We work hard carefully developing our images so they sing on the monitor only to be disappointed that when we print them they don’t quite live up to what we saw on the screen. Part of this is due to the fact that there are differences in the way that monitors and paper transmit light. However, if an image has been properly optimized for printing on a specific paper then it is possible to achieve something that very closely matches what we saw on screen. Printing multiple proof copies and making adjustments between each print until it looks right is one way to approach the problem, but this is time consuming, expensive and wasteful. Soft proofing provides another option. Photoshop (and now Lightroom 4) allow for soft proofing by simulating what an image will look like when printed on a certain type of paper or other print media. Comparing the print simulation to how the image looks on the monitor allows us to make adjustments on screen that will allow the image to match our intent when printed. Soft proofing is a multi step process so it can be time consuming. In this video tutorial I show how to build an action in Photoshop that streamlines the soft proofing workflow so a “proofed” image is created with a single click.
Archive for the ‘Image Processing’ Category
by Zack Schnepf
This is a short demo of how I use keyboard shortcuts and actions to increase efficiency. I’ll go into great detail about keyboard shortcuts and actions in a future video, including the proper way to build complex actions as well as adding complex pop up dialog options. It will be available along with my Multiple Exposure Blending video here: http://www.zschnepf.com/videos.html
I forgot to mention one of my favorite keyboard shortcuts. When using the brush tool or some other tools, you can instantly change the opacity of the brush by tapping the number keys, 1=10%, 2=20%, 0=100%, etc. It saves a lot of time over the course of your workflow.
Watch in HD and full screen for best viewing experience.
Adobe Photoshop CS6, the most recent version of Photoshop, has introduced many improvements that may appear minor on the surface but turn out to be startlingly awesome, especially to those who are as serious about their digital darkroom work as I am.
One tool that has experienced such a resurgence in usefulness is the Patch Tool now that it has had content-aware functionality added to it.
Back in version CS5, Adobe introduced the Content-Aware Fill and Content-Aware Healing Brush features. Content-aware filling and healing was and is a quantum leap forward for doing quicker and more realistic image clean up. As with any tool, there are still some limitations to content-aware fill and heal, however.
As long as the object being cleaned up is in the middle of a relatively uniform area of the images, such as sky, grass or foliage, then content-aware fill or content-aware healing are still often the best ways to get the job done.
However, in cases where the area being filled or healed is not uniform or is close to the edge of a something with different color, luminosity and/or texture you don’t have control over what the content-aware engine will sample from to do the filling or healing.
In cases such as this the Patch Tool with the newly added content-aware feature can be just the ticket because it allows you to select the exact area where the fill sample will be taken from.
How one uses the Patch Tool hasn’t changed. Simply select the Patch Tool from the Tool Box (found hidden under the Healing Brush Tool) and make sure the content-aware option is selected. Now draw a selection around the object your wish to remove. Once the selection is complete, click and drag the selection to an area of the image that best matches the area to be patched and let the content-aware algorithm do its thing. Because you control where the patch tool will be sampling from you are less likely to end up with areas of the patch that don’t match what’s around it.
You can even adjust how the patch tool adapts the blended edge of the patch. The Strict Adaptation setting does very little in the way of blending the edges of the patch while the Loose Adaptation setting does a lot of blending and resampling to the edges. The degree of edge adaptation needed depends on the characteristics of the area being patched.
Over the years Adobe has done an amazing job of adding big new features to Photoshop. At this point the most impressive changes tend to be very precise and highly refined upgrades to the way that previous tools and adjustments worked. Adding content-aware capability to the Patch tool is one of those updates that has taken the tool to a new level and gives us another powerful option in dealing with tricky image clean up.
by Zack Schnepf
One of the most common requests I get is to see my before and after photos, and for good reason. Good processing is more important than ever. The majority of professional photographers have made the switch to digital by now. This has allowed us to have a lot more control over the entire process if we choose to. I would venture to say that good processing is at least 50% of photography for many of us. To illustrate this I thought I would share a couple examples of before and after photos.
One of the most important techniques I use when processing is pre-visualization. I always have a pretty good idea what I want my image to look like when it’s done. This provides me a road map to follow, and a good mental reference. It’s also one of the hardest things to master IMO.
