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Tag : RAW

Foto von Luis Quintero von Pexels

How to reduce file sizes – from RAW to PSD to JPEG

Large amounts of data are generated during post-production – previews, composites, layered and non-layered versions, revisions, etc. – also for the client. These files consume storage space and must be backed up. Ultimately, we have to keep an eye on our files and reduce the file size to a minimum – of course, without loss of quality.

Minimize RAW files

Dotphoton Raw (now Rawsie) offers lossless compression of RAW files with up to 80% file size reduction.
Check out their website to get an insight into the list with supported camera manufacturers. There is also the offer of 30 images a day for free, which is fantastic!
If you are a full member of Cherrydeck, you can also get an excellent deal with Dotphoton Raw from them: With the Full Membership, you get 50% off of their subscription.

One important thing to know: the files are converted to DNGs (= Digital Negative Image File; remain readable in Capture One). The DNG format was invented by Adobe to have a pseudo-RAW format. Some people argue that the DNG format is better because it allows for any future software to read it since it is an open standard.
If you carry out this step of conversion retrospectively, changes made in Capture One no longer fit 100%. It is therefore advisable to carry out this step immediately after importing the files – consequently, the first step. The files do not replace the RAW data. You can therefore compare directly where the differences are. Possible changes include lens distortion, image vignettes, skin tone changes, or the absence of .xmp changes.
After performing some tests, however, I conclude that the changes are positive – also apart from the significantly smaller file size.

There is also an option to optimize Lightroom catalog folders from Dotphoton Raw (also included in the free version), which we didn’t test because we use Capture One instead of Lightroom. If you made any experiences here – please feel free to comment in the comment section below.

Minimize PSD/PSB/TIFF files

Sometimes you wonder about the file sizes. Despite minimal, quick processing, the files can reach 20 to 50 times the size. So here are quick tips of our experience to help you out.

In general:

    • Try to work with setting levels and masks. If you create a mask and do little editing there, it will only take up a small space. Complex masks require complex space.
    • Avoids all techniques that make copies of the image (which you should always do for the non-destructive workflow). The same effect occurs when sharpening using a high-pass filter: a complete doubling of the memory requirement. If you use copies of layers, unused areas should be deleted.

Here are several options to minimize your PSD/PSB/TIFF:

    • Try to work with 8-bit if the file does not include many or large gradients (then, of course, use 16bit)
    • Use the Retouching Toolkit‘s actions “Delete identical pixels” and. “Remove help layers” regularly.
    • Try to do local and global Dodge together & local and global Burn together (advanced level)
    • Don’t use frequency separation on skin. And try to use it as less as possible on other surfaces in your file. It will enlarge your file very quickly and heavily.
    • Try to do as many corrections as possible in one adjustment layer instead of several ones (if you don’t need masking and it fits the image). E.g., in selective color,  adjust reds, greens, and yellow tones in one instead of 3 different adjustment layers.
    • Use as few smart-objects as possible: only where they make sense, i.e., if you have to make subsequent corrections or adaptations have to be taken back. Examples are Liquify or the Camera RAW Filter. In case of sharpening or noise, it makes sense to do it without a smart-object on a separate layer/layer duplicate and store the settings in the layer name as a reminder.
    • Use the integrated filter options of Photoshop to find and delete empty layers.
    • Apply masks when the job is approved.
    • Corrections in Capture One need less storage. If the workflow allows it and some corrections can even be better carried out in Capture One, you should choose this way.
    • Export TIFFs via Capture One will delete paths and channels, which reduces your file size. This is useful if your client doesn’t need them anymore.
    • In the beginning, work with PSDs instead of TIFFs for automatic recovery from Adobe in case your Photoshop has a crash. Then, compare how much the same image with layers as TIFF or PSD needs. Depending on the picture, very different results can be achieved here.

Composites – Working with linked Smart-objects:

    • If the same external file is required several times in the document,
    • It often makes sense to edit the elements in the image individually in different documents and to link them together in one document (e.g., compositings – this also makes working in a PSD significantly faster). Here you should make sure that the color profiles are identical.

Minimize JPEG files

We highly recommend buying JPEGmini at a one-time price (no subscription model). We have been using JPEGmini for a long time now and believe that their motto “Reduce file size, not quality” is 100% correct. At the moment, we don’t want to miss their service.
This is a handy tool, especially for discussing revisions with clients – fast upload times & fast download times – or for reducing file sizes to a minimum for Social Media and website exports.

They also have the option of Lightroom, Photoshop, and Capture One Plug-ins.

File structure

Overall, it is recommended to keep the following files at the end of a job:

    • The RAW files used (delete additional ones!)
    • An open file with non-destructive layers (working file): PSD / PSB
    • A final file without or merged layers: TIFF (lossless compression: 16-bit files -> ZIP compression; 8-bit -> ZIP / LZW)
    • JPEG exports of the final result (website, social media, specific customer exports as reference for future jobs)

All files should contain the version number.

