at the highlight end.  This was even so in the low contrast picture.  

I took two more pictures for myself of the cattle.  The cameras histogram indicated I should shoot at a 1/3 stop under.  This produced an exposure pretty much on the money.   I have learned in the passed that it is often better to slightly under expose that to risk burning out the highlights.

I had a general awareness of histograms before this course but was not not of their subtlety or their colour function.  I will certainly make more use of them in the future.

Your Work Flow 2.

EXERCISE: Your own workflow 2.

I am a member of the Deal Camera Club, which is currently in it's Summer recess.  During this time a number of us meet up to venture out to take pictures.  The venue is not chosen until the evening itself.   The choice is based on such factors as light, weather, tide, and whats happening in the area.  Because of this the choice of equipment can be difficult.  I guessed that with a dry and sunny evening we would most likely be taking either landscapes or seascapes.  I packed the Olympus E3 with a tripod and four lenses, a 7-14, a 11-22, a 14-54 an a 70-300.  I packed polarising filters for the last three.  The large front element of the 7-14 precludes auxiliary lenses.  Two spare batteries and some additional memory completed the equipment.

Seven of us met up and the decision was made to drive over to Thanet and chase the evening sun.  After checking out a couple of bays we settled on Botany Bay.  Botany Bay consists of a broad sandy area backed by tall chalk cliffs.  There was sufficient water remaining on the sand to give some neat reflections.  To the west was a promontory topped by a building.  I anticipated that the sun would  eventually disappear behind it.

As the wind was strong and gusting I mounted the camera on the tripod.  I started with the 7-14 lens as I wanted to get some wide shots of the cliffs and the beach.  The sky was a mix of blue and cloud and I wanted to included as much as possible.  With the sun behind me I had problems with my own shadow so had to move round.  This brought in the wet sand and the chance of the cliff being reflected in the water.  After taking the wide shots I changed to the 14-54 lens and took more pictures from further back.  This brought into play the reflections.  I had to experiment with exposure settings as the whiteness of the chalk cliffs was causing the the camera to under expose.  Opening up one stop cured this.  The histogram in live-view was a great help.

The next job was to find a position from which I could take the shots of the sun setting behind the western headland.  There were a large number of sea birds flying low across the western end of the beach.  This game me a new challenge.  To capture a bird or birds crossing the disc of the setting sun.  I know this can be done in Photoshop but I wanted to do it for real.  While I was setting this up one of our number walked into shot and gave me the classic small person in large landscape shot.  With the sun behind him and reflecting off the wet sand it looks OK.

After setting up for the last part of the shoot I returned to taking pictures of the cliffs which had now turned a nice warm colour as they picked up the colour of the reddening sun.

I changed to the 70-300 lens and set up for the last part of the session.  I was aware of the danger to both me and the camera's sensor in taking shots into the sun so take care not to over do it.  The biggest problem was to get the exposure right so that the sun retained its true colour.  This meant that the headland was thrown into silhouette. Left to the camera the shot over exposed and the sun and sky burned out.  In these circumstances the histogram was of little help.

As I had anticipated the sun set behind the building on the promontory.  As the sun got lower the birds came into play.  As it was too dangerous to look constantly through the viewfinder at the sun I pre-focussed and just hit the button each time a bird approached it.  As one can imagine this a very hit and miss approach but in the digital exposures cost nothing.  The results are not prize winner but I obtained the shot.    

The following day I checked my equipment for sand contamination.

I downloaded the files from the memory card into the Mac via a card reader and found I had taken some 240 exposures.  I named the file "Botany Bay. 10/07/13".  I made a preliminary check of the pictures using the Macs Quick View function.  I made a paper record of the 26 shots I thought may be worth further investigation.  These were reduced to 8.  These I named and worked on, cropping, cloning out unwanted figures, and generally tweaking.  I ended up with 7 pictures.

The last job was to make two files, one hi-res and one lo-res, name them and place them back in the Botany Bay file that was then placed in the Workflow 2 file within the BA file.