A few notes on the RAW files. I use the camera preset with the most latitude, and typically don’t do much to my raw images especially if I’m combining multiple exposures. If I’m working from a single exposure I might do more in ACR. As a result my RAW images are very bland, low contrast and lacking pop. This is intentional as it leaves me with the most information to work from in Photoshop.
I produced a video detailing the techniques used to control tonality throughout my entire workflow. You can learn more here: www.zschnepf.com/videos.html
I recently was asked at a workshop if I still use the Gold-n-Blue Polarizer. I occasionally do but only at certain times. The polarizer can be very tricky and needs to be used in moderation. The use of the polarizer sparked some controversy among the workshop participants so I decided I would write an article on how and when to use the Gold-n-Blue Polarizer. I found myself not using it as much but when I do use it it is a valuable asset to my arsenal of tools. Included are some images that have done well for me in the past that were taken with a Gold-n-Blue Polarizer.
For many photographers, once the sun disappears, it is time to pack up their bags and go home. For the rest of us, twilight colors can present some great opportunities to capture some magical light. Unfortunately, the color that presents itself during these twilight hours is often not long enough, nor strong enough, to allow us the extra benefit of photographing into the night. This is where the real benefit of the Blue-Gold Polarizer works for me. During twilight hours, the Blue-Gold Polarizer dramatically increases the intensity and duration of the color in the scene, which allows me to shoot for longer periods of time. Thus, I can try several different perspectives and compositions allowing more options to select from in the end. With a regular circular polarizer after sunset I might have 10-20 minutes to shoot before the color is gone. But with the Blue- Gold Polarizer, I can keep shooting for up to a hour after sunset.
The Blue- Gold Polarizer allows me the extra time needed to try several different perspectives. What this means is, that I have more options to choose from when making my final selection of what images to keep. For example, when shooting during these twilight hours, the importance of vibrant colors in the image is necessary to make it stand out. The added color allows me to highlight the details and textures, especially in the foreground. This really gives the image the perception of depth needed in the image. This added benefit can really show off details in foreground subjects like rock patterns, sand ripples, and mirrored reflections in water.
Another added benefit to using the Blue-Gold Polarizer during twilight hours is that the intensified color allows me shorter shutter speeds and less noise in the image due to the extra color present in the image. When using a circular polarizer, the foreground reflections of twilight color are less present and therefore create underexposed noisy images. To receive more light in the image with a circular polarizer you need more exposure time which then causes more noise to be present. So by using a Blue-Gold Polarizer, color shows up in the image where there would be nothing but shadows in a circular polarizer.
Lastly, the benefit of the added color gives me the extra boost in contrast to give the image a more dramatic feel to it. Stronger color and contrast evoke emotions and thus helps my image create a mood.
By using the Blue-Gold Polarizer during twilight hours, many more possibilities exist to improve your photography.
Feel free to email me if you have questions about the methods used in the images.
By Adrian Klein
As the greens in the Columbia River Gorge start really showing their spring green glow I thought I would take a few minutes and share a few of my favorites along with some technical details to help provide some insight on how they were created. I might add a part II down the road with more favorites yet I thought narrowing it down to the top three was a good start. Hopefully this helps you out whether you are planning to photograph the Columbia River Gorge or any other lush rain forest. Happy reading and viewing.
Name: Geometric Nature
Location: Off trail deep in the Columbia River Gorge, Oregon
Why this image? Finding the right composition in many cases is like putting together pieces of a unique puzzle, all of them different from the last. In this case the blocks or geometric shapes of the mossy rocks are what inspired me for this particular composition. There is green everywhere you turn in the Gorge yet not every image shows the endless sea of green as good as it can. I think this is one image that achieved this very well.
Camera Equipment: Canon 5D, Canon 17-40L lens, Hoya Polarizer and Induro Tripod
Camera Settings: ISO 100, Manual Focus, 19mm, f/13 and 8 seconds
Processing Software: Adobe ACR and Photoshop
Processing Details: Final image has spots of the water blended from a 5 second exposure where 8 seconds washed it out. These were blended with layer mask techniques in Photoshop. Localized adjustments for color and contrast using Levels.
