The Professional Photographer’s Digital Workflow

Lesson 27/47 - Lightroom® to Photoshop® Workflow

 

The Professional Photographer’s Digital Workflow

 

Lesson Info

Lightroom® to Photoshop® Workflow

Miro to Photoshop, so there's many different ways you can actually go into Photoshop from Lightroom. We can just double click on our image. Or not double click, but control click or right click on the image and then go Edit In Photoshop, whatever version of Photoshop we have, or you can actually go into Color Efex Pro, or there's all kinds of other softwares you see that I have here on the computer. Also, I didn't talk about Silver Efex Pro, as a side note here, but that is a great free, or at least it was free when Google had it, Nik plugin that's really powerful for black and white photography. It kinda overdoes a lot of stuff for me sometimes so I have to tone it down, but it is a really quick way to get pretty amazing black and white. But if you click on this Edit In Photoshop CC, this relies on your preference settings as to how it's going to export it, what color space, what resolution, is it TIFF file? Is it PSD? Whatever you set, it's gonna then open up Photoshop, and Photoshop...

is open. It's taking a little time to breath, there we go. And here it opens. And if I do some adjustment to this image, let me just go down here and do a crazy, woops, not that, cancel. And we do a crazy color balance just so you can see it in action like that. And I hit Save. It's gonna save this file back just where it is next to the raw file, in your folder. And so once it's saved, which it's done saving, I click close and I come back to Lightroom. Bada bing, bada boom, it's right back there. So that's kinda a convenient way to do it. You saw how crazy I was with organization earlier, so I typically don't do it this way. I'm just gonna delete that file. And what I might do here is go in and go Photo, there's another way to do this, Open as a Smart Object, and this is a really good way to do it. So a smart object is basically, when we go down here to Layers, this is an editable raw file underneath whatever stack I'm gonna add on top of it. So if I double click on this it opens that raw image into Adobe Camera Raw, which is all the same sliders I have in Lightroom, but it's just a different interface as you see here. And maybe I decide later that, oh I didn't wanna pull the highlights down that far or I wanted it to go a little farther and I click OK and then I do a whole bunch of stuff, which we'll get into this tomorrow. Make us a levels adjustment on top of that, but whatever adjustments I'm doing in the Adobe Camera Raw, are being saved back into the Lightroom, Adobe Camera Raw, because this is a smart object. So that's pretty powerful if you wanna go back after the fact and actually tweak your Adobe Camera Raw file, without having to go all the way back into Lightroom. And I do that quite often, actually using these smart objects. I'm not gonna save that. And then there's like six ways to do this, so I'm just showing you all the different ways. Do we have a question? Nope, we're good? Nope, we're good. Alright, let me bring this up. So you just hit the export key here. And I've got a host of all these different, you know, presets for exporting stuff but we can just go in here, and I exported something this morning, let me select a photo. Let me back out for two seconds here, because there's something I think you might find very useful that I learned from a photographer, Seth Resnick, a bunch of years ago, and it's not on my hard drive right now, but it should be. Let me pull that out. I cleaned up the hard drive just so there wasn't all these folders everywhere. On all of my computers I have this processed images folder set up. It's empty, except for sub folders in it. And I have folders that are DNGs, HDR, imports that might be temporary imports. So you don't necessarily need all of these, and the jpeg folder's got a few things in it. Miscellaneous, you know, is whatever. Psd, so typically what I'd say is create this folder on your desktop that's never gonna move, ever. You're gonna have this process image, or whatever you end up calling it, on your desktop. And at the bare minimum put a TIFF folder in there, a psd folder, and a jpeg folder. I have a bunch of extras. And so what this does is when I go into Lightroom and I export, I'm just gonna say export this image. And let's say I'm gonna select that folder off the desktop, oh, specific folder here, excuse me. And I'm gonna go in into my processed images folder, I'm gonna select jpeg. Well, let me choose something else since there's a bunch of stuff in jpeg. Let's do TIFFS since there's nothing in there. And so, I'm gonna export a TIFF file and let's say I wanted to Adobe RGB, eight bits per channel is fine, 300 pixels per inch, no problem. I wanna keep the metadata here. Whatever parameters I wanna do, I can set them here and then export. And so all of the presets that you saw on the left side there, all go to this processed image folder so there's no confusion. You know, what typically happens is you export something to some very specific folder, and then the next time you export you're not paying attention and you just hit export and you're like, oh, I don't remember what folder I sent it to. And you're just like adding raw images to random folders or whatever images to random folders. And you may or may not ever find them until like a year later. You're like, oh, what's that image doing here? So by setting up this thing on the desktop I now know that everything's going here, and that TIFF image is right there, there's not confusion over where that image went. And now if I need to move that onto another hard drive or wherever it needs to go, I just move it over there and then delete this file. And that just makes it very simple. I thought that was a brilliant trick and it's, you know, the whole where are my images thing becomes a major issue. And that really solves that problem pretty quickly. So, it depends for me, how many images I'm working up. If I'm, like this Jaws shoot, this surfing shoot, where I shot 9,000 images. So far I've worked up about 200 of those images. And for each individual image, after I've worked it up in Lightroom, not necessarily gonna sit there and go open as smart object in Photoshop for each image and wait for that to happen. I'm probably gonna select all the images I've worked up cause I'll take them as far as I can in Lightroom, then I'll export them, then I'll close Lightroom, then I'll concentrate on Photoshop. Cause typically, if it's onesie twosies or a small number of images I may actually go between Photoshop and Lightroom and do it that way, it just depends on what I'm doing. But just having shown you all the options, you have any choice you want.

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

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