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Originally Posted by stnami
Jamie I am sure other than the vital need to backup which really is a matter of diligence and refusing to say I'll do it tomorrow, Workflow varies from client to client and needs.
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Imants--you're right, of course. Once you wrap your brain around a digital workflow from film, it all boils down to backup and archiving.
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The following is not recommended
The last work I did a couple of nights ago after a poor shoot, I got home at 2am discarded all the saleable shots, backed up what was left and went o bed.
Woke up and messed all day with the images left and sold them to someone from left field who wanted a alternative perspective on events. Told some others if the wanted straight shots to that go and see one of the other 50 odd photographers who were there.
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That's hilarious! I sometimes wish I had the artistic freedom--or more accurately, the financial freedom--to do just that, as well as the photographic support.
I love shooting weddings; I sometimes hate making those saleable, straight, shots... but not always, I guess. I'm lucky to be able to separate business and personal work. Of course, being the only professional there means you have a different responsibility (if only you could count on the myriad of digital shooters at weddings now to get the straight shot!).
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Realistically there is no one formula and it takes a while to get into a rhythm that works right. I am sure that most of you would be lost with my methods as I could not cope with the way Jamie or others work. All ideas are interesting to read and there is always hint that is worthwhile picking up.
p.s. mine has no rhyme or reason to it
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I'm sure yours has artistic, or inspirational, rhyme and reason
But you're right, it's interesting to read what people do. My workflow is driven by the need to cull 2000K plus shots down to 150 for final printing; all the while keeping a large intermediary set.
The tools help me do that... it's one reason I stick with C1, for example.