View allAll Photos Tagged Workflow
1. Enderezado de la imagen, he tomado como referencia los pilares de la casa, su linea vertical
2. Correccion perfil de lente, aberracion cromatica y correccion de perspectiva automatica
3 Equilibrio de blancos temperatura 5900 matiz +6
4. Ajustes basicos
Exposicion -0.65
Contraste +24
Iluminaciones -100
Sombras +79
Blancos +63
Negros -6
Claridad +30
Intensidad +18
Saturacion +8
HSL TONO
Rojo +13
Naranjas -26
Amarillos +29
Verdes +12
Aguamarinas +13
Azules +28
Purpuras +8
HSL SATURACION
Rojo +4
Naranjas +17
Amarillos +8
Verdes -4
Aguamarinas -26
Azules +52
HSL LUMINANCIA
Rojo +14
Naranjas -32
Amarillos -13
Verdes -33
Aguamarinas -54
Azules -59
Purpuras -38
CURVAS
Parametrico
Iluminaciones -6
Claros +9
Oscuros -6
Sombras +8
Punto Rojo
He levantado muy levemente los tonos medios a rojo
Verde
Las iluminaciones las he bajado muy levemente a magenta y las sombras muy levemente hacia verde
Azul
Las iluminaciones he bajado bastante a amarillo, los tonos medios lo he bajado a amarillo levemente al igual que sombras.
RGB
Solo he dado mas luz pero muy levemente a las sombras
Filtro radial para cielo
temperatura -6
Exposicion -0.25
Contraste 25
Iluminaciones -35
Sombras +32
Blancos +7
Negros +1
Claridad +31
Saturacion 14
Filtro radias para tierra
Temperatura +2
Matiz -3
Exposicion +0.1
Contraste +26
Iluminaciones -65
Sombras +57
Blancos +22
Negros +6
Claridad 15
Saturacion +14
ENFOQUE
Cantidad 62
Radio 0.8
Detalle 32
Mascara 43
Taken on the April 19-22 Waterfalls and Workflow 2012 workshop with Aaron Reed and Zeb Andrews.
112 pictures in 2012 #59 Abstract
New photoshop workflow based on some ideas from Vermeer's painting techniques.
Compare with www.flickr.com/photos/dougr/9511082879
Best viewed *big* using a color corrected browser (Safari or Firefox). Check out my best stuff at www.pacificaphoto.net and follow my new work on twitter @doug_r
This full, free video tutorial is now available for you to download and watch! It shows how to create this image, from beginning to end, and it includes the raw files and my luminance mask action set!
- I have a small request -
If you've enjoyed my materials and found them useful, please can you share the link below to others who you think will also enjoy them.
By doing so you will be helping to support this resource and helping it to grow. The more interest/demand I have in these workflows the more of them I can make.
Thank you and I hope enjoy this new video
www.throughstrangelenses.com/2013/09/08/full-free-post-pr...
I’m often asked how I create my AI photography images—especially by those using the same tools but getting very different results. Here’s a brief tutorial outlining my process for crafting refined AI visuals:
1.Start with a Line Sketch
Create a clean line drawing of your subject. Scan it at a minimum of 300 dpi for optimal clarity—this resolution consistently yields the best results.
2.Recover with AI Photo Tool
Use an AI photo recovery tool to transform your sketch into a base image. I typically select the “Severe” setting to maximize structural fidelity.
3.Enhance with AI Image Tool
Apply an AI image enhancement tool to refine detail. I prefer Version 2 with a 6-pass setting and the “Photography” filter for depth and realism.
4.Retouch for Precision
Use a photography retouch tool to eliminate blemishes, wrinkles, extra fingers, or other AI-generated artifacts. Zoom in closely to catch subtle errors. The lasso tool offers excellent control once mastered.
5.Smooth with Light Enhancement
Apply a light-setting enhancement to correct any smearing from the retouch phase. This step improves lighting, restores clarity, and sharpens the final image.
6.Finalize with Branding
Add your watermark or company symbol to complete the piece and protect your creative identity.
Workshop "workflow/Photoshop/Lightroom"
Vrijdag 21 september
10:00-13:00
50.00
Nog 2 plekken vrij voor deze zeer informatieve workshop aanstaande vrijdag.
Veel tips en technieken voor een snelle en professionele retouch workflow.
Werken met kleurkanalen, unieke tints zelf maken, foto's van zero naar hero brengen in Photoshop, werken met focus verloop, achtergronden smooth maken, huid en digitale make-up, kleur manipulatie, automatiseren van retouching processing binnen Photoshop, hyperverscherping, beste plugins en veel meer
Zie het gehele programma op www.fotografie-workshops.nl
Inschrijven via info at Frankdoorhof punt com
Probably the question that I get asked more than any other is about my photography workflow. I actually feel like my photography workflow is pretty simple so I thought I'd write up a brief post documenting my process all the way from photo capture to photo publishing. Feel free to ask any questions if you need me to elaborate on things.
