Client galleries

The photographs go out on the link the client already has

A project’s photographs go out in sets on the same share link you sent the client for the moodboard and the call sheet. They need no account to open it, and you decide whether they can select photographs and what size they can download.

Start free Publishing from Lightroom

Galleries are on every plan, the free one included.

Latentshoot’s Gallery screen for the Autumn/Winter lookbook, on the Photographs tab, with Set-ups, Design, Access, Protection, Client, Delivery and Settings beside it. A panel headed Analyse, with a button marked AI, reads “Marks closed eyes and missed focus, and suggests a set-up and tags for each photograph from your shot list.” Below it, a search box and a Filters button, then under Sets the Outerwear set of seven photographs of coats, filters for All, Picked, To judge, Rejected and Bursts, an Analyse this set button, and icons to move, rename, hide and delete the set beside Add photographs. — The photographs in the sets they were uploaded to, in the order the client will see them. Coverage, the design of the client’s page, the watermark, the file details, the terms, what the client has done and the deliverables are each on a tab of their own.

Going through the frames

Go through the frames before the client sees them

Each photograph on the Photographs tab takes up to five stars and a pick or a reject, with the keys you already use in Lightroom: 0 to 5 for the stars, P to pick, X to reject and U to clear the flag. The arrow keys move from one frame to the next, and pressing the same key again takes the judgement back off. Above the grid you can narrow a set to the frames still to judge, the picks or the rejects. This is on every plan, and none of it is shown to the client.

Frames taken seconds apart on one camera that look almost the same are bracketed together as a burst. Press ] to jump to the next burst and [ to go back one. Latentshoot does not choose between the frames in a burst, and it finds them from the thumbnails with no AI model and no credits.

The Photographs tab of a gallery. A search box reading “Search by colour, subject, camera, guest or file name” and a Filters button sit above the Outerwear set of 15 photographs. Beside the All, Picked, To judge and Rejected filters, a Bursts button reads 3. Thin brackets over the grid are labelled Burst of 4, over four near-identical frames of a woman in a pale coat on a hillside, Burst of 5, over five frames of a man in sunglasses and a cream coat, and Burst of 2, over two frames of a woman by a fountain. — The Outerwear set as it came off the card, with three bursts bracketed. The one pick and the one reject are the photographer’s own.

Find a frame by the camera, the light or who chose it

The box above the sets finds frames by camera, file name or the guest who selected them. Filters narrows the grid by the time a frame was taken, the light, the lens, the set-up and more, and the search stays in the address, so you can come back to it.

Once Analyse has read a set, you can also search it by colour and by what is in the picture, so “beige coat” finds the beige coat and not a black coat on a beige beach. The words you search for are not sent anywhere.

Analyse

Closed eyes and missed focus, marked for you to check

Analyse looks through a set for two things: somebody’s eyes shut, and a subject that is not sharp. It sends a smaller copy of each photograph to an outside service, which does not keep it, and marks the frames where it found something. It never rejects a photograph, so what happens to a marked frame is still your decision.

Where it cannot tell, as with a portrait at f/1.4 that is meant to be soft everywhere but the eyes, or somebody facing away, the frame is marked apart from the rest. The same pass can suggest a set-up and tags for each frame. The model is sent the picture and nothing else, and Latentshoot matches its answer to your shot list itself.

Nothing is sent until the team owner has agreed to it once, and then only from a gallery where sending is allowed. The privacy policy names the service. Pro analyses 3,000 photographs a month and Studio 15,000, and the free plan is given 200 once, when you publish your first gallery. A photograph already read is not counted again unless it has changed since. More on Analyse.

Two jobs

Selects first, finished files later

The client selects the frames they want, up to a limit if you set one. Each select shows who made it and, if you allow notes, what they wrote and the part of the frame they marked, so “this branch, here” arrives on the photograph it is about rather than in a separate email.

Each retouch you show from Develop goes to the same photograph as a new round, which the client can compare with the last and approve. When the work is finished, change the download setting and the client takes the files from the link they already have. Notes, rounds and approval.

