Lots of people are asking about sharpening in Lightroom. Although the sharpening functions are greatly improved in version 1.2, it’s important to keep in mind that the sharpening in Lightroom is designed only to be used for capture sharpening – that is, to overcome the loss of sharpness inherent in any digital capture. More aggressive sharpening, and sharpening specifically for print, is still best done in Photoshop.
I prefer to do all my sharpening in Photoshop using PhotoKit Sharpener from Pixel Genius.

The exception is if I’m making quick slideshows or web galleries from DNG files in Lightroom (without editing them in Photoshop)… in this case, I will apply sharpening in Lightroom using the default values.

Otherwise, before editing my Master File in Photoshop, I turn off sharpening in Lightroom by setting the Amount slider to 0.

I’m optimistic that in the near future the guys at Pixel Genius will release a full-featured sharpening module for Lightroom. Until then, PhotoKit is still the best sharpening method available.

The Adobe Camera Raw (ACR) plug-in will run from within Photoshop and Bridge.

To apply a saved preset or ACR default settings to multiple images, select all the desired raw image files in Bridge and then either double-click one of them or press CTRL+O (or the Command [Apple Key]+O on Mac).

This opens all the selected files in Filmstrip mode in ACR. You will see all the chosen files in a vertical filmstrip running down the left side of the window.

From here, you can choose to apply a preset to all or some of the images (use Select All, Shift Select, Control Select etc.).

You can then continue to fine-tune settings for individual images.

When you’re done adjusting settings in ACR, use the Save Image…, Open or Done buttons to move them through the workflow.

Using this method, you can batch process large numbers of images in ACR and save them, for example, as resized JPGs for web, DNG files with embedded metadata, whatever.

Many people ask whether it’s better to use Bridge or Lightroom.

I use both, for different purposes.

If I need to quickly find an image and I know its location, or I need to quickly look into a folder full of images, I will use Bridge.

However, I use Lightroom for transfering raw captures to the computer, adding metadata, ranking, cropping, and processing (developing) the raw images. I go as far as possible within Lightroom before I take a file into Photoshop, usually only for sharpening, selective/localized editing such as dodging and burning, or soft-proofing prior to printing.

The key differences between Lightroom and Bridge:

1. Lightroom is a standalone product and must be purchased separately; Bridge comes included with full versions of Photoshop.

2. Lightroom uses a powerful database to perform non-destructive editing (with unlimited undos) and provides for very fast searching within large numbers of images. Bridge is a file browser, meaning it can show you the contents of a folder and will preview files, but doesn’t keep track of the status or settings for any of the images.

3. Lightroom has a raw processing engine built-in, Bridge uses the Adobe Camera Raw (ACR) plug-in. However, the raw processors in current versions of  Lightroom and Bridge/ACR are essentially identical.

Personally, for the majority of reviewing and editing my photos, I generally prefer Lightroom for its streamlined workflow and its database capabilities. But for people who don’t wish to spend the money or take the time to learn a new program, Bridge with ACR is a totally competent solution.

OnOne Software has released a set of Presets for use in Lightroom and Adobe Camera Raw. These Presets were created by Jack Davis and allow you to quickly apply a wide range of stylish effects to your images. The best part – they’re FREE!

Link to OnOne Software site

An industry group has published an excellent – and FREE – resource detailing current Universal Photographic Digital Imaging Guidelines (UPDIG). A must read!

Download PDF

Many people ask about soft-proofing in Lightroom. The simple answer: there isn’t any. At least not yet.

However, Lightroom is a color-managed application. So if your monitor is properly calibrated, you can trust what you see on screen – that is, until you need to preview the printed output for a specific printer/paper combination.

For this, you still need to go into Photoshop. My workflow:

1. Perfect the image as much as possible in Lightroom

2. Select the “Edit in photoshop CS3…” command from the Photo menu.

3. In Photoshop, perform sharpening, soft-proofing and make any necessary adjustments for print.

You can then either print the image from Photoshop or go back into Lightroom for printing.

Tip: when you’re done editing the file in Photoshop, make sure to use the Save… command and not Save As… This will update the linked file in the Lightroom database.

I’m getting a lot of inquiries regarding the optimum workflow for sharpening using Lightroom and Photoshop CS3. Here’s what I recommend:

1. When working an image in Lightroom Develop, set the sharpening controls to their default settings by double-clicking the word “Sharpening”. (In all the modules/panels, double clicking the name of the control – not the panel header – will reset them to default values). Note: to fix chromatic aberration, turn sharpening off first.

2. After processing the image for Tone and Color in Develop, TURN SHARPENING OFF IN LIGHTROOM by setting the Amount slider to 0. Then, take the image round-trip into Photoshop for sharpening (and if necessary, selective edits and soft-proofing etc.). To do this most efficiently, use the Edit in Photoshop… command under the Photo menu.

3. In Photoshop, use PhotoKit Sharpener from Pixel Genius to do up to three rounds of sharpening: 1) Capture Sharpen – very gentle, overcomes the loss of sharpness inherent in digitizing an image; 2) Creative Sharpen – can be either global or local; this is the heaviest round of sharpening and is image- and detail-specific; and 3) Output Sharpening – done after all other editing and after resizing image to final print size.

4. You can then take the image round-trip back to Lightroom for printing/presentation etc. or print from Photoshop.

Tip: when you’re done editing the file in Photoshop, make sure to use the Save… command and not Save As… This will update the file in the Lightroom database.

Is Photoshop running sluggishly on your computer? Regardless of your system, these twelve simple steps will help you get the best possible performance from Photoshop:

Read more…

A digital photography workflow is the sequence of steps you take to capture, process and output your images. An effective workflow is one that you can follow repeatedly and that will save you time and provide the best possible results.

