Every once in a while, an article we post here at PL creates huge debates due to disagreements between readers and the poster, or between readers themselves on a photography-related subject. Sometimes such discussions lead to very productive results, with all parties learning something from each other. Other times, all we see is provocative and sometimes even insulting comments. One such article that contained a little bit of both was Tom Stirr’s recent post on post-processing difficult images. Before hitting the “Publish” button (and yes, I do personally publish every single article here at PL for different reasons), I already knew that it would spark up some discussions.
I recently spent a lot of time working with some quite challenging files to prepare my recent article “Photographing aircraft in flight with the Tamron 150-600mm”, and a Photography Life reader asked if I could share some of the details of the processing that I do with difficult files.
I am a professional wedding photographer and I end up editing thousands of images for my clients. While there are lots of wedding photographers who outsource their post-processing to free up their time, I am a believer in editing my own photos. In order to make my job easier, I tend to look for shortcuts and tools in Lightroom itself, which I use extensively. I’d rather do everything in one program than switch back and forth between Lightroom and Photoshop. You do not have to be a wedding photographer in order to take advantage of these tools in Lightroom. You can use these techniques wherever they are applicable. Below are some of the tools you may not be using to edit your photos.
Our readers often ask us if it is possible to get Lightroom to provide the same colors as one would see from camera-rendered JPEG files when shooting in RAW format. Many photographers often choose specific color profiles in their cameras and they get surprised when images are imported into Lightroom and all those changes are lost. You might have noticed when importing files that Lightroom changes the colors immediately after import, when the embedded JPEG files are re-rendered using Adobe’s standard color profiles and settings. As a result, images might appear dull, lack contrast and have completely different colors. I have heard plenty of complaints on this issue for a while now, so I decided to post series of articles for each major manufacturer on how to obtain more accurate colors in Lightroom that resemble the image preview seen on the camera LCD and in camera-rendered JPEG images. In this article, I will talk about getting accurate colors from Fuji mirrorless cameras in Lightroom. Please see our previous articles on getting accurate colors for Nikon, Canon and Sony cameras.
Our readers often ask us if it is possible to get Lightroom to provide the same colors as one would see from camera-rendered JPEG files when shooting in RAW format. Many photographers often choose specific color profiles in their cameras and they get surprised when images are imported into Lightroom and all those changes are lost. You might have noticed when importing files that Lightroom changes the colors immediately after import, when the embedded JPEG files are re-rendered using Adobe’s standard color profiles and settings. As a result, images might appear dull, lack contrast and have completely different colors. I have heard plenty of complaints on this issue for a while now, so I decided to post series of articles for each major manufacturer on how to obtain more accurate colors in Lightroom that resemble the image preview seen on the camera LCD and in camera-rendered JPEG images. In this article, I will talk about getting accurate colors from Sony DSLRs, SLTs and mirrorless cameras in Lightroom. Please see our other articles on getting accurate colors for Nikon, Canon and Fuji cameras.
One would think that with the myriad of problems facing the United States and the rest of the world, our lawmakers might be content to prioritize them, determine which are best to be solved by the private sector, the public sector, or some combinations thereof. But alas, there seem to be some that believe every problem should be solved with some form of government intervention and control. Recently, Congressional Representatives Ileana Ros-Lehtinen (R -FL), with assistance from Ted Duetch (D – FL), and Lois Capps (D – CA), introduced a bill (H.R. 4341) allegedly to save our children from eating disorders and other mental problems by regulating the use of what essentially are labeled as “unrealistic Photoshop” alternations to pictures of models and others that are prominently displayed in advertising, magazine articles, etc. I was a bit surprised to find out that Ros-Lehtinen had sponsored this bill. I happen to be well-acquainted with her stances on many issues and often find myself in agreement with her.
With the release of the D4s and D810 cameras, Nikon has introduced a new format to store images – sRAW, or “RAW Size Small”, as referred to by Nikon. Although Canon has had this format available in its DSLRs for years, this is Nikon’s first time introducing it. As a result, a lot of Nikon users are wondering what this format is, how it works and how it compares to standard RAW files. Personally, I had very limited knowledge of this format and thought it would be an exciting feature, until I dug deeper and found out what it was all about. After a few hours of research (and some input from Iliah Borg, I decided to summarize my findings in this article, which I hope our readers will find useful. Let’s start with the basics first.
As I was working on the “Composition in Photography: Assignment Discussion” article and upcoming Lightroom Crop Tool article last night, I came across a feature in Lightroom that I had not previously used. I love it when that happens. Realizing that the software tool I enjoy using and find to be very versatile is actually even more functional than I thought, is pure joy. In this article, I will teach you how to quickly check your composition in Lightroom against known rules and guidelines, such as the Golden Ratio or the Rule of Thirds (and, yes, these are indeed two separate things), by overlaying the image with them.
Lightroom has become a very essential part of the workflow process for many photographers, including myself. I cannot imagine managing my photo catalog without Lightroom and I use it every day for my photography needs. In fact, 95-98% of my post-processing work is done in Lightroom and I only occasionally use Photoshop for advanced photo editing / retouching, which not only simplifies my workflow, but also decreases the amount of time I spend on post-processing. Over the past few years of using Lightroom extensively, I have come up with efficient ways to store, organize and access photos on my computer, so I wanted to share a few tips with our readers on how I do it for both personal and professional work. Although there are many ways to organize images, this particular method has been working great for me (and many others that have been reading our site for the past few years). If you are looking for a generic guide on doing this without any third party photo software like Lightroom, then please read my older article on “how to properly organize pictures“.
Over the years operating this site, I have been incredibly lucky to meet many talented photographers from all over the world. Some I met face to face (whether in my workshops or other gatherings / conferences), while others I met and interacted with online. One interesting pattern that I noticed in the majority of photographers, and I am talking about the ones that understand light, composition and proper technique, is that they often lack the key component of completing the image and making it successful – post-processing skills. It turns out that most of us spend our time learning our gear and how to take good pictures, but we fail to take that beautifully captured photograph to the next level and make it look amazing by enhancing it further in post-processing. Yes, camera technique, light and composition are all extremely important and those are certainly key ingredients that each of us needs to learn and eventually master, but we need to understand that a captured photograph is just the beginning of making the image. What happens to the photograph after it is taken, is as important as the process of capturing it. I have seen many photos that would have looked breathtaking, had the person put some extra effort into making it work. Even worse, I have seen so many examples of great photos that get slaughtered by very poor post-processing techniques and ugly presets.