 This is my regular workflow system.  It gives me two usable jpg files, one for print use and one for net use.  I still retain the original which I can return to if I wish to select further shots.  This may not be the best workflow system but it does allow me to find files.  I an open to suggestion as to any better system.  When I first bought my Mac I opened up my files to its filing system.  After it scrambled my pictures it took a friendly IT guy to resurrect my files.  Since then I have been wary of proprietary systems.

Your Own Workflow.

Exercise. Your Own Workflow.

Before I embark on the workflow exercise I will list what equipment I use.

Cameras etc.

Olympus E3 and E330 bodies with a wide range of lenses from 7-14 through to a 70-300.  Two large flash guns, a tripod and monopod, plus a mixed bag of filters, memory cards and spare batteries.  

I also have two Canon compacts, a G12 and a G1X.

Computers.

My main laptop is a MacBook Pro but I also run an old HP Pavilion for programs that do not run on the Mac.  Both laptops have external hard drives that automatically back up all my files.  The laptops and printers are wirelessly linked via the house router.  The scanner is old and has to be wire connected when required.

Printers and scanner.

Two Epson printers.  A Stylus Photo 2000 and Stylus PhotoPX710W office printer.  I also have an Epson 3170 Photo scanner for scanning in old photos and negatives.

Software.

Photoshop CS5.

Planned workflow.

Check equipment including batteries, lenses and auxiliary lenses and memory card.  As the Canon G1X is heavy on batteries, check the spare.

Set up camera for conditions: WB, ISO, AV for this shoot.

Plan locations and possible shots.

Take pictures having regard to changes in light and weather.

Download files to laptop.  Name files.

Sort out usable pictures.

Carry out any corrections such as colour, contrast, sharpness, cropping and straightening.

Name finished product and place in new named files. 

Place these files, as a package, within my existing filing system.

Publish, email or print.

The Exercise.

Last week two Scottish relatives of my wife came down for a short stay.  As this was their first visit to this part of Kent we did our best as tourist guides.  To photograph Wee Ronnie was the basis of the exercise.

I changed the brief slightly in that I used a number of different locations but still put myself under a time restraint at each location.

The first choice was which camera.  As these were going to be informal shots, where I wanted the taking of the pictures to be unobtrusive and the quality was not the highest factor, I settled on my Canon G1X.  As there was the possibility of some sun I fitted a polarising filter.  I fitted charged battery and carried a spare.  The 8GB memory card was newly formatted and I didn’t consider a spare necessary.  I checked the lenses for dust and marks, set camera to shoot RAW, dialed in AV, auto WB and ISO200.  I was ready to go.

Over the two days of their stay we visited Walmer Castle, The Royal Hotel, Deal Pier and a local church.  I placed Ronnie in a number places and in a number of poses.  Some worked and some didn’t.  As you will see Ronnie is no Brad Pitt but I don’t think the front page of OK magazine was the aim of the exercise.

My camera is set up to start a new file each day and the date is the file identifier. 

The first session was at St. Georges Church.  Ronnie was taken by the gravestone that bore the inscription, “A Brick Grave”, so I posed him by it.  The first of the three shots was the best as it had a nice air of spontaneity.

We moved on to Deal Pier where I wanted the typical tourist shot of tripper on pier with the town as a backdrop.  Of the three shots taken this was again the most spontaneous.

We continued to the restaurant at the end of the pier for coffee and cakes.  Ronnie likes his food so a picture of him eating his cake seemed in order.  The low angle was chosen for a number of reasons, first,the restaurant was pretty full and I didn’t want to draw attention to the fact I was taking photographs, second, the low angle emphasised the size of the cake the Ronnie was eating, third, it made him and his cake the only features in the shot, and lastly, I thought that the low angle would make an interesting composition.  This again was one of three shots taken.  I chose it because of Ronnie’s interaction with the camera.

The fourth and last of the set was taken at a rather boozy lunch at The Royal Hotel.  The idea was to have Ronnie’s head contained within a glass of wine.  It took five attempts but I got what I was after.  

Post Production.

