Many cameras don’t record a solid black in the darkest part of your image, yet that solid black is critical for colors and tones to look their best in a print or on the printed page. The result is weaker contrast and less than optimum color. I still see photos from top photographers that aren’t properly adjusted for these tones. I consider this one of the key steps for prepping a digital photo. Save master-unsharpened and layered PSD fileĤ Blacks And Whites Adjustments. Cleanup-clone out problems, control noiseġ1. Local adjustments- changing tones and colors in small areasġ0. (RAW and JPEG) First work print opportunityĨ. Save As-if JPEG, save the photo as a new fileħ. In addition, unwanted edge junk can wrongly influence the adjustment of the overallimage. This frees you creatively because you won’t be distracted by stuff that doesn’t belong in your photo. Junk often shows up along the image edges, for example, and it’s worth removing that junk and fixing crooked horizons before moving on. I’m a strong believer in cropping out problems early on. These are overall adjustments that affect the entire image.ģ Crop And Rotate. The next four steps can be done in either a RAW converter (with RAW files) or in the image-processing software itself (JPEG files). It must be converted to use it, and you can’t save over the original RAW file. This will protect the original and ensure that you don’t use JPEG as a working file. You can use either TIFF or your processor’s native format (such as PSD in Photoshop). If you’re shooting JPEG,immediately save your opened photo as a new file. Open a photo into your image-processing program, such as Photoshop or RAW-conversion software.Ģ Save As. Our sister publications, Digital Photo Pro and PCPhoto, also cover this material.ġ Import. You can find many good books on the market, such as those by Scott Kelby, George DeWolfe’s Digital Photography Fine Print Workshop or the Outdoor Photographer Landscape and Nature Photography With Photoshop CS2 book. I can’t possibly give you all the techniques involved in each of these steps. In this column, I’ll stick with image-processing workflow (the digital darkroom) because it carries the most confusion. Because of that, many photographers get uneasy that they might not be following the best workflow.Īre you missing something in dealing with images in the digital darkroom? Are you using your image-processing software to its best advantage? How about to your best advantage?ĭigital workflow is the process between a beginning and an ending that defines how you work with an image. Digital photography adds a bunch of new steps to the photographic process.
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