Photoshop :: Digital Workflow -from Sharpen To Colour Saturation
Jan 16, 2009
I've shot a bunch of NEF images on a Nikon D80 for a client who wants a calendar produced from 13 images. I'm on XP / PSCS3.
I have only been using digital for less than a year. Have been using my trusty F3 and FM2 for years. I finally got with the program and want to stack together a good efficient workflow.
It's been a bit of a guess or an experiment to me and now is the time to extract the best out of these images,
I have Camera Raw 4.6. Is this the best conversion program to use.
The images are going to be 20cm x 8, so when sharpening NEF's, how much sharpening do I do. I know that sounds a cop out but how do I tell how well it will sharpen up when it is printed. Apparent sharpening on a CTR monitor is not the same as the output sharpening to print right?
I also have available NIK Sharpener Pro 2 - is that better to sharpen with than Camera Raw 4.6?
With regard to sharpening, I really only want to sharpen a certain area, not the whole frame. Do you have a cool method of doing that. I know Quickmask, any other insights?
And what about extracting the best out of the colour. I like rich saturation but not necessarily in all channels.Is it best to do it channel by channel or not. I have PSCS3 tools and NIK Color Efex Pro 3.0 for that.
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Dec 8, 2005
to saturate an image to make it all tones of one colour?
In particular "saturation_olive" is very smoothe with the shadows and tones still quite prominent.
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Feb 24, 2013
How do i colour in a black and white digital image. I have never used this programme before.
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Nov 27, 2013
What is the difference between sharpen and sharpen copy in the presets section of LR? they seem to have the same effect, dont know which one to use
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Jun 18, 2013
Whenever I create a new colour in the colour swatches it only stays there for a couple of actions while working on a project. I understand from others that once they create a colour it stays there. Why can't I get that to happen?
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May 21, 2013
I am using CS6 and the Replace Colour Tool no longer allows me to replace multiple colours when I select the + . So when I have the panel open and I highlight the +, I used to then be able to click on several spots in my image and all of the colours that are in those spots are added to the selected colours that will be changed by using the sliders.
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But now, when I use the + it has exactly the same effect as not using it - I can only choose one colour or an other, I can't add.....I want to reset this to the original way that this works.
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Currently I have to open the panel, change one variation of a colour, save it, then re-open the panel and do it again (and again and again) until all the colour variations I am trying to remove are are changed. I know I also have the 'fuzziness' slider, but it does not give enough control.
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May 13, 2009
I am designing slides in Photoshop using the DV video preset. Except I want to use these same files for print output as well. So here is my workflow: 1) Created video preset template but resized to 300 dpi2) Create slides3) Output slides to 72 dpi jpg4) Put into Premiere Elements5) Burn to DVD (except my app won't recognize my DVD burner now so I have to use Windows DVD maker but that is a different topic.) Then, I am using the same slides in a printed album:1) Switch the resolution on the 300 dpi to "square" pixels2) Save as jpg for my album template3) Put into a page frame I made out of an 8.5 x 11 doc (plus required bleed) So, my question is, do I need to switch to square pixels? I am not sure which way the picture was originally scanned, but I think switching to square pixels should be accurate...it is just that they are looking wide and I may just have gotten used to the other way. The rectangle pixel document actually fits onto the 8.5 x 11 album page better...but I want to do it the "right" way for print.
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Aug 19, 2013
I am designing a T Shirt for my ski club.I have taken an image from a banner (made in illustrator, full colour image attached) and I want to devide into a 3 colour image for the t shirt (I am only allowed 3 colours for printing).The colours I want to use are black, white and purple. The colour of the t shirt is a light blue.I want to then put the purple logo on top of the white and black too.So I'm after a black and white grunge background with a punchy purple logo on the top.All of this should be on a tranparent or, for design purposes, light bue (same as T Shirt colour) background.
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how to split a full colour image into using only 3 (4 including transparent/light blue background) exact colours.
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If I were going to black and white I might convert to grey scale and then paint areas to fully white or fully black using an overlay brush I don't think this works for me for more than just black and white though.
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I have attached two of my attempts where I used the colour range selection and level adjustments. Niether was really successful though (one does not use the right colours or number of colours but looks quite cool).
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Aug 10, 2013
I will like to find out the colour code for the background colour on a particular web address. Unfortunately I am new here so not allowed to post links so will say this as creatively as possible. the address is theregentlagos (with the usual prefix beginning with w and suffix beginning with c for all websites). I am referring to the colour where the menu items like logo, home, brands etc are on.
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Feb 25, 2004
I've been asked to convert an image to 2 colour for printing. I have the image as a full colour CMYK layout (with layers), but the whole thing needs to be converted to 2 colour. I have the pantone reference numbers for the 2 colours it is to be converted to. I am familiar with the hue/saturation tool, but this just seems to convert it to one colour, and you have no fine control over the exact colour you want.
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Feb 21, 2007
What are the specific steps to SHARPEN an image?
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Mar 9, 2013
I have been told that it is possible to sharpen a Photoshop image by "vectorizing" it. Is this true?
