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…

I recently got a question from a client:

I am looking into having some high-quality scans made from my transparencies, and there are some choices involved, mainly 8 bit vs.16 bit. The vendor’s web site said an 8 bit scan would look just as good to the human eye as the 16 bit scan, at much less cost. Don’t know much about this kind of thing, do you think the 16 bit scan is necessary at almost twice the price?

My answer:

The choice of 8- vs. 16-bit has everything to do with maintaining quality when editing/manipulating the file.

It’s true that – in the end – 8-bit and 16-bit will not look any different, on screen or on a print, BUT (and it’s a big BUT)…. When adjustments are made to any file, such as color or contrast changes, and even sharpening, 16-bit allows much greater headroom before the image starts to degrade from the changes. This is due to the fact that a mathematical description of color in 16-bit contains much more data than an 8-bit description.

An example of problems would be visible bands in a smooth gradient, such as a blue sky. Adjustments to a smooth blue sky in 8-bit will start to break down the image and reveal banding much more than if working in 16-bit.

Read more…