Editing Workflow Tips for Feature Photography — Reviewing "Product Photography and Post Production Editing with Blake Taylor"
If you shoot features for newspapers, magazines, or long-form digital stories, you know the truth: a consistent, efficient editing workflow is as critical as your time in the field. "Product Photography and Post Production Editing with Blake Taylor" (Unique University by Unique Photo) isn’t marketed specifically to editorial shooters, yet its post-production focus translates beautifully to the demands of feature photography. We took a close look at this class to see how its techniques slot into a real-world, deadline-driven feature workflow.
Positioning: Why this class matters for feature photographers
Feature assignments blend portraiture, environment, product detail, and storytelling candids. The editing asks for speed, restraint, and repeatability across mixed lighting and subject matter. While this class is designed around product imagery, its core post-production philosophy—build a logical pipeline, keep adjustments non-destructive, color-manage rigorously, and standardize output—maps directly to editorial needs where accuracy and consistency are non-negotiable.
Key features and takeaways
1) A start-to-finish, repeatable workflow
The class emphasizes a structured path from import to delivery that feature shooters can adopt: organized ingest, baseline corrections, targeted local adjustments, and final refinements in Photoshop only when necessary. The big win here is predictability—create a workflow that scales from a 10-image spread to a 100-image package without bottlenecks.
2) Smart culling and metadata for fast turnaround
Efficient culling is half the battle on features. Expect emphasis on rating selections quickly and embedding essential IPTC metadata (captions, bylines, keywords). For editorial use, bake in your naming convention and metadata presets on import so every image carries clean, publication-ready info from the outset.
3) Color management you can trust
Accurate color is critical for both print and web delivery. The class advocates a consistent color pipeline—think monitor calibration, use of camera profiles, and white balance discipline. For feature work, keep a standard working color space (e.g., sRGB for web, a wider space if your publication requires) and avoid chasing the look; aim for honest color that reproduces reliably across outlets.
4) Non-destructive global edits, targeted local control
From exposure and tone curves to HSL and color grading, the approach spotlights non-destructive edits as your first line of polish. For feature imagery, that means: correct exposure and color globally, then use masks and brushes to guide the viewer—lift a face, bring down a bright window, or add gentle clarity to texture. Keep changes subtle and context-true.
5) Editorially sound retouching in Photoshop
When an image needs more than a RAW processor can offer, the class moves into Photoshop with intent. Feature ethics call for restraint: remove sensor dust, tame stray hairs or minor distractions, dodge and burn to shape light—avoid altering content. Layer-based edits, smart objects, and adjustment layers keep things reversible and compliant with editorial standards.
6) Presets, profiles, and batch consistency
Consistency across a feature package is what sells the story. Build custom presets for common scenarios (overcast exteriors, mixed tungsten interiors, late golden hour) and apply them on import or sync across sets. Then fine-tune per image. This class encourages that template-first mindset, reducing redundant micro-adjustments and saving time.
7) Export discipline: naming, formats, and delivery
Deadlines reward organization. Standardize export presets for web, print, and archive: consistent sharpening, pixel dimensions, file naming (Publication_Date_Subject_Sequence), and embedded metadata. Keep a quick-turn JPEG preset and a high-res master preset ready so you can deliver to editors without last-minute scrambling.
Pros and cons
- Pros:
- Clear, end-to-end editing pipeline that scales to multi-image feature packages.
- Strong emphasis on non-destructive adjustments and color accuracy.
- Practical tips for culling, metadata, and export that save real deadline time.
- Balanced use of Lightroom-style global edits with Photoshop-based refinements.
- Easy to adapt beyond product work for portraits, environments, and details in features.
- Cons:
- Primary examples are product-oriented; editorial shooters must translate scenarios.
- Not a deep dive into advanced composites or heavy retouching (appropriate for editorial, but limited if you need those skills).
- Class availability may depend on scheduling; plan ahead if you’re aligning with an assignment cycle.
The verdict
"Product Photography and Post Production Editing with Blake Taylor" is a smart pick for feature photographers who want to tighten their post-production without sacrificing integrity. Its step-by-step approach, emphasis on color management, and focus on non-destructive discipline translate seamlessly to editorial work. If your current process feels ad hoc—or if your packages vary too much shot-to-shot—this class will help you build a faster, more consistent, and more ethical workflow.
Recommendation: Strong buy for feature shooters seeking to standardize and speed up their editing. Get it at Unique Photo (Unique University) and level up your post-production before your next story deadline.