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This is the workflow that I have used for my V500 Epson Scanner. The V500 does not produce a linear scan but you can still use ColorPerfect (colorNeg) and get good results. I messed around trying to use the Digtal ICE feature on the V500. I never gave me good results. So I went with y original workflow, AND vigously wiping my negatives with a Shifter pad. Which resulted in a large reduction in dust. Well, here is my work flow:
The Epson V500 (and many other Epson scanners) do not produce Linear scans so after going through the C-F-S and ColorPerfect websites I came up with this work flow that I pieced together from the sites. If any of you that use Epson scanners find something wrong with this, please comment:
Epson Perfection V500 and ColorPerfect:
Open Epson scanning software
Choose professional mode
Then film
Positive film
48 bit color
The other selections are your choice
Now open Configuration and choose ‘No Color Correction’
In ‘File Save Settings’ Choose TIFF the rest is your preference
Now Preview and Scan
As the ColorPerfect website says these will not be Linear Scans
Open your editing program and open a TIFF scan and crop so only negative shows
Use Make TIFF to assign 'sRGB' and do whatever else it does (EDIT from below post)
Open ColorPerfect
Find options and check ‘Gamma C in/out’
Close ColorPerfect
Reopen ColorPerfect and Choose ‘ColorNeg’
Just under ‘ColorNeg’ to the left find ‘2.2’ and to the right window 'sRGB'
Choose the type of film
Put the arrow on a gray area or white area and click to adjust color
Now start at the ‘Black’ and adjust
Continue down the list (‘White’ is next)
There are other helpful tips in these videos that include ‘save list’ ‘zoom’ ‘shadow degree clip’ ‘highlight stop range clip’ ‘saturation’ ‘gamma’ ‘ring cc’ and more:
#sneakerlife #workflow #215 #lebron #swag #nike #iphone4s #miaminights #philly
4 Likes on Instagram
2 Comments on Instagram:
westphillybabe: Do they make these in boys? I want em!
wbg_215: @westphillybabe. No these were a limited color that the came out with for just men sizes.
My iPad Photography workflow - RAW Processing
Check out the blog on which RAW processing apps I use on my iPad and why...
digitalchemicals.blogspot.com/2014/02/ipad-photography-wo...
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About Me - about.me/edwardconde
For uploading images to display in forums:
Renames the file to make it web friendly (replaces spaces with underscores, all text lowercase)
Uploads it to the Drop folder on my site
Wraps the URL in BB code [img][/img] tags
Copies the URL to the clipboard
Ask if I want trash the file once uploaded (usually from the Desktop)
Just run the workflow then paste the URL
Uploaded with Automator
I wrote a blog post about how I use my iPad to process my scanned film images. I cover from scanning to processing and sharing on the social webs.
Click here for the post:http://digitalchemicals.blogspot.com/2015/02/ipad-film-photography-workflow.html
Workflow:
1. Non destructive
2. Preparing custom brushes
3. Selection & masking
4. Adjustment and Filters
5. Texturising
6. Lighting effects
7. Fine tuning
8. Adobe Lightroom tuning
Used technique: layers, adjustment, smart object styles, masking, clipping masking, Adobe Lightroom, Adobe Photoshop CC 2017, several Stock Photos, plugins.
Bradley Wilson, Midwestern State University; and Brady Teufel, California Polytechnic State University taught a pre-conference workshop on workflow at the ACP national workshop in San Francisco. Students: Madison Weaver, Jack Lambert, Andy Bao and Xander Fu
Here is an example of my workflow, and I encourage you to look at this file as “Original Size” and at 100%. By the way, this plane is a North American T6 "Texan" trainer.
I spent pretty-much the entire day today trying to tweak my standard photo-processing workflow. After all of this, my conclusion is that what I have been doing is pretty good, and I’ll probably stick with it.
First, I tried the DxO product, “PhotoLab 2”. My conclusion is that this would make a good, cost-effective replacement for Lightroom/Photoshop, but I already have the Adobe products, I have used them for years and I am used to them, and I see no compelling reason to change now. This is especially true since I am eligible for the Adobe “education discount”, which makes LR/PS affordable for me. If I were looking for a good photo-processing software package, and faced paying full retail, I’d definitely consider DxO PhotoLab 2, however.
