How I cut my Lightroom editing time in half

For the past few months, I was really struggling with the time it was taking me to edit my photos. On average, I shoot 1500 photos per 2-3 hour session, and I was starting to feel overwhelmed when I imported such a huge set into Lightroom. I could try to shoot fewer photos and be more intentional about the shots I do capture, but I feel as though I've already cut back on that and what I'm doing works for me. What I'm about to share may not be news to you. I'm sure many of you already do this! I just caught on late. ;) I actually had another photographer tell me to do this years ago, but I was too stubborn and didn't listen. For those of you who are still plugging away through an endless gallery, I think this trick will help you.

All I did was switch from rejecting to selecting. Is your mind blown yet?

The keyboard shortcut for rejecting an image is X, while the one for selecting (picking) a photo is P. Somehow it is psychologically easier to pick the photos that I definitely want to keep rather than dispose of the ones I don't want. So, I just cycle through my gallery and pick my favorite shots, and then I enter a filtered view where I only see the shots I've picked. You can do this by clicking on the little flag in the bottom right-hand corner of Lightroom.

That number drops to 160 photos, which is a much more manageable number to visualize when you're sitting down to edit. Picking the photos I want usually takes an hour or less. Then I'm left with 100-175 photos, depending on the shoot. That number usually drops a bit more as I edit them, too. It seems WAY easier to edit only 100+ photos vs. 1700+ (even though I would be rejecting many of them along the way). It also helps me be more selective, which is something I'm really working on since I tend to keep way too many shots. I went from spending 4-5 hours on a set to only 2-3. It feels so empowering to suddenly have much more time on your hands because you discovered a simple trick to reduce time spent at the computer.

How do you speed up your workflow? Do you reject or select?

Peter & Sarah | UC Berkeley Family Photo Session

I met Peter while working on a linguistics project at Berkeley, and I was thrilled to take photos of his family! Check out these early morning shots we got on the UC Berkeley campus.

"Academia" | Solstice Magazine

Styling: Sara Ruhe Hair & Make-Up: Amy Lawson

Model: Georgia Dent (Look SF)

Featured in Solstice Magazine

What I learned at my first portfolio review

 

Recently I went to a small-scale portfolio review hosted by Professional Photographers of the Greater Bay Area. I was able to speak with 4 different reviewers: an art buyer from SFMOMA, editors at Wired Magazine & Via Magazine, and an art director for Banana Republic. This was my first time attending an event like this, and I wanted to share a bit about what I learned from the experience.

