My iPad workflow – some conclusions

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.

I’ve failed.

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.

Now all of that doesn’t mean that there’s no place in my working life for an iPad workflow. If I’ve got to offload a few Jpeg files quickly on the spot then the small, cheap and very lightweight iPad Mini with a few carefully selected apps can do a great job. My cameras are wifi enabled and the iPad fits into even my smallest Domke J3 camera bag which means that half a dozen images can be sorted an uploaded/emailed pretty quickly. Anything much more than that and it pays to get my ageing MacBook Air out and use that.

So far I’ve been through four stages of my quest on this blog:

  • The introduction to my quest asked questions and promised an answer. Eventually.
  • Part Two of my iPad workflow was an investigation of the various ways to get images from the camera onto the tablet. By the end of it I was still unsure which method(s) provided the best results.
  • Part Three of the series included a video showing how I processed files on the iPad Mini. I still use that same workflow and so that video is still worth watching.
  • Part Four concentrated on distributing the captioned, toned and cropped files to the clients. This will always be changing because new clients have their own requirements and old ones seem to keep changing theirs too.

In this final (for now) section I’m going to quickly go through my preferred Jpeg workflow stage by stage. I’m sure that this will only work for a few of you as it is but I hope that it provides you with a few ideas to incorporate into your own workflow and/or some ideas to reject because they don’t work for you.

  1. Use the wireless functionality built into my cameras to send the files to the FSN Pro app on the iOS device using the FTP option.
  2. Select those files, add IPTC captions from templates (the main description is often pre-written in Apple Notes and copied and pasted).
  3. Export them to specific folders in Files.
  4. Use Adobe Lightroom CC to crop and tone the pictures.
  5. Share pictures to a different folder in Files.
  6. From files I share them using the Transmit app for FTP, the Mail app for email or either Photoshelter, Dropbox or WeTransfer apps for jobs where those are preferable.

It’s a simple process with Jpegs but trying to do this with RAW files is a lot harder and has extra stages that make it unsuitable for what I need it to do. You may have noticed that I have avoided any mention of the Apple Photos app. That’s because it annoys the heck out of me. It keeps renaming files and tries to bring images into the Photos system at every stage. I just don’t want to send files to clients with file names starting img. I go to a lot of trouble to use custom filenames in my cameras and I want to be able to go back and find the matching RAW file without having to compare images. I may have shot a couple of thousand images on a job and only picked out six to send for urgent (social media usually) use and by avoiding the Photos app I save myself a lot of headaches later when I come to do a proper edit away from iOS.

An interesting journey which has increased my understanding of the way that Apple’s iOS works as well as giving me a useful, usable and adaptable workflow for when a few quick Jpeg files are the client’s priority. I mentioned near the beginning of this post that I’d failed and that’s true but in failing to replace my desktop workflow I have added yet another string to the bow and that makes the time and money that I’ve invested in this project well spent.

There’s a good chance that I’ll revisit this if and when some better apps come onto the market or if Apple finally decide to stop their Photos app renaming every file. Until then, enjoy working out whether your own work would benefit from a tablet or phone workflow.

iPad workflow part four

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.

Six different image sharing/transmission options right there on my iPad and iPhone, all of which work well and the first four interact properly with the iOS Files system. Once I have saved my edits I can easily select whichever delivery method suits the job and send my pictures (assuming that I have an internet connection of course). Wherever possible I like to use FTP and having Transmit on the iPad and iPhone is a wonderful option because it is so versatile and because it has the ability to sync settings and passwords from my Mac computers. That means that I can send files to any FTP server that I have set up on my main computers and I can add new ones on iOS devices that get sync’ed to my Macs too. It has so much advanced functionality that I wouldn’t know where to begin listing it all – suffice to say that I have yet to come up against any situation where I’ve wanted something that it doesn’t do.

The way that FTP from the Transmit app works for me is simple. I locate the pictures in Files, select them and use the share option to select the Transmit app. In Transmit I select the FTP server that I wish to send the pictures to and then touch “Upload”. If there are any duplicate issues or if there are any other problems you get a notification but otherwise you just let the app do its job.

In many ways this is the most “sorted” part of the workflow because I have the same options as I do on a computer and those options are provided by the same developers. Sharing photos from iOS devices has pretty much been part of the operating system from day one and, because of that, it’s no surprise that it does it pretty well.

