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Snoot School: Train a “Look”

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Resource Library Snoot School: Train a “Look”

In this Snoot School, we look at how you could train a dog to look at a target, from the beginning steps, to increasing independence. This trick could come in handy to get dogs to look at the camera, or to look somewhere else if you’re by yourself and need them to look to one side.

As with all training, don’t rush, work on this over multiple sessions, build up understanding and independence and make sure the dog is confident in what’s being asked of it before taking it outside and using it as part of your photo sessions.

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Light & Location: Quiz!

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Location Light & Location: Quiz!

Developing your “photographer’s eye” in seeing locations for photos takes time and practise, practise, practise. There really is absolutely no better way to learn how a location will look through your lens, other than to get out there and take photos.

After all, it costs nothing to take photos (except a bit of time). If they don’t work out, then analyse them, try and work out why they didn’t work, then delete them and move on. 

In this lesson, I’ve taken a number of short behind-the-scenes clips for you, with a phone. The idea is for you to take a look at the location and consider whether you think it will make a good spot for photos.

Ask yourself especially:

  • is there enough light on the dog?
  • where is the light source? Is there a secondary light source?
  • what’s the background like? (busy? bright? boring?)
  • is there something about this location that will make it interesting?

Now, keep in mind I was taking photos specifically for this quiz – so these are not necessarily the lighting conditions or locations I would automatically choose for myself! Also, I could possibly have taken better photos in the location by changing my angle – but that wasn’t the point of the exercise. 

I used Loki for the majority of these photos because he is black and white – a challenging colour combination and requiring me to be more careful with blowing out the highlights or clipping the blacks and losing data in his dark fur. Clipped highlights, how much/whether to under expose/the amount needed to preserve highlights vs. blowing out highlights to properly expose the dog is something you might want to consider when deciding if it was a good location or not. If you don’t know what I’m talking about, search the site for “Underexposing” to find relevant lessons.

Each photo will have the Straight out of camera version, a Lightroom-Edit version (just a light edit), and SOME will have a full Photoshop edit.

And keep in mind that if you’re wrong (eg., you said it will be a good location when it really isn’t!) then that’s ok too! Have a read of why the location did/didn’t work, check out the settings and learn from it!

The Situation/Conditions/Gear

For all these photos I was using my Sony a7iii & 85mm f/1.8mm lens. I will be writing the settings for each photo as well – this may well also help you determine if it was a good location or not. After all, if it’s pretty boring/busy/bad lighting and has a ridiculously high ISO, is it worth it?

We started taking photos at 8:45am, early September, in some local woods.

The question to ask as you watch is: will it be a good location?

Location 1

Result

Untitled design (14) Untitled design (14)
DSC00589-2 DSC00589
DSC00574-2 DSC00574

Click below to reveal & view larger

1/400 seconds, f/1.8, ISO 4000

I’m a big fan of ferns, and ferns + backlight are such a fun combination.

Unfortunately in this location, there was no light coming in from above Loki or behind me, and a lot of strong light from behind him. I did use this light to create some light haze/lens flare, and blew out the highlights a bit so I didn’t have to under-expose too much. Under-exposing at such a high ISO already would have meant way more noise/grain when it came to lightening up the image in editing so it was better to try and get Loki closer to a correct exposure. 

The location itself was pretty – just too hard to balance the light and get enough light on Loki’s face – I got Ana to have him looking upward to get more light on his face. It would be even more interesting with some more ferns in the foreground (like in the 2nd set) or going across Loki’s chest to “close in the scene”.

Location 2

Result

Untitled design (14) Untitled design (14)
DSC00711-2 DSC00711
DSC00701-2 DSC00701

Click below to reveal & view larger 

Photo 1: 1/400 seconds, f/1.8, ISO 6400

Photo 2: 1/400 seconds, f/1.8, ISO 4000

Another location in the dark woods, without enough light getting on the face from open sky above or behind. 

I like the location a lot in terms of the mossy log, the ferns, and the few sparkles of backlight… but with an ISO that high, and having to slightly under-expose because of Loki’s white neck and stripe, there’s a lot of detail loss. These photos would be fine for social media once edited up properly, but probably not for anything where you need a lot of detail.