1. Too many samples of your work is better than too few. Being the rule-abiding person I am, I obeyed the instructions to bring between 10 & 20 images for review. I think I had 18 in my portfolio book that I ordered from Blurb, specifically for this occasion. I wasn't sure what the scale of the event was going to be - I was expecting a hundred people. In reality, only 5-8 other registrants showed up! This meant that there was more time than expected to spend with each reviewer. So they flipped through my meager samples of my work in a few short minutes. I know for the future that having a large portfolio book is better - they can cut me off if need be.
2. Include a wide range of content and genres. I don't have any studio work in my portfolio. Mainly because I don't really do studio work, but I do have some high-quality samples I could show. The editor at Via Magazine said that even if she's sending people to cover a story with natural light (i.e., food photography at a restaurant), she still needs to see that they know how to work with artificial light. I also included two shoots that I thought would demonstrate that my work was thematic (5 of a Kind & False Twins), as well as other similar fashion & portrait work, but I think in reality they didn't want to see so many of these and would have preferred a wider range of work. This was a bit of a wakeup call for me. I am all about consistency and producing a cohesive body of work, but I think when it comes to events like this - where you're trying to impress different industries - you need to have multiple sections that show your talent in different areas (food photography, fashion, studio work, etc.).
3. Digital vs. print. I brought a print portfolio book (printed on book pages, not individual prints in a folder), and looking back I wish I would have brought digital. Instead of spending the money on high quality prints that you have to update all the time with new work, I'd say you'd be better off getting an iPad or other digital tablet to showcase your photos. We are so used to seeing things digitally these days that I think it's become standard within the industry to view digital portfolios. Of course, this is individual preference, but I think from now on I'll be going with digital. That way I can swap out last minute selects and easily skip over irrelevant work. 
4. Be prepared to be critiqued. None of the reviewers shot my work down, but none of them really oo'd and ahh'd at it either. I don't know if that's just the nature of these events, but here I was, sharing what I thought was my best work of the year, and they seemed thoroughly underwhelmed. Part of this, I'm sure, was that my work is kind of between genres right now - a combination of fashion and fine art. It's not high fashion, it's not travel photography, it's not well-defined. These people aren't there to pat you on the shoulder and say, "good job." They're there to tell you what works for them and what doesn't. Some people identified my least favorite photos in the book as their favorites. One person said the lighting looked flat in one shoot. Let's just say I didn't emerge from this event with an inflated ego!
5. Come with questions. This almost goes without saying and is true of any networking event, but preparing yourself by knowing the background of everyone you'll be talking to and having specific questions for them will help you avoid awkward moments of silence and walk away with more valuable information. For example, I didn't look up one of my reviewers, and it turned out she had also gone to UC Santa Barbara, which would have been some great common ground to start on. I often felt like I didn't know where to drive the conversation because I was running out of questions. Don't expect the reviewers to hold the conversation - you're there to pick their brains.
6. Get your reviewer's direct email address. I walked away with the direct email address of everyone I talked to and followed up with a thank you and some questions, to help them remember me for future networking purposes. This is key!
7. You might walk away confused. I expected to leave the review with a clearer direction of where to go with my work, but in fact, that sense of direction was just more muddled. After talking to an art buyer, a travel magazine, and an art director, all with different perspectives, I was a bit overwhelmed with all the paths there are to take. Should I start doing more studio work even if I don't enjoy it? Should I try to sell my prints to galleries? Should I accept travel work even if that wasn't what I envisioned myself doing before I got here? I'm not sure. While this variety of choices is a bit overwhelming, it's also reassuring. I'm inspired to become more of a jack-of-all-trades - at least for portfolio purposes - but I think I'll still stick to the niche that inspires me most: fashion/people/lifestyle (and wherever my work fits in within that realm).

Questions? Email me at hello@dvilladsenphotography.com.

Rachael | Meek Vintage

Berkeley, California Photographer | UC Botanical Garden Photoshoot This shoot was a fun cross-state collaboration! While she was in California visiting family, Rachael, who lives in Denver, and I collaborated with Denver-based Meek Vintage. We shot at one of my favorite places - the UC Botanical Garden. Enjoy these cactus-filled, whimsical garden shots!

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Winter Nautical Editorial | Dreamingless Magazine

Photography: Diane Villadsen Hair & Make-up: Amy Lawson

Styling: Kate Leonard & Rachel Wanty

Model: Sierra Lippert of Scout Model Agency

Published in Dreamingless Magazine Edition 28.3

Redwood Bridal Editorial | Magnolia Rouge Publication

The wait is over! These photos were taken in March 2016, and I've waited 8 months to see them published on Magnolia Rouge. This shoot was coordinated by January Rose Bridal (who also provided the lovely bridal accessories) with beautiful dresses from Emerald City Gowns, hair & makeup by Nia Adriana Rivera, and model Brittany Wagoner of MDT Agency. Enjoy! with beautiful

PRINT SHOP // Now Open

Exciting news...I've received a lot of interest in photo prints, so I decided to open up a print shop! Check it out...there's a bunch of shots from my "5 of a Kind" and "False Twins" series! And if there's one you desperately want on your walls, just shoot me a message. :)

dvilladsen.bigcartel.com

I appreciate any feedback you may have!