The Client tab at Selects. Imogen Hale’s seven selects, each a thumbnail and a filename, three of them with a note: “Opening spread. Could the branch on the left come out?”, “Crop tighter for the product page.” and “Cover, if the title fits over the sea.”, each marked Area marked with an Open in Develop link. Below, the start of Theo Marsh’s selects. Each person’s selects show when they first opened the gallery and when they were last seen, with buttons to make a set from their selects and to copy the filenames. — Two people at the client, each with their own selects and notes. Copy filenames gives you a list to paste into Lightroom’s filter, and a set made from the selects appears on the Photographs tab.

What you see

Frames and selects, counted against each shot on the shot list

Selects, per person. Each person’s selects and notes, and the selected filenames as a list you can paste into Lightroom’s filter. If you published with the plugin, the selects are already in Lightroom.

Coverage against the shot list. How many frames each set-up produced, how many of those the client selected, and which set-ups produced none. This works because the gallery belongs to the same project as the shot list.

Latentshoot compares the time each frame was taken with the time each shot was marked captured on set, and suggests a shot for the frame. Nothing counts until you confirm it. You can confirm every frame suggested for a shot at once, move a frame to a different shot, or skip it. A line at the top says how many frames are still unconfirmed, so you can see when the counts cover only part of the day. How a shot is marked captured on set.

A camera clock that was out. If a camera clock was a few minutes wrong, Coverage notices from the capture times and says so, as in “Your cameras look 6 minutes fast”, with how many frames the correction would move. Nothing moves until you press Apply, frames you have already confirmed stay where they are, and Undo puts it back. If two cameras were set to different times, it says which one looks wrong and leaves its frames for you to place, because one correction covers the whole gallery.

Activity. Everybody who has given a name, with their email address if you asked for one, and every download: what it was, at what size and by whom. The client’s notes can be sorted there into a list of what each one asks for. Sorting the notes.

The Set-ups tab at Frames to confirm, marked Calculated, with a camera clock correction field set to 0 minutes and a Suggest again button. Below it a panel headed Camera clock reads “Your cameras look 6 minutes fast. Correcting the clock moves 4 frames to a different set-up. Frames you have already confirmed stay where they are.”, with Apply and Not now. Under the panel, the frames grouped by the shot suggested for them: 14. Dunes hero, last light, two frames taken at 18:25 and 19:02, reading “Taken just before or after this set-up”, with Select all and Confirm all 2. — The camera ran six minutes fast. Coverage offers the correction and says what it would move, and nothing has moved yet.

In every file

Your name and copyright go out with the photographs

Set your name and copyright notice once under Account, in Copyright. Latentshoot writes them into every web copy, every watermarked copy and every picture exported from Develop, as the creator, the copyright notice and the credit line. The year is the one the photograph was taken.

On a gallery’s Delivery tab you can use a different name, for a second shooter, or none, for finals whose copyright the client has bought. Choose whether the camera settings and your titles, captions and keywords go too. The location is taken out of every copy Latentshoot makes.

The file you uploaded is never rewritten, so a full-size download carries whatever your own export put in it. Where full-size downloads are allowed, on Pro and Studio, tick Remove the location from originals and the client gets a copy with the location out and your credit in. That copy uses storage of its own.

The Metadata panel on a gallery’s Delivery tab: “These details go into every file your client downloads, where Lightroom, Photoshop and picture libraries can read them.” A line reads “All 26 files in this gallery are up to date.” Under Name and copyright, three choices: Your team’s copyright, chosen, reading Northlight Studio, © 2026 Northlight Studio Ltd; A different name, for a second shooter; and No name or copyright, for finals whose copyright your client has bought. Camera settings is ticked and Title, caption and keywords is not. Beside them, a preview of one photograph lists Creator, Copyright, Credit line, Camera settings X2D 100C · 65 mm · f/5.6, and Location Removed. — The preview is one of the gallery’s own photographs, read the way a picture library will read it.

Deliverables

Every crop the client asked for, named and in one zip

On the Delivery tab, set out what the client asked for: up to twelve shapes, each with a name, a longest edge and a JPEG quality, and a pattern for the filenames. One press adds 4:5, 9:16, 1:1 and 16:9 to start from. Make the kit from the client’s selects, from one set or from every photograph.