 

Location 3

Result

Untitled design (14) Untitled design (14)
DSC00850-2 DSC00850

Click below to reveal & view larger & other options

1/400 seconds, f/1.8, ISO 320

This location had a lot of light coming in from the area of open sky above so I was able to keep the ISO down quite low. I also didn’t have to preserve any highlights in the background so I was exposing for Loki’s white area.

The scene itself is quite busy with los of branches and leaves, though I do like the foreground blur effect and the sense of peeking through the leaves at Loki.

In this location, it was quite side-lit so he had to be looking to the left, or, as you’ll see in the photo of him looking straight on, half his face is very shadowed. 

Location 4

Result

Untitled design (14) Untitled design (14)
DSC00716-2 DSC00716

Click below to reveal & view larger & other options

1/400 seconds, f/1.8, ISO 1600

This location is… fine. I don’t like the way the log chops off the back legs.

There’s no foreground in this photo, but if I got down lower he lost all the light in his eyes. In another photo from the series I got some nice foreground from a bush or something to my left so I could have used that.

The sparkly bokeh in the background is nice but it was still a big challenge to balance even that small amount of backlight with the complete lack of light behind me/above us.

Location 5

Result

Untitled design (14) Untitled design (14)
DSC00854 DSC00854-2

Click below to reveal & view larger & other options

1/400 seconds, f/1.8, ISO 320

Oh boy.

Big bright open sky in one corner, facing Loki into the shade so he’s not getting any light on his face…

So making a decision about whether to just blow out that sky, or under expose, or try and find a middle-ground. In this case, this is the middle ground. The sky is still blown out, Loki is still dark. Possibly I could have just blown the sky and background out more to have Loki lighter, but what’s the point? You would end up with a hugely bright background and no way to work with it, a much higher ISO, in a boring location.

Location 6

Result

Untitled design (14) Untitled design (14)
DSC00726-2 DSC00726
DSC00728-2 Backlit photo of a black and white dog.

Click below to reveal & view larger & other options

Photo 1: 1/400 seconds, f/1.8, ISO 3200

Photo 2: 1/400 seconds, f/1.8, ISO 6400

Another super high ISO – similar situations to the other photos so far in terms of lighting conditions.

This one was, perhaps, even more difficult because of the larger gaps between the trees behind Loki and therefore the stronger amount of light. 

This is why I included two photos here. One of them (ISO 3200), I attempt to expose for the highlights (though a couple are still blown out), making Loki very, very under-exposed. Lightening him up has resulted in about as much noise as taking the photo at a higher ISO.

In the ISO 6400 photo, the highlights are much more blown out, but Loki started lighter as well. I could probably fix these highlights areas reasonably easily in Photoshop.

Location 7

Result

Untitled design (14) Untitled design (14)
DSC00832-2 DSC00832

Click below to reveal & view larger & other options

1/400 seconds, f/1.8, ISO 6400

Neither the video nor the exposure I used here really show just how dark this location was. But being under these thick bushes, with no light above or behind meant that it was pretty much totally dark.

 I exposed the image for Loki’s white stripe, meaning his blacks were still quite dark, though not as much as some of the other backlit images where I needed to balance brighter highlights. In this photo, the only highlights I needed to worry about were from him. Possibly I could have gone a little lighter, but his snout has a habit of being deceptively light, so I tend to err on the side of darker rather than lighter, otherwise he ends up with a white blob for a snoot.

The location itself is busy, ugly, and not very exciting 😂 Definitely not one that I would choose for a normal photoshoot. There’s a lot of sticks around and those two thin tree trunks aren’t acting like a frame, they’re just right in the middle of the image. 

There’s no “visual interest”, just a dog lying on some leaves amongst some weird thin tree trunks. 

Location 8

Result

Untitled design (14) Untitled design (14)
DSC00766-2 DSC00766
DSC00769-2 DSC00769-Edit

Click below to reveal & view larger & other options

Image 1: 1/400 seconds, f/1.8, ISO 3200

Image 2: 1/400 seconds, f/1.8 ISO 1600

Similar to the last location, I took two different exposures here: one to try and keep the highlights (ISO 1600 and the darker image) and the other to have Loki brighter but blow out the highlights.

Theoretically in photoshop, I could combine both these exposures particularly over the blown-out highlights section. But I did a full edit on the 2nd, darker image anyway (I really liked his expression) to see how it would edit up with ISO 1600 and being so under-exposed. I don’t love how grey he’s become but this is a pretty common side effect of brightening up an underexposed scene a lot. I would probably be going back and fixing it a bit so he’s not quite so grey.

