How to Get Great Color, Save Your Profits, and Never Have to Work Color or Density in Photoshop. Part 4
In the previous post in this series, I wrote about using sRGB for printing your studio work.
This post we talk about how JPEG can be your workflow friend.
Rule #4 – JPEG has benefits.
Shooting raw has its place. Like when the dynamic range of the scene far exceeds that of your camera. Or when you need to really fine-tune an image. But-if you are shooting raw because you aren’t getting good results in-camera with jpeg, please re-visit rules 1, 2, and 3. If you get the first three crucial elements in place, you won’t need raw for your portrait and senior work. Shooting in JPEG eliminates the steps required to convert from camera raw. If your image sensors are clean, and you have all the other elements in place you can send your files direct for printing/proofing without any further work, barring retouch or enhancements of course. This process may not be ideal for fine-art or landscape shooters, but it can be ideal for portrait and wedding shooters.
If you choose to shoot JPEG files, set your camera for maximum size files and the largest pixel dimensions. And be careful with just how much sharpening you allow the camera to apply. Too much sharpening and you might get too much pore detail on the closeups. Too little and the image will of course look soft. Excessive sharpening also limits just how large you can print the file before the sharpening artifacts become painfully obvious. Spend a little time testing now, and you’ll have the confidence to know later that your files will look great right out of the camera.
Rule #5 – Print on quality photographic paper.
This means professional paper. Not the over contrasty, over saturated non-neutral stuff you get from drug stores, discount marts, warehouse/membership stores. This means use a good pro lab. Not Costco, not Wal Mart, not Walgreens, not Drug Emporium, etc etc etc.
The papers you get from consumer mini-labs are purposely manufactured to NOT have accurate color. Yep, they make it screwy on purpose. You see, Joe Consumer likes prints with colors that aren’t real. They want false saturation and contrast for that extra snap. In most cases, their photos benefit from that assistance to help the snap-shot look a bit more appealing to the eye.
Professional paper is manufactured to very exacting standards to achieve neutral balance, correct saturation and excellent skin tones. Pro papers will handle extra saturation if you really need it for your “look”, so add it if you wish, but at least you have the option. And get this, just by using pro papers, you get an additional stop of shadow detail! That’s right, you get deeper blacks with pro papers. This means you can actually get a snappier looking print and hold shadow detail when your files are setup correctly. A properly exposed, correctly white balanced image with great composition that is printed on professional photographic paper won’t need the artificial extra punch to compensate.
So there you have it, the keys to establishing a profitable and expedient workflow.
- For spot-on exposure and excellent detail use a professional incident meter, not TTL
- Perfect color comes from accurate white balance using a high-end accurate digital-ready target
- Using a colorspace that most closely matches your output device will speed up workflow and minimize color shifts
- For the studio, JPEG files will expedite your production and get you to print faster
- The most accurate color and deepest tonal ranges come from printing on professional papers.
We would love to hear how this all works out for you. Do you have other workflow tips you would like to share? Post them in the comments section.