1. Step one, capture the image: I carry my Canon 5D and 5 lenses (24mm, 14mm, 50mm, 135mm, 100mm macro) with me in a backpack every where I go. I take advantage of the routine time wasted in a day to turn that time into photography. Walking to and from the BART train. Going out for lunch. Waiting in line somewhere. All kinds of everyday moments become photographic opportunities.
Of course I also go out on specific photowalks all the time. Sometimes these are weekend trips away from home, other times they are just evenings out shooting with friends or with my wife. I use 2 8GB SanDisk cards.
To learn more about what is in my camera bag you can read this post here.
2. Step two, transfer the image to the computer: Here I use a high speed USB card reader. All card readers are not created equal. Spend the extra few bucks and get a high speed reader. Every day or other day I use my card reader to offload images on my camera card to my computer. In my case when I plug in my card reader Canon's "Camera Window" software automatically loads. This software then pulls all of my images off of my CF card and puts them into folders on my computer titled by date taken. After my images are transferred to my MacBook Pro I then put the card back in the camera and delete the images off of it. If I'm on an all day shoot I'll take breaks during my day (coffee, lunnch, etc.) to take a moment and clear out my cards.
Bonus Link: 13 Tips for Using and Caring for Memory Cards.
3. Step three, sort photos: Here I open the folder that has all of the RAW files from a given day's images using Adobe's Bridge software. I create a subfolder in the dated folder called "maybe." I go through the day's photographs and I drag anything that I think might have potential into the "maybe" folder.
4. Step four, first pass processing using Adobe Camera RAW: My next step is to open all images in a day's maybe folder using Adobe Camera RAW (comes with both Photoshop CS3 and Lightroom). You simply select all of the images in your maybe folder, right click, and select "Open in Camera RAW." This is where 95% of my photo processing is done.
With camera RAW you can adjust the contrast of a photo, the exposure of a photo, the saturation of a photo. You can adjust the temperature of a photo (the reason why some white lights are sulfur yellow and other white lights are soft blue), you can adjust the vignette (black or white edges around a photo), fill lighting, etc. Adobe Camera RAW uses sliders to make these adjustments and it is easy as pie.
After I get an individual image to where I want it I will use the "Save" button in camera RAW to save that finished photo as a JPG in a new folder "Finished Images."
After I process my first pass imagery I move that date's archive folder off my Mac and onto my drobo to back it up and store it more safely. Note, none of my RAW files are ever saved as processed. I consider my RAW files my negatives and always want to be able to go back to them and process from scratch if need be.
5. Step five, 2nd pass processing: Once I've finished my first pass processing I will point Bridge to the "finished images" folder. Here I will look at each finished JPG image in as large a format as possible looking for photos that need additional work. Typically less than 10% of my photos need additional work beyond camera RAW.
The type of work here is all done in Photoshop. As I go through the images I look for a few things consistently. Images that need slight sharpening. Images that have dust spots on them that need to be fixed with the cloning tool in Photoshop. Images that could benefit from dodging or burning, etc. As I see an image in Bridge that needs additional fine tuning I will double click on the image in Photoshop, make my edits, save the file and close it.
6. Step six, keywording: My next step is to keyword all of my photos using Adobe Bridge. Adobe Bridge has pretty powerful keywording capabilities. I can batch and bulk keyword photos. I might start out, for instance, keywording every single photo I just processed as "Las Vegas" "DMU Las Vegas Meetup 2008" "Vegas". From there I then might go through sub batches and keyword them (say Caeser's or Wynn or Venetian). From there I might then bulk keyword certain frequently used attributes (neon, mannequin, graffiti, night, etc.). And then I go through each image individually adding any final keywords image by image.
Keywording is important because these keywords will be automatically read as tags by sites like Flickr and Zooomr. It also allows you better to search your finished imagery in the future on your computer. The Importance of Keywording Your Photos.
7. Step seven, geotagging: Here I use a free program called Geotagger. Geotagger works with Google Earth and allows you to pinpoint a spot on the planet using Google Earth and then drag and drop any images from that location onto the program and geotags them with that coordinate. Geotagger only works for the Mac but there are lots of other free geotagging programs like Geotagger out there that work with Windows. When you geotag your photos at the file level both Flickr and Zooomr automatically add them to the meta data on your photo and place them on their site maps.
8. Step eight, sort finished photos into A or B to be uploaded folders: My next step is to go through my imagery and basically sort 80/20. What I feel are my strongest 20% go into a folder "B." The rest go into a folder "C."
