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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.
Greater Yellowlegs - Tringa melanoleuca
I appreciate the comments, faves, & follows. Glad you enjoy!
If you’re interested in nature photography, please check out my youtube channel!
www.youtube.com/channel/UC-nMVA45F8kWmJC0dwHkAkw
I appreciate all comments, faves, and follows.
Matthew
Editing Workflow Cheat Sheet (Free)
Learn my workflow from import to export!
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©Matthew Schwartz, All Rights Reserved.
This image is protected by Copyright, and is not available for use on websites, blogs, videos, or any other media without the explicit written permission of the photographer.
About 19 Lifestyle-Film Lightroom & Camera Raw Presets:
19 Lifestyle-Film Lightroom & Camera Raw Presets is the first pack of professional Lightroom Presets perfect for photographers and graphic designers. All they have been created with precise calibration adjustments and clean arrangement to bring your images to life using powerful tools & professional methods.
Very important features:
19 Premium Presets tested in Lightroom & Camera Raw
Professional and unique result achievable in one click
100% non-destructive, we have been tasted them on different photos, and the results is awesome
Easy to use, just one click + Instalation file + powerful support if needed
This presets don’t change the WB (White Balance) of your image, they work with color, exposure, contrast, whites, blacks etc. This means that if your WB is okay, they do almost the same effect as on the preview image, and this is awesome.
No camera calibration profiles needed
Included 19 Lifestyle-Film Lightroom & Camera Raw Presets
HUBA-Lifestyle-Film 01A
HUBA-Lifestyle-Film 01A –
HUBA-Lifestyle-Film 01A +
HUBA-Lifestyle-Film 02B
HUBA-Lifestyle-Film 02B -
HUBA-Lifestyle-Film 02B +
HUBA-Lifestyle-Film 03C
HUBA-Lifestyle-Film 03C –
HUBA-Lifestyle-Film 03C +
HUBA-Lifestyle-Film 04D
HUBA-Lifestyle-Film 04D –
HUBA-Lifestyle-Film 04D +
HUBA-Lifestyle-Film 05E
HUBA-Lifestyle-Film 05E -
HUBA-Lifestyle-Film 05E +
HUBA-Lifestyle-Film 06F
HUBA-Lifestyle-Film 06F -
HUBA-Lifestyle-Film 06F +
HUBA-Lifestyle-Film 06F ++
The file type: .lrtemplate & .xmp
Designed to be used with: DNG,PSD, RAW, JPG, TIFF
Lightroom & Camera Raw: 4.x or above
Helpful Instalation file added
Picture by Massimo Vitali
Drum scan by CastorScan
Kodak Portra 8x10" color negative.
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CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
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CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
Unglaublich wie schnell die Kreuzspinne ihr Netz baute, ich bin sehr froh das mir diese Aufnahme gelungen ist.
Unbelievable how quickly the cross spider built her net. I am very glad that this picture has succeeded me.
My 'RAW 101' Workflow Video Tutorial is now available for Pre-Order!
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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.
Le Suquet is the old quarter of Cannes, probably best known to tourists as the climbing, winding cobbled lane lined with local restaurants, Rue St Antoine. Le Suquet contains a clock tower and church that sit high facing east overlooking the Bay of Cannes and Cannes itself. At the bottom of Le Suquet on Rue Dr. P. Gazagnaire is the Marché Forville, where the market is held in the mornings and early afternoon.
This area is the original fishermans' residential area of Cannes. The houses are all very old. The streets were laid out at least 400 years ago. It is a 5-minute walk from the beach and is full of restaurants around the Rue Saint Antoine and the Rue du Suquet. A lot of the area is pedestrianised and is a major tourist attraction for visitors to Cannes.
The rue du Suquet is the original main road into Cannes. It came in below the walls of the castle (for defence reasons). It is a pedestrian street again and has plenty of restaurants [Wikipedia.org]
Edited this one in CS6 with nothing more than a pass of noise cancelation, slight curves adjustment, and sharpening on only the red and green channel.
