View allAll Photos Tagged workflow
Today working on blur and camera raw touches.
Next week a full stream dedicated to hair to wrap up the series
Video available as well as previous workflow videos
Digitally blended from a 6 exposure "manual" bracket on the Nikon D7000.
The D7000 is not capable to process brackets of 5, 7, or 9 exposures, so I adjusted this manually.
here's the camera shoot process:
At the scene I set up the camera to shoot at continuous high..then set the 3-shot bracket with an exposure differential of 1 stop each. I shoot the first three at an exposure level of -3. (-4,-3,-2)
I then raise the exposure setting using the camera's turn wheel to level 0. shoot 3 more shots. (-1,0,+1). Repeat the same step turning up the exposure level to +3 and shoot 3 more shots (+2,+3,+4).
I have now capture 9 exposures for a max 9-exp HDR. I ended up taking only the -2,-1,0,+1,+2,+3 exposures because the shots beyond were either too dark or too bright and will be useless in post processing later.
Here's the processing flow:
I opened the six selected shots in ACR via bridge. Here I look for any issues like dust spots, particles, etc and clean them via synchronizing my settings to all six shots then I save them individually as 16-bit TIFF's.
Even though I shot this on a tripod, the moving of the wheel to change the exposure levels creates a slight shift between the 3 grouped brackets..so I set this right using Photoshop's stack script. Under File>Scripts you will find 'Load Files into Stack'...this opens up an import window and I select the six TIFF I just made in ACR and check the box that says "Attempt to automatically align source images". This makes Adobe scan each shot and align it pixel association. This aligning process is also available in Photomatix, but I've felt Photoshop does a much better job aligning.
After Photoshop is done aligning you'll notice the shifts between the images (particularly in the end corners of each shot revealing my transparent background). I then go to Image>Canvas Size. In the window under new size I select from the drop down "Percent" and take it to 99 percent or less (if handheld) on both width and height. This crops the overall image evenly to the point my transparent edges are now gone and any misaligned edges have too disappeared.
Now its time to export each of these newly cropped files into separate TIFFs using another Photoshop script..under File>Scripts look for "export layers into files" I then save them into 16-bit TIFFs again in a new folder.
After you're done with this process in Photoshop its time to go to Photomatix. I load the bracket photos by selecting the 6 newly cropped files that came from Photoshop and assign them the proper exposure level separation by 1 full stop. I also check the box "Show 32-bit intermediary HDR image". This time there is no need to Align anything so I deselect that..but ghosting was left selected under automatic as Photomatix is better at that than I am..After this is processed there are two avenues I can go...take it to tone mapping or go about it by blending manually...
I went blending it manually...the file Photomatix creates (before you select tone mapping) usually is a flat and dull image..but it has 32-bit information. Without selecting any button I instead save the image as a 32-bit TIFF. I then open up the 32-bit TIFF in ACR and make adjustments from there. I feel I have a lot more control in the image through ACR than I do via Photomatix. Clarity is similar to strength here, the black, white, highlight, and shadow level adjustments are also a heck of a lot more precise than they are in photomatix.
You also can see an instant change in the image..where as photomatix has to process first before it shows the image.
After making these adjustments in ACR I then save the file as a 16-bit TIFF (ACR cant save 32-bit, it doesn't "parse" too well anyways) and then reopen that 16-bit TIFF for further fine tuning adjustments...then I open it in Photoshop for a final digital blend. Usually combing multiple adjustment layers of hue/saturation, curves, brightness and contrast. Each adjustment was painted in areas that needed the love via masking. I then used plug-ins like Nik Viveza (to enhance colors and structure in certain locations) and Noiseware (for overall noise reduction)
After that's done I sharpen it by duplicating the layer and adding a high pass filter..I then desaturate that layer, give it a soft light blend and control the overall strength of the sharpness by adjusting the fill/opacity amount.
I feel this came out as a more natural look than it would've via Photomatix's tone mapping. As much as I like Photomatix, it is still difficult to control the amount of detail, structure, and the images white/black levels primarily because it doesn't update instantly like it would in ACR. Tone Mapping also saturated the HELL out of that purple in the castle..so by processing it this way and getting a real natural result of the castle with that purple is what took the cake for me.
I used to hate HDR, then I fiddled with it and made overly-saturated stuck-in-customs look-a-likes for a while..but I've now fine tuned it to a form that I think blends reality with that slight touch of surrealism that creates a perfect blend of impressive photography. I now use this process for my HDR.
If any of you want any more information or tutorials on producing your own HDR workflow, visit these places.:
Its one way to make your images look like Trey Ratcliff's...its another to make them look better.
Be sure to press "L" to really see all the nice details!!
► I have created a free eBook for you called HDR Top Tips.
