Original subtitles

So I've taken all those images from the

first round and I've put them into a

subfolder called raw.

I have taken all 2410 images and now

instead of culling in I'm going to cull

out and you will notice that this round

takes, I'm paying a lot more attention to

the details, to the focus, to the light,

to the angles of the face, to the

tiny little micro adjustments with our composition and

I'm comparing images side by side, I'm magnifying

them to see how sharp I am.

So this round actually took me almost as

long as the first round and that first

round I had 15,000 images.

Now I only have 2,400 images but

it still took me two hours to get

down from that 2,400 images to the

final amount of images which we're going to

deliver to the clients.

Also as I'm going through this second round

of culling I'm picking any images that really

stand out.

So any images that might be a good

sneak peek for the couple that Lani will

edit for them and this will be the

first thing that they see from their wedding

and it's usually one or two images.

We usually try and pick one that's close

up where you can see what they look

like and you can see their connection.

It might be from the dance floor, sometimes

it's from the ceremony, sometimes it's from the

recessional, sometimes it's a portrait and then we'll

try and pick one big environmental shot as

well.

The important thing is that these sneak peeks

feature both the bride and the groom together.

Then Lani's going to edit those sneak peeks

and you're going to see his entire editing

process in Editopia but I'm going to explain

the workflow part right now because he edits

those sneak peeks right away as soon as

possible as we can after I've finished the

culling and what we do and this is

just a little surprise for the clients is

we'll order two 8 by 12 matted photographs

of those sneak peeks and we'll have them

sent directly to their house.

Lani, can you just quickly grab me that

reveal box and I'll show you exactly what

they look like and this is often the

first thing that the clients see.

No, the reveal box on the piano.

This is often the first thing the clients

see from their wedding is these prints and

it does a few things.

A, it ties them over until the final

delivery of the images.

The box, no not that, the other one.

So yeah, it ties them over until their

wedding day is over but it also gives

them some beautiful artwork that they can display

on their walls right away.

So this is exactly what we sent them

matted and framed prints two or three from

their weddings.

It also really communicates the value of print

which we're going to talk about later on

when we talk about album sales and print

sales but this is the first sort of

taste they get of their wedding imagery not

on a screen but printed.

Move into my second round of calling here.

I've taken all the photos that I've given

one star from cards one through seven and

put them in this raw folder and one

of the things I forgot to mention is

that as I'm doing that I'm relabeling the

folders.

I'm really relabeling them as called okay and

that's really important for me just because often

as I'm calling I get distracted by something

you know the kids come and ask me

a question or the doorbell rings or the

phone rings or I get a text and

when I go back to the calling I

can't remember where I left off.

So I always relabel my folders so that

I can easily figure out where I left

off and pick up from there.

Okay so I've got 2410 images in this

raw folder here and my calling during this

process is during this stage of the process

is a little bit different.

So in the first round of calling I

called one image at a time right I

went through the images one by one at

full screen and as you can see I

did that very quickly.

This round of culling I'm going to be

doing comparative culling so I'm going to keep

the images in a grid-like pattern like

you see here so that I can compare

them and see which ones are best.

I'm also the first round of culling I

was culling in right I was only giving

one star to those images that I was

selecting and in this round of culling I'm

going to cull out.

Okay so instead of pressing the one button

to give one star I'm going to press

the zero button to switch it back to

zero stars.

Okay so let's start that now so I'm

going to give this one a zero star

and I'm trying to get this maybe I'll

try and get a few more images on

here there and I can see six and

I'm going to keep it on this microscope

here so that I can go and just

see the sharpness.

I've intentionally really over culled like over selected

images on that first round so these two

really it's not a great shot it's okay

it tells the story and I can't really

figure out which one I like better or

worse in this case so I'm just going

to go with my gut and just pick

one but I can't exactly tell you why.

Sometimes there's an obvious choice sometimes I have

to just compare these two one two I

think I like this one because there's more

of a moment here and it's also framed

a little bit better so I'm going to

take take sorry this one out.