Each crop is centred on your own crop and becomes a version you can adjust in Develop. The contact sheet flags any that keep less than 60% of the frame, and offers to extend the picture instead for 25 AI credits.

Develop exports the pictures on your computer, so keep that browser tab open while it works. Latentshoot then puts them in a zip with a folder for each shape and emails you the link. Your client sees none of it until you offer it to them.

The Delivery tab’s contact sheet: 10 photographs, 4 shapes, 40 pictures, with a switch between All and To check. Columns for Portrait 4:5 at 1,350 px, Story 9:16 at 1,920 px, Square 1:1 at 1,080 px and Landscape 16:9 at 1,920 px, each with its folder name. Each row is one photograph cropped to every shape, most marked Ready, two marked Settings differ, one Not exported, and the landscape crops flagged “Keeps 45%” and “Keeps 38%” with Extend · 25 credits beneath. — Four shapes across ten selects. Two landscape crops are flagged because they keep less than 60% of the frame.

The client’s download

Offer the kit on the client’s page, with or without your watermark

When the kit is made, press Offer to your client. A Deliverables section appears on the client’s gallery page, listing each shape and how many files it holds. Choose No watermark, or Add this gallery’s watermark to put your mark on every file.

The client presses Download the deliverables and gets one zip with a folder for each shape. The link is emailed to them and shown on the page once the zip is ready, and it works for 7 days. With the watermark on, a full-size file is marked the first time somebody asks for it, so that first download takes a few minutes longer.

The gallery’s download setting still decides the largest size they get, and photographs in a set you have hidden are left out. Stop offering takes the section off their page.

The Delivery tab, at a panel headed Your client’s download: “Your client can download 40 files from the gallery page. Offered on 29 September 2026.” Under Watermark, two choices, No watermark and Add this gallery’s watermark, with the second chosen, a line saying the watermark is added to full-size files the first time the client downloads them, and a Stop offering button. Beside it, under What your client sees, a preview headed Deliverables, 40 files, about 40 MB, listing Portrait 4:5 at 1,350 px, Story 9:16 at 1,920 px, Square 1:1 at 1,080 px and Landscape 16:9 at 1,920 px with 10 files each, the line “The files have Northlight Studio’s watermark on them.” and a Download the deliverables button. — The kit offered with the gallery’s watermark, and the Deliverables section as the client sees it on their page.

What the client opens

One page, on a phone or at a desk

The client does not see the shot list, your coverage, or any other guest’s name or selects.

The cover page puts the project title, the client’s name, the shoot date and your studio name over the photograph you chose for it, with your logo in place of the name on Studio. Latentshoot takes those details from the project, as the call sheet does, so none of them is typed twice.

Below it the sets run down one page, each with its name and how many photographs are in it, in the order you arranged them. Nothing in the grid is cropped, so every frame keeps its own proportions. Tapping a photograph opens it at full width, and a swipe moves to the next.

Each photograph has a Select button, and the top of the page shows how many have been selected. The first time somebody selects, the gallery asks for their name, and their email address if you asked for one, and remembers it on that device. Neither is checked, and the gallery tells them so. A selected photograph gets an outline and a tick, and the word “Selected” where the photograph is wide enough to hold it, so none of it depends on telling colours apart.

The client can download the photograph they are looking at straight away, at whatever size you allow. A whole set, the whole gallery or the photographs they selected are put into a zip file for them, and the link is emailed to them and shown on the page once it is ready. The link works for 7 days, and one download holds up to 2,000 photographs. Downloading more than one photograph asks for their email address even where you do not collect one, because that is where the link goes.

The gallery as the client opens it, on two phones. The first shows the studio’s mark, the client’s name Halden & Rowe, the title Autumn/Winter lookbook, tabs for Gallery, Moodboard and Schedule, and a cover photograph of a figure on a cliff path above the sea, reading “29 photographs · 4 sets · Thu, 17 Sept 2026 to Fri, 18 Sept 2026” and “7 selected”. The second is further down: the Knitwear set, six photographs, two of them outlined with a filled tick where the others show an empty circle, and the Rooftop set beneath it. — The link the client has had since the moodboard. The cover takes the dates from the shoot days, and a photograph they have selected carries a tick and an outline.

