Presets: What to Buy & The Paradox of Choice
Having previously written about the application of Adobe Lightroom presets and how they can boost one’s workflow when editing, it’s also worthwhile discussing the step that comes before their use – their acquisition. With freelance creatives often seeking to diversify their income streams, the sale of presets, as well as other digital products such as online courses, represents a form of passive income for photographers while offering the consumer a product that bridges the gap between resource and ‘merchandise’. On one hand presets provide a uniform base from which to begin the editing process, while, because of their visual nature, also allowing for the promotion of certain creatives and their chosen style.
Nevertheless, with the market and promotion of these files growing in prominence, it’s important to reflect upon the factors that go into a purchase of a preset pack- and ultimately evaluate what makes a valuable investment.
The Source
The first thing to consider with a preset is its source – who/where is it coming from and does this information align with your needs? This isn’t a strenuous research task though, as often our intent to purchase derives from an already established connection to the creator and a desire to support their work. What this process does involve however is merely a period of reflection and consideration of value for money.
If you’re planning to mainly use the mobile format of Lightroom for casual editing or are simply seeking a uniform style for something such as an Instagram feed, then this period of research isn’t of major significance so long as the desired ‘look’ comes at a price you’re comfortable with. If you’re aiming to apply presets to take your photos to the next level though, then they should come from a creator whose work inspires you and displays a clear understanding of both the shooting and editing process.
This person should possess a solid portfolio which utilises the presets they’re selling as a means to reflect the time and effort invested in their creation. While the colours of one preset (or a pack) may be to your taste, if the composition and subject matter of any example photographs appear either confused or mundane then it is doubtful that they have come from a place of sufficient knowledge and experience. Whereas some will merely create a ‘look’ through the adjustment of colours, akin to a filter, a good preset will often incorporate advanced elements such as radial and gradual filters in order to emphasise the focal subject and light levels - ultimately with the aim of producing a final, impressive image.
Henceforth not only will trusting the presets’ creator most likely result in a smooth editing process and effective results, but it will also help contribute to a sense of meritocracy within the industry. This can be said as at its core a preset is merely a combination of statistics and settings within the Adobe Lightroom software, therefore leaving the notion of ownership in a particularly grey area as any lrtemplate/xmp file can be slightly adjusted and sold on by another individual.
The Numbers
Nevertheless, this conceptualisation of presets as a combination of settings can be key to finding value for money as well as appreciating and learning the editing process. Fortunately, most responsible creators today provide the disclaimer that their presets will always require slight adjustments in order to achieve the desired output, thus emphasising the point that these files should be a starting point for editing rather than a replacement for the process as a whole. Given that a typical pack comes in at around $20 to $40, anything exceeding this price should evoke questions – especially when it might appear that the main selling point is who the presets are coming from. While on one hand we should admire one’s work and respect the time that has gone into the refinement of their presets, on the other we should know where to draw the line as their purchase does not transfer any skills, nor does it guarantee success.
When it comes to value for money, it also isn’t uncommon now for creatives to collaborate and sell a proportion of their presets as a part of a wider ‘bundle’ – therefore seemingly offering more variety for a ‘fair’ price. Despite their apparent advantages however, it’s important to remember what has just been said – that these files do not transfer skills, nor does having multiple contributors therefore ensure an impressive end result.
Bundles
My first reservation is grounded in the belief that any purchase of a preset should be made after one establishes the general style they want their photos to have – a process performed by eye and influenced by taste rather than how many likes or followers other individuals may have. Once this has been ascertained, it should be judged how well a bundle aligns with your desired look just like any other preset pack on the market. The issue here though is that if a bundle sells itself on its variety of visual elements, it simultaneously struggles to uphold its value if a proportion of its presets remain unwanted and unused.
Furthermore, although variety and the notion of having more appears appealing at surface level, in this instance it can elongate the editing process and create more problems than it does solutions. Echoing Barry Schwartz’s concept of the Paradox of Choice , having a wide array of options to choose from can ultimately hinder action and productivity. Bearing in mind that the purpose and appeal of presets are given away in their name; a ready-made collection of settings that establish a pre-determined look, the supposed increase in efficiency to one’s workflow their use brings can be disrupted when the range of options causes creative indecisiveness- especially when this process is offset against the intent to make full use of what has been bought.
That’s not to say that a bundle can’t be worthwhile though, especially if one combines the presets of multiple creatives with similar styles and approaches to editing. By offering a uniform style, incorporated with unique adjustments per each contributor, a good bundle should allow its users to start off from a solid base and also enable them to adapt to the conditions and composition of their photo.
Conclusion
When it comes to presets it must be remembered that these files are simply tools, and as much as we might repeat the phrase “a bad workman never blames his tools”, conversely one’s success can rarely be put down to a purchase and a few clicks of the mouse.
Presets are considered to be highly valuable because of the benefits they offer to various levels of ability. For novices they provide a good starting point that can sustain one’s confidence and inspiration while getting to grips with Lightroom and the editing process as a whole. Meanwhile for the more experienced and professionals, they provide a level of efficiency and consistency in editing which in turn allows for a heightened focus on other elements of photography.
Nonetheless there is a tipping point, and this consistency can be detrimentally affected when the acquisition of presets becomes a trend and the focus shifts away from improving oneself and one’s work. Although it is worthwhile to have a range of preset tones for a variety of atmospheres and compositions, this range is often provided by a good value pack that maintains a uniform design – whereas the consideration of multiple styles can be disruptive and self-defeating. Henceforth, and perhaps contrary to the nature of the current market, we shouldn’t view presets as mere purchases akin to merchandise, but as investments into a resource that will allow us to hone our skillset while simultaneously supporting those creatives who inspire us.
