Make the next handoff work
Choose the workflow you need, then use the checklists and worked examples to test it.
Evaluate client selections, downloads, editing handoffs and cost with one real gallery.
Explore 9 focused guides →02Connect each selected photograph to its product, intended use and final retouch instructions.
Explore 9 focused guides →03Deliver the approved selection with the right names, recipients and publication context.
Explore 9 focused guides →04Carry the client’s selection from the gallery to the correct source, treatment and final export.
Explore 9 focused guides →05Keep gallery viewing, temporary downloads and master recovery understandable to the client.
Explore 9 focused guides →Straightforward guides for working photographers: comparing platforms, the Lightroom workflow, proofing, and delivering galleries your clients love.
Pixieset, Pic-Time, ShootProof, CloudSpot and more: what each is good and bad at.
What Pixieset does well, where its storage tiers and fair-use clause bite, who should stay, and a whole-account import.
A six-step plan: audit, one-click whole-account import, check galleries side by side, swap links, then cancel on your terms.
Pixieset's Export button writes a CSV of gallery details, not photos. The two ways to get the images out, step by step.
Twelve rows of official figures: price ladder, storage, branding, commission, RAW, import path, plugin, downloads and expiry.
The five tiers in US dollars, the annual-billing catch, the 15% free-plan commission and a year's cost for three studios.
Pic-Time's four storage tiers beside one flat 10 $/month delivery and proofing plan, and who should stay on Pic-Time.
ShootProof's gigabyte plans and its archiving charge below Premium, verified from its own pages, beside one flat plan.
PASS's five subscription tiers, from 1 $/month billed annually to 125 $/month, against one flat plan with no commission.
Publish proofs, collect picks, and pull the chosen frames back into your catalog.
Set up proofing galleries, guide selections, and deliver finals without scope creep.
Galleries vs transfers, full-res downloads, branding, and archiving your masters.
One Plug-in Extras command turns likes into 3 stars, loves into 5 stars and a Pick flag, and colour labels into Lightroom labels.
Set up the studio key once, name the gallery, press Export. What the plugin decides for you, and why.
New and Modified tracking, why metadata changes do not re-push, and which actions are destructive on the gallery side.
Re-edited photos land in the Modified queue and replace themselves on the next Publish. No deleting, no re-sending the link.
Both publish out of Lightroom. Only one returns the client's picks to the catalog as flags, stars and a collection.
Yes, and here is exactly where the fair-use ceiling sits, plus what every other unlimited tier has written down somewhere.
The per-event model has largely left this category. The arithmetic anyway, and the hidden variable that decides it.
Three ladders side by side at a real wedding volume, where each fee hides, and a year of costs with the working shown.
Commission, branding, Lightroom and the over-quota rules, refereed on published figures, with a verdict per kind of studio.
Gallery-count caps, file types by tier, split branding rows, and what each one publishes about running out of storage.
Judged by job rather than ranked: the 1,200-photo gallery, the gallery that still works in two years, and the picks round trip.
The two most-compared gallery platforms on the lines that decide it: where each takes its cut, what it costs to start, and what happens to an old gallery.
One takes a cut of what you sell, the other charges a flat subscription instead. The crossover priced across a year of print markup, then both ladders.
Two platforms aimed at the same studio: where the cut comes from, how storage is metered and sold, what a free-tier client downloads, and gallery expiry.
Built only on what each company states on its own pages, and just as clear about the figures neither one publishes anywhere.
What Pixieset documents, the two questions it never answers, and why deleting to free space cannot be undone.
picdrop publishes the cause in its own words: over-limit files can no longer be accessed by third parties, such as your clients.
There is no per-album fee. The real price is account-level, and archived galleries are not live for client viewing.
ShootProof documents no crashes. It does document a reliability disclaimer and three failure modes with fixes.
Nobody publishes a benchmark, so we will not invent one. What actually governs gallery speed, and how to test it yourself.
Delivery without a storefront attached, for studios that do not sell prints.
CloudSpot's gallery counts and storage tiers against one flat plan, and who should stay.
picdrop is proofing-first and metered by storage. Where a flat delivery plan fits instead.
What Zenfolio bundles, what it charges for, and the delivery-only comparison.
SmugMug is a portfolio host first. What that costs you on the proofing side.
The honest answer by volume, including when a free tier beats paying anyone.
Charged on the pre-discount subtotal, stacked on processor fees, and owed even on a coupon to zero.