Name: Forest Rain
Location: Creek along the trail to Gorton Creek Falls in Columbia River Gorge, Oregon
Why this image? Standing in the cold wet rain with not a soul around is what inspired to keep me here until I captured something I was truly happy with. The heavy rains rolling through the area with water rolling off my hat, nose and camera gave the mood I was looking for. My feet completely numb after exiting the creek and my face filled with a smile knowing that I caught a keeper. I am sure this will remain near the top of my personal Columbia River Gorge favorites for years to come and remind me that although the rain can be cold and miserable, the outcome can certainly be worth it.
Camera Equipment: Canon 5D, Canon 17-40L lens, Hoya Polarizer and Gitzo Tripod
Camera Settings: ISO 200, Manual Focus, 23mm, f/16 and 3.2 seconds
Processing Software: Adobe ACR and Photoshop
Processing Details: Final image was created by blending the same RAW file several times over. The heavy overcast day allowed me to get away with only one file. These were blended with layer mask techniques in Photoshop. Localized adjustments for color and contrast using Levels. Very slight glow effect added using Gaussian Blur.
Location: Metlako Falls in Columbia River Gorge, Oregon
Why this image? This waterfall has a perpetual fog cloud hanging over it for what seems like 365 days a year. That alone is beautiful yet when you have been here as many times as I have you are looking for more to take out the camera. When I saw the sun was trying to poke through I knew this was the “more” I was looking for. It did not last long however it was the inspiration I needed to make a more unique image from this popular location. Many say winter streams and falls images are not nearly as nice as spring. This image proves all season have potential. This was taken on a quiet winter morning when I was the only one around.
Camera Equipment: Canon 5D, Canon 70-200L lens, Hoya Polarizer and Gitzo Tripod
Camera Settings: ISO 100, Manual Focus, 73mm, f/18 and ¼ of a second
Processing Software: Adobe ACR and Photoshop
Processing Details: With this scene I had about 4 stop range of exposure from the dark areas to the sunlit fog. This required parts of three images to be merged together. These were hand blended with layer mask techniques in Photoshop. Localized adjustments for color and contrast using Levels.
You can find more of my work from the Columbia River Gorge and beyond at Adrian Klein Photography
By Adrian Klein
It was after a recent showing of my work that this came to the forefront of my mind again. Talking to other photographers and asking them what camera they shoot with is about as common place as every other person talking about how’s the weather or local sports. Without fail almost everyone that commented on my work in person or via email that was into photography asked what I photograph with. Some responded that they hoped to upgrade or get a ‘better’ DSLR. In one case I responded that one of the handful of photos displayed was taken with a Canon 40D (the same camera as this person asking me).
So why I am bringing this up? There are many reasons but the big one that comes to light is a reminder that buying the newest or best camera does not necessarily mean your photography will move to the next level or make you a better photographer. Our digital age has brought us into a period where newer, more mega-pixels, and increased bells & whistles is equated to better and needed NOW. I have seen photographers become sheepish about discussing their gear unless it’s the latest or greatest. We are heavily persuaded to buy new equipment every time it comes out, which is very often if you compare it to only decades ago. Your shooting buddy has the new 89 mega pixel TRM IV (Totally Rocks Model) so you should upgrade right away too?!
Obviously I am not against technology or getting new camera paraphernalia. I am not living in a rustic hut deep in the woods but in a city, and I work in the field of technology which fascinates me. Like most American’s I do have a computer (make that computers), digital media players, smartphone, etc. That said I also don’t change my technology as often as most I know and I have been that way as long as I can remember. My iPod is six years old, my desktop computer close to the same and our only TV is a tube TV from the late 90’s. This also goes for my camera gear. I replace it when it truly ages or when it breaks. I am about to upgrade my DSLR but as I write this I still shoot with two Canon 5D MKI bodies which has been my main choice for the last 4+ years. Even though most of my peers no longer use this camera it has not stopped me from creating great photographs, selling large prints, licensing images and helping others learn photography.
Here are some suggestions to keep a little more in your bank account while still moving on to new and different equipment, along with solid areas to focus on growing your skills in photography sans equipment upgrades.
When To Upgrade
- Generation Skip: A cost effective way to do this is to skip a model. For example a ways back I went from the Canon 20D to 40D, skipping the 30D. I use to do this with Photoshop until their recent policy change.
- Used: If you can find a great deal on used equipment this is also time to buy. I have bought a fair percentage of my camera gear used yet in fine shape.
- Breakage: When your camera is destroyed by that rogue ocean wave, well it might be a good time to move up to the next model. Remember to carry insurance.
