What is your typical workflow?

[Bill G.]

When going from your RAW file to your final jpg file, what software, processes, etc. do you generally follow?

I am sure there are some common patterns as well as some unique ones.

Care to share?

 

[Jmaes]

I keep it fairly simple:

- Import RAW files into Lightroom.
- Denoise/sharpen with the relevant Topaz software (DenoiseAI/SharpenAI).
- Edit in Lightroom and/or Photoshop. Probably 80% Lighroom, 20% Photoshop for me. Lightroom is used for the typical "sliders" stuff; I like Photoshop better for things like cleaning up backgrounds, cloning etc.
- Export to jpg.

 

[tclune]

- Import into NX Studio;
- Adfjust WB, exposure, shadow/highlight protection, touch-up, local contrast/brightness with color control points, crop/ straighten (i.e., do these in the order they appear in NX Studio menu because the program does not tolerate deviations in that order well);
- Export as 8-bit TIFF;
- Import into PaintShop Pro, which is mostly my host for Topaz and Focus Magic plug-ins;
- Finish processing, with Topaz Denoise first and Focus Magic sharpening last. The order of other things in between is pretty random.
- Save as JPEG.

 

[bleirer]

I'm trying out a new workflow. I had been strictly lightroom to photoshop and back to Lightroom. Now from The camera I use Canon utilities to import into a temporary folder, which automatically opens Canon DPP4. Possible keepers are worked on minimally in DPP4, especially digital lens optimizer, white balance, basic adjustments. Save the raw to my lightroom folder, send the 16 bit tiff to photoshop, save the tiff with layers to Lightroom folder. All final adjustments and exporting as jpg from photoshop.

 

[joe43]

Here is my usual workflow:

Import Nikon RAW files with a card reader using Downloader Pro. Create unique file folder names and image file names at the time of download. May do some initial key wording to xmp files at the same time.

Review and cull in Nikon View Nxi as it is very fast and deletions are easy. Hit delete key.

Process RAW files using DXO PL4 Elite edition. Use Deep Prime noise reduction when needed. Export jpegs and Tiffs as needed.

Use NIK Plugins if needed from DXO-PL4

For images with tricky white balance issues, open RAW in NX Studio to fix WB. Export 16 bit Tiff for work in DXO-PL4.

To resize images I sometimes use the old version of Nikon Capture NX2 that still works on my windows computers. It works better than some of the other programs I could use.

Double or tripple backup at each stage to external drives.

 

[Strodav]

1) download all images in my camera to a raw image hard drive (SSD), which is backed up to an external drive on a regular basis
2) import images from raw image hard drive into LRc creating dng images on a separate hard drive (SSD) and cull
3) process the best images that catch my eye mostly in LRc, but will call on PS, and Topaz as needed and store different crops and resolutions for social media or printing in a "best Images" folder on my C drive.
4) post and / or print

 

[Deleted member 115]

I prefer apple photos but have started previewing with Photo Mechanic since going Sony.
From PhotoMechanic- Edit in Lightroom Classic, slight adjustments and any cropping, Topaz Denoise if needed, Topaz studio for WB, color and contrast, vignette then export from LRC.

Doesnt seem very efficient but it’s what I do.

 

[tclune]

For those who use 16-bit TIFF instead of 8-bit TIFF as an intermediate export format, can you explain the reason for this? My understanding is that 16-bit TIFF has already been rendered to an 8-bit image by applying the selected (or default) gamma curve, so the 16-bit TIFF really only contains 8 bts of data per channel at that point anyway. Once you leave the raw format, you're stuck. Am I mistaken on that point? I have examined 16-bit TIFFs in a binary editor and, at least on my system, the upper byte is just a repeat of the lower byte of data for each pixel's channel. Is this dependent on which software you use for your raw converter? TIA

 

[DRwyoming]

Once you leave the raw format, you're stuck. Am I mistaken on that point?