I have put a lot of emphasis on the Apple iOS Files system from the beginning of this exploration because I believe that it helps to keep my workflow a better ‘mirror’ of the the one that I use on my computers. One of the main reasons that I use Files is to stop the Apple Photos app from renaming the pictures – something that Apple needs to address if it is going to continue to market the iPad (and especially the iPad Pro) as a business device and a potential replacement for the laptop. The other advantage of using the Files system is that the images can be automatically added to iCloud providing an extra layer of back ups. Of course iCloud works best (and cheapest) where you have good wifi rather than relying on cellular and 4G connections.

All-in-all delivering pictures from iOS devices is easy to set up and easy to do – if only the import and editing parts of the process were so well sorted!

iPad Workflow – a work in progress

iPad workflow part two – importing the images

iPad workflow part three – captioning and toning the pictures

iPad workflow part three

Welcome to the third instalment of my investigation of the best iPad workflow for the kind of work that I do. At the end of part two I came to the conclusion that adding images wirelessly to the iPad (or an iPhone) was the best way to go for me and in the few days since I made that observation I have largely moved towards using FSN Pro to get the pictures to where I need them to be.

I mentioned several times in part two that I wanted, wherever possible, to avoid storing anything in the Apple Photos app without explaining why I am so keen to avoid it. The simple answer is that my normal workflow for several clients involves keeping the original camera filenames intact so that it is possible to follow up at a later date and find them again without having to spend any time looking. Why Apple are so keen to rename every file with the clumsy “img_1234” formula is beyond me. I guess that it must make what goes on inside iOS easier for Apple – if not for photographers. By avoiding the app it is entirely possible to retain the original filename from start to finish. Don’t get me wrong; if I was rushing and getting a couple of quick edits away to a client then I’d happily rename files and/or settle for the img_xxxx option but when there are five, six or more photographs going through then renaming becomes a pain.

With this in mind I have looked at lots of different apps for captioning and toning both RAW and JPEG images and it has become clear that there isn’t one clear “best option” for all variations on my workflow. As someone who uses Photo Mechanic and Adobe Camera RAW within Adobe Photoshop to handle my pictures I’d love to have iOS versions of both ready to use. Camera Bits say that they have no plans to develop an iOS version of Photo Mechanic and Adobe seem to be more than happy with Lightroom CC as an image editor and RAW converter. During this phase of my research I’ve looked at lots of photo apps:

  • Filsterstorm Neue Pro or FSN Pro – a very capable IPTC and image editor for a JPEG workflow but not for RAW files. It allows all sorts of options and allows you to set up IPTC sets in advance making it very easy to caption photos individually or in batches. FSN Pro is also great for importing photos and exporting them to other apps or directly to FTP servers or other cloud based storage as well as to the “Files” option on iOS11 and later.
  • Lightroom CC – the nearest thing available for Adobe Camera RAW and therefore very familiar for me. It interacts with the iOS Files storage well too and it is definitely the best option that I’ve tried for working with RAW files. The synch with the Adobe CC Cloud is a mixed blessing and I am going to monitor how much mobile 4G data it eats when I’m on jobs using it. It has IPTC captioning built-in but it’s hard to imagine a clumsier implementation of what is such a vital function for me.
  • Affinity Photo – The Apple app store photo app of the year 2017 promises so much and delivers very little for me. It requires a top end iPad (preferably like the iPad Pro I have tried it on) and isn’t available on the iPhone at all. It edits photos really well but the lack of availability on my iPad Mini 4 or the phone means that I’m not interested in it as things stand.
  • Picture Pro Lite – A really good app but it appears to be no longer being supported. Very good IPTC options, decent image editing options but it has no interaction with iOS Files that I can see. Another app that promises loads but doesn’t quite do enough to be THE answer.
  • Shuttersnitch – Great for importing images and it has some good automated features but it doesn’t like RAW files and doesn’t play with iOS Files either.
  • Marksta – excellent watermarking and captioning app developed by an award winning photographer.

