For the past several years I’ve used Adobe’s DNG file format to store the raw image data captured by my digital cameras. I convert my Canon CR2 raw files to DNG early in my workflow and don’t keep the original raw captures. I’ve had great success with a DNG workflow and since DNG files contains the original raw image data, I’ve seen no need to retain the native files.

In every class and workshop I teach, the subject of DNG inevitably comes up. There’s a lot of confusion and uncertainty about DNG. So when researching subject matter for my next book, I thought I’d polish up my knowledge of this essential image file format.

In doing so, I reached out to one of today’s leading imaging software developers, Eric Chan, Senior Computer Scientist at Adobe. Following is a [very minimally edited] transcript of our email conversation. Read more…

Major Software Upgrade Further Simplifies Photography Workflows

Press Release: SAN JOSE, Calif. — July 29, 2008 — Adobe Systems Incorporated (Nasdaq:ADBE) today announced the immediate availability of Adobe® Photoshop® Lightroom® 2 software, the photographer’s essential toolbox for managing, adjusting and presenting large volumes of digital photographs. With new enhancements such as dual-monitor support, radical advances in non-destructive localized image correction, and streamlined search capabilities, Lightroom 2 is a compelling upgrade that simplifies photography from shoot to finish. As Adobe’s first application to support 64-bit for Mac OS X 10.5 Macintosh computers with Intel® processors and Microsoft® Windows® Vista® 64bit operating systems, Lightroom 2 also provides improved memory performance for dealing with large scale images. Read more…

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 recent question from a client:

Where do the LR backup files go in v 1.3.1. I have a “Backup” folder in my LR folder with a long list of LR backup files. However, since mid Dec (about the time I upgraded to 1.3.1) there have been no new backup files created. And I can’t find the LR backup file when I do a search from Finder. So to make sure I’ve got a backup, I’m manually coping my current lrcat file to my backup drives. Any suggestions?

Also, how many older versions of the backup files do you keep. I’m about to delete all but the last 5 backup files. Don’t see much need in keeping the older files. Am I missing anything?”

My answer:

“Each Lightroom catalog has its own settings for backups.

Go to File > Catalog Settings. On the General tab you will see the settings for backup frequency and location.

From here, you can determine if and where LR has been performing backups.

I only keep a couple of recent backups. A really old one has no use to me.

Also, the way you’ve been doing it – manually copying – is totally OK.

I just re-read Bruce Fraser’s excellent explanation of current best practices for digital image sharpening and highly recommend it for anyone needing further explanation of sharpening.

Click for Article

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

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.

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 

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…