Emmanuel & Christina | SFMOMA Photoshoot

SFMOMA Photoshoot | San Francisco Photographer For this shoot, Emmanuel and Christina wanted some creative headshots. We decided that SFMOMA was the perfect venue, with the stunning Sequence piece by Richard Serra (pictured below) and the living wall of greenery, as well as the abundant paintings that served as perfect backdrops.

Apart from going there for cool photos, I encourage everyone to visit SFMOMA and experience all the beautiful exhibits!

Cameras, Permits, and Rangers – Oh, My! | Permits and Shooting in State Parks

Have you ever been on a shoot when a property owner or ranger approaches you and asks what the shoot is for? Or straight up says you can't be shooting there? This happened to me a few weekends ago. I had a big shoot with a local designer for her fall lookbook, and when we decided on a state park as a location, it didn't even cross my mind to try to get a permit (an error on my part). We had 5 models all in nice dresses - not to mention we're driving up in an RV full of clothes that's branded with the store name - so it's not exactly easy to be inconspicuous.

Right before we were going to start shooting, a ranger pulled up to us and got out of his car.

"Are you going to be camping tonight?" he said, motioning to the RV. I breathed a sigh of relief, thinking that's all he was curious about.

The designer clarified that we were just out for a cruise on the mountain. I kept my camera in my bag. His eyes moved to the 5 models, all standing there in casual dresses.

"Is this a photoshoot? What's it for?"

In a situation like this, there's really only so much you can do. In this case, we tried to minimize what we were doing by portraying the shoot as casually as possible. He basically said that he could technically fine us if we were to proceed with taking photos, but that he was just going to drive off and we could consider it a warning. So he never openly condoned it, but rather turned a blind eye, just because he happened to be nice.

The best thing to do would be to learn from my mistake and just get a permit to begin with, but often these are quite expensive. For family/individual portrait photography, they're only about $100 a year for state parks in California, which, I'd say, is definitely worth getting if you're working with families/individuals often. But as soon as you mention the word "commercial," that number skyrockets up to $750/half day or $165/hour in certain parks!

Unfortunately, the reason that state parks and rangers are starting to crack down on this is probably due to the actions of a few select individuals. Many of us do treat state parks with respect, as they should be treated, but some people feel entitled to take over the space in a destructive manner for the sake of their photoshoot.

The line between commercial and portrait work can be tough to differentiate, but the general rule of thumb is that if you have a model who is showcasing a product - whether that's clothes, accessories, cars, or toothbrushes - or just the product itself being posed on a stump or a road, it's considered to be commercial.

Many people believe that because we pay taxes to support the upkeep of our parks, we should be able to use them as we see fit. The state parks believe that if you have any chance of profiting off of them - whether that's now or eventually - without them getting a cut, you're taking advantage of them.

I'm not here to provide legal counsel on this matter, or to give my opinion on how things should be. I do want to share what I've learned from my experience encountering rangers while out on a shoot without a permit.

For the times when you simply don't have the budget for a permit, or you realize too late that we need one, there are a few steps you can take to minimize the impact of your encounters with the parks:

1) Slim down your gear. I am thankful that I rely on minimal gear in situations like this: I use one camera body and one main lens and store them in a forest green camera bag that looks like it could just be an everyday bag. I do have a reflector, a changing booth, a few other lenses that I'll pull out occasionally, but I can make do without them 99% of the time. Carrying around huge lenses with battery packs on your camera and setting up lights and reflectors is a definite red flag and is sure to raise questions.

2) Prep your team. Working with a big team can create a lot of commotion. Before we arrive at the location, I prep my team, telling them that we don't want to cause a scene by being too loud or disruptive. Pulling out a big clothing rack, or having heaps of makeup bags on the ground is NOT what a ranger wants to see. That screams commercial. I encourage my team members to work with one look at a time and carry minimal kits for touch-ups. I also ask them to wander around while we shoot, so it's not like we're all obviously staring at a model for 10 minutes. This makes us more discreet. The more you can look like you're just on a hike or a picnic, the less likely you are to stick out.