Every platform hands picks back as filenames to paste. Why that paste is lossy in Adobe's own words, and the command that writes them instead.
A love becomes five stars and a Pick flag, a star becomes three. No competitor writes flags or ratings back at all.
Publish from the catalog, the client stars and loves, and the picks return as the edit queue. The loop closed in one tool.
One tap stars, two taps love. What every other platform offers instead, and when their multiple lists are the better tool.
Capture One has a command built for exactly this. Select, Select By, Filename List, with a delimiter menu and an extension toggle.
Capture One Live is a review room that expires. A gallery is a delivery surface that stays. How to run both, honestly compared.
Phocus documents no gallery feature, and this loop needs none. A plain filename list slots into any RAW processor.
Friction removal, not more reminders: fewer photos, chapters instead of one scroll, and a two-pass sort that beats choosing.
Two states, two different messages. What you can genuinely see per gallery, and what no platform can tell you.
One reminder aimed at the right state beats three guilt-laden follow-ups. Plus how to stop having to chase at all.
Four templates you can paste, keyed to moments rather than invented telemetry, each with the reason it is shaped that way.
Our recommendation is 7 to 14 days, with the reasoning, the wording that makes it stick, and what software cannot enforce.
The opened indicator answers it at a glance. What the account-wide dashboard adds, and the limits stated plainly.
Push lands on your phone when picks are sent. What each of the four major platforms documents instead.
Turn overshoot into an upsell using their own ranking, and the one competitor that caps the count up front.
A two-pass method that ends album paralysis, and the loved set arrives in Lightroom already flagged and collected.
Our recommendation by job, said plainly as a recommendation, plus the cull and the sections that make a big gallery navigable.
The whole modern flow end to end, and a sourced table of what each platform actually hands back at the end of a selection round.
A star is a maybe, a love is a yes. No account, no app, one tap to send, and named lists credited where they win.
Every commission rate, verified. Then the honest reading: on paid plans it is usually already zero, so keep the store if you sell prints.
Three handoffs in sequence: review, selects, signoff. Including what to do when the agency has its own DAM.
Written from both sides of the round, ending with picks in the catalog as flags and stars instead of a retyped spreadsheet.
The spreadsheet is the symptom. Four failure modes, five platforms compared, and the filename list for people culling elsewhere.
Upload JPEG, argued rather than asserted: what a good proof export actually is, and the three cases where a client genuinely does need the originals.
No association publishes an average, so we do not invent one. Count from your own coverage, write a minimum into the contract, and shape the gallery for it.
One event, several audiences, two delivery waves: the sneak peek, chapters as sub-galleries, the album selection pass, and the vendor handoff nobody plans.
The senior is in the photographs and the parent pays and picks. Build the gallery by outfit change around that split and the round ends in a decision.
A distribution problem, not a selection problem. One link a grandmother opens on a tablet with no account, sub-galleries only when they earn it, honest download limits.
High volume, thin margin, an agent opening the link on a phone: one gallery per address, sub-galleries by deliverable, no login, and a link that lasts.
Not about quality: WeTransfer publishes a lossless claim and we credit it. It is about the link dying and the gallery staying.
Every delivery holds two different files. The proof you browse and the full-resolution ZIP, and why confusing them causes the trouble.
The arithmetic done properly: frame counts, download times at five connection speeds, and why a shipped drive sometimes wins.
One link does both jobs. Honest about the seam: the link is permanent, the three-day handoff window is not.
The money is roughly a wash, so nobody should switch over price. Four things a shared folder cannot do, and five reasons to keep it.
Subject, body and the reason each is shaped that way, built so the email stays three sentences and a link.
The deposit and the contract do the real work. Our gate is manual and we say so, and Pixieset wins this job outright.
Four different clocks people confuse. Expiry is opt-in nearly everywhere, and no gallery on any platform is an archive.
Instagram's live ratio rules, not the stale ones everyone quotes, and why giving credit is not the same as having permission.
The delivery message that prevents a week of questions: what the gallery is, how many photos, how to download, what resolution, and what you need back by when.
Run this before you promise a re-upload: six causes in order of likelihood, from an older link or an unopened sub-gallery to an upload that never finished.
Sort the list into corrections, preferences and retouching, then give each bin an answer, a price and a deadline you can actually hold.
A guest takes one selfie, the matching runs on their own device, and they leave with their own photos. What the couple controls, and what is never stored.
Elsewhere face search sits behind the top tier or a per-gallery fee. Here it is part of the one flat plan, with the limits written down.