9. Step nine, publish: I publish twice a day usually but this is by no means a hard and fast rule. Once in the morning and once in the evening. I typically publish 10-15 photos at a time selected mostly at random from my growing pool of "to be uploadeds."
I make sure that when I upload these 10 or 15 shots in a batch that the "B" shots are uploaded last as Flickr and Zooomr only highlight the last 5 shots that you upload in an upload batch. I want these to be what I feel are my better images.
And that's it. I'm sure that there are more efficient ways that I could be processing my imagery but this has worked for me for a while now. Feel free to ask any questions as the above might sound a bit complicated to some.
Additional reading: Thomas Hawk's Principles and Guidelines for the Modern Photowalker . Brian Auer's Your Guide to Adobe Bridge: Useful Tips and Tricks.
More comments and a conversation about this post over at FriendFeed.
Der Workflow ist bei fast allen hier dargestellten Bildern der Gleiche:
- Pseudo-HDR oder HDR aus 3 Einzelbildern mit photomatix zusammengestellt
- Nachbearbeitung in photoshop (Tonwertkorrektur)
- Entrauscht mit noiseware
- Anwendung der Filter Topaz adjust und NIK Color Efex zur Farbgestaltung
- deutlich geschärft mit unscharf maskieren;
- Sättigung für möglichst natürliche Farbwiedergabe
Wer Einzelheiten zu den Einstellungen haben möchte, kann sich gerne an mich wenden.
The workflow is almost the same for the pictures shown here:
- Pseudo-HDR and HDR composed of 3 individual images with photomatix
- Post-processing in Photoshop (Levels)
- Denoised with Noiseware
- Adjust filter by Topaz and NIK Color Efex filter for color design
- Sharpened considerably, unsharp Mask;
- Saturation for natural color reproduction
Who wants to have details about the settings, can feel free to contact me.
Here is a little behind-the-scenes of my creative process. With every one of my designs I try to flush things out early on with quick sketches and color studies before diving into generating the assets.
This is an example of my Signalera piece, where I started with a very quick sketch of composition, then a study in Illustrator, and the final piece.
You can see a larger version right here.
©2008 James White. All rights reserved.
Sierra Colleen
Neck corset: Roland Marquis
Light: SB910+SB700 thru 22 in. dish CL | triggered via Pocket Wizard
Photo: KevCool Photography
Workflow: GIMP is free
I was fortunate to be invited to a steampunk-based photoshoot recently. It was a small and very friendly gathering lasting several hours at Wickham Park in Manchester Connecticut. This tiny venue was a rather intimate assembly of models and actors who came equipped with props, costume and the artistic enthusiasm to create dynamic themes.
Much of my recent work has been in a controlled studio environment without worry or concern of ambient light. Adding the extra measure of ambient light to flash/strobe work certainly left me bewildered. Could I make a compelling image especially when the pace was fast moving?
After several discussions with the organizer via telephone, I chose to bring a truckload of on location lighting with 2 Einstein monolights with a battery pack, several stands and modifiers along with a couple of speedlights. I was under the impression that large sets would be erected in the shade as backdrops. I was concerned with adequate illumination..
I spent the better part of two hours packing and essentially turning my studio into a warzone from the disassembly. Upon arrival, I realized I over prepared for this event. In fact, I was the only photographer who brought any lighting equipment whatsoever. I suppose being prepared is paramount but truthfully, throughout the four hours, I used only a single Speedlight, one camera body and one lens with a 25” Octabox mounted on a 13’ Paul C. Buff light stand.
The image I posted was shot almost at the end of the event. Ironically, this image was made almost solely with natural light. Environmental portraits are a rarity in my workflow. The black & white treatment seemed to be fitting. I find the image stirring and the background virtually melted away from shooting at F3.2 at 70 mm. I can only take a small credit for the image. If it were not for the invitation or the creative pose from this beautiful woman, it would have remained a fuzzy concept without substance.
Thank you David and thank you Kait for making this experience possible.
Regards to those who have supported me during my long absences of not posting.
Created by Rizzo Media Factory.
Original source: : youtu.be/xrjyj16vdSU
Take in the post-processing workflow of Mabry Campbell’s infrared, tilt shift, long exposure image of Zeeland Bridge. The series of 56 images representing the key steps if the editing process are joined together creating a visual motion picture experience.
My 'RAW 101' Workflow Video Tutorial is now available for Pre-Order!
Early adopters save 20%.
www.fototripper.com/product/raw-processing-workflow-for-l...
Do you get intimidated or overwhelmed by complicated image editing software? Relax. I’m here to walk you through the process step-by-step. By the time you’ve watched this series of video tutorials you’ll be processing your images with confidence.