Important! Just because my camera can do this, doesn’t mean yours can. Learn your camera and work within its capabilities. There’s no point in you shooting underexposed at ISO 1600 if your camera can’t handle it, and you don’t yet have the skills to work with it. 

Location 9

Result

Untitled design (14) Untitled design (14)
DSC00777-2 DSC00777

Click below to reveal & view larger & other options

1/400 seconds, f/1.8, ISO 1600 

This was not a good location. There were wide gaps in the trees behind Loki with a lot of light coming in, and no light behind/above me. 

It was impossible to balance the light. There was no way I could under-expose enough to keep data in the highlights without the image being pure black, but the highlight areas are so large that fixing them in editing would be a huge pain.

And also, the location (at least taken from this distance) is just “meh”. Why is he sitting behind that one random fern? Nobody knows.

Location 10

Result

Untitled design (14) Untitled design (14)
DSC00790-2 DSC00790-Edit

Click below to reveal & view larger & other options

1/400 seconds, f/1.8, ISO 800

Ok I’ll admit, I wasn’t prepared to love this location as much as I ended up loving it. 😂

It was chosen because it has the area of open sky above us and the sun BEHIND me, so I could FINALLY get some light on his face… but I expected the background to be a lot more solid with a lot less bokeh than it has… so I wanted to use it as a “boring background” but it turned out really pretty and became the cover photo for this whole lesson.

Why though? For one, his face is tilted up a bit, getting a nice amount of light from the sky and sun behind me, without there being patchy areas of sun and shadow.

There is blurry foreground detail in the bottom right corner, and a frame of closed in forest blocking the image behind Loki, while he looks into light.

I exposed the image just so a few of the smaller highlights were a little blown out, but that meant I could keep a good amount of light in Loki’s face that wouldn’t be too hard to work with. Those small highlight areas are easy to fix in Photoshop.

It’s not backlit but it was easy enough to bring some warmth to the bokeh in the background.

Location 11

Result

Untitled design (14) Untitled design (14)
DSC00806-2 DSC00806

Click below to reveal & view larger & other options

1/400 seconds, f/1.8, ISO 800

You can’t see it too well from the video, but I chose this spot as another example of getting too much light behind – although in this case it was a bit easier to balance, since there was at least SOME light overhead, though still not enough, and meaning I still had to underexpose it a lot in order to preserve the highlights from the sun. I blocked most of the sun with the tree trunk at least, which meant Loki could get some of that pretty rim light around his ears.

If I was doing this photo for real (and not just the quiz), I would have removed the annoying branch before taking the photo, but since that involved climbing a steep little embankment, I couldn’t be bothered.

Location 12

Result

Untitled design (14) Untitled design (14)
DSC00839-2 DSC00839

Click below to reveal & view larger & other options

1/400 seconds, f/1.8, ISO 320

I found a patch of sun and put him in it.

And actually, it wasn’t quite as awful as I’d expected BUT…. it ONLY worked when he was looking up and into the sunlight, not when he was looking at me, because then the light was hitting the side of his face and throwing the whole other side into shadow.

He was squinting a lot in most of these photos, and I had to do quite some work to fix the highlights and the shadows to even it all out, and even then it’s still a pretty boring location – open, no visual interest, just some leaves on the ground, a solid background, and a lot of sun on him.

Location 13

Result

Untitled design (14) Untitled design (14)
DSC00815-2 DSC00815

Click below to reveal & view larger & other options

1/400 seconds, f/1.8, ISO 800

Surprise surprise, another photo where there isn’t enough light getting on Loki. In this case, there is actually a little gap in the trees above, but the light behind was really quite strong – this resulted in another photo where I would either have to blow out the highlights a bit to ensure he didn’t end up completely black, or lose detail in his fur and risk a ton of noise from lightening it up.

In this photo, a few of the highlights are slightly blown, but I still under exposed quite a lot. So, opting for a kind of middle ground. But since he’s quite far from the camera, there really isn’t a lot of detail on his face now.

While the backlight is pretty, the rest is definitely not ideal, and for me, the bokeh in the background is now very busy, which could be fixed in editing a bit, or used to get some interesting effects, but it’s definitely a lot!

