Over the last couple of months I have been looking hard at the whole idea of an iPad and iPhone based workflow for the kind of photography that I do. I have tried to find a workflow that is repeatable and adaptable that could replace my tried and tested (and damned good) workflow on a laptop or desktop computer.
After trying different iPads and iPhones as well as dozens of apps and an endless combination of those apps I have come to the conclusion that there is no way that an iOS device can replace a computer for the vast bulk of my work. There are several reasons for this but the main one is that iOS was never designed for this kind of heavy lifting and the way that you move files around between apps is still pretty painful and that it is even worse with RAW files. Don’t get me wrong, using a fully-loaded top of the range iPad Pro with decent internet connectivity and a keyboard you get really close to a good workflow but by then you have a device costing at least £1,000.00 (and a lot more if you go for the 12″) which weighs and costs almost as much as an Apple MacBook without the access to rock solid made-for-the-job applications. (more…)
Screen grab from Transmit for iOS on my iPad showing a twelve image upload in action.
There are so many ways that I deliver images to various clients these days that I feel that I’m bound to leave something off of this list. The great news for users of the iPad or iPhone to do quick edits of their work is that every single option that I use on the desktop machine is also available on iOS devices;
FTP– I use Transmit on the iPad and iPhone. I also have FTP options inside FSN Pro and Shuttersnitch that can all do a good job but Transmit does it all better.
Email – adding large numbers of attachments on the iPad isn’t my favourite way to send pictures but it works.
Dropbox – The iOS Dropbox app means that I can easily add files to folders on the cloud service and send links to those folders before, during or after the job. It has a very simple interface and works really well.
WeTransfer – I wasn’t very happy when the WeTransfer iOS app went over to functioning as “Boards” – making it a very different user experience from the ever-so-simple desktop version but I’ve got used to it and it works really well.
Photoshelter – The professional image sharing platform has a dedicated iOS app which is fairly easy to use and very functional.
Third Light – This is a niche Digital Asset Management platform used by two of my corporate clients and the iOS app does its job well.
Apple’s Lightning to SD Card and USB3 to Camera adapters
A few weeks ago I promised to keep working on my iPad workflow and keep readers of this blog up-to-date with my thoughts. Lot of other things have got in the way lately but here is the second instalment. I’ve decided to break the whole process down into four parts:
Getting the images onto the iPad
Toning and captioning them
Getting the pictures to where they are needed
My conclusions and (hopefully) a settled workflow
The accessories that I’ve used to import images from memory cards onto an iPad for photo editing.Because I’m vaguely logical, I’m going to tackle them in order and so I’m going to outline the ways that I have looked at getting my pictures onto the iPad. Because this is an examination of the possibilities I’m going to consider all of my options and because I’m a Canon user I will tend to lean towards the options for EOS cameras although much of what I’m talking about is not make specific. I have experimented with several ways to get the pictures onto the iPad and I’ve tried all of them as JPEGs and RAW files too: (more…)
A couple of weeks ago I spent a couple of days helping to teach other photographers to send pictures direct from their Canon EOS 5D MkIVs. Over the last couple of years I have taught dozens of people how to do this and set up a huge number of cameras; mostly Canons ranging from the 5D MkII, MkIII and MkIV to the various EOS1D series models as well as various Nikon D4, D4S and D5 models. It’s not rocket science but it is something that takes a lot of practice before it becomes part of your toolkit.
I use this technology all of the time myself and it was suggested to me that I might like to try my hand at making an instructional video. I have a face for radio and so my two thumbs are making a welcome return to the media (last seen holding a power tool in the 1985 Argos catalogue). You might like to check out this old blog post about why I need to get pictures away quickly too.
In 2008 when I had just left my staff job at TSL I was asked by a reporter working for a photographic magazine about what I intended to do with my career. I pointed out that I had an enormous amount of experience working in schools and universities and that in my time working for the Times Educational Supplement, Times Higher Education Supplement and Nursery World Magazine I had shot pictures in over 3,000 places of learning in at least 13 countries and that it seemed like a “no-brainer” to market myself as a photographer specialising in those areas. Plenty of prospectuses and websites as well as editorial shoots later my tally of educational visits and shoots tops 3,500 and I’m still in love with the genre. The reporter asked what special skills I had that made me good at that part of the job and my response was that if you can’t get great pictures of kids then you really shouldn’t be a photographer because it was “shooting fish in a barrel“. (more…)
I get involved in a lot of discussions about the finer points of photography both online and in person. One of the most common this year has been the about choosing which RGB colour space we should all be working in. The truth is that there are a number of variables which, between them, should point you in one direction or another. There are plenty of RGB colour spaces but the main two are Adobe RGB and sRGB – mainly because these are the options you have when shooting with most DSLR cameras. There are a couple of others (Colormatch and ProPhoto) that offer wide gamuts and some real technical advantages but, as I hope to explain, this isn’t necessarily helpful. More isn’t just a waste, it’s a potential problem.
In an ideal world we would have cameras, viewing and reproduction systems that gave us every tiny subtle variation in colour that the human eye can see on a good day in great light. We don’t. Yet. (more…)
I have been cleaning up some of the behind the scenes stuff on my original dg28.com website and got side-tracked looking at some of the old technique posts (again). I really liked this one from July 2003 which was originally entitled “Choosing a Mood”. Anyway, here is the original post cut and pasted:
Every time you take a photograph you are saying something about what is in the image. It’s impossible to avoid a frozen frame being anything other than an interpretation of that moment so it becomes a mark of a good photographer to make sure that every element of the image (composition, subject matter and light) helps to paint a consistent story.
The mood required for every image – especially with portraits – is something that you have to consider very carefully.Some lighting guides will tell you that there is a lighting set up for each mood and that it is a simple matter of placing light A in position B and light C in position D to achieve this. I have to agree that there are some obvious starting points for many of the moods that I use, but there are many other factors that have to be taken into account when setting the scene. (more…)