Having completed the taking of the pictures I downloaded the files from the SD card into my Mac via a card reader and named them Ronnie 26/06/13 and Ronnie 27/06/13.  (I have attempted to produce a screenshot but all I get is a reference to these images).

I started a file, which I named ”Your own workflow”, into which I placed the two photo files and this Pages file.

I opened the photo files and checked the results.  I very rarely discard pictures. This was a habit I got into while I was acting as photographer at my wife’s school.  When I did a shoot at the school I always lodged an unedited disc of the pictures with the head master so that any interested party could see the results.  At that time I had three CRB certificates.

The first file contained 27 pictures.  Of these some eight appeared usable.  On some a combination of the midday sun and Ronnie’s hat was throwing a harsh shadow on the face.  I reduced the selection down to four.

The second file contained 16 of which I used five.

The first shot was the one by the grave in St. George’s Church yard.  I warmed the colour and tweaked the blacks and saturation.  I also cropped it slightly.  Ronnie and Brick Grave.

The Picture of Ronnie on the pier was as I hoped, a nice holiday snap.    This is pretty much as taken and fulfilled what I was after.  Ronnie on Deal Pier.

The cake eating shot worked out well.  The cake does indeed look larger that it really was and he has lovely smug and satisfied look on his face.  Other than some slight straightening this is pretty much as taken.  Ronnie and cake.

The head in the wine glass again worked out the way I had envisioned it with Ronnie's head appearing to float on top of the wine.   Some straightening and cropping gave the look I was after.  Ronnie in a glass.

On the 27th we went to Walmer Castle, originally built by Henry VIII and now the residence of The Warden of The Cinque Ports.  Photography is not allowed in the Castle but we used the gardens for the next set.  

Ronnie is not the tallest of men so I took the opportunity to exaggerate this by posing him on the longest bench I could find.  I tried three versions of the shot but this is the one that best draws attention to his lack of height. 

As we walked round the gardens we found ourselves in a greenhouse.  The door was propped open by a watering can which I promptly pressed into service.  One of three shots taken.  The other two were rather static.  In this one Ronnie is looking in the direction of the imagined pour and the watering can is angled as though in action.

The next was not very successful.  The idea was right but the execution failed.  The idea was to frame Ronnie in the gazebo at the far end of a long pond and have him reflected in the still water.  It looked OK in the viewfinder, although I could see that a fair amount of cropping would be required as the lens on my Canon was not really long enough for this shot.

The last is of man at ease.  There are a number of campaign chairs on the sea side of the castle so that visitors  can sit and gaze out over The Channel.   The canon and canon balls give a feeling of location. 

The bench picture was a rather cruel attempt to draw attention to Ronnie’s height and in that it works pretty well.  I have reproduced a kinder version of this picture which I am sure Ronnie will like better.  Cropped, straightened and colour corrected.  Ronnie on bench and Ronnie on bench 2.

The finding of the watering can propping open a door was fortuitous and too good an opportunity to miss.  Again cropped and colour corrected.  Gardener Ronnie.

The reflection shot was as I have said, a failure.  The lens was indeed too short for the job.  Had I taken it on my Olympus with the 50-200 it would have worked well enough.  Reflected Ronnie.

The picture of Ronnie reclining in the chair was a one shot picture.  I took a while framing it and got what I was after.  Ronnie and canon.

I place the high resolution pictures in one new file and low resolution copies in another.  This gives me my working jpgs in easy to locate files.  The whole lot is then put in the Digital Practice file within my BA file.

The work flow I have followed here is that which I normally follow.  It the work is in some way sensitive, as when working with children or vulnerable groups, an unedited copy of my work is given to the client in disc form to show what I have taken.  

I do not make hi and lo res copies unless I am intending to put the results on the web in some way.  If that is the intension I make the lo res copy at this stage to save time later.  

As I said in my original introduction to you I go back to the days when film was the only option when taking pictures.  It was then that I got in the habit of using a workflow as without one it was too easy to be up to ones knees in half processed work and unfiled strips of negatives.