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Behind the Scenes Livestream: Join us on a Photoshoot!

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Resource Library Behind the Scenes Livestream: Join us on a Photoshoot!
Resource Library Behind the Scenes Livestream: Join us on a Photoshoot!

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All things going to plan (weather and internet), we will be meeting up with Natascha and her two beautiful shelties New and Nami for a photoshoot in some local woods, to take you Behind the Scenes.

This is your chance to ask about locations – what I’m looking for, what I’m avoiding, camera settings for each place, how I ask Natascha to pose her dogs (and why), how I move about to find the angles I want, how I get the dogs’ attention and more. 

The woods we’ll be going to have plenty of mossy logs, not much bokeh light in the background (sad) and a lot of tall grasses and general summer greenery that I’ll be trying to avoid. I went there previously to take some test shots with my dogs to make sure there would be enough variety and some good places to get us started, but once we get going the process should flow. 

Unfortunately the internet was not very strong, so it lags quite a bit and is very pixelated. It also didn’t record the whole first part of the shoot (about 45 minutes 😭). I still think the idea has potential, if we can improve the internet connection and use some kind of microphone on me or something. But I hope it’s useful in any case. I will post the edited/unedited photos from the shoot below – there’s 655 total so I’ll be culling and choosing the best ones when I have some time. 

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Behind the Scenes: Limited Location

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Location Behind the Scenes: Limited Location

On this day I set myself a challenge: To get a variety of photos within a very small area, without any kind of nice/magical elements, eg., ferns, moss and so on, that I normally use.

Since some people struggle to find locations for photos when there are only weeds, nettles or brambles, I looked for a location that was exactly this: weeds and nettles. It was raining, so the weather wasn’t exciting, although we were lucky to get the sun coming through at one stage, though it was a bit early in the afternoon to be true golden hour.

I also challenged myself to get as much variety in this one very small location as I could – that is, within about a 5m radius, not picking up the camera bag to go somewhere else (though I did pick it up once or twice to get it out of the shot!) just use what was immediately in this small area.

These photos might  not be “award winning” or anything exceptionally exciting, but I do think that for a very fast photoshoot (the first photo was taken at 6:09pm, the last one was taken at 6:30pm, and there was about 5 mins in the middle of experimenting with a slow shutter speed and Loki tilting his head), in a boring location that I’d never been to before, in the rain, without moving to any other location, there is a good variety of photos here, from about 200,  I edited and included 9 in the video. 

 

The full set of images
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A Touch of Magic: Lightroom-Only Tutorial

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Creating: Editing Tutorials A Touch of Magic: Lightroom-Only Tutorial

In this Lightroom-Only tutorial, we’re going to work on this photo of Loki. Some of the skills we’re going to work on are:

  • brightening up a black dog
  • changing the background colours
  • creating a bit of haze & warmth in the top corner
  • using range masks to automatically mask certain things in or out
  • contouring his face for a 3D effect
  • removing colour-casts
  • making sure his blacks stay black
  • bringing nice detail and texture to his face
  • shaping the light to create a gentle “spotlight” on his face, and help our viewer be drawn to him.
Download the .RAW file here
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Perfect Personality

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Learning Journey Perfect Personality

 

This challenge is about showing your subject’s personality. Our job as photographers is not only about capturing beautiful images that captivate our audience, but about telling a story, or showing our audience something about the subject. I see so many photos of dogs sitting nicely, looking at the camera but I always feel like I want to know more about them. This challenge aims to push you to think deeper about ways you can show who your subject is, whether its your own dog, or a client’s dog. 

The challenge is:

Capture ONE photo that shows us who your subject is.

You can upload it to the “Challenge” topic of Inspawration Connect

The photo should follow the general principles of a photo entered in a competition:

  • it should be impactful, creative, have a mood
  • technically correct (white balance, lighting, composition, focus, etc)
  • be edited in a way that complements the photo and enhances it

Now, obviously no photo is going to show the entire spectrum of your dog’s personality – if they’re anything like my boys, they can be polar opposites, from sweet and cuddly, to intense and crazed, to silly and goofy. Whichever side of your personality you choose to show is up to you – it might be what you see most often of your dog and is therefore clearly, and fundamentally “them”…

or it might be a moment you captured where they showed the silly side, or the serious side, and it was unexpected and delightful. There’s no “right or wrong” answer, but you should aim to use a few elements in order to paint a more dynamic picture of who your subject is. I would say the most important elements in this photo will be:

  • light
  • location
  • expression
  • pose
  • editing
Have a read of the guide below for some tips and ideas. Most of this information is also in the “Next Level” course.