So as you can see this round of

culling takes a lot longer than that first

round I'm going to pick the tighter one

here there's less distractions on the roof so

I'm going to pick this one here take

that one out this one even sharp I

like this one with the more squared up

position this one he looks like he's he's

performing for Lanny so I'm going to take

that one out this one's got a better

exposure it's also

much easier in this round to make cuts

because I've seen the overall coverage of the

event so I can easily get rid of

shots like this right it's not an important

moment I know because I've seen the entire

contact sheet I know there's better moments of

them together so I can confidently get rid

of a shot like that at this point

so here I'm really looking at the hands

here I want to pick the one with

the best hands I think I like this

one up here okay so I've got quite

a few of these ones and again looking

at hands and sharpness between these

two I think I like the hands better

in this one because the thumb's sticking out

so I'm gonna take these rest of these

out a few more oh

this is the one I think this is

the one because the the hand is pulling

out the tie there so I'm gonna take

this one out I might just leave this

one in as well just because I like

that one for now I'll probably take it

out later it's kind of an interesting

portrait I'll leave it in for now this

is an absolutely awful room I only had

to do this getting ready okay

let's see again I'm looking at hands I

think I like this one because you can

see the bow tie in conjunction with the

mask there actually these

ones down here are way better because they're

more square so I'm going to take that

one out between these two that one kind

of a trippy perspective I think I'll choose

this one just because the hands I'm

going to leave a few of those in

just for fun I'm

going to choose this one a little bit

bigger for you um because I like how

this hand is in the photo and it's

also blocking this chair that's here so I'm

going to take take this one here out

I see what I was trying to do

here with the layering but it didn't quite

match up so I'll take that out these

layers here just didn't really come together for

him so I'm taking that out between

these two I think I like this one

where he I think I like this one

where he's less camera aware so I'm going

to take out that one this one for

sure because he's less camera aware in this

one this one he's looking right at the

camera this

one I don't think is I like his

hands best in this one so this is

the one I'm going to select those other

two out I think this one here does

a better job of filling the frame we

don't have we still have a little bit

of space here but there's a lot more

space in this one so I'm going to

take that one out okay take that one

out this is the obvious choice right here

and I'll leave a wide one as well

guys camera where I'm just going to get

rid of that one this

one I'll leave no we're

going to be cropping in on this one

so or this one here but I think

this one's better I think

we can get rid of that one too

these closer ones are better this is the

only one of that girl so I'll leave

that one in these two are so similar

but just the fact that this one doesn't

have a foot sticking out and this one

does I'm going to choose this one knowing

that he was up there I would have

got out of this shot he's gonna have

to use his fancy photo work photoshop skills

this one you might be able to get

me around okay

we've done the culling or at least the

bulk of the culling I still narrow it

down a little bit further on in the

process that you'll see but I'm done the

part where I'm sitting at my computer staring

at my screen for two days trying to

narrow images down I really dislike this portion

my back usually kills by the end of

the two days my eyes are sore because

I'm so focused and I can't multitask while

I'm culling I have to be completely zoned

in to what I'm doing in order to

do a good job I've tried listening to

podcasts and books on tape but I completely

lose sight of the plot because I'm so

focused on the pictures so I've got one

more thing to do before I make that

image salon catalog and that's sort the photos

now they are sorted by capture time we've

already done that but I do want to

do a little bit of manual sorting as

well I want the bride prep all together

I want the groom prep all together if

I just organize by capture time those are

all going to be mixed in with each

other I also want images you know that

Lanny was taking during the ceremony and that

I was taking during the ceremony at the

same time to be together as opposed to

interspersed by capture time it'll make it easier

in the editing when we're batch processing and

it's also based on how I want it

to line up in the final gallery that

I deliver the clients so let's go and

manually sort the images now all right so

now I'm just going to do a little

bit of manual sorting of these photos now

that I've got them color-coded I've got

them arranged by capture time and for the

most part I'm gonna leave them in this

order when I deliver them to the clients

but I do want to separate a little

bit of manually sort a little bit of

the moments especially with the bride prep and

the groom prep I don't want those to

be all mixed in with each other and

a few of the detail shots as well

so I'm going to go through and do

that and I have color coded them so

it's a lot easier to sort right so

I can easily find oh here's one of

Lanny's shots as opposed to looking at the

actual photo I can just see from the

color that it's Lanny's shot and then I'm

going to move it so this will probably

take me about 15 minutes to do and

then so we'll speed it up and then

we'll have all the images in the order

I want before we rename the files okay

so now I've got all the images in

the order that I want and like I

said I didn't really change the order that

much I just flipped around a few little

things with the groom prep and the bride

prep so that they were separated and then

anytime there were very similar shots like during

speeches and stuff I just made sure those

were grouped together so that we can edit

them as a batch as opposed to have

to edit them all individually if they're separated

so now I'm going to rename the photos

so I'm just going to select them all

and file rename here and I always use

the same naming system which is the partner

A's initial so Jenna and then the at

symbol and then will and then dash and

then I set sequence set sequence variable to

four digits because there's over a thousand images

and then I just rename the photos so

now all the photos are renamed and they're

in the order I want so I'm ready

to create my Lightroom catalog now