Wiley Photoshop CS4 Workflow: The Digital Photographer's Guide
Contents
1. adjustments that will provide an efficient way to produce consistently high quality results By taking the time to develop such a workflow you ll ensure that the process is working for you rather than creating a situation where you are working hard but not producing the consistent quality you desire With a proper workflow as you ll find throughout this book you ll be able to unleash the great potential of the pixels in your images u MOTANUYOM ANOA ONISIAAY HO2. and think about what the next step is Although some images will certainly require extra attention and at times you will need to try out various techniques before achieving the desired result an established workflow you are comfortable with will make the work of perfecting your images go relatively quickly When giving presentations on digital imaging see ww timgrey com for a sched ule of upcoming appearances I may take half an hour to fully discuss the details of one particular adjustment whereas making the adjustment as part of your normal workflow may require mere seconds or a few minutes at most The time spent under standing how the adjustment works is a worthwhile investment When you re familiar with the tools you re able to use them much more efficiently It may take some time for you to fully grasp all the details but by taking the time to truly understand how the tools work you ll be much more efficient without compromising the quality of your images Consistency Another benefit of a consistent workflow is no surprise here consistency This relates to the two previous topics by maintaining a consistent workflow you ll ensure consistent quality in your images and a familiarity that will improve your efficiency When you find a workflow that works for one image that workflow with obvious variations as needed for specific images will work well for all of your images Note Keepin mind that an established workflow
3. make the image even better than it was the first time you worked on it Note IIl discuss more details of the benefits of adjustment layers in your workflow in Chapter 5 i Basic Tone and Color Also in that chapter you ll learn how Photoshop has organized adjustment layers a into a new Adjustments palette see the section Adjustment Layers and Photoshop CS4 Revising Your Workflow I think of a digital imaging workflow as a living entity not because I have some weird fascination with workflow but because I realize that your typical workflow will change over time You need to be comfortable revising your workflow to take advantage of new techniques you learn Nothing Is Permanent A variety of factors may lead you to revise the way you work on your images For one thing as you learn new image editing techniques you may want to incorporate them into your workflow As you read more books take workshops or just talk to others who are also involved in digital photography you ll discover new methods that pro vide efficient ways to achieve similar results or ways to produce completely new varia tions of your images Because it is simply a guideline for adjustments a general workflow provides the flexibility to incorporate new methods into the process of optimizing your images However in many cases you may develop a specific workflow that involves performing specific actions with variable settings in a specific order To ensure
4. you are always able to achieve the best results be willing to revise your workflow to incorporate new skills as you learn them Another factor that can impact your workflow is changes in software With each new version of Photoshop or with the release or discovery of new plug ins and filters you ll find ways to add efficiency and creativity to your normal workflow The key is to be willing to revise your workflow when appropriate If you learn a way to make your workflow more efficient or to provide even better results by all means change your workflow to include such techniques Evolving Requirements As you continue working with your images you ll likely find that your own require ments will evolve There are two general categories for these changing requirements The first category represents actual changes to the results you need to produce For example if you ve been producing only ink jet prints but now need to be able to prepare your images for offset press output you may need to revise your workflow w MOTIXJAOMA ANOA NISIAJA E CHAPTER 1 WORKFLOW FOUNDATIONS E B to be sure you re producing the best results for that type of output If you create a website to share your images you may also need to alter your workflow to include steps for preparing smaller versions of the images as well as thumbnail representa tions Whatever the reasons you ll likely find the requirements placed on your images change over tim
5. Getting Started Getting off to a good start is important in many areas of life and it is no different with your digital photography workflow Taking the right approach at the early stages of your workflow has a significant impact on your results In this first section I ll discuss some of the fundamental considerations in establishing and following a workflow for optimizing your digital photos and help you ensure the first steps you take in that workflow are leading you down the right path Pm sure you re eager to get to the advanced techniques covered later but I encourage you to spend some time in this section so you can build a solid foundation for your image optimization workflow Chapter1 Workflow Foundations Chapter2 Download and Sort Chapter3 RAW Conversion Workflow Foundations Whenever I think about optimizing a photographic image I tend to think about process That always gets me reminiscing about working in a wet darkroom ah the smells producing black and white prints under the glow of red lights and watching an image magically appear on the exposed paper as it soaks in the developer solution Of course making a print in a wet darkroom is a procedural process You perform a series of steps in the correct order When youw re working with digital images the process and options are considerably different but the concept of a workflow still applies Establishing an appropriate workflo