This eBook contains 10 handy tips for your HDR work (plus a bonus tip). The range of tips covers the entire HDR workflow starting with shooting your source photos, via the preparation and the merging of the images, all the way to the tone-mapping and post-processing phase.
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
Copyright © Dave DiCello 2011 All Rights Reserved.
"Every man takes the limits of his own field of vision for the limits of the world."
~Arthur SchopenhauerLongfellow
Quick post and run today! Hope you all are enjoying your weekend!
As always, you can read about the processing I've done on this shot and all my images on on my blog.
New blog post today, Open to possibilities! Check it out if you have a chance!
I hope you all have a great weekend!
I don't mind invitations, but please no big, shiny, flashing, glitter graphics, they will be deleted. Also, please contact me if you would like to use my pictures for any reason, as all rights are reserved. Thanks!
My website: HDR Exposed - Website
My blog: HDR Exposed - Blog –Open to possibilities
Follow me on Twitter
Front Page! Highest position: 14 on Wednesday, September 9, 2009
I would really like to thank you ALL for the big personal support I've received.
Things are getting better and better, sometimes it's funny to see how everything changes that swiftly.
Today I placed the order for an Hoya R72 Infrared filter, I should get it in one week.
Then I promise you many new shots.
The shot
Shot in Cannes, I had a brief talk with the fisherman you see in the upper right corner.
(since I was doing a long exposure with the camera low on the water, he actually asked me if I was shooting fishes)
The Processing
Photoshop: (no tonemapping this time)
- Merged two Exposures in Photoshop
- Switched to LAB mode and applied two curves to improve contrast and tones
- Back to RGB, added a vibrance layer to boost up minor tones
- Created five Overlay layers to adjust light
- Used color balance tool to improve colors
- Applied a curve to brighten things up
- Used the Exposure tool to increase Exposure (+0.35)
- Resized
- Noise reduction with Neat Image
- Sharpening (Smart Sharpen + more accurate)
- Framing and signature.
Take a look at it, LARGE on Black :
Lonely fisherman at sunrise, Cannes, on Black
@ You all
Comments, faves and critiques are always welcomed!
I have mixed feelings about this shot. It was kinda hard processing it with a wise workflow.
Hope you like it.
ODC Theme: Work
Even though currently I don't make my main income from photography I hope someday I will.
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
Here's another six image panorama of Jubilee Creek in the Knysna forest.
Many people who know me also know that I often spend more than a few hours editing a single photo. This panorama was no exception. My camera might be able to capture all the details in the highlights and shadows in a scene like this, but I do have to tweak all the photos if I want my final image to look as realistic as possible. This is my basic workflow...
1. I open all the RAW files and make some basic adjustments. Then I save 2 copies (as TIFF files), one copy exposed for the highlights and the other for the shadows. Then I blend each of those pairs together using luminosity masks.
2. Next I stitch the blended photos together into one panorama using PTGui or Photoshop's Automerge feature (whichever does a better job). Then I save the resulting pano as a 16-bit TIFF file.
3. I open the stitched image in Photoshop and start off by cropping it to create the strongest possible composition.
4. Then I'll balance the overall exposure (if necessary) using gradient masks and the "blend-if" tool, and I'll also add some midtone contrast and tweak the white balance.
5. Next I might adjust specific colours which still don't look quite right. The red tones are often overrepresented in a forest photo, so I usually have to tone those down quite a bit. I also try to remove any blue and cyan tones from the sky that are reflected off the leaves.
6. Then I will adjust the black and white points and tweak the contrast until everything looks as close as possible to reality. Then I save my photo as a 16-bit TIFF file.
All those steps are easy to follow when you know how to do them. I've had lots of practice over the years, so I could probably perform them in my sleep. I wouldn't need more than about 20 minutes to complete those simple tasks. So why do some of my photos take several hours to edit? Because the final step is always the most important step...
7. I get up and walk away from my computer and won't return for at least 5 minutes. This gives my eyes some time to readjust to the reality of the world around me. When I return to my computer I ask myself one simple question; What DON'T I like about this photo? It might be a colour that appears a bit oversaturated (usually the greens or yellows), or it could be a small twig that catches my eye too often and becomes a distraction. I'll try to fix as many of those problems as possible, before getting up and walking away from my computer again for another 5 minutes. I will repeat this process of self-critique and small adjustments until I wouldn't change another single thing in my photo. Sometimes I'll only be 100% happy the next morning.
So that's why (in case you were wondering) it often takes me many hours to edit a single photo. :)
The Prawn Nebula, IC 4628, is an emission nebula located around 6000 light-years from Earth in the constellation of Scorpius.
Gear:
GSO 6" f/4 Imaging Newtonian Reflector Telescope.