When you convert a raw file to high bit representation you actually have more tonal values in each of the R, G and B channels and are using the entire bit depth of the raw file during processing. If you convert it to a jpeg for output then sure, it's converted back to 8 bit representation but during processing in tools like Photoshop a conversion to high bit representation format does give you a much finer tonal resolution to work with. Basically each red, green or blue channel for each pixel is represented by 65,536 possible tonal values instead of 256 possible tonal values(PS really uses 15 bits of image representation when running in 16 bit mode so 32,768 discrete tonal values). The end points of pure black and pure white don't change but the step size between each tone level becomes much finer.

That higher bit depth representation can be important for editing certain types of images, for instance images with a lot of subtle pastel shades in the sky that need editing. In those kinds of cases the higher bit depth representation can allow more flexible editing adjustments with lower risk of introducing posterization and banding. But sure when it comes to outputting a jpeg it will be converted down to 8 bit mode and realistically most printers work on 8 bit files so when it's passed to a printer the file is generally converted down to 8 bit representation. But there can still be an advantage to editing in high bit mode to avoid introducing tonal quantization artifacts during editing.

So no, converting to 16 bit mode doesn't just take an 8 bit file and pad it between a bunch of zeros. You really do convert to a file with much finer tonal resolution in each channel and that can be very useful to avoid introducing editing artifacts for certain types of images. But yes, in the end when you finish editing and output a file for web sharing or in most cases for printing the end result ends up being an 8 bit file but if the editing was well handled and visible artifacts weren't introduced during editing that's typically fine.

 

[Whiskeyman]

Doesnt seem very efficient but it’s what I do.

But if it works for you, it's good.

The final goal is a good photo, not a process.

 

[tclune]

So no, converting to 16 bit mode doesn't just take an 8 bit file and pad it between a bunch of zeros. You really do convert to a file with much finer tonal resolution in each channel and that can be very useful to avoid introducing editing artifacts for certain types of images.

I had examined a 16-bit TIFF file in a binary editor years ago. So I decided to repeat my exploration with a 16-bit TIFF from NX Studio. You are right -- at least with NX Studio, the data in a 16-bit TIFF is truly 16-bit. Thanks.

 

[sh1209]

I prefer apple photos but have started previewing with Photo Mechanic since going Sony.
From PhotoMechanic- Edit in Lightroom Classic, slight adjustments and any cropping, Topaz Denoise if needed, Topaz studio for WB, color and contrast, vignette then export from LRC.

Doesnt seem very efficient but it’s what I do.

Apple photos is honestly a good platform and I used it exclusively for years. Still use it occasionally.

 

[Viathelens]

I download images from a camera card to link up with LrC, placing images in a uniquely named folder, normally based on location, within the year shot. I delete any really useless images using the reject key function, i.e., the X and then batch delete those images by holding down the Command key plus the delete key, it's a bit of a different command on a PC (maybe the Control and Reject keys but I really am not sure on this). I'll go back through the images (and since I've already quickly gone through them once I already have a feel for some keepers) and mark any images that I really like with a green border. I'll then pick a green bordered image, sometimes I'll use the filter bar to call up just images in that folder with a green border, and open the Develop Module to begin the process of "development." I'll check the ISO in the image to determine if I want to first send the image to Topaz DeNoise AI. If it needs some denoise touchup I'll open it into DeNoise from within LrC, use the auto function to see first if it works or set the denoise slider up a bit if it needs a greater push, then I'll send it back to LrC with the apply button in DeNoise. Once back in LrC I'll determine if I want to increase the subject's size or remove anything; I might do this with a hummingbird for example. If I want to increase the subject's size I'll do that using the LrC Transform panel in LrC and maybe crop a little bit off, I'm not one to crop deeply. If I want to remove something in the image, again say a hummingbird image with a feeder, I'll send the image to PS via LrC. If I can, I simply use the crop tool to remove a larger object (hummingbird feeders are usually at the edge of the image) and then use the crop tool with content aware to put the area back in. Or, I'll use one of the other editing tools as needed. I'll save the image and return it to LrC where I'll process it as needed. In some cases I might put it back into PS to use the High Pass Sharpen but often I'll just use LrC for sharpening. All of this really depends on the subject and the shot circumstances. I don't export any image until I need it for a specific use so I don't have multiple images in different formats anywhere. I always delete any JPEGs I've exported and simply go back to LrC if I need to export an image again.

