Method
Bonjour Benjamin
I've tried your workflow
Though I don't convert my raw files with ACR (can't understand how others can get good result with it) but I tried your workflow with an image from C1.
Now I understand that your workflow is much more about overall light and contrast than on sharpness (though contrasts do bring some sharpness).
I'm a bit dissapointed by our explanations (still my poor English!) in order to give a better try, could you explain more step by step... :
In PS:
- make a Duplicate Layer---------------------------->ok
- Desaturate the image or the layer?
- set Layer to Soft Light. ---------------------------->ok
- Now, because you didn't use the Contrast Unsharp move, i.e. 10-15 percent at 40-60 pixels
you can push the Opacity and Fill sliders much harder. 60 to 90 percent.
What should we really do here? USM at 10-15 percent at 40-60 pixels? on the layer or on the background image?
back in PS you can now push up your overall Saturation if so desired by +5 to +10 to compensate in the loss of Saturation produced by adding the B&W layer
Aren't we already in PS?
Thanks in advance for the clarifications!
Hello and thanks for your note...
The workflow I employ that is intended for press or print. When shooting in RAW which is always the case, I open an image via Bridge in to PS3 which automatically opens in Adobe Camera Raw. As stated (Now this is an alternative method to the one given at "Pentax Life") I will sharpen the image at 25 to 35 percent in ACR, Luminance Smoothing "0" and Color Noise reduction at "50". I generally click OK at this stage, (unless I am way off in my exposure, which if I am, I have to seriously re-consider my chosen profession)
When open in PS3 in 16 bits, I create a Duplicate Layer. Now here is where you can go both ways. (sounds a bit suspect) Depending on what I wish to accomplish in terms of saturation, I will either De-Saturate the image or leave it as a color image. The two are radically different in there outcome. Once I have created the Duplicate Layer, I will go in to the Layers Menu "TAB" and click on Normal which will open a large choice of different options. I will "Click" on "Soft Light". When doing so and dependent on the contrast of the image, you will notice a radical increase in contrast and saturation if you left the original image in color. Generally with my stuff and I say generally as it totally depends on the lighting I have employed, I will set the "Opacity" and "Fill" sliders from 50 to 85 percent each. Once I am satisfied with the result, I will flatten the image, as it is not yet ready for re-touch, this is a pre-retouch manipulation that I do on every image in preparation for the Post Production retouch. Once in PS, I will in many cases use the Shadow Highlight tool at my Default setting being,
Shadows:
Amount 2%
Tonal Width 50%
Radius 30%
Highlights:
Amount 2%
Tonal Width 50%
Radius 30%
Color Correction +20 Mid-tone 0
It may change dependent on the conditions.
Now, if the "Duplicate Layer" I made used the "De-saturation" process, after I have flattened the layer, I might augment the overall Saturation by 10 to 20 %. If I wish to keep the image with "That" desaturated look I may do nothing. It depends on the effect I am looking for.
If I did not use the "De-saturation" process and left the "Layer" in color, I may "De-saturate' the overall image by 10 to 20%.
If I do not sharpen in PS ACR, I will do the following for a more "RADICAL" look. After I have imported in to PS from ACR, I will Unsharp Mask (Accentuate) from 120 to 330 percent at 0.3 pixels and I will Unsharp Mask again at 10 to 15% at 40 to 60 pixels to really "POP" the contrast. I will go to "Shadow Highlight" and do the required manipulations to compensate for a loss of shadow detail.
I am now ready for the "Retouch Artist"
When retouch is done and up-sized if necessary, I will sharpen again at 100 to 180 percent at 0.3 pixels.
That is my systematic "Workflow" method.
Ben
