{"id":13874,"date":"2020-10-01T09:56:13","date_gmt":"2020-10-01T13:56:13","guid":{"rendered":"http:\/\/jolineblais.net\/nmd341\/?p=13874"},"modified":"2021-09-14T14:26:00","modified_gmt":"2021-09-14T18:26:00","slug":"lightroom-workflow-old","status":"publish","type":"post","link":"https:\/\/jolineblais.net\/nmd341\/lightroom-workflow-old\/","title":{"rendered":"Lightroom Workflow-old"},"content":{"rendered":"

Using Lightroom<\/h2>\n

If you\u2019ve been practicing photography for a while now, you\u2019ve probably developed some system for post-processing your images. Of course, it\u2019s always great to get the shot perfect in-camera, but since that doesn\u2019t always happen, having a straightforward, streamlined post-processing workflow can save both time and headaches.\u00a0 The exact workflow process will vary from photographer to photographer, and sometimes even from image to image, yet there is a sequence that, if followed, will not only streamline your editing process, but also help avoid losing valuable pixel data (if you\u2019re shooting with jpegs).<\/p>\n

What Photo Editing Software Should I Use?<\/h3>\n

These days just about any photo-editing software will have the basic adjustments available, but if you\u2019re looking for full functionality, Adobe Photoshop<\/a>, Adobe Lightroom<\/a>, and Capture One<\/a> are still the industry standards. If you don\u2019t have access to one of these programs, you can always check out the array of free photo editing tools<\/a>\u00a0out there. Whichever program you choose, make sure that you always make a backup of your original (unless you\u2019re using a program like Lightroom, which doesn\u2019t make any changes to the original image).<\/p>\n

 <\/p>\n

Shooting In RAW<\/h3>\n

If you want to become serious about your photography, shooting in RAW is the only way to go. RAW is the file format your camera produces an image in before it gets compressed. Once it gets compressed you lose some of the data, so working in RAW is the only way to be able to edit with all the data on the table.\u00a0 Almost any modern DSLR will have a RAW option, and even a few Point-and-Shoots. You\u2019ll need one of the above programs for post-processing (or GIMP\/Photoscape if you\u2019re using free software), but the difference in editing capacity and photo quality is well worth it. You\u2019ll also have more freedom in your post-processing workflow \u2013 the adjustment order becomes much more critical when working in jpeg\u2019s, where it\u2019s much easier to lose data.<\/p>\n

The Workflow Order<\/h3>\n

As mentioned above, while there is no \u201cone-size-fits-all\u201d workflow \u2013 the process will vary depending on the software you\u2019re using, the needs of the photos(s), etc. \u2013 there is a sequence that works well in most cases, and, if you\u2019re working with jpeg\u2019s, will help you minimize data loss. (If you\u2019re working with Lightroom, order is still important if you want a faster workflow.\u00a0 Doing a lens correction first and then returning to basic editing can slow the program down substantially.)\u00a0 Programs specifically intended for post-processing will even provide you with an order that works best for them (i.e. Lightroom), but the process below can work for just about any program. It goes as follows:<\/p>\n

1. Framing: Straighten and Crop<\/h4>\n

Though there are a number of photographers who start their workflow with white balance, for me it makes more sense to start with any obvious cropping\/straightening, mostly because my lens corrections don\u2019t tend to affect the orientation of my photos too extremely.\u00a0 If you\u2019re working in a program that doesn\u2019t offer lens corrections, now is the perfect time to straighten out your scene, level the horizon, etc.\u00a0 In Lightroom makes straightening a simple process indeed. providing a grid and a slider that rotates the image for you:<\/p>\n

\"Leveling<\/p>\n

Note:<\/strong> If you know your lens tends to have distortion issues and you\u2019re working in a program that can adjust it, this step should be moved to after lens corrections, since those corrections correction can often change your photo substantially.<\/p>\n

<\/div>\n

2. White Balance<\/h4>\n

If you\u2019ve been taking photos for a while, you\u2019re probably already aware of the importance of setting the proper white balance in camera. That doesn\u2019t mean we\u2019ll always get it right (especially with all the options for indoor lighting offered on today\u2019s modern DSLR\u2019s), not does it mean your camera, when set on auto, will always get it right (particularly in situations like shooting in the snow, etc.). Lucky for us, just about every editing program offers some means of white balance adjustment, and if you\u2019ve been shooting in RAW, there\u2019s no harm done.<\/p>\n