The right workflow for one person may not be appropriate for another due to a variety of factors such as personal preferences and skills, available software, shooting style/subject matter and time requirements. However, the best digital photo workflows share a common set of basic steps. (Each step may be comprised of a number of variables, the details of which are not covered here.)

To develop a workflow that suits you, consider your skill level, equipment (camera and computer), subject matter and your intentions for the final images. Your workflow will evolve as your situation changes over time.

Step 1. Capture
Using your digital camera, capture your photos in either RAW or JPG mode. RAW provides the highest quality but requires processing in the computer. JPG is lower quality but can be viewed and shared (such as in email attachments) right out of the camera. Read more…

Peter Krogh, author af the DAM Book, has released a software product called RapidFixer that enables basic raw conversion adjustments directly within Bridge CS3, including

• Temperature
• Tint
• Split Tone Presets
• Vibrance
• Saturation
• Blue HSL (Hue, Saturation, Luminance)
• Orange HSL
• Exposure
• Highlight Recovery
• Fill Light
• Contrast
• Clarity
• Vignette
• Parametric curves
Check it out here 

Every photograph is unique and each image will require different enhancements to make the photograph look its best. However, there are common criteria to use when evaluating your image to determine what enhancements should be made.

Many of these decisions are subjective and the choices you make should reflect your creative vision of how the image should look. Some enhancements, such as noise reduction and sharpening, are less subjective as there are established standards of technical quality to be considered. For example: in most cases people would agree that digital noise is undesirable. Also, most people would agree that the main subject of the photo should have sharp, crisp edges. Of course, there are exceptions to every rule and the creative decisions you make should be guided by your personal preferences.

When evaluating your image and making creative decisions, start with the biggest changes first and work your way to the smaller “fine-tuning” adjustments. Global edits are changes made to the entire image; Local (or selective) edits are changes made only to specific areas of the image.

Think about the editing to be done and make a plan before starting work. Keep in mind that every step of the workflow affects–and is affected by–every other step. For example, sharpening the image may increase noise; adjusting color may affect apparent contrast, etc. So it may be necessary to go back and forth between steps to perfect the image. Read more…

This Saturday I’m teaching a Lightroom class at Working With Artists in Lakewood, CO. I will be covering Lightroom 1.1 in its entirety. Hope to see some new faces there!

Adobe Photoshop Lightroom
Instructor Nathaniel Coalson, Adobe Certified Expert
Saturday August 25
10am-4pm
$105
More Details and Online Registration Here

A recent question in an email from a client:

“I’ve got a question: one differentiator Apple mentions for their Aperture application is the “RAW-focused workflow from capture to output”. Is that different to Adobe Lightroom, and how does that work with digital printing, wouldn´t I need to convert the picture to the ProPhoto or Adobe RGB gamut anyway before printing?”

My answer:

Aperture and Lightroom are positioned directly the same. Both Lightroom and Aperture are designed to work with RAW files from capture to print. After using both Lightroom and Aperture extensively (as well as CaptureOne Pro and Bibble), I much prefer Lightroom over all the others. And although the Aperture interface is beautiful, when it comes to workflow and image quality, Lightroom is the clear winner, for several reasons: Read more…

1. Capture – digital camera (or film scan)
- For D-SLR, capture in RAW if possible
- If capturing JPG be sure quality, color space and white balance settings are optimal
- Ensure correct exposure and focus – bracket as necessary

2. Ingest – transfer files to computer
- Automate as much as possible
- Adobe Lightroom, Photo Downloader, Bridge etc.
- Rename files on ingestion
- Convert Camera RAW files to Adobe DNG (optional but highly recommended)
- Make a backup immediately
- Reformat card in the camera after confirming transfer and backup

3. Add Metadata
- During ingestion if possible; enhance during editing
- Copyright notice and keywords at minimum
- Camera RAW files will use sidecar files for metadata
- DNG, JPG, PSD and TIF metadata is embedded in the file

4. Review/Edit
- Lightroom, Bridge, Expression Media, iView Media Pro, Elements Organizer
- Sort and compare
- Flagging, Rating, Labeling etc.
- Enhance custom metadata as appropriate
- Make Collections

5. Process Selects
- RAW/DNG converter – do as much processing as possible before conversion
- For JPG originals: Save As PSD before working on the file (never resave over a JPG)
- save Master File (TIF or PSD) at native resolution

6. Work the Master File
- Work on file at native resolution – no resampling until print time
- Crop (if necessary)
- Capture sharpen
- Adjustment Layers: Levels, Curves, Hue & Saturation etc.
- Dodge and burn
- Creative sharpening
- Retouching

7. Prepare for Printing
- Soft-proof and make adjustments – save in Master file
- Resize for print
- Sharpen for Print

8. Print
- Print from Photoshop or Lightroom with color management disabled in printer driver
- Photoshop (or Lightroom) Manages Color; use the same rendering intent used during soft-proofing
- Use correct ICC profile for selected printer/paper combination
- View finished prints in controlled lighting conditions – SoLux bulbs
- Apply protective coating – PremierArt Print Shield
- For canvas prints apply Breathing Color Glamour II Giclee Veneer
- Store prints in poly bags
- Keep out of direct sunlight

9. Share
- Generate slideshows and web galleries using Lightroom or Bridge

10. Backup and Archive
- Keep multiple copies; store permanent archives offsite
- Backups are routinely updated (synchronized); archives are permanent

A question from a client:

“I have 30 years worth of transparencies which I am scanning the best to
import into lightroom. I have read that it is best to save them as tiffs.
Most of my work is for editorial use. My question is what size file should
I save the tiffs as? And should the tiffs be stored in lightroom or would
it be better to save them on DVDs and import jpegs into lightroom?”

My answer:

Read more…