I next went looking for an alternative sharpening tool. I have used various methods over time without being 100% satisfied with any of them. I have seen tools from the company Topaz Labs recommended, so I picked up the trial version of both their sharpener and NR software. I was underwhelmed. First, the Topaz plugins are very, VERY slow. When I am doing a commission and processing a hundred shots, the speed difference would probably add a few hours to the process and I don’t need that. There also doesn’t seem to be an easy, direct way to restrict the application of the tool. Especially when used from LR, sharpening and NR are all-or-nothing across the entire image, which is not true in my existing workflow. I want to sharpen my subject, and only my subject, and I want to reduce noise in the background, and only the background. I have developed techniques in PS that let me do this, and I can’t understand why this concept isn’t standard in every photo-processing application.
Another issue that I had was that a lot of these tools are not tightly integrated, as the Adobe products are, and they require the creation of an intermediate file like a TIF. Once again, when processing hundreds of shots, this will chew up an enormous amount of HD space. These extraneous, intermediate files could be deleted afterwards, of course, but that’s one-more-step in the workflow, and it should be unnecessary.
The outline of what I do is;
LIGHTROOM:
•Import my RAW images and use LR as my library-management tool, including automatic backups.
•Make a virtual-copy of what I am about to process so that my original RAW file is untouched.
•Crop and Straighten
•Adjust WB (if necessary) and “Tone” (using “auto” as a starting point)
•Adjust “Presence”. My starting-point is (top-down) 20/20/10/20/-10
•Select “show clipping” (the up-arrows in the histogram) and adjust “Whites” and “Blacks” so that the dynamic-range is full-spectrum and just-barely hitting the clip-points.
It is also my standard practice to use automatic lens-correction profiles in LR, and LR’s default sharpening (40%) as a preliminary stage. I then pass the image to Photoshop, which is done without creating/saving an intermediate file.
PHOTOSHOP:
•My preference is to do any cloning and healing repairs in Photoshop because I find these PS tools easier to use than LR’s.
•I then often use the DxO/NIK Viveza module as a plugin layer to make localized adjustments. In this sample, I brightened the pilots face, and only his face, using Viveza.
•I then use the “Quick Selection Tool” of PS and select my main subject, the airplane/pilot in this case. I can then use the DxO/NIK Output Sharpener to sharpen only the selected area. This avoids adding excessive and unnecessary noise and sharpening-artifacts to the background. I usually make this step a little harsh, because I can always back it down easily through the layer opacity slider.
•Once I have applied the sharpening modification to the selection, I do an “Inverse Selection” which picks everything except what I have just sharpened. I now run the DxO/NIK Define module for noise-reduction. This allows me to suppress noise in the background where I don’t want it, without softening the lines or blurring the texture on the main-subject. Beyond simple NR, additional blur can be added in this selection too, although it is tricky to do that without making it look unnatural.
I can now save my final result as a JPG and exit without saving any intermediate file. The virtual-copy in LR still contains all of the LR-level changes, and the original RAW file is still available too. I am deliberately throwing away what I have done in PS though, because I don’t want to spend the disk-space and the chances are that if I reprocess, I’ll want to do it all differently anyway.
5D4-19_05466-B
My Workflow for 2018!
I have made the choice to leave Lightroom CC behind and have a new workflow and learning curve for 2018.
Own all the software below so no monthly charges for 2018
I have had DXO software for a while and often have used it from Lightroom so now my organisation and main software will be DXO Pro.
I will support this with Affinity Photo (that i have had copies of since the beta on the Mac) and have the book and really need to get to grips with this software to get creative in 2018
Also have LandscapeStudioPro software which can be great for quick changes in surfaces and backgrounds.
Also have NIK collection that DXO have just taken over and look forward to changes that DXO say they have planned for 2018 - but not actual said what the changes are ;-)
Have Creative Kit in the wings as the SnapHeal program I find amazingly good for removing unwanted items, especially when large!
