Dialing in color doesn’t have to be as painstaking as it seems. Remember to start with a color profile that looks closest to how you want your images to look. Then the rest will fall in place in terms of controlling brightness, tonal recovery, and white balance.
After the shoot is done, after the files are stored and backed up, and the catalog and previews are rendered, it’s finally time to process all those files. Put your headphones on and get ready to cull. Lightroom has made life easier with its intuitive hotkeys, ease of cycling between images, and syncing adjustments.
Over the next six articles, in order, you’ll learn how to properly manage Lightroom catalogs so you’ll be ready to cull and sort your images while you import. Then, you will learn to Color Correct from the basics to the advanced stuff, leading you to a solid creative edit workflow with Photoshop.
When it comes to shooting over 100,000 images per year and needing speed on my side, it’s a no brainer: I choose Lightroom. The program is simple enough to use, and I want to show you the best ways to do so it in my seven-part workflow series.
If an image needs heavy composite work to swap a sky or clip out a subject, of course it’s Photoshop to the rescue. But what about the creative editing of tones, color grades, dodge and burn, HDR, sharpening, etc.? Can we really work in Photoshop to prep and go back into Lightroom and get good results?
Adobe Camera Raw is the solution for nondestructive editing from Lightroom to Photoshop using Smart Objects. This is useful for Lightroom to Photoshop, but what about Photoshop actions into Lightroom? Adobe’s recent improvements give us the ability to create Custom Color Profiles in Camera Raw, so we can flex our creativity with Photoshop actions and Custom Color Profiles by exporting Look Up Tables, or LUTs. This is a massive overhaul for Photoshop that makes our Lightroom workflow even more powerful.
There is nothing simple about digital asset management. It is easy to get hung up on equipment, shooting and editing, but managing Raw files is the most neglected part of my workflow. I feel like I always rush to import my Raw files, bypass backup and fail to organize my photos in Lightroom so I can start editing immediately. That has to stop.
I continually try to push creative image editing to its limits. There are so many ways to tweak an image, to get that dialed-in look and feel that you envisioned when you photographed it. Since the change from Camera to Color Profiles in Adobe Camera Raw and Lightroom, the creative possibilities expanded and became so simple to use, adding them to the Basic panel and allowing users to adjust the amount it’s applied.
You know that feeling you get when you finish a shoot and realize how many hours you now have to work in post? Wouldn’t it be nice to just import in Lightroom, click a few presets and export files? That’s the point of Lightroom’s efficiency, but there is some additional finessing required to ensure your images are consistent while maintaining your look and feel. Here are 10 tricks to help you get through this grueling season and edit faster.
As creatives, it is in our blood to break out of the box and try something new. If you are not pushing yourself and developing your photography, where’s your growth as an artist? In this article, I give you the tools to try something new and pack a punch with your images. We will dive into corrective adjustments and how to direct your viewer. These are the basics you may already be doing today, but we are going to mix things up a bit.