- Gear Junkie: If you have the dispensable income and always desire the newest toys to show off to your peeps or just play with then by all means. This post is not meant to stop you.
- Homework Complete: Do your homework before a major upgrade. Upgrading a camera body might not be as simple as just getting a new camera. If the MP’s double you will likely need more HD space, more media cards, does it take different media cards, different batteries, and the list goes on.
- Improvements: Highly justifiable improvements from what you have to what you want to move to has jumped leaps and bounds and you really need the new features, not just a move up in mega-pixels.
Why Wait To Upgrade
- Business: Treat it as business if you are a business, a business does need to make a profit to survive (or should). Upgrading equipment too frequently or buying too much cuts into your possible income.
- Continuing Ed: There are numerous low to no cost ways to improve your photography that don’t involve buying new camera gear. Getting a ‘better’ camera to be a better photographer is mostly a fallacy. See the next section for more details.
- Environmental: As an avid outdoor adventurer I think about the environment. Upgrading less frequently lightens my carbon foot print.
Improve Your Photography – Low to No Cost
- Composition: Know and understand composition. I feel it’s one of the most important components to a good photograph. (your camera does not know where to place the tripod)
- Processing: Enhance your processing skills can help take those thousands of RAW files on your drive from hidden gems into final masterpieces (many great videos and articles on this blog for this one!)
- Buddy System: Spend time in the field with others whether a photo club, casual meet-up or attending a workshop. I have learned a lot about photography from just hanging out with photographers.
- Practice: It’s an old saying yet it never dies. The more you practice the better you will get and the more you will grow.
Feel free to share your thoughts on upgrading or not upgrading here. Are know there are even more pros and cons and for each of it’s different.
Maintaining or introducing edge definition and general structure in an image is something that I often find myself challenged with. Sometimes I need to overcome flat light, back lighting or simply the lack of definition inherent in many raw images. Other times it is to reintroduce definition that was lost from the effects of another developing technique. Often it is to help showcase a feature, create a sense of dimension or create more crisp visual clarity in part of an image. There are many adjustments that can be used to these ends, both in Lightroom and in Photoshop. Clarity in Lightroom is a good starting point and the Clarity slider has been improved in the newly released Lightroom 4. Levels, Curves, Contrast and Shadow/Highlight adjustments as well as the Unsharp Mask filter in Photoshop all offer different approaches and looks. I often employ several of these methods in any given image. However, for the best combination of targeting midtone edge definition while maintaining a non-destructive workflow I find that a High Pass filter method is often my favorite.
The High Pass filter method of adding structure and definition that I like to use goes a little something like this:
- With the top layer in your layer stack selected click ctrl+alt+shift+e (cmd+opt+shift+e on a Mac). This will stamp the current state of your image to a new layer at the top of your stack called Layer.
- Rename this layer High Pass Contrast, or something like that.
- With the High Pass Contrast layer selected go to Layer>Smart Objects>Convert To Smart Object. This will allow filters you apply to this layer to be Smart Filters which can be further adjusted in the future.
- Now go to Filter>Other>High Pass. Set the radius to the number of pixels you desire. A smaller radius will increase definition along fine edges. A larger radius will create contour in large areas around edges. Since this will be a smart filter on a smart object getting the radius perfect isn’t critical. You can come back and fine tune it later. Click OK.
- The High Pass Contrast layer should now appear gray with light/dark halos around the edges in the image.
- Set the blending mode of the High Pass Contrast layer to Soft Light. This will blend the High Pass Contrast layer with the layers below, increasing edge contrast and definition at the pixel radius you set. For even more contrast you can set the blending mode to Overlay.
- You can now click on High Pass on the High Pass Contrast layer to reopen the High Pass Filter dialogue and further fine tune the radius for the look you want.
If you don’t want the High Pass contour effect to be applied to the entire image you can add a mask to the High Pass Contrast layer, fill the mask with black and then paint the effect in just where you want it with a white brush. Instead of painting on your mask you can also make a specific selection from which to create your mask for the High Pass Contrast layer.
Sometimes I will use two or more High Pass Contrast layers set to different radii so that I can paint in different degrees of definition to different areas of the image. I can also adjust the amount of the High Pass effect by changing the opacity of the High Pass Contrast layer.