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Aug 8, 2013
Inside camera raw, you can sharpen the Image up to 150, But Inside Photoshop you can sharpen the Image up to 500. Why there a different numbers
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Oct 3, 2013
What feature in Photoshop or Illustrator can I use to really sharpen an image....
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Feb 13, 2013
I have Martin Evening's latest Lightroom 4 and Photoshop CS6 books, but no mention of which methods are better, or better for which subjects/ conditions. It seems that Camera Raw and Lightroom are the same, so I'm tempted to just do it all in Lightroom with the Develop module Detail panel, and the adjustment brush for local sharpening. But can I be doing more with Photoshop CS6, or Lightroom and Photoshop together?
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Oct 24, 2013
Okay I'm not an expert photographer and I don't do imaging professionally. I'm a web developer who gets the unfortunate task of building slideshows
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I don't need them super sharp just clearer, is it even possible? If so how?
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Apr 18, 2008
I have an image that when I Sharpen, is it too much of an effect. In other words, I wish there was a middle setting between it being sharpened and not sharpened. Is there a way to adjust the amount of sharpening?
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Mar 19, 2005
I have a large number of images that I want to apply the same unsharpmask too. Can I do this with an action? How do I get it so save and close automatically.
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Feb 15, 2007
What are the specific steps to SHARPEN an image?
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Nov 20, 2004
I took pictures of about half of the exam (And that's all I need to pass since there was a flash project that was worth a lot of points and which I got right). But the pictures look REALLY blurry,
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Aug 27, 2006
smart sharpen in CS2. I have a photo that I've tweaked the colors by using the curves dialog. Next I bring up the smart sharpen filter. Before I hit OK, the original photo in the background is altered. It is brighter and the colors are better as well as sharper. Overall it looks much better. I figured this was a preview of sorts but when I hit OK in the smart sharpen the results aren't as good as it was showing. In fact, they are noticeably worse. It is sharpened but the colors and brightness of the photo back to the original.
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May 24, 2008
I just started experimenting with a way to get Photoshop to do a TRUE sharpen, where it actually pulls the pixels around blurry edges together, rather than just adding contrast to create the *illusion* of sharpness... but I need ideas. I use sharpening a great deal on photos, but if done too heavily, it always adds that fake "sharpened" look to it, around all the edges... Trouble is, some images NEED that sharpness, and I'm wondering why Adobe still hasn't come up with anything that does a *true* sharpen, after all these years.
So, before I dive more deeply into this, I want to save time (since I don't have much) by seeing if anyone has any ideas as to how to do a couple things.
b - 1.
How would you suggest bringing the blurry pixels in selected regions together?
On my test image, I've had some success using Surface Blur (applied multiple times) believe it or not, but the problem is that on actual photos, it has a knack to only "true-sharpen" the hardest edges, and soften the more subtle ones. Here's an example of what I started testing with:
I also tried Posterize, but this won't work on a large image with more than a few colors in it, because it likes to cut things down to just a few colors (and it looks very messy in photos, because of jagged edges).
b - 2.
Umm, okay, I guess there isn't a second thing... I figured out several good ways of selecting edges; now I just need to find a reliable way to pull blurry edges together along those edges.
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Dec 15, 2005
Someone told me that when you resize you should select Bicubic Shaprer (instead of regular Bicubic) when going down in size and Bicubic Smoother when increasing the size of an image. I tried it but did not notice a big change but that doesn't mean it doesn't do a better job. I also did not dramatically increase or decrease the size.
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Aug 15, 2007
How do i sharpen an image.
I have an image and the resolution is horrible.
Can i even change this?
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May 2, 2007
After I sharpen an image using Smart Sharpen, then click OK, it shows the status bar of the image being sharpened. All seem good. But when the status bar is complete the image defaults back to what it looked like before it was sharpened.
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Jul 9, 2005
way to take a photo and sharpen the image.
We took a picture of my daughter when she was 2 that is just prescious. However it was taken on a film roll before we got a digital camera. The resolution is bad but my wife wants to use it in a scrapbook.
I have it in jpeg format now and was wondering if Photoshop can take a bad picture and make it cleaner and clearer?
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Feb 17, 2013
I shoot Nikon and use Capture NX2 as my RAW converter. I then save my conversion as a TIFF and move into Photoshop CS6 for all of my editing and processing.
Here is my question: I have an Epson 3880 printer and i really like it. Ive started making my own prints and ive found that the ability to tweak the images is really an advantage vs. having a lab print them for me. Ive read quite a bit and seem to get conflicting positions.
Its seems as if sRGB is best for internet whereas Adobe RGB (1998) is best for prints. However, im a bit confused by all of the articles ive read. If i want the best of both worlds would the following be a good workflow?
1. Shoot in RAW
2. Convert RAW image to a TIFF in Capture NX2 with the Adobe RGB (1998) color space (I use Capture NX2 as my RAW converter)
3. Move the file to Photoshop CS6 and fully edit
4. Print the image
5. Convert the image to the sRGB color space and save as a JPEG
6. Post to web (i.e. Flickr)
Does that sound like a good plan or would you recommend starting and ending in the sRGB color space. Ive heard that changing the color space in an image slightly denigrates it ?