Plans

What a plan decides

On every plan the client can see the photographs, and the plan decides two things. On the free plan a client can download photographs at web size, and Pro and Studio allow full-size files as well. A gallery on the free plan closes 90 days after you publish it, and on Pro and Studio you set the date or leave it open.

The photographs use the same storage allowance as the moodboard, which is 2 GB on Free, 200 GB on Pro and 1 TB on Studio. Every gallery has a “Delivered with Latentshoot” line at the foot. Taking that line off needs Studio, as it does on the call sheet. A password on the link needs Studio. Watermarks are on every plan, and Analyse is on Pro and Studio, with 200 photographs given once on the free plan. The whole table is on the pricing page.

Getting the photographs in

Publish from Lightroom, or drop them on the screen

The Lightroom Classic plugin is a publish service. A collection set becomes a gallery, each published collection inside it becomes a set, and the photographs appear in the order you arranged them in Lightroom. Publishing again sends only what has changed.

The plugin is on every plan, the free one included, and the download page says how to install it. Without it, you export the photographs and drag them onto the Gallery screen in Latentshoot. The gallery is the same either way, and dragging is also how to deliver from Lightroom on the web or Capture One.

A file you drop is read for the time it was taken, the camera, the lens, the focal length and the aperture, the same as one published from Lightroom. Latentshoot uses those details to suggest the set-up each frame came from and to fill the camera filters. For photographs uploaded earlier, Read from the files does it for the whole gallery.

Put a set in order by dragging, with the Move button, or with Shift and the arrow keys. The client sees that order. Publishing the collection from Lightroom again keeps it and adds new photographs at the end, unless you choose Use Lightroom’s order instead.

RAW and HEIC files

Keep each RAW file beside the JPEG your client sees

On Pro and Studio, a photograph can keep its RAW file, and Develop edits from it. A phone’s HEIC file can be kept the same way, and Develop edits the JPEG made from it. Your client never sees either file, and both count toward your storage.

Photographs of coats in the Outerwear set on the Gallery screen, each with its file name beneath it. A small CR3 mark sits in the bottom corner of each photograph whose RAW file is kept, and a HEIC mark on NLS_AW26_0382.jpg, which keeps a phone’s HEIC file. Above the photographs are the filters All, Picked, To judge and Rejected, and buttons for Add photographs and Analyse this set. Below, the Knitwear set went up as JPEGs only, and its photographs have no mark. — The mark in the corner of a tile shows which file is kept with that photograph: CR3 from the camera, HEIC from a phone. A tile with no mark has only its JPEG.

Drop each RAW file on a set with the JPEG of the same name, or on its own. With no JPEG beside it, Latentshoot develops one from the RAW file as shot, and that JPEG is what your client sees. A RAW file that arrives later joins the photograph with its name.

To send RAW files from Lightroom Classic:

In the Library module, right-click the published collection and choose Edit Collection.
Tick Also send the RAW file. The plugin sends each RAW file after its JPEG.
For photographs published before you ticked it, choose Library > Plug-in Extras > Send missing RAW files.

Latentshoot takes CR3, CR2, NEF, NRW, ARW, RAF, RW2, ORF, PEF, SRW and DNG files, and HEIC from a phone, up to 150 MB each. On a plan without RAW files, the JPEG goes up on its own. When a job is finished, press Remove the source files, keep the pictures in the gallery’s settings to get the storage back. Every picture your client sees stays as it is.

Dropped: DSC_4411.CR3DSC_4411.jpg
One photograph, marked CR3
Your client sees and downloads the JPEG. Develop edits from the CR3.
Dropped: IMG_2210.HEIC
One photograph, marked HEIC
Latentshoot makes a JPEG from it and keeps the HEIC. This needs a browser that opens HEIC files, such as Safari. Your client sees the JPEG, and Develop edits it.
Dropped: DSC_4412.NEF
One photograph, marked NEF
Latentshoot develops a JPEG from the NEF as shot and keeps the NEF. Your client sees the JPEG. Develop edits from the NEF.