This method gives a very similar affect as using the Unsharp Mask (USM) filter set to a large radius to create contrast and definition. However, a USM filter must be applied to an opaque copy layer of the image which means that any adjustment layers below the USM layer will now be rendered useless for future adjustments. Because the High Pass Contrast layer uses the soft light blending mode it is no longer an opaque layer so new adjustments made to layers below will still have affect. This makes it a more flexible and non-destructive technique.
Feel free to leave a comment or question or share your favorite non-destructive techniques for adding definition and structure to an image. If you are interested in learning more of my digital image developing workflow and techniques check out my series of video tutorials.
By Adrian Klein
Unless you have been sitting under the drape of a large format camera the last decade you have seen the topic of copyright and piracy come and go in the lime light. Most recently drafted United States bills of SOPA and PIPA took center stage in January 2012.
I have seen emails and articles with strong stances on both sides. Since photographs were first protected under copyright laws starting in 1865 there have been multiple battles waged in this area, this is not the first. What got me interested in writing this post about this topic is to put out my opinions and see if others really think we need more governance to help protect photographers.
After PIPA and SOPA were drafted and about to be debated in our branches of government numerous online companies from Google to Mozzila (Firefox) put the word out in late January that these were incorrect solutions to the problem that could hurt the Internet as we know it including a black out day to gain attention to the issue. This was in sharp contrast to what the other side was saying from RIAA and various other organizations and businesses. I even received the email from PPA that I found somewhat troubling to read. A photography organization that I was a member with for years talked about how companies like Google do not have our best interests in mind and that PPA supports PIPA and SOPA. That might be true in some regards yet I don’t feel these bills were the answer either.
Copyright infringement is definitely more prevalent today in our digital age. I cannot log onto a social networking site anymore without seeing a post about a photographer that had some image used without their permission. I fully support protecting photographer’s copyright if that was not obvious since I am a photographer. And technically your image is copyrighted the moment it’s created with numerous steps you can take today to help show you own the copyright on an image. I don’t want my work used without consent like the vast majority out there, and I take steps to help minimize this from the beginning yet I know I cannot eliminate it if I want to display my work online.
Additionally registering your images with the library of congress can make an infringing damage award higher and easier to prove if it was taken through the legal system, yet I am aware this is something most of us don’t have the bandwidth or finances to do unless the infringement is large enough. Smaller infringements might be able to be resolved by just sending an email or letter. I also realize this only helps post infringement and does not help to reduce infringements. However with the many ways to copy an image from the Internet today I don’t see this ever going completely away. If a person wants to use your online photograph without your permission whether for personal use or commercial, they can.
As long as we continue the trend to make images easy to buy (as seen today with numerous ways to buy images online from print to digital files) I feel this will only help reduce issues and frustration around the subject. Maybe I am naively hopeful.
Suggestions to help protect your images:
- Do not post high resolution images online. Approximately 700 pixels at 72 dpi is a good size. I still see large images posted online often.
- Add a watermark to your images in Photoshop. They do not need to take away from the photo, can be added to be noticeable but not intrusive.
- Add metadata to your images with a copyright statement and your contact info. This helps show who owns the image if there is any question.
- Do not supply images without a contract license. Even if granting zero cost licenses for specific cases you should still have it documented.
- Register your images with Library of Congress: http://www.copyright.gov/
- Educate your clients. When I had my portrait & wedding business I supplied a document that talked about everything the client could or could not do with purchased digital negatives.
- And lastly if you have images that you want to guarantee are never used without your consent under any circumstance, don’t post them online.
I think the answer is to continue to educate the public and clients. Additional laws may help only slightly if at all and will be a delicate balance of too much power vs too little like any new law. The point of this post is to get you thinking, not solve it. What are your thoughts? Are current laws enough or do we need a tighter government clamp on the Internet? Feel free to share your views here.
Below are examples of sizes and watermarking that you might want to evaluate that I have seen in use. This will be a personal preference based on how much you want to bring the viewer in and fully enjoy the online visual experience, or not.
Setting the right contrast and color balance in an image is an essential part of any digital image developing workflow. The correct contrast and color balance should be established as early in your developing workflow as possible. Contrast and color problems that are left unmitigated will become compounded as successive adjustments are made to an image, making them much harder to correct later in the workflow.