So a lot of words and lets see how I get on with the different software and workflow in 2018
Located in the heart of the glamorous city of Cannes —close to the Palais du Festival and famous Croisette walk— the Vieux Port de Cannes has been a long time favourite port of call for boats of all sizes. A wooden quay in front of the Capitainerie can accommodate yachts up to 40m there (50m upon request)
[yachtinsidersguide.com]
I do most of my post-processing (organization and editing) in Aperture, occasionally using a plugin or Photoshop when more complex edits are desired. So that's the source of the HUD along the bottom left corner
This is a hipstamatic iPhone photo of me editing a hipstamatic iPhone photo in Aperture 3. I can be all meta and self-referential! Look at me, hipster photographer!
This is an attempt to reprocess some data from 2011 based on a new processing workflow I developed while working on my recent Sword of Orion shot. The original light frames captured some light pollution, which shows here, but I wanted to see if more nebulosity could be seen using the new workflow - which it could!
The M45 "Pleiades" star cluster (a.k.a. "Seven Sisters") is an open star cluster in Taurus. The stars are relatively new, having been formed within the last 100 million years or so, and there is a nebula or dust cloud which the stars are currently passing through.
- 36 minutes (3 minute frames)
- 5 * 3 minute dark frames
- (no flat frames used)
- ISO 800
- Imaged with a Nikon D7000 and Astrotelescopes 80mm ED Refractor
- Guided with a Meade DSI and William Optics 66mm Refractor
- Mounted on a Celestron CGEM
- Stacked in DSS
- Post processing in GIMP
- Mild tonemapping in Photomatix Pro
- Noise reduction in NeatImage
Once upon a time, I shot all my photos in JPEG, and occasionally managed to find time to post them. Then, I was convinced to start shooting in RAW to have more control over the outcome. Once I did that, I was on a slippery slope, of course. A few months later, someone introduced me to photo processing plugins, particularly Topaz Adjust and DeNoise. Happy with the visuals, I added those into my already-overburdened workflow. And then, recently, for reasons I can't determine, the Topaz plugins started completely obliterating the EXIF data from the photos I use them to process. EXIF data, like GPS coordinates and timestamps in particular, are really important to me. After a few hours of banging my head against the wall of unhelpful internet discussion forums, I arrived at the solution pictured here. I now have to run a command-line utility called 'exiftool' and manually copy the EXIF data from the originals to the edited copies once I'm done tweaking.
Maybe I should just go back to JPEGs...
Content Workflow 2010 is an exciting one day event detailing strategies for professionals -- in information management, knowledge management and IT, R&D, medical affairs, and publishing -- to inject high-value STM content into the workflow of knowledge workers when and where they need it, and exploring critical information about global copyright compliance.
The Promenade de la Croisette, or Boulevard de la Croisette, is a prominent road in Cannes, France. It stretches along the shore of the Mediterranean Sea and is about 2 km long. The Croisette is known for the Palais des Festivals et des Congrès, where the Cannes Film Festival is held. Many expensive shops, restaurants, and hotels (such as the Carlton, Majestic, JW Marriott Cannes, and Martinez) line the road. It goes completely along the coastline of Cannes [Wikipedia.org]
1 - From camera
2 - Lightroom 3
+Exposure (if needed)
+White balance shift
+Healing tool for easy blemishes
+Color correction (Vibrance/HSL)
+Brush tool (exposure)
3. Photoshop CS4
+Surface blur, vary opacity
+Levels adjustment & Mask for toning, eyes, background
+Greater healing brush tools
+Liquefy (if needed)
4. Lightroom 3
+Final curves adjustment
+Vignette
+Sharpening
+Export
This is a comparison of my old and new Photoshop workflows. See full-size for best comparison. The original photo-which sucks--is on top. The middle one was accomplished with my normal photoshop workflow, which is an improvement, but the colors are horrible. The bottom one was created using Dan Margulis's "Picture Postcard" workflow, which is dramatically better than either of the others.
The new workflow involves 3 stages. Simplified, they are:
1. removing minor color casts in RGB mode without regard for contrast
2. boosting the contrast without regard for color
3. combining the color from step 1 and the contrast from step 2 in Lab mode while also boosting overall color.
Today is the first day I've been trying this new workflow, and I did this one rather quickly, so I don't contend that I've created a perfect image. But it's so much better than the way it would have otherwise ended up that clearly, I will be changing the way I fix pictures in Photoshop from now on.