First, Happy Thanksgiving To Everyone. Second DO NO TRY THIS AT HOME.
The following is how I edit my photos from my camera to Flickr.
1. Take an insane amount of photos of everything that you see in burst mode. I shoot everything in raw and large jpeg. I usually take a burst of 3 photos for every subject. For something like a marathon, my trip to San Francisco, or my day at the Lone Star Rally that would translate to 5000 photos. I took close to 30,000 photos in Japan. If we hadn't had 2 typhoons move through while I was there it would have been closer to 50,000. If you have quit laughing now please read on.
2. I transfer the 64 gb sd cards to my Windows 7 desktop. I usually do this one card at a time since I never have more than a 100 gb of storage left.
3. After uploading a sd card I go though and delete each out of focus shot or anything that just looks really off. Hopefully I cleared up enough room to upload another card. If not I try to see what I can part with and delete that. Eventually I will get everything into my Windows photo editor. The editor only sees jpegs and I have to move the cards over to my Mabook Pro in order to see the raw files.
4. The next step is to pick the best photo out of each burst. Sometimes the tired X-T1 misses every shot in a burst but really that is mostly my fault.
5. Go through the best shots and decide what to actually keep and edit in Lightroom. I try to remember that Lightroom can work wonders on some photos. Hopefully, I culled heavily but that is another problem that I am working on.
6. Rename all of the keeper photos so that I can find them in Lightroom. I am sure that there is an easy way to do this. This actually takes a really long time for me.
7. Transfer all of the photos to be edited onto another sd card.
8. Finally, turn on the Macbook Pro and import all of the photos into Lightroom.
9. Apply some sort of edit to the first photo and hopefully that can be applied to most of the photos in the upload.
10. Go back over every photo and make any minor adjustments that are necessary.
11. Go back over the photos one last time and cull any if necessary.
12. Finally, they can be uploaded to Flickr.
And that is how not to do it. (I actually really, really do it this way. It is possible that I even left a step or two out.)
Alley in DC. Processed in CS2 using this workflow: crop, levels, curves, contrast/brightness. All stuff I'd love to have a darkroom for!
for those interested in iphonography, the itemization of the workflow used for the images in this series might prove helpful.
oh, and i've created a group for black and white images. you might wanna join.
This is not an image I would normally post, but having decided a while ago to document my workflow (I’m an engineer…. I like to document how things work!), I thought it might be useful to post it and see if it draws any comments. I am often curious about what other folks do and sometimes think my own workflow is somewhat over complex.
I used the following:
•Adobe Bridge CC; ou can get this with a FREE Adobe CC subscription. I use it to provide a centralized way of browsing and managing my files and launching all my other applications.
•DxO PhotoLab; for me the best RAW developer out there, and I’ve tried most of them.
•PENX DCU; if I really must develop using Pixel Shift, I sometimes use this. However, I really don’t like it. Please DxO, give me Pixel Shift support!!
•ON1 Photo 2017; there are some nice filters in here. I had high hopes that the RAW developer would be awesome, but its simply not a patch on DxO, especially now DxO have finally added selective development.
•AuroraHDR; I’m really on the fence with HDR packages. This seems to offer good results and a lot of control, but I’ve only been using it for a few days.
•Afinity Photo; I ditched my Adobe subscription in favour of using Affinity Photo. It is excellent value for money, powerful and extremely stable.
•NIK filters; barely ever uses them as ON1 filters are so much better.
Copyright © Dave Sexton. All Rights Reserved.
This image is protected under international copyright laws and agreements. No part of the image or the Flickr Photostream to which it belongs may be reproduced, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the Copyright owner’s prior permission.
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PLEASE NO SELF-PROMOTION or CRAPPY AWARDS. Thanks.
Digital blending or DRI or Exposure blending.
NO HDR.
First day of work after nice and sweet holidays.
I'm back in urban flux, trafic, polution and stress.
Work= End of contemplation. End of liberty.
This photo shows how we miss the beauty of the world and nature when we work as robots.
Drivers in foreground drive so fast they can't see beautiful landscapes in background.
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