A recent question from a client:
“I am still a bit confused on the whole ‘don’t save a jpeg to a jpeg thing’ when before I switched to RAW, my files are all jpegs, so if I want to save an image for the web, it will be a jpeg from a jpeg. Is this still OK? Can you help me with this?”

My answer:
“In this case, you have no choice, so don’t worry about it. After your editing is done, go ahead and resave your derivative JPGs from the original JPG captures.

Saving a new, derivative JPG from a JPG master probably won’t be a problem if you only do it once and use high quality settings on the re-save (quality 80 or higher). But you don’t want to keep saving a single JPG over and over, because each time data is lost.

So if you’re opening your original JPGs into Photoshop to work on them, immediately do a Save As first, and save the new master file as a TIF. Going forward, all work should be done to this TIF, and all derivatives saved from it. In this case the original JPG capture is no longer the working master and is only saved for archival purposes.

Save your new, final JPGs only after all your editing/processing work is done on the new master TIF, and when you need to generate JPG derivatives for specific purposes.

And of course, from now on, only capture RAW.”

Peter Krogh, author of the popular The DAM Book, has posted a new white paper on the Adobe web site:

Non-Destructive Imaging: An Evolution of Rendering Technology
“With the rapid adoption of raw photography in commercial as well as amateur circles, the basic concepts of non-destructive imaging are increasingly important. But non-destructive workflows are not new. In this paper Peter Krogh leads you through a detailed outline of these evolving rendering technologies, and describes their relevance to every digital photographer.”

Click Here for the Adobe Site

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…

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

Question: “Nat, not sure if you have time to answer this but I could use some help. I want to make a JPEG copy of all my RAW files on my hard drive, various folders and subfolders, this would involve changing the files to a smaller file size. Is there a way to do all this in one operation with photoshop CS2 or 3?? I have a lot of photos and have to do it one folder at a time right now. My sense is that PS won’t open multiple folders in one auto operation.”

Answer: You can do this using Photoshop CS2, but it’s not as easy as doing it in Lightroom. I’d recommend you use Lightroom. Read more…

Adobe is continuing their series of free, online seminars about their most important photo-processing software products and techniques for getting the most out of them. More info

Using color management is a critical element of getting your digital photos from capture through print. If you want your prints to look their best you should establish and follow a color-managed workflow.

Color management refers to a system of computer hardware and software working together to translate color from one device to another in a controlled way.

A digital image file contains a defined range of colors, described mathematically. In Photoshop, this is referred to as the file’s Working Space. The most common working spaces are sRGB, Adobe RGB (1998) and ProPhoto (I prefer the latter). Read more…