I’ve looked at others but I am trying to narrow things down here and so it has come down to choosing between a workflow for just JPEG files where time and simplicity are everything and a RAW workflow where I can get everything out of a RAW file that I could if I were working on one of my Macs. It’s entirely possible to have a single workflow for RAW and JPEG and here’s what I’m using right now:

  1. Connect the camera to FSN Pro via the FTP import option. I have blogged about setting up an ESO5D MkIV before and the process using FSN Pro to receive the pictures is exactly the same.
  2. Select the images on the back of the camera and use the “Set” button to upload them to the iOS device.
  3. If you are working with RAW files, select the photos within FSN Pro and export them to a folder in Files making sure that you check “Files to Export > Original Image File” option.
  4. If you are working with JPEG files then add IPTC captions in FSN Pro before going to “Files to Export > Selected Edit” option and exporting them to Files.
  5. Go to Lightroom CC and select the folder that you wish to import the files into and go to “Add Photos”, select them from Files and import them.
  6. For RAW files then it is easiest to write the main caption in Apple Notes and copy and paste it from there into the IPTC inside Lightroom CC as it cannot import the caption xmp file created by FSN Pro.
  7. For both file types you can now go through the photographs and adjust the colour, contrast, crops, sharpening etc in Lightroom CC making use of the copy and paste settings options as you go.
  8. Save the finished files either to another Lightroom CC album or folder or into a folder in the iOS Files app.
  9. Wait until part four to find out what happens next.

Here is a video that I made as a “walk through” for a basic and quick JPEG workflow. It is fine for RAW files too but you would have to ad the captions after converting the files rather than the more convenient way that they are added before toning in this film:

The great thing about having done all of the research and practice over the last few weeks is that I have a decent and repeatable workflow. The second best thing is that if I need to make a few changes then I understand what all of the other apps can do and I know how they work. This works but I’m not going to stop looking for improvements and changes. Yet!

The video on Vimeo:  https://vimeo.com/247334007

The video on YouTube:   https://youtu.be/rgc_cBjASVI

A freelancer’s nightmare

It all started with a twinge in the small of my back. The twinge became an ache and the ache became pain. A visit to the Doctor led to some prescription pain killers and a referral to a back-pain clinic two months into the future. Still working at full speed, I lost the feeling in the soles of my feet and had a few cramps. Every day it got a little worse and then, one Sunday morning, I couldn’t get out of bed without crying with the pain. We made our way to the accident & emergency department of the local hospital where an MRI scan confirmed that I was in trouble. They admitted me to hospital and just over a week later I had two operations on my spine.

The operations were three weeks ago today and, although I’m back home, I’m looking at several months before I can even start to think about working as a photographer. I’m on crutches, my rehabilitation is underway and it’s a struggle.

It has to be one of the worst fears of the freelancer – suffering some sort of injury or illness that keeps you from doing your work which in turn means a loss of income and knowing that your clients will have to look elsewhere for someone to provide the services that you have been providing.

All of this devastating news made me want to compose this rather different blog post and my advice comes in two parts:

  • What to do to avoid and prepare for a sudden, unplanned period of time off
  • What to do if it happens to you

The message has to be that it can happen to you. One minute you are buzzing around going from job to job and regularly burning the midnight oil to get those edits done, your cashflow is looking good and your clients keep coming back and the next you are laid up with an injury.

Getting yourself into a position that minimises the chances of it having a massive impact on you and your life isn’t necessarily easy but there are some major steps you can take.

  1. Understand that you are getting older.
  2. Get some savings behind you – enough to cover your bills for four to six months.
  3. Take out some loss of earnings insurance to cover your domestic bills if you are laid up for a long period.
  4. Avoid having too many credit and leasing commitments at any one time. It’s all too easy (and tax efficient) to have your car, your cameras and computers all on a leased or on contract hire.
  5. Keep fit and eat healthily.
  6. Don’t ignore niggling injuries and minor ailments.
  7. If you get an injury get it sorted properly and don’t rely on temporary relief or pain killers.
  8. Develop a network of colleagues that you trust to cover your clients if possible should you need them to.

If it does happen then you need to prioritise your full recovery – no matter how long that takes. It pays to make sure that the medical professionals that you are working with know that you are self-employed.

  1. Don’t panic.
  2. Be honest with your clients. Tell them what’s wrong (leaving out the gory details and avoiding making it an awkward ‘sob-story’) and let them know when they can expect to have you available again.
  3. Use the time to update your portfolio, your social media and your corporate image.
  4. Be prepared to shed some gear if you need to pay your bills.
  5. Don’t dive straight back in. Make sure that you are fit enough before you launch yourself back onto the market and then ease back into work.
  6. Make sure that you talk to friends, family, colleagues and even professional counsellors about what is going on.
  7. Don’t expect to win every single client back straight away. Be prepared to play the long-game and win them back over time.
  8. Look for alternative ways to make money. Could you maximise the revenues from your back catalogue? Can you use your expertise in ways that don’t require you to be at your physical, emotional or professional peak?