 

[Bill G.]

Wowwa - tons of great info to absorb. Thanks everyone for your great input.

 

[FB101]

I import into LR classic. I have a profile for each camera and also for some lens combos (like S curve for combos with the 1.4 TC which lowers contrast). - and I am in the process of updating them with custom color profiles for specific light conditions.

i cull in LRc but thats not the most efficient way so I’ll probably adjust that part of my workflow later.

i do the basics in LRc, like midtone exposure, whites and blacks in LRc. I also do color noise reduction in LRc because it handles it well. I do all the lens profiles adjustments in LRc as well.
on some shots I will also boost the sensor’s blue channel saturation which gives backlit pictures a really nice glow.


Everything else in PS. I run Tpoaz denoise first, I clone second, then I do the background selection if needed and save it as a dedicated layer if I need, all local curve adjustments, local color cast adjustments (especially blue in shadows or green reflected from foliage), then background smoothing if needed and finally sharpening with high pass filter.
Alternatively, I may try topaz sharpen if I have slight motion blur to see if sharpen ai can get rid of it (hit or miss).

my editing techniques are a blend of what I learnt from Ray Hennessy and Jan Wegener - I find Jan’s editing too intrusive for my taste but his techniques can be used with a lighter touch. Ray’s technique is awesome but if you are colorblind like I am, it’s hard to replicate his ability to create custom tailored tone curve for each color.

When i am done, I save the file back to LRc then I create a duplicate in PS, run Steve’s resizing actions, then save as jpg.

on some pictures it’s a 2mn process, and on others 2 hours.

 

[bleirer]

I import into LR classic. I have a profile for each camera and also for some lens combos (like S curve for combos with the 1.4 TC which lowers contrast). - and I am in the process of updating them with custom color profiles for specific light conditions.

i cull in LRc but thats not the most efficient way so I’ll probably adjust that part of my workflow later.

i do the basics in LRc, like midtone exposure, whites and blacks in LRc. I also do color noise reduction in LRc because it handles it well. I do all the lens profiles adjustments in LRc as well.
on some shots I will also boost the sensor’s blue channel saturation which gives backlit pictures a really nice glow.


Everything else in PS. I run Tpoaz denoise first, I clone second, then I do the background selection if needed and save it as a dedicated layer if I need, all local curve adjustments, local color cast adjustments (especially blue in shadows or green reflected from foliage), then background smoothing if needed and finally sharpening with high pass filter.
Alternatively, I may try topaz sharpen if I have slight motion blur to see if sharpen ai can get rid of it (hit or miss).

my editing techniques are a blend of what I learnt from Ray Hennessy and Jan Wegener - I find Jan’s editing too intrusive for my taste but his techniques can be used with a lighter touch. Ray’s technique is awesome but if you are colorblind like I am, it’s hard to replicate his ability to create custom tailored tone curve for each color.

When i am done, I save the file back to LRc then I create a duplicate in PS, run Steve’s resizing actions, then save as jpg.

on some pictures it’s a 2mn process, and on others 2 hours.

The painter tool in Lightroom can be a fast way to cull. Just "paint" the rejects and then delete them.

 

[Rodamu]

I import to Photoshop Bridge using its Camera Downloader that also adds a metadata template; select the photos to save, add custom information to the photo's metadata (such as headline, description, and keywords); do initial editing in Camera Raw and add final file number with photo name. (Such as 2021-Camera File Sequence Number-Raccoon) From there it depends on what the photo will be used for. It may then be filed or opened into Photoshop for more editing and/or conversion to jpg (rarely to TIF).

 

[FB101]

The painter tool in Lightroom can be a fast way to cull. Just "paint" the rejects and then delete them.

I know that trick and use it on occasion but the issue is critical eye sharpness - I am not at a level of skill or equipment where I don't have to worry about critical sharpness and can just focus on composition; which means that I need to let the computer render 1:1 previews to be accurate and that takes time on 3000 D850 files

 

[Tom Reynolds]

I am just learning BIF with my new rig. I don't download my files. I view them in NX to see where my focus point really is and note the numbers of the best photos. I then open RAW in Photoshop and evaluate the photos I have picked. After adjusting them in RAW I save to my C drive. In photoshop I do most adjustments. I have the Topaz addons but only us them rarely. For Facebook I create a JPG that I save in pictures. The RAW and PSD files I have transferred to my C drive I move to my Synology.