Light

The amount of “visible light” in your photo can affect the mood. The serious intensity of a border collie will show through in a photo without a lot of visible light… whereas a happy goofy puppy will show that happy side in an image that is lighter and brighter.  This doesn’t mean you need to take photos in full sun in order to show that your dog is happy and funny, but thinking about the direction and quality of the light, or how much light is showing in the background can really change the feeling of the photo. Have a look below for some examples of different moods created using more or less light. The more “serious” images are on the left, while the brighter or more wistful or hopeful images are on the right.

Location/Scene

Closely tied in with light in a lot of ways, the location you choose for the photos can have a big impact on their mood and what you show/say about your subject.

Fields of wild-flowers, or warm golden barley is going to have a different impact than deep green mossy woods. You can see this very clearly in the above examples as well. Of course you could have a sweet carefree dog in the mossy woods but you’re going to have to work with the other elements in your photo to make sure everything is cohesive and you’re saying what you want to say about your subject. Something as simple as the location being more open ( a field) or closed (the woods) can really add a mood to the image.

The way you use your location too, can have an impact on the feeling of the image. Close up photos – either head and shoulders shots, or photos with the chin down, tend to be more intimate and confined. Using frames, or peeking through some blurry foreground can also add to the effect of “spying” on your subject. Is your dog aloof and independent? If so, positioning him further from the camera, and shooting through some foreground layer may product the effect of him being “watched” by the photographer as he goes about his business, rather than him “being a very good boy” and looking at the camera for photos. 

If he is posed standing or lying on a log, consider how this feels in terms of the story you’re telling. Most dogs “in the wild” wouldn’t naturally pose like this – so it may not suit the personality you’re trying to convey. A Very Good Boi who does what he’s told and loves to work and do tricks, on the other hand, may suit this kind of more “posed” feeling in his environment. For example, when I ask Loki to hold a leaf or some flowers in his mouth, or wear a flower crown or something, you can see he’s trying extremely hard to be the goodest boy. And this is a big part of his personality, and tends to show him as very eager and very endearing. Journey on the other hand looks like he’s being forced against his will to “perform”, so we don’t have many photos like that as it doesn’t show his true personality (which is to be the goodest boy! Just not in this situation). 

Expression

Expression can have a huge impact on how we perceive your subject in the photo.

In simple terms, closed mouths tend to be more serious and intense, open mouths tend to be relaxed. But even the direction the dog is looking (whether at the camera, extremely to one side, or at a 45 degree angle) can all change the mood of the photo. I’m sure you can take note of Loki’s expressions above and what we learn about him, as well as from the photos in the first gallery.

Have a look at the lessons on expression as well for more information.

Pose

Pose is another big factor in how we perceive your dog. 

Sitting poses are safe and simple. Good dogs sit very nicely and properly (see Loki in the gallery above). Relaxed easy-going dogs might lie down, or dogs with an “old soul” or who are just a bit bored of the photoshoot might lie down with their chin down. Dogs who are interested in the world or who are on the go might stand up and be ready for action. How much tension is in their pose also really changes the story and what you’re saying about the dog. Take the photo of Loki sitting on the beach in the gallery below, compared to the snowy sitting photo of Loki above. One is full of tension, the other is much more relaxed. Both show different elements of his personality.

Making conscious choices about the poses you choose for your subject will help to show more of their story and their personality. 

One other big thing to consider is how posed you want to make your photo. Candid photos can be amazing at capturing a moment in a dog’s personality. Whether they’re being unexpectedly naughty, or if there is a moment of stillness in their chaos. Look out for and be prepared for candid moments, especially if you have a dog who either doesn’t like posing, or maybe likes it too much, so just becomes ” a model” rather than the more genuine version of themselves. This isn’t to say you need photos of them racing about. But sometimes sniffing the wind or a flower, watching a bee, looking at some birds, or pulling up some moss can create a more complete picture and tell a stronger story than a posed head-and-shoulders photo of your dog in some flowers, looking directly at the camera.