Having to make those phone calls letting clients that had already booked work know that you aren’t going to be able to fulfil their needs is hard. Most are sympathetic and wish you well, many ask for recommendations for other photographers to cover the work but a few can be angry with you – “how dare you damage your back and leave us without a photographer” is the sub-text of a few conversations.

Having to politely decline other offers of work whilst lying in a hospital bed isn’t an experience that I’d wish on anyone either. Again, most take it well but a few are less than sympathetic.

Having to let good clients know that you are out for a long stretch is possibly the hardest call to make. I found that being in hospital had a drastic effect on my emotions and I struggled to keep it together on the phone to one or two people.

In my case there is some good news:

  1. Prior to suffering the injury, I had been working hard and had invoiced clients for enough money to keep me solvent for at least two or three months if I’m careful.
  2. In a few weeks I’ll be able to take on work as a remote editor with one or two clients for whom I do editing work already which should bring in a bit more income.
  3. Whilst I’ve been laid up lots of colleagues have been generous with their wishes for a speedy recovery and more than a few clients have been kind too.

I cannot wait to be in a position to get back on the phone and let people know that Neil Turner, editorial and corporate photographer is back in business but in the mean-time I’m going to follow my own advice as closely as I can. I’m not going to overdo it. I’m going to listen to the Doctors, Physiotherapists and my family and friends who are doing such a great job of looking out for me.

One more thing, I’m going to kept this blog going…

AA batteries

Eneloop AA 1.2v batteries and Think Tank 8 AA battery holder.

Back in September 2008 when I returned to the world of freelancing I tried every way that I could think of to cut my ‘cost of doing business’. One of the central ideas was to reduce the number of disposable batteries that I bought and used. I had a number of speed lights and a whole bag full of triggers, transmitters and gadgets almost all of which took AA sized batteries and so I went out and bought a lot of NiCd (nickel cadmium) rechargeables along with three decent quality chargers.

Every-once-in-a-while I would buy a few single use batteries if I was on a job which justified doing so but I kept to my plan and used the NiCd ones where I could. Over time they lost their power and after about four years they were relegated to being used in kids toys and my wireless keyboard. I bought some new NiCds but the way that I used them meant that the dreaded memory effect killed them off more quickly than I would have liked.

For about six months I was lazy and kept buying Duracells (and other brands) but the box I kept the dead ones in filled up far too quickly and I went back to buying and using rechargeable batteries. By this time the nickel metal hydride (NiMH) revolution had pretty much taken place and I started to buy those. It took me a few months to realise that the old NiCd chargers weren’t the best option for the newer generation batteries and so I invested in a couple of new chargers a year or so ago. Slowly but surely and over the course of 18 months I went from NiCd to a mix of NiCd and single use batteries and then to NiMH. The big battery swap-over has now been completed.

The general consensus amongst my peers was that the Eneloop branded batteries (by Panasonic) were the best and so I built up a stock of thirty or so white Eneloops. Very happy with them, they work really well and hold their charge splendidly. One of my colleagues mentioned Eneloop Pro batteries and that upset me – I am always keen to get the best – and so I bought a few of those to see if they were worth the 60% price hike over the standard ones. Well, they are anecdotally about a third better in that they last that much longer under heavy use in Canon flash units. I cannot see any difference in the recycle times for the speed lights and so I had to ask myself whether it was worth paying more in order to have to change batteries a little less frequently. On balance, the answer is “no” but I now have eight of the Pro batteries and so I use them in amongst the set. The big downside of the Pros is that they have a shorter life. They can handle about 500 charge cycles before they lose their potency whereas the standard Eneloop can do around 2000 charges. That makes the Pro quite a bit more expensive than the ordinary one but there will be colleagues out there who are more than happy to pay that extra to get what they need – it’s a personal decision.

