The biggest fear when shooting is losing the peak focus on the subject’s eye and having an unusable image because you shot them at such a thin aperture. We’ve all been there. Even with full-frame digital cameras and the best glass, there is a chance for failure. That’s where editing programs can save the image and bring back the sharpness you intended to capture. There are different processes and programs we can use to sharpen our images. Knowing when and how to get the most out of sharpening is where I am going to focus in this article. I will be working strictly in Lightroom and ON1 RAW 2018 to demonstrate a complete Raw workflow. Let’s get started in Lightroom.
I began teaching myself how to retouch images with Photoshop version 4.0 (Photoshop CC 2018 is considered version 19). To this day, I still use some of the original processes and tools for retouching. In this article, I discuss the most important step in retouching, then explore the basics of retouching skin, enhancing eye color with blending modes and layer masks, and, finally, problem-solving stray hairs.
Shooting and editing Raw files is a major part of my workflow. Editing in a Raw processor is a must for me, and I am always trying new programs from software companies that are always seeking the edge with new capabilities. From a beauty retouching perspective, there has always been such a dependency on Photoshop’s layers. Working in Lightroom, the closest thing I get to layers are local adjustment brushes and editing pins. These lack in skin retouching, requiring me to export the Raw file to another program just to smooth skin. On1 Photo RAW offers a nondestructive Raw processing alternative for retouching.
With the new year approaching, I finally found time to explore more of what Adobe has released in Lightroom Classic. So what’s all the hype with the new masking feature? Much like the addition of the Auto-Mask added in the brush panel, there is a new innovative and more accurate method called Range Masks. Instead of your mask’s edge being analyzed for hard edges and somewhat similar tones, you have more control in choosing the range of Color and Luminosity. Like many of us, we fear Photoshop because of its complexity and inefficiency with hundreds of images. In this article, I show you how to keep things simple, how to move fast and, above all, how to create quality edits.
As a photographer with a workflow built around Adobe Lightroom, the major changes released back in October 2017 got my head spinning. This industry is full of surprises, and we have to move forward instead of staying stagnant. Do these changes affect my efficiency, and am I paying more for a product I have to have? Before we jump to conclusions about Adobe taking us down a rabbit hole of lackluster enhancements, let’s talk shop. What the hell is going to happen to desktop-oriented Lightroom as we know it today?
Why Photographers Should Embrace Digital Retouching with Nino Batista Want more information on this article? Get access to video content…
After shooting a wedding or any eight-hour-plus event, I dread spending countless hours working in Lightroom. Lightroom can be a huge time suck: waiting for my memory cards to ingest, waiting for each Raw to load for culling, waiting for adjustments to render in the Develop module. Are you struggling with the same post-shoot stress? If so, this article will forever free up these worries and let you get to work—at the pace of your computer’s speed, of course.
Black-and-white conversion is an art, and the art is in determining how each color is rendered in black and white. Say you have an image of a beautiful landscape with a deep blue sky full of fluffy clouds. When we convert that to black and white, the blue sky loses its color. Now, I have a question for you: How will the blue areas look in black and white? Will they look light gray? Dark gray? White? Or maybe light gray with a slight gradient of dark gray? Making these decisions for how each color will be rendered is what makes black-and-white conversion fun.
Whether you are shooting for grayscale or converting images due to horrible mixed lighting, you need a good workflow for black-and-white editing. Capture One Pro 10 has made it simple to do a large majority of your black-and-white editing without the need to edit in another software or plugin. This article show you how to use the presets, styles and tools of Capture One to make your black-and-white editing not only easier, but prettier.
The change from Lightroom to Capture One is a challenge at first. They look completely different, and I am sure you had the same feeling before you used Lightroom for the first time. Learning the interface, customizing your Workspace and designating keyboard shortcuts will save you the most time. With this article, I intend to show the possibilities of migrating from Lightroom to Capture One.