 

Do you have any suggestions, additions, is this post out of date, or have you found any mistakes? Then we look forward to your comment.
You are welcome to share this post. We are very grateful for every recommendation.

2-Point Curve as best option to do Dodge&Burn

Discover the Best Dodge and Burn Techniques

 

The Dodge & Burn technique can be approached in different ways and there are many opinions on how to make certain parts of an image lighter or darker. In this article, we will discuss various methods and test them for effectiveness.

Dodge & Burn Tools (DE: Abwedler & Nachbelichter)

The Dodge & Burn tools in Photoshop have been available for a long time. Many users have experienced using the Dodge tool to brighten an area of the image, only to realize they’ve gone too far. They then use the Burn tool to compensate and end up with light and dark patches that don’t fit well together. As a result, many people avoid using these tools altogether.

So here we have listed a number of alternatives for you to choose from:

50% gray layer

However, a better approach is to create an additional layer filled with neutral gray (50% gray) and switch it to the “Linear Light” blending mode. This layer doesn’t change the image at first, but when made lighter or darker, it affects the image’s overall brightness. To fix a mistake, you can paint 50% gray to restore the image to its original state. Some users prefer using the “Soft Light” blending mode as it has a subtler effect, but it affects the saturation of the image, which should be taken into account.

Pro Tip: You can also leave the layer empty and paint with black or white – the effect is 100% the same and saves storage space.

Multiple RAW conversions

Another technique that can be helpful is using multiple RAW conversions that differ in exposure. You can use one conversion for skin tones, another for the background, and another for the hair, depending on what the image requires. Then, you can load these individual RAW conversions as layers in Photoshop and mask them accordingly. However, you should only use this technique at the very beginning and it can inflate the file size. So you have to be sure of your decisions here.

Dodge & Burn Curves

Two curves, one for Dodge and one for Burn, are the optimal solution for using Dodge & Burn. Masking the effect in and out with white and black is straightforward. Switching between layers is easy with the following shortcut:

Windows: Alt +, (down), or Alt +. (up)
Mac: Option +, (down), or Option +. (up)

However, learning how to use curves for Dodge & Burn properly is necessary, as curves can influence not only luminance but also saturation and contrast, and small differences can result in significant changes.

Conny Wallström, a photographer, retouching teacher, and software developer based in Sweden, tested various curves and developed a 2-point gradation curve that reproduces the most natural and realistic way of dealing with color. This curve is integrated into a retouching toolkit, which creates two folders and includes hue/saturation corrections. These hue/saturation corrections are a measure against saturation problems caused by Dodge & Burn and make the most sense when processing skin.

More technical insights into the development of this method:

These curves were created by comparing them with the results of exposure levels from the raw converter in Capture One. The idea was that a raw converter like Capture One reproduces the most natural and realistic way of dealing with color with different exposures without causing color problems or shifts. Therefore, if we use these Dodge & Burn curves, we can expect a natural, realistic result. At the same time, we can work consistently and efficiently, since it is a Photoshop action that always works the same way.

But that’s not all. Many who already use this retouching toolkit know that this action creates two folders, and in addition to the special curves for Dodge and Burn, hue/saturation corrections are included. Here’s why the hue/saturation corrections are necessary:

When we analyze a portrait image , we find that increasing luminance tends to decrease saturation, while decreasing luminance tends to increase saturation. If we only lighten an image based on luminance, the proportion of saturation in the now lighter areas becomes too high (and vice versa). Therefore, using hue/saturation corrections is a measure against saturation problems caused by Dodge and Burn, which saves editing time in retouching.

These hue/saturation corrections are particularly useful when processing skin (skin texture, blood flow in the skin). Of course, this cannot be generalized 100%. Every image requires slight adjustments to the hue/saturation correction layers due to other camera manufacturers and raw formats. Therefore, it is recommended to adjust those layers slightly for each image. However, one cannot avoid looking at the saturation in the image afterward, at least briefly.

Hidden Gems / Tips and Tricks

Pro tip 1: Separately adjusted curves are also useful for very granular, high-contrast structures such as makeup (see example below) and are useful to avoid flattening the contrast.

(Photo by 𝐕𝐞𝐧𝐮𝐬 𝐇𝐃 𝐌𝐚𝐤𝐞- 𝐮𝐩 & 𝐏𝐞𝐫𝐟𝐮𝐦𝐞 from Pexels)

Pro tip 2: Additionally, the Dodge & Burn tools work well for eyebrows. If painted on an empty layer, you can achieve a more realistic result by painting individual hairs lighter or darker.

Don’t forget Dodge & Burn is much easier by using Wacom tablets.

 

Looking for more tips and tricks to improve your retouching skills? Check out the other articles in our Retouching Techniques blog section.

Do you have any suggestions, additions, is this post out of date, or have you found any mistakes? Then we look forward to your comment.
You are welcome to share this post. We are very grateful for every recommendation.