Stop Exporting Images One at a Time: A Practical Guide to Lightroom Export Presets

Stop Exporting Images One at a Time: A Practical Guide to Lightroom Export Presets

There is a certain kind of pain that only photographers know. You finish editing a set of images, they look great, and then you spend the next forty-five minutes manually exporting the same files at different sizes for Instagram, your client’s website, and the print lab. Same dialog box, slightly different numbers, over and over. I spent an embarrassing amount of time doing exactly this before I finally sat down and built a proper export preset system in Lightroom.

When the Wrong Camera Teaches You the Right Workflow Lesson

When the Wrong Camera Teaches You the Right Workflow Lesson

There’s a version of this post where I talk about megapixels and autofocus systems. This isn’t that post. In this Mark Denney tutorial, the gear is almost beside the point, and that’s exactly why I kept thinking about it long after I watched it. I spend most of my working hours in Photoshop, building batch systems and actions for clients who need 500 product shots processed consistently before Friday afternoon. Efficiency is the whole game.

Smart Objects in Photoshop: The Workflow That Saves Commercial Composites (and Your Sanity)

Smart Objects in Photoshop: The Workflow That Saves Commercial Composites (and Your Sanity)

There’s a specific kind of dread that hits when a client emails at 4 p.m. asking for their logo to be swapped across 47 mockup files you built three weeks ago. If those files aren’t structured correctly, you’re spending your evening clicking through layers one by one. I’ve been there. Early in my commercial work I treated Smart Objects like a nice-to-have, something I’d use when I remembered. It took one particularly brutal product campaign revision round to make me treat them like load-bearing structure on every single project.

Automating Solar Eclipse Photography: How Smart Apps Are Changing Our Workflow

Automating Solar Eclipse Photography: How Smart Apps Are Changing Our Workflow

Automating Solar Eclipse Photography: How Smart Apps Are Changing Our Workflow I’ve been thinking a lot lately about the intersection of photography and automation. We spend considerable energy in the presets and actions space optimizing post-processing workflows, but what happens when we can automate the capture itself? A new tool has me reconsidering that balance. Photographer Steven Madow recently launched Umbra, an automation app specifically designed for solar eclipse photography. With major eclipse events coming—including a total eclipse crossing Greenland, Iceland, and parts of Europe in August 2026—this kind of specialized software deserves our attention.

How to Shoot Action Movie-Style Photos: Lighting, Haze, and Cinematic Atmosphere on Any Budget

How to Shoot Action Movie-Style Photos: Lighting, Haze, and Cinematic Atmosphere on Any Budget

Most of my work lives in the controlled chaos of commercial studios - product shots, ad campaigns, e-commerce grids that need to look consistent at scale. But every so often a client wants something with real cinematic punch, the kind of image that looks like it was pulled from a movie poster rather than a catalog. That gap between “nice photo” and “this looks like a film still” used to cost me a lot of trial and error.

Lightroom's Adaptive Color Profiles Are the Starting Point I Wish I'd Had Years Ago

Lightroom's Adaptive Color Profiles Are the Starting Point I Wish I'd Had Years Ago

I track time obsessively. I have a spreadsheet that logs every hour my automation tools have saved me, and right now it’s sitting at over 2,400 hours. So when I see a feature that genuinely changes how fast I can get from import to edit-ready, I pay attention. Presets have always been my first line of defense against flat RAW files, but I’ve quietly suspected there was a smarter way to handle that initial color foundation.

From One Edit to Thousands: How to Build Photoshop Actions and Droplets That Actually Save Time

From One Edit to Thousands: How to Build Photoshop Actions and Droplets That Actually Save Time

I built my first Photoshop action at 26 and I have not manually repeated a task since. That is not an exaggeration - I keep a spreadsheet. Right now it sits at over 2,400 hours saved across fifteen years of studio and consultancy work. So when I came across Vicki Taufer’s segment on actions and droplets in her CreativeLive tutorial on pets and people photography, I watched it twice. Not because the concepts were new to me, but because Vicki explains the mental model behind actions in a way that finally makes the whole system click for photographers who have been avoiding it.

The Workflow Tools Actually Worth Installing (And the Ones I Quietly Uninstalled)

The Workflow Tools Actually Worth Installing (And the Ones I Quietly Uninstalled)

There’s a spreadsheet on my second monitor right now. It has columns for action name, date built, task type, average time saved per use, and total cumulative hours saved. I update it obsessively. The current total sits at just over 2,400 hours. That number is the reason I still evangelize automation to every photographer and retoucher I consult with, even when their eyes glaze over the moment I say the word “scripting.

How I Stopped Living in Fear of Hard Drive Failure (And Built a Workflow That Actually Scales)

How I Stopped Living in Fear of Hard Drive Failure (And Built a Workflow That Actually Scales)

I have backup drives for my backup drives. My colleagues find this funny until one of them loses a shoot. I’ve been color-coding storage drives and labeling them obsessively since my early days in commercial studios, and the habit has saved me more than once. So when I came across Watch the full tutorial on YouTube from Peter McKinnon, where he walks through exactly how a single rugged drive failure nearly took down his entire library, it hit close to home.

How to Give Flat Textures Real Depth Using Photoshop's 3D Lighting Tools

How to Give Flat Textures Real Depth Using Photoshop's 3D Lighting Tools

There’s a category of client request that used to slow me down more than it should have: “Make it feel like it has weight.” Usually this comes from an art director staring at a perfectly sharp texture image that looks, despite being beautiful, completely flat on screen. No shadows cutting across the surface. No sense that light is raking across the grain or the cracks. Just a photo sitting there looking like a photo.

From Three Phone Shots to Canvas-Ready Panorama: A Lightroom-to-Photoshop Workflow That Actually Works

From Three Phone Shots to Canvas-Ready Panorama: A Lightroom-to-Photoshop Workflow That Actually Works

Most of my work runs through a pretty controlled pipeline. Commercial shoots, tethered capture, calibrated monitors, the whole setup. But I’ve been doing this long enough to know that the real test of a workflow isn’t how it performs under ideal conditions. It’s how it holds up when someone hands you three slightly overlapping iPhone photos and asks for a canvas print. That scenario comes up more than you’d think, and for a long time my answer was “I’ll do my best” followed by a lot of manual patching in Photoshop.

How AI-Powered Wildlife Photography is Changing Field Research (and What It Means for Your Workflow)

How AI-Powered Wildlife Photography is Changing Field Research (and What It Means for Your Workflow)

How AI-Powered Wildlife Photography is Changing Field Research (and What It Means for Your Workflow) I’ve been following some fascinating developments in wildlife photography lately, and one project in particular caught my attention: researchers in Oregon have created an affordable AI-powered camera trap system that automatically identifies and photographs wild bumblebees without harming them. What struck me wasn’t just the conservation angle—it’s what this tells us about the future of automated image workflows.