3) Student project? I'm lucky that my 23-year-old self can still believably pass as a college student. If a ranger asks what the shoot is for (especially if it looks commercial), saying it's a student project is probably the response you'll have the most success with - no matter how old you are. (Many people enroll in art/photography classes when they're older!) I've used this line several times and have never been questioned further. It helps to prep your team on this story as well so that you're all on the same page.

4) Be respectful. Above all, be respectful. This applies to two situations: respecting the environment and respecting authority. This should go without saying, but don't leave trash everywhere or trample a bunch of flowers - be kind to the environment you're working in! And if a ranger does approach you, it's not the time to be self-righteous and argue with them. The more you show that you're willing to work with them, the higher the chance they might be willing to work with you. If they ask you to leave, respect their choice and move on. Choosing to ignore them may result in getting fined or threatened with "police action." It's good to have back-up locations in case this happens.

I'll conclude this by saying that if you get a permit, you can go crazy - in a non-destructive manner, of course. As soon as you have written permission, you can bring as much gear as you want, and you'll sleep a little better the night before the shoot while your brain can dream of golden light and composition rather than excuses to tell the ranger. So, when possible, just bite the bullet and get a permit.

Happy shooting!

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Have you experienced something similar while shooting in a state park? Share it in the comments below!

Laney | Gold Country Photoshoot

As I've said before, I truly believe that sometimes the greatest shoots come from last minute planning. This shoot came together in about 24 hours, after I searched for models in the Calaveras County area and found model Laney Miller, who just happened to be available. It was a bit of a climb down to this little-known cave, but it was so worth it.

Field Day Fall Lookbook | Mt. Diablo Photoshoot

Get ready for some golden hour gooeyness. For Field Day's fall lookbook, we drove up Mt. Diablo in Trinity's adorable RV, stocked full of her beautiful handmade designs, chasing light as it descended over the horizon. Models: (from left to right in the first image) Diana Rykun, Jazz Sizemore-Hoskins, Merylynn Valencia, Sarah Garcia, and Tabitha Nelson

Smartphone Editing Tutorial | InstaSize App

When you want to edit on the go, it can be frustrating to find an app that lets you perform fine adjustments on your photos, apply unique filters, and organize your shots in a personalized grid. InstaSize does it all! Download the app for iPhone or Android. And then see how I edit my photos using the app in this video tutorial:

Nancy | Half Moon Bay Photo Session

Half Moon Bay Greenhouses/James Fitzgerald Marine Reserve Photo Session Nancy and I had the perfect overcast lighting - as is common in Half Moon Bay - for her Friday afternoon photo session at Highway 92 Succulents & James Fitzgerald Marine Reserve. I love the variety of shots we got over the span of a few hours - from beautiful flowers and succulents to a magical cypress grove and rocky beach, we covered it all. Enjoy!

How to find models for photoshoots

One of the most frustrating parts about coordinating photoshoots is finding a good model who matches your vision for the shoot. Especially when you're looking for new faces to add to your portfolio and have to look outside your usual, the task can seem daunting. But I have a few solutions:

1. Instagram: Sometimes when I have a free moment - on the BART platform, waiting for my oatmeal to cook, avoiding important to-do lists, etc. - I'll just take a few minutes to try to find new models on Instagram. Even though it's not that easy to search within multiple parameters (i.e., location & tag), Instagram is still one of my favorite resources for finding new faces to work with. Here are a few tips on how to get started:
   • Identify local feature accounts. In the Bay Area, there are several accounts devoted to featuring local photographers and/or models. I have a list of these that I try to check on a regular basis: @bayareamodelfeature, @igerssf, @makesfportraits, etc.
   • Follow local modeling agencies. First of all, agency-signed models tend to be great! They are often experienced and know how to handle themselves in front of a camera. But even if you're not looking to work with agency models, I recommend checking out "photos of" the agency. Many aspiring models will tag the agency in their photos hoping to be noticed and potentially signed. This is a clever way to find some local people who clearly want to be in front of the camera, and maybe they have just the look your searching for.
   • See who's modeling for other photographers. This suggestion overlaps with the two above, because you're bound to be checking out photographers' accounts anyway, but I've found many models just by stalking admiring other photographers. Lead yourself down a trail of clicking on photos that are aesthetically pleasing to you and checking out that photographer, and then check out one of the local photographers who has commented on that post, wondering where the location is. You never know where you'll end up!
   • "Tag a friend who should model." I experimented with putting this as a caption on one of my Instagram shots, and it was really successful. First of all, people are more likely to comment a friend's name than their own (e.g., if you were to say, "I'm looking for models! Comment if you're interested"), and second of all, they might suggest people who would never consider themselves models but are stunning and would do well in front of the camera. This also promotes engagement and will possibly earn you some new followers!
   • These tips also work when you're traveling! Just by searching a few tags like #xlocationphotographer, #xlocationmodel, or #xlocationstyle, you'll be able to discover what the local photography scene is like.



2. Craigslist: I run an ad pretty much constantly for models & stylists - the two categories of team members I always have trouble finding - in the "talent" or "creative gigs" sections of Craigslist. This ad generates a steady stream of new faces coming into my inbox daily. It is true that many of them aren't exactly what I'm looking for, but I'd say I get 1-2 models a week I'd love to work with. I specify the kinds of projects I'm interested in and link to my portfolio so they can see if our styles are compatible. I also ask them to send me photos of themselves and/or a portfolio.
3. Model Mayhem: As I've said in the past, I have mixed feelings about this site. Because anyone can make a profile, there's a huge volume of people to sort through. But I've found that specifying the parameters that matter to you (height, for instance) helps your search be more successful. I also recommend checking it once a month or so and sorting by "newest first" to see who has joined. This is an especially useful tool when you're shooting out of town and have no idea where to start.



4. Local Facebook groups: Honestly, I haven't had much luck with these in my area, but it's worth a shot to see what kinds of groups are available near you - try searching "[x location] Models" in "Groups" to see what comes up. This group based in the San Francisco area is one of the largest I've found, but I think I've only used one model from the group since I've been in it. I find that the same people always respond, and they're rarely what I'm looking for.



5. Being brave: If you're feeling bold, approach people in social settings, or on the street - within reasonable situations, of course. This has the potential to come off as being creepy, especially between two genders, but I think you can pull it off in a nice way.

• My personal experience with this: When I was at school in Santa Barbara, I kept seeing this strawberry blonde girl with AWESOME style all around campus. She was always wearing cool vintage outfits and bold looks, and I happened to meet someone who was friends with her on Facebook. Using the mutual connection as a starting point, I creepily messaged her and explained how I thought she had amazing style and would love to shoot her sometime. She was not as creeped out as I expected and we shot together a few days later!
• I've also approached someone on the UC Berkeley campus where I work, complimented her outfit (asked her where she got her dress), and said I was a photographer and I'd love to shoot with her sometime. I happened to have a business card, which I handed her, and she ended up emailing me! We have yet to shoot, but still. Go for it!

I hope that's enough to get you started. Do you have any additional resources for finding models? Leave a comment below!

Fort Bragg/Tomales/Point Reyes Trip!

Sometimes my "personal" photos get put on the backburner while I edit shots for my business. In July, Padraic and I went on a trip up the California Coast, where we visited Fort Bragg, Mendocino, Tomales, and Point Reyes. We drove down Highway 1 from Fort Bragg to Tomales, which was a) amazing, and b) slightly terrifying when we got into Sonoma County and were driving on a super curvy part over a drop-off with no guard rail! Yeah...I was glad I was driving simply because I was as far as I could be from the edge. Overall, this trip was relaxing and introspective. I put my camera away for much of what we did, because hey, photographers need vacations, too. We saw our fair share of lighthouses, seals, beautiful beaches, and delicate wildflowers perched on ocean cliffs. Here's what I managed to capture...