Carrying so many batteries around is heavy and cumbersome. I really like the Think Tank nylon case that holds eight AAs and I have a couple of those in my bag in the same pocket as the Think Tank 4x DSLR (Canon LP-E6) battery holder. I hate the idea of running out of power on a job and I have the two DSLR battery holder in my pocket most of the time too.

I saw a couple of reviews of high quality ‘smart chargers’ the other day and so I’ve now invested in new chargers too. That’s made quite a difference and I’m back to being up to date with the technology. It’s cheaper, it’s greener and my flash units are cycling faster. All good!

RGB and me

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.

Ideal Worlds

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.

What we have to work with in the Spring of 2017 is a range of different types of screens, projections and printing systems and those printing systems rely on an almost infinite variety of inks, pigments and papers. That’s before we even start to discuss all of the other materials onto which we can now print. So basically we, as photographers, have a series of moving targets to aim at and it’s almost always been the case in my career to date that I have no control over those targets. The same picture may be used for social media, newspapers, magazines and Powerpoint presentations and it is my job to supply those pictures in a format (or series of formats) that will enable the client to get consistently high quality results from them.

Bringing that back to the topic of RGB colour spaces means that I and my clients have choices to make. Those choices almost always involve compromise. Compromise almost always means that nothing is perfect for anyone or anything. In a version of the ideal world as it exists today I should be shooting, editing and supplying my pictures in the colour space providing the widest possible gamut of colours and tones providing the most vivid yet subtle renditions of the colours that match the brief and my vision for that brief. Maybe the client could pay for enough post-production time for me to provide two, three or more versions of each photograph suitable for each type of use. They don’t have the budgets in 999 cases out of 1,000. Maybe those pictures would then be taken by colour technicians and modified for each and every use and converted to the relevant colour space using the best equipment and software available. It doesn’t work that way very often.

What actually happens is that after I have supplied them the pictures are viewed and judged on a range of un-calibrated monitors in less than ideal viewing conditions before being sent to the web or to reproduction that doesn’t make any allowances for the kinds of screens, inks, pigments or papers that are going to effect how the pictures look. Because of this it has become sensible to make some compromises.

Adobe RGB is better isn’t it?

Yes but no… There’s no denying that in every single way Adobe RGB is superior to sRGB. It has a wider gamut meaning that the differences between colours and tones can be more subtle. There’s a case that says if you want wide gamuts and subtle gradations why stop at Adobe RGB? Why not go the whole way and work in ProPhoto or Colormatch? Good questions and here’s where we get to my reasoning about why I don’t bother.

The first is that most of us rely on what we see on our screens to make decisions about colour and tone during post production. If you work on anything but the highest of high end monitors which have been calibrated to the most exacting standards under ideal viewing conditions then you won’t be able to see the whole Adobe RGB gamut let alone the ProPhoto or Colormatch ones. Forget working on a laptop – unless you have your monitor and your colour management down to a fine art then you will be using guesswork and approximations on your images. Worse still, very few browsers, applications and viewing systems are smart when it comes to colour management. You might, through a combination of skill, judgement and good luck, get your pictures to be as good as they possibly can be only to experience the heartbreak that is seeing those perfect pictures displayed on dumb systems and looking like the flattest and most inept renditions of your images making you feel that you have not only wasted your time but that you may have done something wrong.

Sadly, all of those systems that make your images look awful will also make the Jpegs straight from your mobile phone look pretty good. Not to put too fine a point on it, the phones, tablets and screens that the vast majority of our images are now viewed on are not au fait with Adobe RGB but they love sRGB. Most of the printing systems and most of the automated systems for converting RGB to CMYK for printing work just as well with sRGB as they do with Adobe RGB because almost every CMYK colour space has a narrower gamut than sRGB does and that’s important.

What do you do with the spare reds?


Imagine a photograph of a red telephone box on a street in London with a red car next to it and two people walking past wearing their bright red Manchester United shirts swigging from cans of regular Coca Cola. Got the picture in your mind? How many variations of red are there in your picture? It’s a sunny day, there are hundreds and the differences are often very subtle. You’ve shot the picture in RAW (of course) and you are going back to your high end workstation to process the pictures. Your have a monitor capable of viewing the whole Adobe RGB gamut and you get to work. A short time later you have an edit of ten great pictures with all of those subtle reds looking as good as they possibly could and as good as you hoped they would. Save them as Adobe RGB Jpegs and whizz them off to the client. Two things can then happen:

  1. The client understands photography and has a completely colour managed work environment with decent screens and runs applications that can see Adobe RGB files properly.
  2. The client doesn’t work in a wholly colour managed environment and their monitors show your photographs as dull flat pictures that look worse than their own phone pictures.