 

[bsinc1962]

I use bridge to download the files to a custom folder with date and location.
I then import into Lightroom using a custom preset that removes sharpening and noise reduction, adds the lens and camera profile.
I cull using the P key. I then filter by rating.
I adjust basic lighting, whites, and blacks.
Export to Topaz for noise and sharpening.
Back to Lightroom for other adjustments.
If needed export to Photoshop for cleanups then return to LR.
Export to a second solid-state drive as well as a cloud drive.
Profit.

 

[Don Linn]

I keep it fairly simple:

- Import RAW files into Lightroom.
- Denoise/sharpen with the relevant Topaz software (DenoiseAI/SharpenAI).
- Edit in Lightroom and/or Photoshop. Probably 80% Lighroom, 20% Photoshop for me. Lightroom is used for the typical "sliders" stuff; I like Photoshop better for things like cleaning up backgrounds, cloning etc.
- Export to jpg.

I have the same workflow.

 

[Niels.hr.Hansen]

I do my entire work on Linux machines (Ubuntu 20.04 currently) and is primarily using Darktable.
The workflow I follow is focused on keeping work simple and efficient.
1. Copy files from the card to my RAW storage, using a strict structure of /YYYY/MMM/YYYYMMDD_Headline_for_content
2. Cul images with Darktable, marking with either R (for rejection) or stars for score
3. Select and remove all files marked R
4. Do edits on exposure - adding some dodge & burn masks, tone curve, denoise, lense correction, crop & rotate, white balance (rarely needed), haze removal. Occasionally I do a B&W conversion and a few spot removals.
5 Export images to required publishing format, and size. Mostly jpeg

I very rarely go to removing or cloning elements within the picture. Know it has always been done - also in film - but I tend to appreciate the images without.

 

[EricBowles]

My workflow is geared to high volumes and/or quick turnaround. I also want to make the workflow efficient so I touch the files as few times as possible.

• I shoot RAW only
• Images are downloaded and renamed using Photo Mechanic. Folders have a logical name and an automated date shot. File names have a logical name, automated date shot, and automated 6 digit sequence number that is non-repeating. During download, I apply basic IPTC, captioning, keywords, and other metadata.
• I rate all images on a 1-5 scale in Photo Mechanic. Ratings involve a single pass. 1 and 2 rated images are given a quick review and deleted. 3 rated images are ignored and used as backup if I need something that was not as good as a 4 for a specific need. 5 rated images are "best of the year" and there are very few. 4 rated images are "wall worthy" or "client worthy". I review the 4 and 5 rated images to identify and color tag the Selects for editing. Here is where I pick the one to edit out of similars or evaluate a series of images for a focus stack, panorama, or HDR. This step is usually completed within 24 hours of shooting and before I format the card. At this point I backup the images to external drives.
• All images to be edited are imported into LR for the first step in editing. I make a quick general edit to each image spending whatever time is appropriate. This is often purpose based - an image for print is different than an image for a web post. I don't do any batch or bulk edits.
• If necessary, I use Nikon NX Studio, Photoshop, or Topaz as needed for specific images. But all of these images are in LR.
• Event images are quickly edited in LR (30-60 seconds per image - exposure, brightness, color, contrast, highlights, shadows, sharpening, crop) and uploaded to my Zenfolio website generally at 2000 pixels on the long edge. When someone buys an image that is 10 inches or more on the short side, I update the edit and sizing to use a higher quality files for larger print client orders. Perfect edits are not required for small prints, but I want everything to look good enough to justify purchase.
• Anything edited for sharing on social media is created in a web size and watermarked. I have a master folder - Web Photos - With a Subfolder for each year. Each image sized for social media or sharing is saved in my Web folders. That folder is synched with my iPhone and iPad so I have current images available on all devices.