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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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Here you will find ALL my preset's sellfy.com/sabekr that I create to help my workflow..and today I am sharing this presets to you guys.
The Presets is something you should use in order to make a photo feel more emotional and nostalgic.
I really love the look of old analog film cameras so here's my try to replicate it in an artistic way which are known from old cameras.See some examples on my IG www.instagram.com/mono_sabek/
I would just like to thank you so much for supporting my work and taking the time out of your day to check this out.
If you have any questions or comments..feel free to message me on any of the social media above!
The dividers that follow are "inbox", "actions", "agendas", "projects", and "reference". I use the inbox for note taking, and when I process the notes remove them from the section. So if it's working the inbox is close to empty
Oh noes! I realized something was wrong with the workflow I was designing. Went back to sketches and BAM, fixed it.
WORKFLOW:
5 exposures merge to HDR in CS4, save as 32bit Radiance
Toned mapped in Photomatix 3, Save as 8bit Tiff
Adjusted levels, Hi Pass, Noise Reduction, Borders and Texts in CS4, save as Jpg
The Benedictine Abbey of Saint-Germain-des-Prés, just beyond the outskirts of early medieval Paris, was the burial place of Merovingian kings of Neustria. At that time, the Left Bank of Paris was prone to flooding from the Seine, so much of the land could not be built upon and the Abbey stood in the middle of fields, or prés in French, thereby explaining its appellation.
The Abbey was founded in the 6th century by the son of Clovis I, Childebert I (ruled 511–558). Under royal patronage the Abbey became one of the richest in France; it housed an important scriptorium in the eleventh century and remained a center of intellectual life in the French Catholic church until it was disbanded during the French Revolution. An explosion of saltpetre in storage levelled the Abbey and its cloisters, the statues in the portal were removed (illustration) and some destroyed, and in a fire in 1794 the library vanished in smoke. The abbey church remains as the Église de Saint-Germain-des-Prés, Paris.
Equipment=Nikon D7000
Lens Used=Tamron SP AF 10-24mm F/3.5-4.5
Exposures=5
Location=Paris France
Workflow=PhotoMatix 4.2 Adobe PhotoShop Cs6(Lightning Adjustments=0)
Adobe Light room 5
Software, Nik Color Efex=Detail Extractor,Glamor Glow,Tonal Contrast(Colors Only)
Nik viveza
Topaz Details 3
So today I noticed that the Beta 2 for Adobe Lightroom 3 was out, and I decided to give it a shot. Never really understanding what was that different between LR and Bridge/ACR, I decided to give it a try. What the heck, can't beat the price.
Well, thus far, I love it. I did everything to the image posted here in LR (including uploading it to Flickr!), and it was fairly intuitive for someone already familiar with Bridge/ACR. I LOVE the brushes, too! My only concern is that since I can do so much in LR, I will be lazy and not go into PS when I only anticipate making minor adjustments there.
The second purpose of this post is to invite you all to the Disney Photo Challenge Group. While I'm sure many of you are already members, for those who aren't, this is a light-hearted group with topical challenges. It's not an ordinary "awards" group nor is it a critique group. It's more a fun and community type group...it also happens to be my favorite group on Flickr. So if you haven't checked it out, give it a shot; you might have a good time there, too!
Karolina & Jacek - wedding session at Gdynia Orłowo
I must admit that I developed Delicious Recipes firstly for myself ;)
I just couldn't stand so many hours it took me to create satisfying colors through Capture NX2, so I struggled to find other way for processing with my beloved colors. And finally I developed them in Lightroom 4 with Color Efex Pro :)
Now I have such an easy way to get my RAW files developed. Now it takes 4-7 hours of work from import to LR to export for a 380-450 wedding. ( Time depends on lighting conditions and retouch needed ). Before, in CaptureNX 2 it took me rather 20-35 hours and it was definitely worth it, as colors were brilliant, but so time-consuming!
I share all the details of my actual workflow for Lightroom 4/5 + Color Efex Pro 4 in Delicious Recipes. All the instructions and tips, combined with all the recipes and presets needed to get beautiful results fast:
www.deliciouspresets.com/delicious-recipes-lightroom-colo...
Changed it up with black nylons and sneakers. Had to come out of them later though as the temp rose above 90, whew!
Pictures by Massimo Vitali
Drum scan by CastorScan
n4 Kodak Portra 8x10" color negatives
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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.
Still life vegetables in preparation for the salsa.
One Canon 600EX-RT, camera left, bounced off the ceiling, at full power.
The Notre-Dame-d'Espérance church (Eglise du Suquet) is a Catholic parish church located in the town of Cannes, France.
It is dedicated to Notre-Dame on the Place de la Castre in the Suquet district, and has been classified as a historical monument since July 28, 1937 [Wikipedia.org]
Workflow: Negs processed by apetureuk.com
Raw file scanned with Reflecta RPS 10m @ 2,500dpi
Imported to Lightroom, then 'edit copy in Photoshop' selected. Colorperfect filter applied in Photoshop then saved. Colour, sharpness and N/R applied in Lightroom.
© 2013 Thousand Word Images by Dustin Abbott
I step back to a more colorful morning just weeks ago where autumn still painted with the broadest of brush strokes. There was still plenty of color left on the palette, and the beauty and atmosphere were distinctly autumnal.
Here are links to a series of workflow articles that I wrote for Alien Skin Software if you want to take a look here, here, and here :
Technical information Canon EOS M, EF-M 18-55mm STM, Processed in Adobe Lightroom 5, Photoshop CC, and Alien Skin Exposure 5
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