Choosing a photography workflow isn’t about following a set formula. Each step you take—from picking up the camera to final editing—is part of a sequence that can shift depending on your style, subject, and even personal preferences. There’s no “correct” way to approach it, so flexibility is key.
Coming to you from Keith Cooper, this informative video explores what photography workflows are and, importantly, why they vary. Cooper shares a question he often gets: “What’s the right workflow?” In the video, he points out that a rigid workflow might not even exist. He emphasizes that workflows shift depending on the photographer’s intent. For example, he has one streamlined process for his commercial work that involves color correction, geometry adjustments, and minimal edits to meet client expectations efficiently. This approach suits his needs but may not apply universally. Cooper’s view is that while structure can help, it’s better to mix and match different methods to create a workflow that’s both effective and adaptable.
A standout part of Cooper’s advice is his emphasis on creative freedom, especially for non-commercial work. In his personal projects, he allows more experimentation, adding steps like advanced noise reduction or even upscaling with tools like Gigapixel AI. He believes workflows are like cooking: some follow recipes precisely, while others use them as a rough guide. He may start without a strict plan, deciding after the shot whether it will end up as a print, in color or black and white. This openness gives room for creativity and prevents the process from becoming rigid or repetitive.
Cooper also discusses the challenge of handling large volumes of images in various scenarios, like architectural shoots where he might take multiple shots of a single scene. He explains how minor shifts in angle or composition can change an image dramatically. Instead of following a rigid structure, he uses a process that allows him to adapt to each shot, keeping only what works best. This flexibility extends to his editing choices as well, where he might use raw files for flexibility but switch to JPEGs when needed for high-volume work, such as sports photography. Check out the video above for the full rundown from Cooper.