Publish one gallery for the whole event instead of sorting people into folders. Every attendee self-serves and you stop fielding requests.
What gets computed, where it runs, how long it lives, and the uses we deliberately do not offer at all.
Your name in the header, your subdomain in the address bar, no platform badge on the page. Where the white label stops, said plainly.
One parent gallery per client holds every shoot behind a single link. No account to create, no password for them to lose.
The password covers the gallery, the downloads and the full-resolution ZIP. What it cannot cover, and when a password is the wrong tool.
A working procedure for pre-release material: a narrow link, watermarked proofs, dated approvals. Honest about what software cannot enforce.
One link for the client, a section per shoot, one level deep on purpose. Why a deeper folder tree makes a gallery worse.
Commercial accounts change staff. One link that outlives the marketing manager who first received it, and how to hand it over cleanly.
The four things that actually govern gallery speed on any platform, and how to measure yours in a browser tab instead of guessing.
Medium format breaks the assumptions most galleries make about file size. What to publish for proofing and what to hold back for delivery.
The whole pipeline in order: capture, proofs the client can browse, the full-resolution handoff, and the file sizes to expect at each step.
Find the cause before you pay a migration cost and keep the problem: file size, photo count, the client's phone, distance. Then the honest case for moving.
The gallery fills as you work, frame by frame. What this is not: not a video feed, and not a replacement for your backups.
The remote art director keeps one link open and sees frames arrive. How to run the approval round without the client in the room.
Set a retention policy on purpose rather than by accident: a recommendation by job, the contract wording, and what to say when a client comes back in five years.
The week after a delivery: separate the client copy, the working copy and the archive copy, strip what does not belong, and name the folder so it still reads in five years.
A shelf of ageing drives turned into an archive you can price and restore from: what to keep, what the three real options cost per terabyte, and how to verify it.
Not storage against storage. A shared folder cannot take a pick, and on free Dropbox it cannot take a password either.
Drive hands the client a viewer and a sign-in prompt. Plus the Google Photos setting that resizes and re-encodes, in Google's own words.
SmugMug scopes its own unlimited to full-resolution JPEG with RAW sold separately. Every unlimited is scoped, so here are our ceilings in full.
A verdict rather than a takedown: what the money buys, who should keep paying it, and the one studio shape it fits badly.
Often no, and this page says so. The shoots-per-month threshold where a folder link stops being cheaper, and what breaks first.
What a password actually stops, what it plainly does not, and which tools gate privacy behind a paid plan.
A commercial delivery tool against a consumer gallery suite, compared on workflow and published policy rather than on prices neither one exposes.
Worth saving once, and worth less here than elsewhere: the publish service pushes from the catalog, so the Export dialog is the fallback.
The two-way plugin is Classic only. What a cloud-only photographer's workflow looks like without it, and what they do not lose.
Your own subdomain and no platform badge on the one plan. Also the straight answer on custom domains, which are not supported.
Most clients pick on a phone. One tap stars, two taps love, the download button stays visible, and the honest limits of judging on a small screen.
What the promise depends on, stated up front, and the one part that is time-boxed: the three-day full-resolution handoff.
No gallery count and no per-gallery fee, with the real ceilings named and the arithmetic that turns 500,000 photos into a gallery count.
Proofs are for choosing, not printing. Where the weight should go instead, and the one job a light proof is genuinely bad for.
One link with a folder per day instead of three links to keep straight. Folders are one level deep, and the 1,000-photo ceiling is per gallery, not per folder.
Naming and sequencing rules for a second shooter, then the delivery half. There is one account and one login, and this page says so.
Why the client's browser shows different colours than the Develop module, the one setting that fixes most of it, and the four links in the chain you cannot control.
A watermark is a deterrent, not a lock, and a heavy one makes clients pick worse photos. Where it can sit, and the password gate as the alternative.
What renaming actually fixes, the case for not bothering inside the two-way loop, and the one genuine risk: renaming after the gallery is live.
The import can be re-run and skips what it already brought, so the move happens in passes. Including the limit nobody mentions: largest web size, not your originals.
Yes, eventually, and no platform can rescue a URL it does not own. So this is about sequencing the move and what to send the clients who still open a 2023 gallery.
No hours figure, because none has been measured. The two clocks instead: the unattended transfer, and the four pieces of work that are genuinely yours.
Six causes in order of likelihood, and the distinction nobody makes: a client meets two different downloads and they fail for different reasons.