Airbnb #1: Fort Bragg, California

Where do I start with this cabin? It's nestled among tall pines and redwoods on 27 acres of property, with a lofted bed and a firepit in the backyard. There's a matching A-frame greenhouse with abundant herbs and tomatoes growing inside, and rope lights line the trees. Chickens and deer roam the country roads that lead up to it, and we fell asleep to the sounds of the forest. Waking up with cool air breezing across our faces from the open window and looked behind us to see a crisp stillness among the early morning trees was magical and refreshing. We made s'mores over the fire pit, got ice cream at the local Cowlick's Creamery every night, and walked on the cliffs at sunset.

We're headed toward Tomales now, and we stopped at the Point Arena Lighthouse area. We made our way across a vast expanse of beachside plateau, with naturally carved tunnels and vibrant red moss on its edges. I'm finally getting the dose of fog I've been craving.

Airbnb #2: Tomales, California

Two words: house goals. Inside this little garden cottage are the contents of my decorating dreams. It was built in some crazy year like 1860 out of redwood, and the wife-and-husband team restored it and made custom furniture/cabinets out of the original wood. I couldn't get enough of the rich tones and interesting décor! The town of Tomales is truly tiny - about a square block, with 4-5 main shops, and barely any cell service. Not pictured: a nearby colony of Highland cows. I kicked myself for not bringing my camera!   Last stop: Point Reyes First, a mandatory stop at the famous tree tunnel. Then, onto the westernmost point of the US, which was covered in insanely thick fog. It was otherworldly.

Bryte | San Francisco Photoshoot

San Francisco Fashion Photographer | Mt. Davidson Photoshoot I had a great time working with Bryte on these images, and I finally captured the fog I'd been dreaming about for a while. Something about the way these colors look in the thick mist is so stunning! Be sure to also check out the False Twins series that was also produced during this shoot.

Model: Bryte Darden of Look Model Agency Hair & Makeup: Amy Lawson Location: Mt. Davidson & Ocean Beach, San Francisco

False Twins | Mount Davidson Photoshoot

Seeing double? Meet model Bryte Darden and her imaginary twin. These images were created through careful tripod placement and compositing. To see more on how I composited these shots, please see my YouTube tutorial. Model: Bryte Darden (Look Model Agency) Hair & Makeup: Amy Lawson Location: Mt. Davidson & Ocean Beach, San Francisco

Mentoring Session Giveaway!

It's time for a giveaway! I recently started offering mentoring sessions to my fellow photographers. In these, you are free to discuss whatever is most valuable to you: walking through Lightroom edits, discussing portfolio-building, talking about how to get your business off the ground - whatever! It's all up to you. In honor of this new offering, I'm doing a giveaway of a 30-minute Skype mentoring session! All you have to do to enter is:

1) Follow me on Instagram. 2) Subscribe to my YouTube channel. 3) Like my Facebook page. 4) Send me an email at hello@dvilladsenphotography.com to express your interest in entering.

It's as easy as that! Only a few more days left to enter - entries close September 4th, and the winner will be announced on September 9th.

Jazz | UC Berkeley Botanical Gardens Photoshoot

UC Berkeley Botanical Gardens Photoshoot | Berkeley, California Photographer What I like about this shoot is that we went from a very organic, ethereal scene in the greenhouse to a much grittier, colorful, urban scene in Downtown Berkeley, yet it still seems to flow fairly well. Model Jazz Sizemore-Hoskins was awesome to work with, as well as hair and makeup artist Terry Alabata. Hope you enjoy it!