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There is often much debate in the landscape photography world centralized around Lightroom vs. Photoshop: which processing program is better? Am I making the right choice for me? Benefits and downfalls are weighed, and a careful decision has to be made about which program is the best fit for you.
Lightroom was specifically designed for photographers, so the interface is incredibly user-friendly for processing photos quickly and efficiently. It allows you to perform the most popular raw edits to one (or many) photos in a completely non-destructive environment (meaning that anything you do to your photo is not permanent and 100% reversible), making it the perfect program for those who are new to the digital darkroom.
And the end result will probably leave something to be desired. Jumping into Photoshop without any prior experience can be just as intimidating to a photographer, even if you have a high level of computer literacy.
On the other hand: we have Lightroom! A simple, straightforward program that clearly lays out the most popular tools so you can recover, enhance, and tweak your landscape photos with much success.
Processing an image in Photoshop grants you an incredible amount of power to strip your image down to its bare bones and rebuild the foundation. Depending on the intensity of your processing, this requires a lot of patience and foresight. It can take a while for your intended result to present itself, and your path may not always be direct.
If you want to sharpen 20 photos quickly for web display, Lightroom is your program. However, if you want to sharpen one photo for large-scale printing, the specialized tools in Photoshop is better suited for highly-controlled and precise adjustments.
However, you have many more creative possibilities when working in Photoshop. Not only can you do more creatively, but you have the professional tools to process images of a higher quality.
In short, luminosity masks allow you to automatically create custom selections based on the unique tonal ranges of your image. You can isolate your brightest highlights all the way down to your darkest shadows, with varying groups of tones in between.
Also note that luminosity mask selections are feathered (tapered), which means the effect you choose to apply to these selections will not have a hard transition line and will look very natural. This gives you much more leeway in how far you can push those pixels for passionate (extreme) processing.
In the image above, I was able to redistribute my foreground focal point (the red rock) without any ugly distortion or pixel softening. I was following the rule of thirds and my foreground focal point was annoyingly off-balance. I could have cropped the bottom of my frame, but then I would lose some of that great foreground texture in the sand.
For those who like to photograph with wide angle lenses and use a deep depth of field (very popular technique with landscape photographers), focus stacking is a fantastic workflow for creating total front-to-back sharp focus.
Here I was in a situation that often produces a soft focus despite a small aperture: using a wide angle lens and being extremely close to my foreground focal point. By focus blending, I was able to overcome the limitations of my camera and retain stellar front-to-back sharpness.
Lightroom now has a fantastic HDR merge feature which allows you to exposure blend with ease, and without the need for clunky third-party programs or plugins. For basic blending, the result is usually good at expanding the dynamic range and pulling in more raw detail.
However, complicated scenes with lots of intricate detail to match up (tree branches and other foliage with very thin profiles are notoriously difficult to line up) or subjects which move slightly from frame-to frame tend to produce subpar results in Lightroom.
In the screenshot above, you can see that this HDR blend in Lightroom produced some bad side effects. There are blotchy areas of high noise which would be impossible to remove fully, and some of the blades of grass are partially transparent.
This image was carefully blended in Photoshop with luminosity masks, and you can see the great results. Seemingly difficult areas (such as between the driftwood and foreground rock, and the intricate tree line) were blended perfectly, and with great ease!
Exposure blending is not just for sky/ground merges like in the above image; any situation where blown highlights/ crushed shadows need to be recovered can be easily fixed in Photoshop with this workflow.
You COULD use the adjustment brush in Lightroom to paint over the areas you want to sharpen further, but your options to tailor the sharpening to your photo are extremely limited and will rarely produce a decent result.
Photoshop has a substantial lead over Lightroom when it comes to retouching the impurities of your photo, and that is because Photoshop has content-aware fill. Photoshop will automatically analyze the surrounding area of an object you want to remove, and replace it with similar information for a seamless blend without much effort.
When working with larger areas that you want to remove beyond simple dust spot removal (think of telephone poles, people, buildings, etc.), then content-aware fill in Photoshop will give you much better results than Lightroom.
Photo compositing (transferring elements from one photo into another) is only possible in Photoshop, and grants you unlimited creative freedom. While there are varying degrees of compositing complexity ranging from simple corrections to intense manipulation, Photoshop makes it incredibly easy to isolate your subjects and blend them together in a natural, authentic-looking way.
In the example above, I had to use Photoshop to composite the two deer closer together. Both deer were together at that location, however they came out of the woods one-by-one and I was not able to capture both in the same frame. By compositing two different exposures here, I was able to put both deer into the same frame and create the image I wanted to.
This common thought is simply NOT true. While natively, Photoshop is a pixel-based editor and your images CAN be edited in a destructive way (unlike Lightroom which is a virtual editor), there are certain precautions you can take to make sure your workflow is entirely non-destructive and 100% reversible.
In order to do any kind of editing in Photoshop and retain a completely nondestructive workflow, you need to learn how to use layers the right way (because there are PLENTY of wrong ways to use them).
The day I signed up to CreativeRAW was the start of an incredible journey that has brought me much further than I could have ever imagined. If I had a teacher like you as a child, there would be nothing I couldn't achieve. Thank you Chris, you will never know how much I appreciate the incredible tutorials that you produce.
I was blown away by the course which was far superior to any others I had seen both in terms of organization and content. It is evident that Chris cares deeply about his craft and unselfishly shares his knowledge with others.
Happy New Year to everyone. After a long debate about storage options, I decided to start using Dropbox as the online option where I can access photos anywhere in the world. However, I am not sure what is the best workflow, opportunities and limitations if editing is done in Lightroom? I am travelling most of the year and it is impossible to carry discs, the NAS server at home is too slow to work with from abroad. Can I use Dropbox as the main storage for RAW and edited files? If yes, what have you found to be the best workflow and process overall for it? Thank you.
Thinking now the best and easiest way to move the folders and edits I have in various external drives to Dropbox. I guess copying the folders to Dropbox and making the Lightroom start reading them from there is the only option. Or would you see another way?
I don't use Smart Previews I'm afraid. I'm just an amateur photographer so don't have a team that I need to include in my workflow or anything.
Yeah storing the files in Dropbox and pointing Lightroom at that folder seems to me to be the best way to do it, though that's just my experience.
It seems like you are interested in using Dropbox for your photo storage and editing needs. According to one of the web search results, Dropbox allows you to preview over 30 different image file types, including most RAW files. You can also preview Adobe files right in the browser without exporting or any special software. You can even have Lightroom and Photoshop automatically sync all of your photos to the cloud.
If you want to learn more about how to upload and organize photos to the cloud like a pro, you can c... from Dropbox. It has some useful tips and tricks on how to optimize your workflow and manage your files efficiently.
Do different raw programs develop your camera's raw files the same? Do those programs treat various camera brands equally? Testing them side by side, the answer to both those questions is a definite no. Here's how Lightroom Classic stands up.
Sometimes, I start an article thinking this will be easy to write about, but then it grows, and I find too much information to include in one piece. That was the case for this article, which has grown into a series comparing Lightroom Classic with other raw development programs.
For a previous article, I downloaded several of those different programs, and some I already used. I decided to use this opportunity to put them through their paces and see what gave the best results. Moreover, would loading different cameras' raw files through these programs, without making adjustments, deliver different outcomes depending on the camera brand?
In this series of articles, I'll use the same images from different brands of cameras: Nikon, Canon, Sony, Fujifilm, and my OM System camera and how they look when opened under various raw development programs. The anecdotal evidence suggested that some programs performed better with some brands than others, and I wanted to see if this were true.
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