Most programs offering white balance adjustment allow you to pick a \u201ctarget neutral\u201d with an eye dropper-looking instrument. Target neutral is something that, if the white balance were set correctly, would show up as a neutral gray. If you\u2019re looking at values, they should all be pretty much the same, but it\u2019s easier to look for something that would normally up light gray and click on that. Also, for best accuracy, you\u2019ll want to choose something somewhat bright (snow, paper, a white shirt, etc.), but not so bright that any of the channels are clipped. Check for this both before and after clicking.<\/p>\n

\"Using<\/p>\n

3.\u00a0 Exposure<\/h4>\n

Next to White Balance, Exposure is probably the most common adjustment you\u2019ll need to make. You might think that shooting in Auto will save you exposure headaches, but there are a number of common situations that can fool your in-camera meter. If you\u2019re shooting in manual, you\u2019re even more likely to need an exposure adjustment now and again. Sometimes this will be a simple thing \u2013 programs like Photoshop and Lightroom have an \u201cautomatic\u201d adjustment that sometimes hits it spot on. (The auto adjustment in Photoshop is only changes the levels, but Lightroom combines levels with exposure in auto.) Other times you\u2019ll have to play around with the setting to get exactly the look you were going for.<\/p>\n

\"Correcting<\/p>\n

4. Contrast (Clarity\/Levels\/Curves, etc.)<\/strong><\/h4>\n

Your contrast adjustment can really make or break your photo. If you haven\u2019t already adjusted the levels in your exposure adjustment (i.e. if you were using Lightroom), now is your time to take that on. If you\u2019re using a program that allows you to adjust the clarity, this is great adjustment for a variety of photos. (Often, if there\u2019s no cropping, my workflow to this point is simply a quick exposure check and a clarity adjustment.)<\/p>\n

Though it\u2019s difficult to see at this size image, if you look carefully at the photos below, you\u2019ll see much more detail showing on the one to the right. That\u2019s the effect of raising the clarity.<\/p>\n

\"Using<\/p>\n

5. Saturation\/Vibrance\/Other Color Corrections<\/h4>\n

Although it\u2019s true that most photos could use a slight boost in saturation, vibrance, etc. it\u2019s also true that these adjustments are often overdone, and frequently aren\u2019t even necessary if white balance, exposure and contrast have all been properly set.<\/p>\n

Saturation<\/strong> adjusts the intensity of all colors in your image, regardless of the starting point of the colors. Bump it up slightly and you get deeper, richer colors across the board. Go too far (which is easy to do) and you can get clipping (loss of detail in areas which have been oversaturated) and, in portraits, the over saturation of skin tones creating an unnatural color cast. Reducing the saturation uniformly mutes the colors. Go all the way down and your photograph will turn into black and white (though if you\u2019re looking to create a black and white image, this isn\u2019t the best way). (In some programs you can adjust the saturation point of the different colors individually. This can create some interesting color effects when used judiciously.)<\/p>\n

Vibrance<\/strong>, on the other hand, only adjusts the intensity of the more muted colors in your photo, and leaves the already well-saturated colors alone. It\u2019s sort of like fill light, but for colors. Unlike saturation, bumping up vibrance levels won\u2019t over-saturate your skin tones.<\/p>\n

In the photo on the left has no adjustments.\u00a0 The photo on the right has a vibrance\u00a0 of +45.\u00a0 Notice that the effects are subtle, yet noticeable \u2013 the colors are definitely richer.<\/p>\n

\"Comparing<\/p>\n

Of these two, the photo on the left is again, neutral.\u00a0 The photo on the right, however, has a saturation adjustment of +45. Notice how the skin tones are blown out and how everything has an orange cast to it.<\/p>\n