The photos above had begun mostly as posed photos of some kind, but then the dog did something  in that moment that make it something else, or showed something else. For example, Loki dragging a stick out of the snow, his face devilish and naughty, was an unexpected moment of naughtiness from him.

Norman in the sun, just closing his eyes for a second, looks like he is really enjoying this evening sunshine streaming in from behind.

Loki on the beach, although sitting there, is leaning forward, ready to fetch his toy, everything alert and intense and focused. He isn’t just sitting, there’s something else going on, another story being told. 

Editing

Lastly, we need to edit our photo so all these elements come together to tell the story we’re trying to tell. There’s no point taking a photo with a lot of light and brightness, in a field of wildflowers, with a happy expression on the dog, to then try and edit it to be dark and moody. Similarly, if we’ve taken a photo of a pensive dog in the mossy woods, it will be difficult to edit it to be bright and light and airy.

Editing decisions like how warm or cool to make the photo can be based both on the ambient temperature of the light, but also on the mood you’re creating. Moodier photos of serious, pensive dogs might be cooler than more hopeful, light-hearted photos. The richness, saturation and tones of the colours in your image can also help contribute to the mood. Less saturated photos will usually be a bit moodier/gloomier than photos with stronger/richer colours. 

The main thing to remember is to use your editing to tie all the other elements of your photo together, to make it cohesive. Personally I try and keep most of the elements of my photos quite natural, for example light haze is added when there was naturally light behind the dog, darkness is added where it makes sense for parts of the image to be dark, and so on. 

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Workshop: Curves in Photoshop

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Editing Tools & Techniques Workshop: Curves in Photoshop

My favourite tool in Photoshop because it’s so versatile! You can control any tones of light or dark, broadly or specifically. You can focus on just altering the highlights or altering the whole spectrum of light.

My favourite ways to use curves layers are:

  • to create natural vignettes, drawing our viewer’s attention to the dog and guiding them through the image
  • adding richness and depth to the colours
  • to raise the blacks (make the blacks less black) in order to remove some contrast from the background of the image, helping the dog stand out
  • to darken light parts of the image which may be distracting
  • to lighten parts that need to be lightened (the dog) or to create the sense of natural light coming from somewhere (above, in front, or from a side)
  • to add or remove contrast
  • to contour the face (more on that here)

As I stress multiple times throughout the workshop, how, when, and why you use this tool is completely up to you and your style. I use quite a lot of curves layers, all of them doing specific things and gradually building up effects in a way I hope is a bit more subtle… but you can use them however suits you. You may like images with a lot more contrast, in which case, do that! 

The main goals for me are:

  • draw your viewer into the dog
  • lead your viewer through the image in a way that helps them be “trapped” and/or return to the eyes. More on that here.
  • remove distractions
  • enhance the mood/story in the image, whether that’s keeping it feeling “light” or whether it’s making it darker and moodier
  • keeping the light looking natural. Constantly asking: where would the light be hitting, what would be in shadow? And using curves layers accordingly.

 

As always, apologies for the quality of the recording. I think in future I’ll use the screen recording function on my computer, I’m just afraid it’s not going to cope (Photoshop is currently having a LOT of issues with me trying to edit AND screen record). I’ve spoken with Zoom about it this morning again so we’ll see how it goes next time. Next I’ll get onto Apple and see if they have a solution for it being ridiculously unusable when screen recording and editing.

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Workshop: Photoshop Basics

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Editing: Creating Stage Workshop: Photoshop Basics

In this workshop, we’re going to look at the most important tools and ways of working in Photoshop.

We will explore:

  • how to open our photo in PS
  • what exactly is masking??
  • adjustment layers
  • working with smart objects
  • cropping
  • clone stamp, content aware fill.
Go To Downloads Folder
Go

In the folder you’ll find:

  • The PDF Booklet. Download beforehand to fill in notes in the “notes” areas!
  • The Compressed/Zipped RAW & .xmp files. When both of these files are dragged into Lightroom, my Lightroom edits will be there – including radial filters etc. This allows us to skip the radial filter/WB/etc Lightroom steps 
  • The completely unedited .RAW files (not so useful for this workshop)
  •  The .TIF file of the photo with Lightroom edits, incase the above file doesn’t work. You do NOT need this file. It’s incase of emergencies.
The top two files are the most important. The other two are for if you want to edit from the very beginning in your own time, and/or if the raw/xmp file doesn’t work.
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