In one click for the whole gallery or one image at a time, with no account anywhere in the path. Plus what a phone does with a large ZIP.
Diagnose before you split: size, device storage, a corporate network, or a handoff window that lapsed. Then break the ZIP up on your side, not theirs.
The link still works, so this is a two-minute job. The one exception stated up front, and the check that tells you whether they ever opened it.
No industry average, because none is verifiable. A method instead: the number you can safely promise is set by your slowest round trip, not by your editing speed.
The hours are in the round trips, not the upload. Four of the six can be removed, two cannot, and no hours-saved figure is claimed.
The shape of the cost decides where it belongs. Why a per-session delivery fee annoys clients and earns almost nothing, worked on your own numbers.
What earns its keep when nobody is going to administer this, what is overhead pretending to be value, and the honest answer on seats: there is no seat model.
Unbranded delivery, a set organised by deliverable, a full-resolution handoff, and the plain line on when you should buy a review tool instead.
A picture desk needs full-resolution files fast and will not create an account. Where the captions actually live, and the two failure modes that cost the placement.
Where per-gallery pricing hurts most. Which per-delivery steps vanish, which shrink, and which stay manual however you publish.
You cannot, and no platform can. What a password genuinely does, what it does not, and why a contract beats a password for an embargoed campaign.
A proof is a lightly edited, viewing-sized preview the client chooses from, never the final file. Where the round sits in a job, and when to skip it.
One plan at 10 $/month or 110 $/year, a free account with one gallery, every fair-use ceiling in full, and the studios that should buy something else.
A private page where a photographer hands a finished shoot to the client. How it differs from a shared folder, a transfer link and a portfolio, and when you can skip one.
Every counter on one account-wide dashboard, how a visitor is counted without being identified, and the questions it cannot answer.
Discreet titles, a password sent separately, Face Search left off, and a plain account of what no software can stop, from screenshots to forwarding.
There is no Pic-Time importer. Download gallery by gallery while your plan is paid, re-upload proofs, swap links, and downgrade last, with both of Pic-Time's deletion clocks quoted.
There is no Zenfolio importer. Download every gallery before you cancel, because Zenfolio deletes content once an account closes, then re-publish proofs, swap links and cancel last.
Every free tier charges somewhere: a cut of sales, storage that shrinks, a download cap or a gallery count. The published figures side by side, and when a free plan elsewhere wins.
No ranking. Prints, all-in-one, storage, flat price, commercial delivery and Lightroom picks, each matched to the platform that fits, on published figures.
One gallery can proof first and deliver later. Which switches to set, and what the download switch does not hide.
One shared set of stars and loves, one lock on Send my picks. Name the decider before the link goes out.
Reopen picking on the same gallery. The old picks stay, and you tell the client, because nothing notifies them.
Lightly edited proofs when the client is choosing, finished images when they are not, and why proofs are for viewing.
Why a culled set beats every frame, how to write the count into the contract, and why 1,000 is a ceiling.
Ask what they need first, then reply with the script that fits: more photos, an edit, a big print or a backup.
Keep the sales appointment if print orders pay the bills. Proof online when the client's choice decides the edit.
Switch comments on per gallery, let clients draw on the photo, and mark each note done with a Retouched chip.
Lightroom's five colors, one shared label per photo, and a color key agreed before the proofing round starts.
One gallery per employee: no per-gallery fee, private picks, and each lock only affects that person.
Actor and agent share one set of picks and one comment signature. Split the roles and agree who sends.
Clients star and love frames, draw on photos to circle what to retouch, and see how many picks are retouched.
Proof a short newborn set with star and love picks both parents share, then keep the same link for the finals.
Couples star broadly, love the save-the-date frames, send picks that lock, then crop them for social in the gallery.
Run the brand review round in one link: comments, color labels, picks and a live picks-retouched count.
One brand approver picks, colour-labels and draws retouch notes, with every look as a section on one page.
A welcome note, a full-screen first look, social crops after picks, and a fast reply when picks arrive.
Run a remote reveal from the gallery's timed full-screen slideshow, and know when to keep your in-person sales tool.
One password-protected link parents forward, grandparents open without an account, and everyone downloads in one click.
A small set behind a password with sharing off, a full-screen slideshow, one-click download, and room for the newborn.
One link relatives open with no account, a share button for the couple, and social crops once picks are sent.
One gallery, two lanes: crops of the client's picks for social, and a full-resolution ZIP for web and print.