In my workflow classes and video tutorials I show how to start by setting a foundation for contrast and color balance while making preliminary raw adjustments in Lightroom or Adobe Camera Raw. Then I fine tune my global contrast and color balance as one of the initial steps in Photoshop. When making raw adjustments I don’t try to perfect contrast and color balance in Lightroom or Camera Raw. Rather, I get them close and then fine tune them in Photoshop where there are many more tools at my disposal and I can be much more precise. When setting my contrast in Lightroom or Adobe Camera Raw I prefer not to set complete black and white points. Instead I opt to leave some “wiggle” room on either end of the histogram. This leaves some latitude for applying more targeted adjustments later in Photoshop, as you will see.
Proper contrast in most images is obtained by setting a luminosity black point (a small portion of the image that is completely black) and sometimes a luminosity white point (a small portion of the image that is completely white). Images without a black point and a white point can appear muddy, hazy and flat.
Some images are low contrast by nature, such as images taken in the fog. If your artistic intent is to retain low contrast in an image then setting a black and white point is probably not the right choice.
Proper color balance is obtained when shadow, midtone and highlight color casts or color shifts have been corrected and objects that are neutral gray appear neutral gray in the image. In images intended to have “white light” or “daylight” colors it is usually appropriate to set the correct color balance in the shadows, midtones and highlights.
There are many ways to work with contrast and color in Photoshop. The Brightness/Contrast and Color Balance Adjustments are tools specifically designed for working with contrast and color respectively. It is also possible to make similar adjustments in slightly different ways using combinations of the Levels, Curves, Hue/Saturation and Selective Color Adjustment tools. Photoshop even includes Auto Contrast and Auto Color adjustments, but I find that these rarely get it right and must be done on the background layer or a copy of the background layer. I would recommend sticking with adjustments you can make using separate Adjustment Layers so that your adjustments are non-destructive.
Most of the techniques for correcting contrast and color balance involve working with each component separately. While these methods can be very accurate and flexible they are often time consuming and require knowledge of color theory, a degree of skill and a good eye. The approach that I use most often, one I call the “global contrast/color correction technique”, is quick, requires very little knowledge of color theory and adjusts for both contrast and color balance at the same time.
Start by opening a raw image file in Photoshop. After you have done spot clean up, cloning and any perspective adjustments that are needed, create a Levels Adjustment Layer (Layer>New Adjustment Layer>Levels). In the Levels dialog select the Red Channel from the drop down menu. Now slide the Shadow slider and the Highlight slider so that they just touch their respective edges of the histogram. You have now set a black point and a white point for the Red Channel.
Now select the Green Channel from the Channel Menu and repeat the process.
Finally, select the Blue Channel and do the same one more time. Return to the RGB Channel and fine tune your midtone slider as needed for image brightness.
Toggle the Levels Adjustment Layer on and off by clicking the Eye icon to see the results of your adjustment. If your image had poor contrast or a color cast you should now see a marked improvement in both contrast and color balance (see examples below). By setting a dark and light point for each color channel you have essentially killed two birds with one stone. You have set an overall black and white point so that the image has proper contrast and you have also neutralized shadow and highlight color casts at the same time. If you feel that you still have an unwanted color cast in your midtones after setting the blacks and whites you can go back into each color channel and adjust the midtone sliders to further fine tune the color. You can see that if I had not left some shadow and highlight room on either end of the histogram in your raw conversion that this technique would not have worked.
Certain light creates a pleasing color cast that you may not want to neutralize. Warm, sunset or sunrise light is an obvious example. By neutralizing a warm sunrise color cast you will make the light look like mid day light while making the shadows in the image look too blue. If you have an image in which you do not want to neutralize a highlight color cast you can set the shadow contrast and color by moving the sliders on left side of the histogram in each color channel and then selectively tune the white and midtone sliders of each color channel until you get the desired color cast.
There is also a more precise version of this technique that can be done by using a Threshold Adjustment Layer to set markers at the exact black and white points in an image and then balancing the colors close to 0 and 255 at each of those two points using a curves layer, but most often I find the Levels method demonstrated here works well enough.
Not having the correct contrast or color balance in an image can really detract from the impact you intended it to have. To ensure that your images are not flat or dull and that they do not have distracting color casts or contamination, make sure to establish the right contrast and color balance early in your workflow before it becomes compounded by further developing adjustments.
To learn more about my fine art digital image developing workflow you can check out my video tutorial series.