Behind the lens – the workflow I use for editing client portraits

Behind the lens – the workflow I use for editing client portraits

I shoot with an eye for the story I want to tell, but the picture you see on the final gallery is the product of decisions made after the session. Editing is where mood, clarity and connection are refined. I keep a consistent sequence so every portrait I deliver feels intentional and polished. If you want reference examples, you can see some on my website.

1. Preparation before a single edit

Good software choices and an organised folder structure save time later. I create a job folder named with the client and date, then subfolders for RAW, exports, and proofs. Before importing I write a handful of notes about the shoot: the story, the client brief, which images were favourites in-camera. Those notes guide me when I first open the batch.

I also have a default preset that matches my base look. It is subtle, mostly exposure and profile-based, so I start every image on even ground. That preset is not a final look, just a baseline that reflects the way I shoot and the camera profiles I use.

2. Importing and culling efficiently

Speed matters here, but not at the expense of care. I import all RAW files into Lightroom or Capture One and immediately apply lens corrections and the baseline preset. Then I do a fast pass at 1:1 and 2:1 to flag images: keep, maybe, reject. I use keyboard shortcuts and a single-star system for anything I consider a deliverable candidate.

• First pass: technical rejects and obvious duplicates.
• Second pass: emotional resonance and composition.
• Final pass: narrow down to the best frames, usually 10 to 25 per session depending on the package.

3. Global adjustments first

With a selection made, I work on global corrections: exposure, white balance, highlights and shadows. I correct exposure to the face first, because skin tones are where viewers look first. Then I tidy up contrast and clarity, but gently. Overdoing global clarity can flatten skin and make retouching harder later.

For group or couple portraits I usually synchronize basic edits across similar frames, then fine tune individually. Synchronizing saves a lot of time but I always check every image after copying settings; small differences in lighting or pose require bespoke tweaks.

4. Local adjustments and targeted retouching

Once the whole set looks cohesive, I move to local edits. This is where the portrait really starts to sing. I use dodge and burn to model the face, subtly enhancing catchlights and shadow to bring dimension back into a flat file. I clean distracting elements in the background with spot removal or the healing brush.

Retouching workflow

1. Skin clean-up on a duplicate layer or layer stack, working non-destructively.
2. Frequency separation only when needed for stubborn texture issues.
3. Liquify sparingly to fix posture or minor lines, never to change the person’s essence.
4. Final sharpening masked to eyes and hair, avoiding skin unless it needs texture recovery.

I prefer to leave pores and natural texture intact. Clients like polished images, not an airbrushed look. The goal is refinement, not replacement.

5. Colour grading and creating a signature look

Colour grading is where I apply personality. I ask: should this feel warm and intimate, cool and editorial, or true to life? I often start with subtle split toning and then adjust hue/saturation selectively. Skin tones are sacrosanct so I check them carefully; a pleasing midtone is central to most portraits.

For consistency across a set I create a master adjustment layer or develop preset reflecting the final palette and then tweak per image. This ensures the gallery feels like a single body of work while still letting standout images be a bit bolder.

6. Preparing exports and client viewing

I export two main versions: high resolution for prints or archival, and web-optimised JPEGs for online galleries. Filenames include the client name and an identifier. I also embed metadata and basic usage information because it helps clients and keeps rights clear.

When building a proof gallery I limit the number of images displayed at once. Showing the best, not everything, helps clients make choices. I include a short note with a few words about why I selected certain frames when the package includes art direction, otherwise the images stand on their own.

7. Archiving and backup habits

After delivery I back up the final TIFFs and RAWs to at least two different locations, one of which is offsite. I keep a cataloged record for at least a year, often longer, so I can revisit and re-export for print or future requests. Proper backups protect both the client and my business, and they reduce stress when a client asks for a rework.

Workflow tips that save time

• Use keyboard shortcuts and batch operations whenever safe.
• Create a checklist for each shoot so nothing is missed between culling and delivery.
• Keep a retouching cheat sheet for common fixes to speed up repetitive tasks.
• Set realistic time blocks so you do deep work on images without constant interruptions.

Editing portraits is a balance of craft and discipline. You refine mood and preserve authenticity, all while keeping an efficient, repeatable process. Over time the workflow evolves, but the backbone remains the same: honour the subject, aim for clarity, and keep the client experience simple and predictable.