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How often have you captured a series of images from the same vantage point with similar composition and identical exposure settings, only to spend considerable time processing each shot individually? The quick tutorial below will really speed up your workflow by showing you three ways to apply the processing settings from one photo to others.

George Digalakis is a fine art photographer born and raised in Athens, Greece where he still lives today. He says he subscribes to Minimalism, both as an art movement and a philosophy of life, and his beautiful nature images are really something to behold.

The late Mr. Newton was certainly onto something. I believe the overwhelming desire of most portrait photographers is to please the client, with seduction, amusement, and entertainment far from their minds. Let me submit this idea: shoot what the client says they want and then shoot something challenging their assumptions. Most wedding clients tend to be traditional but even introducing black and white or infrared images can increase sales and show clients you’re thinking outside the veil.

Lightroom’s Radial Filter is a powerful, easy-to-use tool that can do a lot of different things to enhance the quality of your images. In this helpful tutorial from Anthony Morganti you’ll learn several valuable tricks for streamlining your workflow.

So while many wedding photographers react to a situation to capture the beauty they might see, Scott Robert, as he’s known in the industry, feels that as a photographer who’s charging $10,000 or more, he’s got to knock it out of the park every single time, no matter what. So he became a director of brides, grooms, and situations.

It took two trips to the Arctic Circle for photographer Dale Sharpe to pop the question to his girlfriend Karlie Russell, but as you see here the resulting photos are totally epic. 

Most landscape and nature photographers consider Lightroom’s Graduated Filter to be almost indispensable for processing their images. The ability to selectively lighten or darken either the foreground or background is often critical to avoiding blown-out skies or an overly dark foreground.