Name frames by product code, collect stars and labels in full screen, export the picks list, then send the ZIP.
One shoot, several licensees: a separate gallery for each party, holding only the images its license covers.
Pic-Time's free plan from its own pages: storage that shrinks later, a store commission, and the deletion rules.
Pic-Time's plan ladder, store commissions and plan-gated face recognition against one flat plan with no store.
Pic-Time downloads run gallery by gallery and not on Free. Download and check everything while you still pay, then cancel.
What Pic-Time's paid migration takes in, what it leaves behind, and why nothing moves galleries back out.
CloudSpot's free plan from its own pages: active gallery cap, storage, download size and the store commission.
Price, gallery caps, storage, downloads and commission in two columns, and which kind of studio each one suits.
What VSCO's plans include for client galleries, what they leave out, and where a Lightroom picks round trip matters.
Pixpa meters storage by plan and bundles a website builder. Who should stay, and where one flat delivery plan fits.
Only what each company publishes: who takes a commission, how storage is metered, how expiry works, and what each leaves out.
SmugMug downloads one gallery at a time with an emailed ZIP link. The owner steps, the limits, and what to finish before you cancel.
Published prices, what each takes from a sale, proofing by plan, and how each lets you download your work before you cancel.
Logo, two colours, heading and body fonts, light or dark per gallery, and the layout parts that stay fixed.
Turn one gallery link into a printed code with any QR generator, test it before printing, and let guests find themselves.
One link with no guest accounts, an optional password, a whole-gallery download, and face search that is off until you turn it on.
Sample wording for delivery, how long the gallery stays online, the download window, client backups and the picks deadline.
Share a small first set now and add the rest to the same gallery later; the link never changes, and you tell the client when it is in.
Export selects at the venue, share one gallery link while the event runs, keep adding behind it, and let attendees find themselves.
Sections for each part of the day on one page, one shared pick set with a named decider, face search off until the parents agree.
Sections for portraits, service, reception and candle lighting on one page, album picks from the parents, and face search for guests.
One gallery per show, one link for the band and manager, a named picks sender, terms in the welcome note, and a ZIP for press.
One section per menu category, one shared pick set for owner and chef, retouch notes on the photo, and a ZIP named like the menu.
One gala, three galleries: a password-protected attendee link, a comms gallery for sponsors, and a restricted gallery for declined guests.
One gallery per show, sections by act, one named decider for press picks, a time-limited press ZIP, then the cast get the link.
Keep the full birth story behind its own password and give relatives a separate gallery, with the limits of every setting stated plainly.
Yes, HoneyBook has its own galleries now. What they include by plan, how Pic-Time fits in, and the three cases where a separate gallery still makes sense.
Apple's shared albums keep originals from version 27 on. What still differs for paying clients: password, storage, picks and your name on the page.
Google says anyone with a shared album link can view it. How that compares with a gallery that has a password, a download switch and picks.
Eight Lightroom Classic gallery plugins compared on what they publish out and what brings the client's favourites back, from each vendor's own help pages.
The plugin is a free download. A free account holds one gallery that grows by exporting to the same name, and picks come back into Lightroom Classic.
Unzip, keep the .lrplugin folder somewhere permanent, add it, restart once and paste your studio key. The ClientGallery plugin, start to finish.
Five checks, in order, for when ClientGallery is missing from Lightroom Classic's Export dialog: the app, the plugin folder, the restart, the menu and the name.
Yes, on every photo the import matches. What it writes, what it replaces, what it never clears, and how to protect your own cull.
Proofs keep the catalog photo's file name, and the pick import searches the open catalog for it. How it matches, where it catches too much, how to prevent it.
The pick import writes into the open catalog only, so a studio with two catalogs runs it in each. What it overwrites, and what it never syncs.
The Lightroom Classic plugin removes location metadata on every export and publish. Browser uploads are on you, and here is how to check a file.
Cull in Aftershoot, publish proofs from Lightroom Classic, pull client picks back as stars, Pick flags and labels, and see what gets replaced.
Get Narrative Select ratings into Lightroom Classic, publish proofs, then bring client picks back knowing which stars and labels they replace.
Get a FilterPixel cull into Lightroom Classic as XMP, publish proofs, then pull client picks back without losing track of your own stars.
Turn the client's picks file into tagged frames with Find in Photo Mechanic or one OR search in Photo Mechanic Plus, and where each one over-matches.
Turn a client's picks file into one darktable collection, with one filename rule per line joined by add more images, or use exact-match text search.