6. actor in the ultimate image quality you ll achieve To achieve the best results at the end of your workflow you need to start with the best images at the beginning of your workflow As you take the steps to optimize your image a proper workflow helps ensure the best results Having a plan for your workflow means you re thinking about which approach you ll take the methods you ll use and the order in which you ll perform the various adjustments applied to your images These are key factors that affect the quality of the final image and having a plan focused on optimal quality will give you much better results than adjusting your images in a haphazard fashion UING BOA fO y Figure 1 1 Quality doesn t necessarily mean an image that is tack sharp from edge to edge or that exhibits other characteristics we think of when talking about a photographic image It simply means producing an image with the best results possible based on your intent The bottom line is that you care about the quality of your images more than anyone else does You have already invested significant time effort and money to ensure you can achieve the best results in your digital photography Taking the time to develop an appropriate workflow for your digital images will enable you to maintain that quality through to the final image Note Quality can be a subjective factor in many images especially when unique photographic methods or special eff
7. al workflow is to think about what is impor tant to you and how you prefer to work Some of this relates to overall strategies For example I strongly recommend using adjustment layers or separate image layers for all adjustments This approach will be emphasized throughout the book with a layer based method for every adjustment presented Another aspect to consider is the general flow of your adjustments Do you prefer to clean up dust and other blemishes before you get started or would you rather move right into tonal adjustments This book will present recommendations on the order in which you should make your adjustments and under which circumstances you should change that order Of course your priorities will depend in large part on the type of work you re doing and the deadline under which you re operating For example photojournalists often have speed as their utmost concern For them a workflow that focuses on meth ods to speed up the process of preparing images is optimal For a nature photographer producing large prints quality is the greatest concern even if that means taking con siderably longer to process an image For a given photographer the optimal workflow may even vary based on the particular project The key is to define a workflow that meets your typical production needs but to remain flexible so you can revise your workflow based on changing needs What you may find however is that when you use the best methods to a
8. bal adjustments those that affect the entire image and then narrowing your focus to adjustments that affect only specific areas of the image This approach also applies at the level of an individual adjustment For example the order in which you adjust each of the sliders for adjustments that contain multiple sliders which is pretty much all of them is worth some consideration When decid ing which slider to adjust first I don t simply go from top to bottom in the dialog box Instead I start with the slider I feel represents the most significant or important MOTANUYOM V ONIHSITAVLSA BN CHAPTER 1 WORKFLOW FOUNDATIONS E change to the image For example on an image with a magenta color cast I d start with the Green Magenta slider even though the Red Cyan slider is at the top This philosophy can help guide you to a workflow that will work best for most of your images and will also help you make decisions that are specific to a given image rather than following a rigid workflow and not making any decisions at all Determine Priorities Your priorities in optimizing your images probably reflect the topics covered in the beginning of this chapter In particular you probably want to ensure maximum qual ity in your images while maintaining efficiency with your workflow However you may also have other priorities for your images which you ll want to consider when fine tuning your workflow The first step in establishing a digit
9. doesn t define absolute rules for the adjust ments you must make to all of your images or even the specific order in which you must perform those adjustments Rather it provides a roadmap that guides you through the best way to approach your images for optimization In effect if it makes sense to establish a workflow for optimizing your images and I certainly think it makes a lot of sense it also makes sense to be consistent in your use of that workflow In other words make a plan and stick to it to achieve the maximum benefits Establishing a Workflow Because you re reading this book I m assuming you already appreciate the value of establishing a workflow for optimizing your digital images By extension I also assume you aren t completely comfortable with the process you re currently using As you work your way through this book that will change As you begin creating a workflow that works for you I strongly recommend making duplicate copies of a couple of favorite images that could use some work and going through the process of experimenting with the adjustments that will form the foundation of your workflow Because they re just copies of your images you don t have to worry about whether you produce a good final result and you can focus on practicing the steps involved and figuring out what works best for you Note Although this chapter is about establishing a workflow for your images you won t find details of a
10. e and you ll want to be sure your workflow is always ready to meet those demands The second category has to do with the likelihood that your standards will get higher with time If you ve been working with digital imaging for any length of time you can probably relate to this from your own experience When the first photo ink jet printers became available most of us were thrilled with the quality they could provide However if you compare that early output to what today s photo ink jet printers are able to achieve those older models will seem totally inadequate Figure 1 5 What used to be considered excellent quality is now rated as garbage PHOTO COURTESY EPSON AMERICA www epson com Figure 1 5 Today s photo ink jet printers produce considerably better quality than those of just a few years ago Similarly yov ll likely find that your own standards increase over time As you become more skilled in the optimization of your images you may open older images and wonder how you ever let yourself print them because you know you can do so much better today Your developing skills in image optimization will call for revisions to your overall workflow The workflow you use to optimize your images will continue to evolve The most important thing is to implement a workflow so it can evolve Evaluate your images consider the adjustments that are necessary to achieve the results you desire and think about a logical way to apply those
