I had an interesting weekend in terms of photography. I didn’t take a single image but I did improve my work and made some substantial breakthroughs. What gave raise to this? Well one of my friends came over and we spent time reviewing our work and suggesting improvements. This was great in terms of development but it also allowed me to discuss some frustrating aspects of micro 4/3 photography with a second person. The most frustrating of these is the colour produced by my Panasonic cameras when converting RAW files.
You see I have long thought that the RAW files from my LX5, GF1 and now GX1 produce colours that don’t seem entirely natural. Greens, reds and blues all seem too strong and saturated. It is however difficult to judge on your own so yesterday was a great opportunity to discuss this with a very knowledgeable photographer whose views I trust. The result was that we agreed the colours were off. Whilst the image at the top is a black and white conversion I am showing the original colour image here together with a colour adjusted version we created.
The original colour image with the defauilt RAW settings is shown above
Here is the corrected image. Notice the orange of the cylinder on the right. In the uncorrected image this is a false orange and is also over saturated. Also notice the red plastic can on the left. In the original this looks raspberry and is too saturated.
To create the colour adjusted image we needed to:
- Increase the colour temperature by 300K
- Shift the Orange Hue and reduce its saturation
- Reduce the saturation of blue in the scene
These are subtle adjustments but they are enough for your brain to pick up that something isn’t quite right.
The reason for these odd colours is not however down to Panasonic but the Adobe software I am using to convert the RAW files. It’s the calibration Adobe bundles with their colour engine that is causing the issue. I have therefore taken the step of purchasing a colour passport checker to use with my Panasonic cameras in future. I hope this will allow me to correct the problem and will report again in the future.
Creating a Lightweight Photoshop Workflow
Rough seas, Norway, March 2012
Copyright: Robin Whalley 2012
Last night I was the guest speaker at a Camera Club; something that I like to do a number of times each year in order to share my knowledge, but also to pick up information from others. The event went well and the presentation I delivered was entirely new, not only in content but in approach. The real innovation for the session was that I demonstrated how I use Photoshop to craft my images.
What became apparent from talking to people after the event was that my workflow in Photoshop was quite minimal yet achieved a lot. You see I have standardised my approach to be adequate for around 95% of my images and most of my changes can be applied in just a few minutes. Sure some of the better images I will spend longer on, but only if the additional effort is justified.
Here then is my approach:
- Clean up the image by removing dust spots etc on a new empty layer. I do however try to keep my sensor clean by using an Arctic Butterfly brush so that any cleanup work is minimal.
- Use a Curves adjustment layer to adjust brightness
- Use a curves adjustment layer to adjust contract
- Use a saturation layer to adjust saturation
- Add a new empty layer and stroke the image to create a frame
Whilst I didn’t demonstrate it last night I have created an action in Photoshop to automate the addition of the above layers so that all I need do is activate the action using Ctrl-F3 (which is the key combination I have assigned).
Consider also that all my adjustments are on layers which give rise to a number of benefits:
- I can turn the layer on or off to hide the effect
- I can adjust the opacity of the layer to control how strong its effect is on the image
- Each layer has a blending mode that you can use to make further enhancements
- Each layer has a layer mask attached to it which I can use to target the adjustment onto a specific area of the image
Once I am happy with the image I create a new consolidated version from all the layers by pressing Shift-Ctrl-Alt-E. I then sharpen this for output e.g. for paper or for the screen. My finished image is then saved as a PSD file with all the layers remaining in place. Again this gives rise to timesaving benefits:
- Each time I output the image to new media I can create a version of the image with the correct level of sharpening and simply turn off the other layers
- I can create modified versions of the same image e.g. versions with and without the frame
- If in a couple of weeks I decide I was a little heavy handed with one of the adjustments e.g. saturation, I can simply adjust the opacity of the relevant layer to control the effect
- If I later decide to work on the image further I have all my earlier layers already in place and ready to enhance further
By following my approach I find that I minimise the total time I spend on each image whilst achieving good results.
Copyright: Robin Whalley 2012 www.thelightweightphotographer.com
See more of my work at www.lenscraft.co.uk