RAW unsupported, TIFF converted to JPEG, 1,000 items on a free account and commercial use limited to Pro, in Flickr's own published words.
Published plans from $120 to $540 a year with 4 GB to 500 GB caps, an 8 to 10 percent sales fee, and the cases where PhotoShelter is the right answer.
Storage, a combined active shoots and galleries count, and seats, against one flat plan. Plus three solid reasons to keep the bundle.
Built only on what both vendors put in writing: sales fees, download flows and expiry rules, and an honest gap where Pixieset's prices are not citable.
The client-side download flow Pixieset documents, the 4-digit PIN that is on by default, the size options, and the limits your photographer may have set.
Studio Ninja's own help centre answers no. What the Client Portal's Galleries tab really is, and which two gallery platforms it documents.
The web treats untagged images as sRGB by rule, so the embedded profile decides more than the space does. What to export, by destination.
The number stored in a file is metadata and changes no pixels. Ask for the print size, send your largest pixel dimensions, and end the thread.
Format, bit depth, compression and pixel count, in the order they matter. What is safe to change, what is not, and the three-file split that fixes it.
Meta documents a 1,080 pixel ceiling, a 320 pixel floor and cropping outside 1.91:1 to 3:4. It publishes nothing about compression quality, so neither do we.
The documented resize belongs to Google Photos, not Drive. Drive has no quality setting and no fidelity guarantee either, and the copy trap costs you both.
No. Apple documents that Mail on Mac inserts images at actual size, and that any reduction is a size the sender chooses from a menu.
No. Apple documents no resizing and no recompression. The two settings that genuinely change your file are capture format and the USB import.
What Apple actually documents about Messages, AirDrop and Mail, where the silences are, and the handoff that leaves a record you can re-send.
An Apple photo can hold an SDR base plus a gain map. One viewer applies it, another does not, and neither rendering is broken.
Sections by setting, one shared shortlist for the household, then finals, a one-click download and social crops from the same link.
A section per class in programme order on one scrolling page, one password, and a view-only section link for each teacher.
One gallery and password per team for the coach to forward, picks off, a print-size team photo, and what the studio can actually see afterwards.
One gallery and password per class, no children's names on the page, and a plain account of what the studio can and cannot see.
Split graduation day into a class gallery every family downloads from and a private family gallery with picks timed to the announcement deadline.
When the organiser pays and runners get photos free: galleries split by course point, face search with its limits, and picks switched off.
A delivery plan by audience: marketing selects first, the full event gallery second, and the right link for speakers and sponsors.
Sections by class in running order, one password for the whole show, and a separate gallery for each rider who orders a package.
Files named by stock number before upload, one gallery per vehicle or per batch, and a numbered ZIP the dealer pulls in one click.
Aerials inside the bigger job: sections by flight pass or visit date, JPEG proofs only, and the full-resolution set as one ZIP.
One link for families in several countries: built for phones, a sneak peek first, the full set on the same link, and a ZIP timed to the couple's return.
One credit list, one embargo date, and a view-only section link per vendor that cannot open the whole shoot.
No seat, no second login: the files go to the lead, one gallery goes to the client, and portfolio images come back by a route the lead controls.
Settle the usage in a short written note, get the couple's yes, then send only the frames the venue needs.
Yes for viewing: one shared password per page on every plan. What Squarespace documents, what its gallery articles leave out, and when to stay on it.
Yes. A workload comparison of the four jobs a website gallery leaves to you: uploading, resizing, passwording and chasing picks.
Apple describes iMessage as sending high resolution photos and publishes no compression step. The one documented change is HEIF to JPEG, and a thread is still a pile of copies.
Capitals matter, spaces at the ends do not, and a changed password asks everyone again. The causes in order, and where to read the exact password in your studio.
Picflow's own help says gallery changes cannot sync back to Lightroom. Where a one-plan gallery that writes client picks into your catalog fits, and who should stay on Picflow.
Smash transfers last 7 days by default and cannot be recovered once expired. When a transfer is the right tool, and when the upload should be a gallery that stays.
Size ceilings, link life and what the client sees, from each vendor's own pages, plus the third option: a gallery.
Fine for a colleague: browser preview, a password on Premium, view statistics. What its help pages do not describe: your own page and a way to send picks back.
From Microsoft's own docs: Anyone links, editing on by default, and why a delivery folder needs one setting changed before you send it.
When a drive is still the right deliverable, why the link wins everywhere else, and how to do both without doubling the work.