11. ects are used Although the definition of optimal quality can vary by photog vile rapher or even by photographic image your workflow should focus on maintaining the quality and aesthetics of your original image as you captured it while producing an improvement in the final result As you are defining or fine tuning the workflow you use to optimize your images consider the effect of the particular methods you re using as well as the order in which you perform tasks to see if there are things you can do to improve image quality Throughout this book PII be sharing methods for achieving exactly those high quality results with your digital workflow MOTIJO AO AONVLYOMWI JHL Bu CHAPTER 1 WORKFLOW FOUNDATIONS E Efficiency Although image quality tends to be a chief concern for most photographers as it should be efficiency is also important And it s worth noting that the two do not need to be mutually exclusive You can work efficiently and still achieve maximum image quality In fact oftentimes by increasing the efficiency of your workflow you ll improve the quality of your results as well As much as most photographers love working with their images seeing them transformed from good captures to remarkable images generally they don t want to sit in front of the computer all day They d much rather be out taking new pictures By developing a general workflow you can work much more efficiently You won t have to stop
12. gure 1 3 Whatever the situation there are many good reasons to depart from your typical workflow to achieve certain goals Treat your workflow as a guide for producing the best results with your typical images but maintain the flexibility to change your process when you feel it will benefit the final result Figure 1 3 Even if you re happy with the way an image has turned out you may later decide you d like to stretch the creative limits of that image Maintaining flexibility with your workflow helps ensure you can always act on your creative ideas _ MOTIJO V ONIHSITAVLSA N CHAPTER 1 WORKFLOW FOUNDATIONS E Layer Based Workflow Another aspect of maintaining flexibility is ensuring you ll be able to change your mind and revise the adjustments you ve made to an image without reducing its quality or causing an excessive loss of detail Using layers to optimize your images will ensure you always maintain this flexibility I strongly advocate the use of layers for all adjustments to your images Fig ure 1 4 The use of layers ensures that the original information in your image is always preserved provides greater flexibility and may improve the quality Through out this book you ll find techniques for applying many adjustments all performed with adjustment layers whenever possible When an adjustment layer doesn t provide the tools needed to achieve a particular change separate image layers with particular pro
13. it to be a real attention grabber you might boost the saturation and kick up the contrast The same image used for a restaurant menu might need to be o MOTIJAOAM V ONIHSITAVLSA CHAPTER 1 WORKFLOW FOUNDATIONS E 3 toned down for a more subtle appearance A general workflow will provide the flex ibility to adjust the image either way but the actual process may be different for each As you think about the results you are trying to achieve and the typical order of priorities in producing the best results you ll get a sense of how you might organize the process of optimizing your images Give some thought to the order in which you should make your adjustments and the factors that are particularly important to you when it comes to your images As you think about these topics you ll start to get a feel for a workflow that will make sense for you and your images Note Idbethe last person to suggest you need to write your own manual on how to apply a workflow to your images especially because this book can guide you through the workflow process However it might make sense to write out the basic steps you feel are important as you develop your own workflow Also be sure to see this book s appendix for a guide you can use as you develop your own workflow Maintain Flexibility Another important consideration for your workflow is flexibility You want to be sure your workflow is making your image optimization process more efficient and tha
14. mmendations for how to perform various tasks I m a huge advocate for taking a deliberate approach to optimizing your digital photographs That means not taking a haphazard approach to the process but it also means not having a rigid set of rules that can never be broken It means having a plan for your digital imaging workflow that will ensure an efficient process for you and the best quality possible in the images you produce Understanding the benefits of a con sistent and optimized workflow will help you appreciate the importance of establish ing that workflow in the first place Quality Quality is always critical in a digital photograph That doesn t necessarily mean the image must be perfectly sharp from edge to edge or that there can t be any noise or that it must obey the rule of thirds It simply means the quality is the best it can be based on what you re trying to accomplish with the image Figure 1 1 As much as I love using Photoshop to truly maximize the potential of a photo graphic image I m not a big fan of the Pll fix it in Photoshop approach to digital photography I truly believe you need to do all you can at every stage of the workflow to maximize the quality of the image realizing quality is a subjective term That qual ity starts with the original capture So although this book focuses on what you do to the image after the capture it is important to realize that the actual photography is a critical f
