The Professional Photographer’s Digital Workflow

Lesson 28 of 47

Export Images to Photoshop®

 

The Professional Photographer’s Digital Workflow

Lesson 28 of 47

Export Images to Photoshop®

 

Lesson Info

Export Images to Photoshop®

We talked in the last segment a little bit about exporting your images, and did multiple, various ways, so we're not gonna go over that again. But just a few notes about exporting the images. I'm gonna sit down here so we can get rolling. We're in Lightroom here. You know, if I have a lot of images I need to work up, so as I've said, I basically take the images as far as I can in Lightroom, in the raw processing stage, then I export them in whatever way I need to for working them up in Photoshop. Sometimes I do the export as right here, where is it? Photo, Edit In. Sometimes if I'm editing or going from Lightroom directly into Photoshop, I'll open as a smart object. But often, you know, I'll have 30, 50, 100, maybe 200 images I need to do some work on in Photoshop. Or it's if it's a portrait shoot, maybe it's only two. You know, it just depends on what I'm doing. I'll just select all the images, and I'll come over here to the Export dialog box, and I will, I've got all these presets, a...

s you can see, but just to build a new preset, I'm probably going to choose to put it on that folder. Remember the processed image folder we created? Find that over here, choose PSD files. I pretty much always export as PSD files, since I'm gonna be working them up in Photoshop. You could export them as TIFFs if you wanted to. It doesn't really matter. But we're gonna put a bunch of layers on top of these PSD files when we work 'em up in Photoshop, so that makes the most sense. So I'm gonna come down here, change this to PSD, and I want... This is actually a good time to talk about color space, because remember our discussions earlier. We've been talking about all these different color spaces for monitors. In terms of how you work up your images, the color space of Lightroom that we talked about. And this is where we get, it gets a little sticky here because you can choose whatever color space you wanna work in. If I choose SRGB here, you remember I was talking about the ends of my histogram when we were working up the raw images, and if I choose an SRGB, it's a smaller color space. It's gonna start cutting in and clipping the ends of my histogram, and it might clip them in a way that my black and white point settings are not where I want them. So that is why I stick to a ProPhoto RGB color space here, but, big caveat, if you're not color savvy and don't have your color management dialed in and you aren't aware of the color issues, you've gotta be really careful with ProPhoto. You never wanna send a file to anybody in ProPhoto color space, 'cause it's gonna look horrible if they don't have a color managed software to look at it in. If you have a ProPhoto image and you put it up on the Internet in the ProPhoto RGB color space, it's not gonna look good. 'Cause the internet is SRGB tuned, and they're looking at an SRGB monitor. Same thing with Adobe RGB. Like, you don't want to put an Adobe RGB image up on the internet, 'cause it's gonna look kind of faded and washed out. And you'll be like, what's wrong with my image? Unless you have a browser like Safari or something that is color managed to some degree. I don't think Safari is. I think Chrome is actually color managed. So it just depends. So all these considerations, at this point, we're still in our work flow phase. So I say that most people, you know, if I do Adobe RGB, it's also gonna clip those endpoints a little bit, so that's why I didn't stretch things out in Lightroom all the way, because we're doing the color management part or the color, assigning the color profile here at the end. It's not necessarily the best possible situation. If you are a photographer who doesn't shoot tons of images, you know, if you're only creating 80 to 100 or 200 images, it might be faster to work your images up in Adobe Camera Raw, where you do set the color space before you start working up the image, or you can, at least, and that way you can actually adjust your endpoints much more accurately in that thing, and then you go straight into Photoshop and you're ready to roll and there's none of this business about the endpoints getting clipped. So little caveat there. For me, I stick with ProPhoto RGB because it's closer to what it will actually look like in Photoshop when I open this in terms of where the white and black points are. I know that went off the deep end real quick there. The thing is, you know, I think of this as buckets of paint in terms of color gamuts, you know? If we have a five-gallon bucket here, the ProPhoto RGB is filled up to the top, the Adobe RGB is maybe, you know, 30% down from that, and the SRGB is, like, half the bucket is filled. Well, when I get into Photoshop, I can always pour some colors out if I choose ProPhoto RGB. If I choose SRGB, I'm never getting those colors back if I tried to upgrade that color gamut to SRGB. You just have to be aware of, you know, these colors, because there's no printer that can, there's no device that can actually show all the colors in the ProPhoto RGB color space. And there are printers, like, there's monitors that can show the entire Adobe RGB color space, like this one right here. There's printers, as we'll see in the next segment, that can print actually a little more than the Adobe RGB color space, but they can't print the entire ProPhoto RGB color space. So once again, I've dove back into the crazy color world here, but this is just stuff to realize. So the gist of it is I always go with ProPhoto. And then I'm not gonna sharpen anything. I'm not gonna add anything. I wanna make sure all my metadata's in there so I'm not checking any of these boxes to remove metadata. 16 bits is, just gives me more range of tones to work with in the image so I don't tear up the image as much in Photoshop. Question here? Yes, so when you share your images in, and if you are working as ProPhoto RGB, how do you share those photos so people can see them nicely? So I convert them, after I've worked up the master files, which we'll be doing this morning, when, we'll talk about this later today, too. I convert them to whatever color space and size for social media or to go out to clients. And at the end of this whole thing, we're gonna talk about saving master files, and I'll talk, I'll be converting some of them to Adobe RGB, since that's the color space we submit images to clients in for print. And if I know it's going... Usually I actually supply a whole host of different versions of files for clients, so it's very clear, like, these are for print, these are for web and social media, and, you know, you've got the options to pick so they don't have to do all the conversions themselves. So, and hopefully that's clear to the clients. You know, sometimes they have questions about that. But we'll talk about that a little bit later today. But that's easy enough to do in Photoshop, or once you have the master files created and you load them back into Lightroom, then you can export them in any of these color spaces you want. So if you're getting really picky, you might wanna go back and look and see if it changed the file more than you wanted it to. Because you have no control over how it squeezes the endpoints of the histogram or how it changes the color, if it does, which it typically does not. It increases contrast just a little bit, but that may or may not matter for most people. So let me cancel outta this real quick. I'm just gonna look and see which images we wanna export here. Let's export a few of these guys. We'll definitely work up a portrait today. This is the one we worked on earlier. I think we worked on this one, as well. So I'll just export these real quick. And they're going into the Photoshop documents file. This is sticky, too, so whatever you did last time stays in the Export dialog box here. And let's just go for that. So it'll start exporting. And then I still work with Bridge and Photoshop a lot. Like, typically I'll close out Lightroom here at this point and then just work in Photoshop and Bridge, and then later on I'll come back and re-import those PSD files. It just depends on what I'm doing. Sometimes if I'm round-tripping, the issue with these... Let me export one. Actually... Let me just export this as a smart object.