If there’s any chance of getting option 2 instead of option 1 you have a problem and you can do a few different things:

  1. Work in Adobe RGB, saving the photographs in that space but then doing a batch convert to sRGB to supply to clients who they suspect cannot handle the wider gamuts.
  2. Ignore the issue and continue to supply in Adobe RGB and then complain when the work dries up or when the client comments on the flat files.
  3. Supply two sets of pictures; a “viewing” set of medium sized sRGB files and “printing” set in Adobe RGB
  4. Move to an sRGB workflow and supply everything in sRGB.
  5. Become a campaigning photographer, strive for ultimate quality and educate every one of your clients encouraging them to invest in perfect workflows.

The same goes for every colour. Purples and magentas can easily get mashed up when reducing the colour gamut and greens are famous for moving to mush really quickly in many CMYK spaces.

Why I’m a type 4 photographer

Several years ago now I realised that I wasn’t supplying any of my pictures to clients with workflows that could actively take advantage of Adobe RGB files and so I started to convert my carefully worked Adobe RGB pictures into sRGB before getting them to the clients. Most of the time I was working in decent conditions on my Eizo monitors and the rest of the time I was making educated guesses about how the pictures looked on my laptop.

It worked OK but I started to wonder what happened to those colours that were inside the Adobe RGB gamut but outside the sRGB range. How did an automated batch conversion deal with those subtleties? Photoshop offers several options for rendering those out-of-gamut colours ranging from shifting everything by the same amount down the scale to employing seriously sophisticated mathematics to translate the colours using what it calls “perceptual intent” which keeps the balance of tones without damaging the safest colours to accommodate those either side of the line. I asked myself why I was doing this when I had a RAW file to go back to should I need a more nuanced version of an image. The clients wanted (even if they didn’t know it) and usually needed sRGB files so why did I need Adobe RGB ones? Logic dictated that I try working the images within the sRGB gamut to start with. No more wondering which rendering option would do the best job (if I had a choice) and a lot less reliance on guesswork when I was editing on the laptop. Where, I asked myself, was the disadvantage to working solely in sRGB? I couldn’t find it then and I still can’t find it now.

The clients are happy. I’m happy. Win/win.

Based on a pragmatic and professionally sound set of reasons I now set my cameras, my computers and my whole workflow to sRGB. Having done that there are two further advantages that I had never considered (but really appreciate).


Here in the UK you would struggle to buy a decent monitor with a genuine 100% of the Adobe RGB gamut for under £1,000.00. You can buy a quality monitor that handles 100% (and more) of the sRGB gamut for under £600.00 and have considerably more choice. Money saved on buying kit is always something that you should consider when you do this for a living.


There’s something else that always bugged me. Canon and Nikon’s higher end cameras always change the leading character in the filenames to an underscore when you were shooting in Adobe RGB. Clearly someone, somewhere thought that this was a very useful thing to do and both of the major manufacturers still adhere to it. It really annoys me – in an almost irrational way. Moving over to sRGB has cleared this daily annoyance from my life (unless I’m editing other photographers’ work) but I’d love to know why Canon (and Nikon) cannot make this a custom function in their cameras rather than imposing it on us whether it suits us or not. This isn’t a reason to switch to an sRGB workflow but it is a side effect that I appreciate. Of course by the time most of my pictures arrive with the clients the files have been renamed anyway but one or two clients like to keep the original camera filenames too.

I shoot RAW anyway

All of this is a matter of opinion and logic for me and I always have the RAW file to go back to should I need it to create Adobe RGB versions. In the last two years or so since I went all the way to sRGB nobody has said “please supply us Adobe RGB files” (all of my clients are polite and always say please by the way). This is probably a case for my favourite piece of advice

“if anyone ever tells you that there’s only one way to do something in photography, don’t listen to them, they’re a fool.”

I’m convinced that, for now, I have it right for me. Want to tell me how and why I’m wrong?

Seven things to agree on before taking a commission

© Neil Turner, October 2014. Production of John Foster's Shot At Dawn in the Council Chamber at Bournemouth Town Hall.