15. perties will be put to use As a last resort when the particular technique doesn t lend itself to using an adjustment layer or empty image layer for the adjustment you can create a duplicate of the background image layer for purposes of applying the change The Background layer itself should never be adjusted in a way that alters pixel values which pretty much means you will never do anything to your Background layer Everything you do to change the appearance of your image will be on a layer separate from the Background image layer Curves 1 Hue Saturation 1 Figure 1 4 By using layers in your workflow you ll maintain the flexibility to revise the adjustments you ve made at any time without risking a loss of detail or quality in the image By following my recommendation to use a layer based workflow you ll ensure that the original image data contained in the Background layer is maintained The result is that you can always return to the image and remove particular adjustments or fine tune that adjustment if you ve changed your mind about the effect you re look ing for You may have experienced a situation where you ve optimized an image and then opened it at a later date only to wonder what you were thinking when you made the original adjustments By working with layers you can ensure that such situations don t represent a need to compromise the overall quality of the image but rather represent opportunities to
16. specific workflow here That s because this entire book is about the workflow process and by going through the book in its entirety you ll learn what steps you need to include in your own work flow and in what order you ll likely apply them Workflow Philosophy You may not consider the concept of a workflow in Photoshop to be the most philo sophical subject but it is helpful to have a philosophy that drives your workflow At a fundamental level my workflow philosophy revolves around maximizing quality first and foremost while trying to maintain the greatest efficiency and flexibil ity at the same time For me this approach unleashes the maximum potential of the image and best leverages the power of Photoshop At a more tactical level my philosophy about an image optimization workflow focuses on solving the biggest problem with the image first Now when I say problem I don t literally mean that because I also feel it is important to start with the best images possible What I mean is that you should make the most significant adjustment first For most photographers that tends to mean making tonal adjustments before color adjustments for example but that is only a guideline and won t be followed rigidly As you evaluate and work toward optimizing an image start with what you think is the most significant change to be applied and work your way down to the fine tuning adjustments This also involves starting with the glo
17. ssure optimal image quality and you start to learn more about how to use the best tools for that purpose you may find you re also able to work quickly In other words with an efficient workflow you understand you can focus on speed and quality at the same time without really making any sacrifices Focus on Results Although workflow is all about a process the real purpose of that process is to create the final result Figure 1 2 Photographers typically capture images because they want to produce beautiful prints or other output to share with as many viewers as possible We want that final output to be impressive both because of the content of the image and because of the quality of the final display As such it is important that you keep thinking about the final result when you re optimizing your images as well as when you re figuring out your workflow in the first place Figure 1 2 For most photographers the ultimate result of their digital workflow is a high quality print they are proud to display for all to see You want to produce the best images possible and a proper workflow will ensure you are able to maintain that quality throughout the process However also consider your intent for the final appearance of your images How you want your images to look at the end of the process can determine the steps you take to adjust the images during that process For example if you are preparing an image for a bro chure and need
18. t it allows you to change your mind about what you want the image to look like A Flexible Attitude One aspect of maintaining flexibility in your workflow is a state of mind It is impor tant that you don t get caught in the trap of always doing the same things to every image Each image is unique and deserves to be optimized based on what you judge to be the best result for that particular image I ve known photographers who apply the same adjustments with the same settings in the same order to every single image This robotic approach to image editing won t demand too much of your time but it also won t ensure optimal image quality Some images may be improved by the particular adjustments while others may be harmed Even if you find that certain settings for some adjustments seem to work best for every image keep in mind that the workflow you establish is a basic guideline for the general order in which you ll perform your adjustments Don t think of your workflow as a rigid set of rules that dictate what steps should be taken and in what order Even after you ve established a workflow that helps you achieve exceptional results with your images don t be afraid to change things around for a particular image Some images will have unique problems that need to be addressed early in the workflow to maintain high quality In other situations you ll simply want to depart from your typical workflow to produce a creative variation Fi
19. w provides an efficient method of working on your images to help ensure the highest quality possible Chapter Contents The Importance of Workflow Establishing a Workflow Revising Your Workflow SNOILLVGNNOd MOTAXUYOM Hw CHAPTER 1 WORKFLOW FOUNDATIONS E gt The Importance of Workflow The term workflow has become a buzzword in the world of digital imaging especially with the advent of an entire category of workflow software that includes Adobe Pho toshop Lightroom and Apple s Aperture It s no wonder the notion of workflow for digital photographs led to an entirely new category of software While many photog raphers embraced digital photography as a way to exercise increased control over the process of producing a photographic image it brought with it a steep learning curve a variety of new tools and a certain amount of confusion about exactly how the process should be approached A workflow in digital photography implies an end to end approach to dealing with your images from downloading them to your computer to organizing them opti mizing them to look their best and sharing them in various ways In this book I focus the most attention on the workflow for optimizing your images in Adobe Photoshop as that is an area photographers focus a lot of energy to make their images look their best and tend to get confused in large part because there are so many different options available in Photoshop and so many conflicting reco
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