Class Description

Setting up a practical and efficient workflow with your photography feels like a daunting part of your business. Internationally recognized photographer Michael Clark introduces you to techniques to allow you more time to shoot the images you want. His workflow philosophy is that you must first know how you are going to edit the image in post production to know how you need to shoot it.

In this class Michael teaches:

  • Best practices for a shooting workflow from setting up your camera to histograms and exposure
  • How to clean the sensor on your DSLR camera
  • Color management workflow including your work environment and monitor calibration
  • An overview of Lightroom® and multiple ways to speed up your workflow including file folder and batch naming as well as metadata and archival processes
  • Techniques to finalizing your images in Photoshop® with basic adjustments and retouching
  • Making fine art prints, choosing your printer, paper, understanding ICC profiles, and much more!

Michael covers everything you need to know in order to streamline your post production workflow in Lightroom® and Photoshop® and best practices for printing your art at home. Digital photography is far more complicated than shooting film ever was. Knowing the best practices for a digital workflow will make you a better photographer.

Lessons

  1. Class Introduction
  2. Shooting Workflow: Set-up The Camera
  3. Shooting Workflow: Histograms and Exposure
  4. Shooting Workflow: Sensor Cleaning
  5. Overview of Color Management
  6. Color Management: Monitor
  7. Color Management: Workspace
  8. Color Management: Monitor Calibration
  9. Color Management: Do I Need This?
  10. Introduction to Lightroom®
  11. Download & Import Images With Lightroom®
  12. Lightroom® Preferences
  13. Six Ways to Speed-up Lightroom®
  14. To DNG or Not to DNG?
  15. A Logical Editing Process in Lightroom®
  16. File & Folder Naming in Lightroom®
  17. Batch Renaming in Lightroom®
  18. Entering Metadata in Lightroom®
  19. Managing Images in Lightroom®
  20. Introduction to the Develop Module in Lightroom®
  21. Lightroom® Develop Module
  22. Sharpening, Chromatic Aberration & Vignetting in Lightroom®
  23. Graduated Filters & Spot Tool in Lightroom®
  24. Converting images to Black & White in Lightroom®
  25. Creating Panoramas in Lightroom
  26. Creating HDR Images in Lightroom®
  27. Lightroom® to Photoshop® Workflow
  28. Export Images to Photoshop®
  29. Finalizing Images in Photoshop®: Basic Adjustments
  30. Finalizing Images in Photoshop®: Retouching
  31. Finalizing Images in Photoshop®: Saving Master Files
  32. Make Fine Art Prints: The Cost
  33. Make Fine Art Prints: Ink Jet Printers
  34. Make Fine Art Prints: Ink Jet Papers
  35. Make Fine Art Prints: Understand ICC Profiles
  36. Make Fine Art Prints: Sharpen Image
  37. Printing From Photoshop®
  38. Printing From Lightroom®
  39. Compare Monitor to Physical Prints
  40. Printing Black & White Image
  41. Extended Workflow: Back Up Images
  42. Extended Workflow: Storage Options
  43. Extended Workflow: Archiving Images
  44. Submitting images to Clients
  45. Prepping Images for Social Media
  46. Alternative Workflows
  47. Final Q&A

Reviews

a Creativelive Student
 

Michael is a true professional and readily explains all of the nitty gritty issues of a photographer's digital workflow, including important things like Color Management, Lightroom workflows, Printing, and more. He is eager to answer your questions and has a thorough knowledge (after all, he worked with the original engineers at Adobe and wrote a book on it) and passion that he loves to share. He can get way deep into the subject, which I found fascinating. You can tell Michael has great experience in teaching and also likes to learn from his students. He is very authentic, honest, and direct. I highly recommend this class, and look forward to another one of Michael's courses in the future!

a Creativelive Student
 

This is an excellent course. It reinforced what I already knew and enhanced my spotty skills with new knowledge. I really like Michael's explanation of saving the document for print and web and the importance of doing these differently. Using the histogram to show this was terrific. Each session there is some valuable gem.

Angelita Sanchez
 

A fantastic course to give you a complete view of the full process of photography. Michael is an awesome instructor, very organized! A clear mind, and an approachable instructor always willing to answer your questions! A must for all photographers!