Three drops and what each one becomes, with the mark each tile carries on the Gallery screen.

Where it stops

What a gallery deliberately does not do

A gallery has no shop. A client cannot order prints through it, and Latentshoot never sells anything to your client.

A gallery takes JPEG, PNG and WebP files, and you can edit those in the app. RAW and HEIC files go in a gallery on the Pro and Studio plans, and Develop edits the RAW file, or the JPEG made from a HEIC. A photograph needing layers or skin work still goes through Lightroom or Photoshop, and so does one needing more noise reduction than the single slider in Develop.

Questions

About client galleries

Does my client need an account?

No. A gallery opens on the share link you send, the same way the call sheet does. The first time somebody selects a photograph, the gallery asks for their name, and their email address if you have asked for one, so you can tell one person's selects from another's.

Can I stop the client downloading the full-size files?

Yes. A new gallery allows no downloads until you change it, and you choose between no downloads, web size and full size. When full size is not allowed, the full-size files are never sent to the client's browser, so they cannot be saved from the page either.

Can I upload my RAW files?

Yes, on Pro and Studio. Drop RAW files on a set, with their JPEGs or on their own. A RAW file with no JPEG beside it is developed as shot, and that JPEG is the photograph. From Lightroom Classic, right-click the published collection in the Library module, choose Edit Collection and tick Also send the RAW file. The RAW file stays with its photograph so that Develop can edit from it, and your client never sees or downloads it.

Are my photographs sent to an AI model?

Only when you ask. Analyse sends a smaller copy of each photograph to an outside service, which does not keep it, and nothing is sent until the team owner has agreed to it and the gallery allows it. Every new gallery starts with sending switched off. Your client never sees the marks, and the privacy policy names the service.

What happens when a gallery closes?

The link stops showing the photographs. Nothing in the gallery is deleted, the selects included, and you can publish it again whenever you like.

How does Latentshoot know which set-up a photograph came from?

It makes a suggestion for you to confirm. Every photograph records the time it was taken, and on-set mode records when each shot was marked captured and how long it took, so most frames fall inside one shot's time. A suggestion counts for nothing until you confirm it, one frame at a time or every frame suggested for a shot at once.

Do the selects come back into Lightroom?

Yes, if you publish with the Lightroom Classic plugin: each select appears in the Comments panel for that photograph in the Library, with the person's name and any note they wrote. Without the plugin, Latentshoot lists the selected filenames for you to paste into Lightroom's filter.

Can I limit how many photographs a client selects?

Yes. Under Settings, set a limit for each guest, starting at 20. The client sees a count as they go, and at the limit the page asks them to unselect one before they choose another.

Does my name go into the files the client downloads?

Yes, into the web copies, the watermarked copies and every picture you export from Develop: your name as creator, your copyright notice and a credit line, where Lightroom, Photoshop and picture libraries read them. You set it once for the team and can change it for one gallery. A full-size download is your own file as you uploaded it, unless you ask for a copy with the location taken out.

Can I put a watermark on the photographs?

Yes, on every plan. Choose a mark for the gallery, and give a set or a single photograph a different one or none. Latentshoot puts it on a copy of each photograph, on the page and on downloads, and the files you uploaded are never marked.

Can my client download the deliverables kit themselves?

Yes, once you press Offer to your client on the Delivery tab. They get one zip with a folder for each shape, emailed to them and shown on their page, with or without the gallery’s watermark as you choose.

Does Latentshoot pick the best frame in a burst?

No. It brackets frames taken seconds apart that look almost the same, and choosing between them is left to you. Bursts are found from the thumbnails, with no AI model and no credits.

Can I sell prints through a gallery?

No, and it is not planned. Enquiries, invoicing, contracts and bookings stay wherever you keep them today.

Plan the shoot, then send the photographs from the same place.

Start with one job on the free plan: the moodboard, the shot list, the day Latentshoot works out for you, and the gallery the client opens afterwards.

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