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In part I, I added the metadata and keywords and performed the initial processing using Lightroom’s (LR) equivalent of Adobe’s Camera Raw, the Developer module. In Part II, I will outline my final processing, in Photoshop CS5 (PS). I am assuming you have a basic understanding of layers and the common tools in Photoshop as I write this, if you don’t understand any part feel free to contact me. Once I am finished in LR, I open the RAW file in PS by using the edit in command in LR. This then applies all the metadata and developer changes to the opened RAW file. Once opened, I resize it to even dimensions. In LR, when I cropped it, I used standard ratios of 11×14, 11×17, 12×18 and occasionally 11×16 or 8×10. The cropped RAW file would have dimensions such as 12.83×18.46, so I would resize to even numbers, in this case 12×18, while keeping the original ratio, if that makes sense. I then make a duplicate of the background layer on which I use the spot healing brush and clone stamp to remove dust spots and distracting items. CS5 has a very useful addition called content aware which can be used to fill an area or with the spot healing brush in which PS evaluates the surrounding areas and fills the selected area with what it thinks is correct. It is frequently pretty accurate and will need little or no touch up. Occasionally it works very poorly when there is an area of many textures, geometric designs, or colors in close proximity and then I clone out the defect or object.
I then duplicate this layer and convert it to a smart layer where I will sharpen and apply the shadows/highlights filter. The advantage of converting to a smart layer is the filters become more like adjustment layers where you can go back and readjusted without ever affecting the pixels. I am not a sharpening expert and won’t go into it other than to say, I use the smart sharpen filter. I then apply the shadows/highlights filter. I start with the amount set to 35 and the tonal width set to zero and radius set to 30. I generally leave the color correction set to the default of +20 and I start with the midtone contrast at zero. I then increase shadows tonal width to effect. It won’t look right at this point as it will have very low contrast. I then increase the radius until I am happy with the look, fine-tuning the amount and tonal width at the same time. you have to be careful opening up the shadows to much as it will start to look too unnatural. I repeat this for the highlights and, lastly, adjust the midtone contrast. At times, I may duplicate this layer, rasterize it, convert to another smart layer, and then apply the shadows/highlights filter with a mask, is there is one local area I want to adjust more without affecting the overall feel. The capture below shows these adjustments.
After sharpening and processing the shadows and highlights, I adjust the levels using an adjustment layer. I will sometimes use the auto adjustment on the level filter but usually not, as this can change the colors or temperature quite a bit. I use the sliders to set the black and white points and occasionally adjust the midtones slider. At this point the overall contrast usually needs to be increased slightly, so I use curves in another adjustment layer. I will typically use the preset linear contrast and fine tune it, but will occasionally use medium contrast if I really want to increase it. I then set the opacity of the layer, usually between 40-75%. I then darken the edges if needed, using curves as an adjustment layer and a mask using the circular gradient tool. As this point, I have completed the general processing I do on 90% of my photos.
For this particular image, I performed 2 more adjustments. The shadows/highlights filter had given the highlights more of a yellow tint than I liked, so I reduced it using color balance as an adjustment layer. I also performed some burning. While there are many ways to dodge and burn, I prefer using a layer, blended as an overlay layer. I fill this with 50% gray and use black to burn and white to dodge. I paint the color on the layer using the brush tool, set at an opacity of 3-6% usually. Below is the final processed image, with the unprocessed RAW photo for comparison.