\"Comparing<\/p>\n

6. Detail: Local Sharpening<\/h4>\n

Once you\u2019ve gone through the steps above, you can now go for localized sharpening.\u00a0 (Since sharpening, in particular, can cause a Jpeg to lose data, it really shouldn\u2019t be done sooner.)\u00a0 Some program will have a sliders with their sharpening option \u2013 Amount, Radius, Detail, and Masking \u2013 and though you can always play around with them to see their effect, it\u2019s helpful to know what they do.<\/p>\n

Amount<\/strong> refers to the overall strength of the sharpening being applied.<\/p>\n

The R<\/strong>adius<\/strong> slider controls the size of the radius around which the sharpening is applied.\u00a0 The larger this slider the bigger the radius around which sharpening will be applied.<\/p>\n

Detail<\/strong> controls how much sharpening will take place along the edges in your photo.<\/p>\n

Masking <\/strong>masks out solid or similar color regions, so that only the edges get sharpened.
\n<\/strong><\/p>\n

Remember, this step is only for detail and localized sharpening, not overall photo sharpening, so don\u2019t get carried away.\u00a0 That comes almost last (you want to have the majority of your adjustments done before the final sharpening).<\/p>\n

\"When<\/p>\n

7.\u00a0 Noise Reduction<\/h4>\n

Noise Reduction follows sharpening, because sharpening will often add more noise to your photo.\u00a0 Shooting in low light situations and\/or with high ISO\u2019s will also cause add noise to your photos.\u00a0 Depending upon your software, you can reduce noise here and now (if your software allows it), or, if you\u2019re moving over to another program, reduce the noise afterwards.<\/p>\n

The photo below is before noise correction:<\/p>\n

\"Photo<\/p>\n

After:<\/p>\n

\"Noise<\/p>\n

8.\u00a0 Lens Corrections<\/h4>\n

Depending upon your lens and what setting your shooting at, your photo may have some level of distortion, vignetting, and\/or chromatic aberrations.\u00a0 Lightroom and Photoshop correct for this, but be aware, the corrections don\u2019t always look better, especially if you\u2019re using a wide angle lens and\/or are intending a certain effect.\u00a0 Also, some level of vignetting is at times welcome, as it can place more emphasis on the subject of your photo.\u00a0 Either way, if you\u2019re using this Lightroom, be sure not to do it before doing the basic editing.\u00a0 If you do, it may very well slow down Lightroom\u2019s processing. (It\u2019s placed near the bottom for a reason!)<\/p>\n

 <\/p>\n

9. Final Framing: Rotate and Crop<\/h4>\n

Now that your lens corrections are done, you can perform your final straightening and cropping.<\/p>\n

10. Refinements: selective enhancements<\/h4>\n

This is your time to make whatever changes you want to the subject matter of your photo.\u00a0 This includes spot removal, shadow\/highlight adjustment, filters, etc. I prefer to do my enhancements in Photoshop and usually migrate over to there at this point. If you do move to Photoshop and are working with Jpeg\u2019s, make sure to work off a layer copy \u2013 not the original.<\/p>\n

Below is an example of using the healing brush in Photoshop.\u00a0 Notice how the spots on her arms and on her face have been removed naturally.<\/p>\n

\"Use<\/p>\n

11. Final Sharpening<\/h4>\n

Once the enhancements are done you\u2019re free to do your final sharpening. Some people prefer to do this after their final resizing, but for me, since I\u2019m more often making my images smaller, I prefer to do it now.\u00a0 Reverse these last two steps if, for some reason, you\u2019ll be making your image larger.<\/p>\n

12. Resizing<\/h4>\n

This is when you would enlarge for a print or downsize for the web or email.\u00a0 Personally, I edit in the largest size possible so that I\u2019m working with all the color information RAW affords me.<\/p>\n

Summing Up The Process<\/h2>\n

So that\u2019s it \u2013 post-processing workflow in a nutshell. If you would like to find a class that teaches beginners how to edit photos, take a look at our recommended courses for basic photo editing.<\/a> Equally, If you\u2019re using a different flow or have questions\/comments on this one, let us know!<\/p>\n

 <\/p>\n

 <\/p>\n

credits<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Using Lightroom If you\u2019ve been practicing photography for a while now, you\u2019ve probably developed some system for post-processing your images.…<\/p>\n

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