Post processing seems to be a never ending journey. Over time software gets better, hardware gets faster. And there are more choices and options. And the training videos.
Shooting over 600 shots last weekend and processing all within a few hours was doable only with decent software practice enough to understand my flaws when shooting.
The blanket statement is that noting that comes out of my camera is "show" ready. Every shot needs some 'help'.
I have a tendency to shoot off level. I have an in view level. Neat toy but useless, I usually don't have enough time to process that information. At the very least, 99% of my shots need to be leveled.
Cropping: Every shot is cropped. My cameras are set up to shoot DX and FX. Any other format will leave something behind. My finished product usually comes out in 16:9 format, with 1920 x 1080 for current display monitors. I don't do a lot of printing any more. If I need an odd size, usually I can get it from the DX or FX original format.
Even if I wanted to shoot JPG, I still have to make these changes. Multiple changes on a JPG file isn't a good practice.
So RAW it is and I'm committed to the process. Even if there are a few hundred shots to process.
This is the process I use most of the time.
First, my software center is Photoshop. Most of the work is done in Adobe Camera Raw. I grew up on Elements and I suspect most of the terms and processes will translate to Elements easily. I use other software where necessary. Photoshop is all around good, but other niche software can be easier to use.
When opening a RAW file in PS, ACR (Adobe Camera RAW) opens automatically. I like to make the ACR edits within PS as a filter. This will be explained later. However, there are two edits I like to make that are not available with ACR as a filter. These edits have to be made at the Open. One of the issues with PS is that the interfaces will change frequently. The process names are generally consistent, but will sometimes be 'moved'. Off the soapbox. The two edits I like to make at the file open are found in the Optics tab. Remove chromatic aberrations and Use profile corrections. Chromatic Aberrations are inherent in a zoom lens, so if using a prime lens this edit is not necessary. After selecting these two edits, open the image into PS.
After the photo is opened, the first thing I do is create a new layer to work with. The easiest way is to use the short cut keys clt+j. I will right click on this layer and select Convert to Smart Object. Creating to a smart object is a very powerful tool. This works for global changes and can limit some other edits. But overall I use this. What this allows is after edits are completed and saved, the layer can be edited again. If this is not a smart object, once the edits are completed and saved, the layer is fixed. So, I'll go through a number of edits on this layer. If I forget one or need to remove some blue, on a regular layer I'd have to do everything all over again. With a smart object, I can reopen the layer and make the changes to the edits. This is such a time and process saver.
Working on my smart object, I select Filter on the top menu and select Camera Raw Filter (Shift + Ctl+ A). This opens up the ACR module again this time as a filter. Because I'm working on this as a smart object, all changes can be re-edited if necessary. Had I made the changes on the file open, those changes are locked in.
Now the flow begins:
White Balance: There are many ways to balance colors. The easiest way I found is to use the white balance dropper to find a neutral spot in the photo. Hover the dropper over a neutral area, read the RGB values on the histogram. When the values are as close to even as can be, click the spot. You will see the temperature and tint values change. With some practice, neutral spots can be found relatively easily.
Color: In the Edit area, find the Auto button. This will set the Exposure, Contrast, Highlights, ect. For my tastes, this works well. On occasion, I will need to edit exposure or contrast. Then I set Texture, Clarity and Dehaze. Usually with a D500 photo I will set these to 20, 20 and 10. With the D780, I set to 10, 10 and 5. Vibrance and Saturation I set to 15 and 5. Yes, these can be set as a profile that doesn't need to be entered all the time. For color, this is where I start.
Curve: Curve can be used for a lot of edits, but I use it mostly to 'deaden' shadows. If I need to, I will move the Shadow slider to the right. Once that is set, I use the rest to recover as necessary. Yes, there is a shadow recovery penalty, but with the rest of the sliders the penalty can be quickly neutralized.
Detail: This is where sharpening and noise reduction can be done. ACR does a great job, but. I use other applications for these jobs. Absent of other applications, use these edits.
Color Mixer: If I have a targeted color in an image, I'll select it here. Usually I like a yellow or green pop in an image. Sometimes a really deep blue sky will cast an overall blue haze that can be corrected here. I won't correct a blue tint of the sky here, that will be done with a gradient later.
Geometry: This is a biggie for me. As I mentioned before, I am level challenged. Usually this is a one button edit, both horizontal and vertical. On occasion, this won't do the trick, not even close. When it doesn't work, I just use the horizontal button. And there are a few times, I have to do this on my own. There is a grid feature to help out. But 90% of the time, it is a one button click and move on.
Heal: This is an underrated powerful tool. On a day out at the airfield, eventually there will be some form of blemish on the shots from either dust, water or a small sunspot. The blemish is easily seen in nice blue skies. These are easily remedied here, using the Visualize Spots option. One click, blemish gone. Serious image saver.
At this point, the basic global edits are done. Sometimes I use a more targeted edit methodology such as if an Eagle's white hood isn't exactly right, I spot edit the hood and add a small amount of exposure. Or if a sky isn't the right shade of blue, I'll use the gradient tool to either lessen the exposure or add some blue.
At this point the ACR filter can be closed.
To finish, I'll create another layer. I don't have to. Because this layer is a smart object, I could just move on to the next filter. One of the down falls of using a smart object is if I add another filter to this layer and then go back to the ACR to make a change, it will take FOREVER to finish the layer. So I just create a new layer.
Depending on the image I'll use the following Topaz products.
If the image needs a lot of help, and it happens more than you'd think, I'll use Topaz AI Sharpen. This usually happens when I'm shooting prop driven aircraft. I have to use a slow shutter speed on a fast moving aircraft. Sometimes I pan just right, sometimes I miss it entirely (delete) and sometimes I get it close. I usually get it close. AI Sharpen has three different algorithms to solve an image. Usually the defaults on one of the three will do the job. If the image is not salvageable, I will know at this time. (Yes, I will often use this product first to see if i can work with the image before I sink any time into it.)
If the image needs noise reduction, I will use AI Denoise. Easy, intuitive product to remove noise. And with the latest version, you can target noise reduction. For example, you can clean up the sky without touching below the horizon. Very powerful.
And, if the image is close I'll use AI Denoise Clear option. Usually the the process will add just enough sharpening to really clean up the image. Best finishing product I've ever used.
At this point, the image is done.
I'll crop the finished product as necessary.
Move on to the next.
Yes, most of this can be used in a batch process.
It sounds like a lot, takes less than two minutes per shot. Yes, practice helps.