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Aug 9, 2013
I noticed that the Workflow Options window in ACR has changed slightly so that it looks more like Export in Lightroom. When did this happen? Is there a way to toggle between the old and new windows for Workflow Options. I noticed that this change is not on all computers with the newest version of CS6. Some have the old window and some the new one.
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Jul 18, 2005
I've got gigs and gigs of image data on my HD, and I'm a bit nervous. I was keeping things in esoteric folders, buring CDs occasionally, and sometimes actually backing up. In recent months, I've decided to take my 'shopping seriously (in a business sense) and started to investigate workflow methods. Right now, I'm concentrating on capture and archiving. Some of the Bridge's new features are quite appealing, but still not all that I want.
What I want from my friends here is a discussion on particular approaches, and why they do/don't work for you.
Here's what I am putting together now... Until today, I would dump my camera files directly into a TEMP folder with a date-based name, something like 2005-17-05, that reflects the dump date, not the actual shoot date. I would then let these sit for quite a while before doing anything with them. Really, the problem was that I got too caught up in details when trying to devise a folder structure, so I didn't follow through and kept inventing new things to confuse me. I'm very good at that.
I've decided on a handful of broad categories that represent my usual work, and have 3 main folders: Stock, Working, Final. Stock is essentially the images straight from the camera, working is a copy of the file saved as .PSD and where I actually do the image work, and Final is a flat, full-res .PSD of the completed image, as well as output-specific formats like web or print.
Within those folders I have subfolders for various things. The philosophy is this; Stock is broken into general categories that reflect the image's intent (Nature/Trees, or Places/Buildings for example). I also have a Projects folder for directed or consigned collections. Working also has folders, but they are based on the intent of a collection of images that may have different subjects, but fall into a project scheme (New Mexico Hikes, Horses, etc) - more on this in a bit. And the Final folder is a duplicate structure of Working.
I'm OK with 'Stock' as-is, but I'm still waffling on the Working/Final folders. An alternate approach is to keep the same structure from Stock in Working and Final, then have a separate Projects folder for collections. The advantage here is that I can work piecemeal and decide on a collection from a gallery of finals. I can also go back and find the layered PSD used in a Final simply by looking in the same-named Working folder. The disadvantage is in the fact that if I decide early on (before the working file) to create a collection, I'd have to make another collections folder in Working folder, which now spreads out my images. Put another way, I'd have thematically similar works potentially in several locations which makes finding them later a real challenge.
I guess I could just make a list of the images I wanted to use and track them through that way...
In any case, I do not rename any files, except in the case of versions, until I get to the final collection (which will have a text file relating the names to the originals).
Now let's throw in DNG! Not all of my shots are in RAW format, and I've not read enough about the Adobe DNG converter to know if it will 'force' the format on JPGs (I would guess not). So, part of the new workflow would be to automate RAW conversion. The question here is whether to save the original RAW file elsewhere, or in the DNG file itself. That's up for debate, but I will probably keep the RAW data directly in the DNG file.
Finally, we come to Adobe Bridge, which can help sort all this out. Mostly...
I spent most of today devising and implementing a handful of keywords/sets, as well as descriptions and applying copyright via the interface. Good stuff. Since I've got a mixed bag of formats in Stock, I've ended up with a LOT of XMP files, and decided to keep the Cache distributed (read up on Bridge if you aren't familiar with this). Doing this helped me sort and shuffle my collections into the scheme I've laid out above. There is some collateral damage since I've not been consistent in my naming or storage locations, but it's a real head start.
Now I'm on to Archiving, and I see a little snag. I can potentially save all my stock files to a fistful of DVDs, then do the same with the working files and finals. Since I'm using single-use DVDs, I can't add files later to fill up. And since I'll be adding stuff randomly to Stock, I've got to decide on an archiving scheme that doesn't just totally waste time creating a new DVD every time I add a handful of images. There is too much info to squeeze it all onto one disc, so I have to break it up somehow (and yes, I've been considering removable HDs).
The other problem here is that Bridge doesn't appear to support cataloging removable media. I may be mistaken, but I've not found it. That means I'll have to maintain some log that tells me what images are on what disc. Sure, I can use another application, but this would be a killer feature for Bridge 2.0 (are you listening Mr. Brown?).
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Aug 1, 2012
I have pc that uses xp pro cs5.1 extended....everything on the program works!! in normal editing mode I can do most things including sharpening, selection....recently I started to edit within layers and I can get most things done...but I cannot figure out how to sharpen the image once it is in layers as it is not one of the choices in the drop down menu, the same goes for selection.
If this cannot be done then I will flatten the image and edit normally. My knowlege of layers is basic.
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Jul 23, 2013
how Photoshop CC's Smart Sharpening differs from Lightroom (and ACR's) sharpening in the Detail panel? Do they approach sharpening differently? Is one more powerful than the other, and if so, in what way? Are there particular circumstances under which you find it worthwhile to use SS rather than stay with LR/ACR? (I do see that SS allows one to control the effect in highlights and shadows.)
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I have generally been sticking with LR sharpening, but want to be able to answer these questions intelligently (and be aware of circumstances where I should take the time to open PS and use SS).
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