© Neil Turner, October 2014. Production of John Foster’s Shot At Dawn in the Council Chamber at Bournemouth Town Hall.

Quite a lot the posts that I’ve uploaded to this blog in the last few months have been related to the business side of photography. For those who want more of the old dg28 – your time is coming soon. In the meantime I wanted to post my thoughts on what you should agree with your client before undertaking a commission. This is taken directly from my own outline terms and conditions which are posted on my website. I have absolutely no objection to any photographer copying and/or adapting these seven points for use in their own terms and conditions because, in my opinion, the more of us who do this the more likely it is that potential clients will be used to the concepts and it will require less pushing to get them to negotiate.

Terms and Conditions of supply – commissioned photography

INTRODUCTION – The following seven sections represent the basis under which I undertake photographic assignments and commissions for commercial, public relations and editorial photography. They are intended as a background document to which specific or varied terms can be added or amended.

There are, of course, many pieces of legislation that will have an effect on how my relationship with clients works, not the least of which is the Copyright, Designs and Patents Act 1988.

I really don’t want to scare clients and so I have worded them as simply as I can and I’m always happy to discuss and explain how my terms and conditions apply to you.

  • COPYRIGHT – Unless agreed in advance and in writing I do not assign copyright to any clients or third parties. Please be aware that buying the copyright is far more expensive than buying an extensive and wide-ranging license.
  • LICENSES GRANTED – As a client, you would be granted a license to reproduce and/or distribute the photographs. All licenses have geographical, time, media and usage restrictions. My policy is to negotiate a license that meets your needs and represents the best value for money for you and/or your client. Use of the photographs outside the terms of the license granted would be a breach of copyright.
  • LICENSE EXTENSION OPTIONS – If, having agreed a set of license conditions you subsequently realise that you need wider use of the photographs I am always happy to negotiate a license extension. Whilst the cost of buying extensions will be greater than that of buying the right license in the first place, you will find that my rates are very competitive.
  • DELIVERY METHOD AND DEADLINES – As part of the commission we will agree how, when and where the photographs will be delivered. Options include web galleries, CDs and DVDs, FTP, email and on USB flash drives. Photographs will be supplied in the agreed format within the agreed deadline. Copies of all files will be retained in line with industry best practice and any subsequent re-issue of any or all of the image files will be subject to a charge equal to the actual cost of producing and delivering them plus a 20% service charge.
  • INVOICING AND PAYMENT – Fees and costs will be negotiated and agreed before the commission takes place. Should the details of the commission change then alterations to the costs will be agreed as soon as possible. New clients will be asked for a purchase order or a letter confirming the commission, agreed fees and costs as well as acceptance of my terms and conditions in advance. Once the commission has been completed I will send an invoice to you with payment terms and methods outlined. The grant of license will only come into force once payment has been made in full. VAT will be charged where the law requires. If the client postpones or cancels the commission within 72 hours of the start time I reserve the right to charge 50% of the agreed fees. Cancellations or postponements within 24 hours of the start time may be charged at 100% of the agreed fees.
  • THE LIMIT OF MY LIABILITY – As a professional photographer I take great care and pride in my work and in my relationship with clients and the subjects of my photography. I cannot, however, accept liability for unexpected events including: poor weather, industrial disputes, sickness or injury, equipment malfunction, model release disputes, property release disputes and other actions or accidents that are outside my control and that cannot be reasonably predicted. Please note that any mains powered equipment that I use will be PAT tested, that I carry £5 million of Public Liabilities insurance and that my photographic equipment is regularly tested and serviced. Should you require any specialist insurance to be taken out for your project, the cost will be included in the fees. Back up copies of your images will be stored using reliable methods but I cannot accept liability for systems failures.
  • DISPUTE RESOLUTION – If, for any reason, you have any queries about the service that I have provided I will be happy to discuss your concerns. Photography is a creative activity and I accept commissions on the basis that you are buying my skills and that you trust me to apply those skills in accordance with our discussions and verbal agreements. Written confirmation of commissions should always include any “must-have” picture requirements and, where technically and creatively possible, I will fulfill your requests. If I consider any of your requirements to be unfeasible or if any of them become so during the shoot itself I will point them out at the first possible opportunity and offer solutions.

None of this rocket science and none of it would be form a great contract in isolation but we have seven things to think about and a rock solid basis upon which to build a working relationship with a new client.