Baader Mark-III MPCC Coma Corrector.
Astronomik CLS Light Pollution Filter.
Orion StarShoot Autoguider.
Aurora Flatfield Panel.
Celestron AVX Mount.
Celestron StarSense.
Canon 60Da DSLR.
Guiding in Open PHD 2.6.1.
Image acquisition in Sequence Generator Pro.
Lights/Subs: 12 x 120 sec. ISO 6400 CFA FIT Files.
Calibration Frames:
50 x Bias
30 x Darks
20 x Flats
Pre-Processing and Linear workflow in PixInsight,
and finished in Photoshop.
Astrometry Info:
nova.astrometry.net/user_images/1191326#annotated
RA, Dec center: 254.252220396, -40.3525696849 degrees
Orientation: 1.26154815874 deg E of N
Pixel scale: 7.3827204679 arcsec/pixel
Martin
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[Home Page] [Photography Showcase] [My Free Photo App]
[Flickr Profile] [Facebook] [Twitter] [My Science & Physics Page]
workflow: Nikon D600, RawVision, PixlrExpress, Snapseed on an SamsungTab3 (For Tryout in HDR Mode with Snapseed)
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
Location: Inishcarra Dam - Inishcarra - Cork - Munster - Ireland - IE - Europe - EU
A Bee Right? No, actually it is a Wasp. I did not know until I research seeking for the scientific name of it, I could not find the exactly stripes pattern to 100% match the species but I learnt that it is a Wasp not a bee. Cool isn't?
Could someone help ID it please?
Photographer: Mark
Photoshop Camera Raw Filter
Discover My New Portrait Editing Workflow!
In this series, I’m sharing the before and after of my portraits to show how my editing process has evolved.
The RAW photo: I always start with a clean, well-lit image to have a solid base.
Editing with Evoto AI: Then I use Evoto to refine the skin naturally and efficiently, preserving texture and authenticity.
Final touches in Photoshop: Finally, I make color adjustments and fine-tune the look for a harmonious result.
If you’d like to learn more about my experience with Evoto, you can read the full article on my blog.
I hope this inspires you and gives you new ideas for your own portrait retouching!
blog.stephanemosse.com/2025/10/27/evoto-ai-comment-jai-di...
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.
Copyright © Dave DiCello 2011 All Rights Reserved.
"The present is a point just passed."
~David Russell
Another Civic Arena shot from my archives. I am trying to go through and clean up a lot of older pictures that I have sitting around, and as the Pens begin their push for the playoffs, I thought what better time to showcase their old home, Mellon Arena. This is an old shot taken with my D40X and processed in Photomatix, both of which I haven't used for months!
New blog post today, Igloo overload!
Thanks for stopping by everyone and I hope that you had a great weekend!
I don't mind invitations, but please no big, shiny, flashing, glitter graphics, they will be deleted. Also, please contact me if you would like to use my pictures for any reason, as all rights are reserved. Thanks!
My website: HDR Exposed - Website
My blog: HDR Exposed - Blog - Igloo overload
Follow me on Twitter
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.
Copyright © Dave DiCello 2011 All Rights Reserved.
"This, then, is the state of the union: free and restless, growing and full of hope. So it was in the beginning. So it shall always be, while God is willing, and we are strong enough to keep the faith."
~Lyndon B. Johnson
Just a quick post to say Happy 4th of July to all of those in the States! I will finally be catching up on everyone's work today!
As always, you can read about the processing I've done on this shot and all my images on on my website.
New blog post today, Off in the distance! Check it out if you have a chance!
I hope that you all have a great weekend!
I don't mind invitations, but please no big, shiny, flashing, glitter graphics, they will be deleted. Also, please contact me if you would like to use my pictures for any reason, as all rights are reserved. Thanks!
My website: HDR Exposed Photography
My zenfolio: HDR Exposed - Zenfolio
© Ben Heine || Facebook || Twitter || www.benheine.com
________________________________________________
A funny mule I found in Mykonos, Greece.
________________________________________________
For more information about my art: info@benheine.com
________________________________________________
You Talkin' to Me?
A poem by Katie Gabrielle
Are you talking to me?
With your nose up in the air
Do you think that I care
What you got to say
If you can't say something
Nice to me
Then please go away.
I may be an ass
Or a mule in donkey's guise
But I have a heart that cries
Just take a look at my eyes
Are you talking to me?
Then say something sweet
Talk about candy and music
That's sweet!
Don't try to be cool
Because I know better
Talking is like living
It's all in the giving.
Are you talking to me?
Then say something good
Then maybe I 'll say
Something worth saying
And that's all I gotta say!
I'm just a mule in donkey's
Guise. Some call me an
Ass but I know better.
Are you talking to me?
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]