#photoshop workflow

[feedbackbogen]

Photoshop Actions: Wenn ein Klick zur Zeitmaschine wird

Warum kostenlose Photoshop-Aktionen 2026 immer noch verdammt nützlich sind Es gibt Seiten, die sehen auf den ersten Blick aus wie ein Werkzeugkasten aus einer anderen Zeit. Nicht falsch. Eher: wohltuend unaufgeregt. Kein KI-Geballer. Kein „Revolutioniere deinen Workflow in 3 Sekunden“. Kein grell blinkendes Kreativ-Karussell mit zehn Versprechen und null Substanz. Sondern schlicht: Photoshop…

Photoshop Actions: Wenn ein Klick zur Zeitmaschine wird

[visual-sculptors]

Optimized Photoshop Workflows Enable Faster Decisions, Stronger Alignment, and Higher Business Impact

Question: What are the essential steps to create an effective mock-up in Adobe Photoshop, and what prerequisites should I have?

Answer: To create a successful mock-up in Adobe Photoshop, you must first ensure you have the following prerequisites:

Roles Required: A Graphic Designer, Marketing Executive, and Project Manager to collaborate effectively.

Access: Ensure Adobe Photoshop is installed and activated on your computer.

Data: Gather brand guidelines, images for mock-ups, and other design assets.

Follow these structured steps:

Create a New Document: Open Photoshop, navigate to 'File' > 'New', and set your canvas size based on its intended use (e.g., A4 for print, or 1920x1080 for digital formats).

Import Design Assets: Drag and drop images or use 'File' > 'Place Embedded' to maintain high quality.

Organize Layers: Name each layer descriptively (e.g., "Background", "Product Image") and group related layers to maintain organization.

Create and Use Mock-Ups: Select a relevant template and position your design elements within the mock-up.

Optimize Images: Use 'File' > 'Export' to save your work in the appropriate format (JPEG or PNG), adjusting settings for optimal quality.

Review and Adjust: Zoom in to ensure alignment and adherence to brand standards, making necessary adjustments.

Save and Present: Save your work in .PSD format for future edits and export a high-resolution image for stakeholder presentations.

Validation Checklist: Ensure you can create and save a mock-up with at least three layers. If you encounter issues, review layer management steps. Following these instructions will streamline your Photoshop workflow, enhance your design process and support effective decision-making.

Explore our Brand Identity services, where templates and visuals align seamlessly with your corporate style and executive brand presence.

Preparing for your next high-stakes presentation? Contact Visual Sculptors to collaborate with a seasoned team of presentation specialists trusted by global leaders.

[flickergraphic]

Photoshop Portfolio | Flicker graphic photoshop workflow | Photoshop tut...

[cgfrogindia]

20+ Best Before and After Photoshop Workflow

More » https://cgfrog.com/before-and-after-photoshop-workflow/

[webdesignfreelance]

Power your webdesign workflow with Photoshop actions

A lot of designs aren't aware of the time saving power that the Photoshop actions have. As most of us don't spend the time to learn how to use them, but i can say have at least 10 minutes to view the next tutorial and get inspired to have a closer look at those nice Photoshop actions. I didn't regret.

http://webdesign.tutsplus.com/tutorials/workflow-tutorials/quick-tip-speed-up-your-workflow-with-photoshop-actions/

[leannechurchillphotography-blog]

My Processing Workflow

Lately I've had a flurry of snappers asking me how I process my photos. Every photographer has their way of doing things, and there are countless books and web sites dedicated to this topic. But after tedious hours fine tuning my process, this is generally how I go about taking my images from SOOC (Straight out of Camera) to masterpiece!

I should mention that I prefer to shoot in RAW. There are three reasons for this:

RAW gives me a little more latitude with my highlights and shadows. I'm not talking Lord of the Rings style HDR craziness, but detail that is a bit closer to what the eyes see.

The other is control. Should my exposure be off (never the case of course!!), it allows me to pull in the missing detail, be it the highlights or shadows.

This is the lesser known element of RAW - noise. I find RAW controls are far better for controlling colour and luminance noise in low light or underexposed images when compared to noise controls in Photoshop and Lightroom.

In my business, the biggest drawback of RAW is writing speed. Because the file is enormous compared to a high res JPEG image, the card takes a lot longer to write the image. If you're shooting sport, action or rolling off a bunch of frames a second to get the shot, you might be better off switching to JPEG. Don't worry though, you can still process your JPEGs as sort-of RAW images. Simply open your image as RAW via Adobe Bridge and away you go. You won't grab as much detail from either end of the exposure, but you will still get a lot more one-stop control than you will in Photoshop adjustments, actions and presets. Lightroom is also awesome for this, but I have a personal preference for Photoshop.

So, what do I do once I've got the card in the reader? Here's my step-by-step processing routine...

I copy everything from the card across to a folder on my server, which I generally call RAW photos. I keep this folder archived, just in case I ever need to get back to my original images.

From here I create a folder called Processed Images. If the photos are going to the web I'll also create a Web folder for the downsized images.

I go into Bridge and start sifting through my photos. You can rate them or label them acording to your system. I personally process them or toss (ignore) them, so the ones I want to process will be labelled - I like To Do. That highlights them and makes it easy to come back to them. Once I've processed them I'll re-label them as Approved so I always know where I'm up to.

I generally work in groups of 10 meaning I'll open 10 To Do images at a time in RAW and then Photoshop. Then I go through the RAW controls one by one.

Once in what I like to call the RAW Control Room (yes, I'm a bit of a dork) I work through my photos as follows*:

Based on the histogram, I'll slide the exposure to the right to restore highlights in the image.

I'll shift the brightness slider to tweak the midtones. This is actually something I rarely do, but if I were to do it, this is when it happens!

I'll shift the fill light to lighten the shadows. It's easy to get carried away here, so unless you're aiming for a faux HDR image, show some restraint!

Back to the histogram and I'll slide the blacks slider to bring the histogram back to the left edge. On saying that, this is one of the steps where I'll keep an eye on the image and play around with the blacks a bit to get the desired result.

I've often already played around with the recovery slider by now, but here's when I really pay attention to detail in my highlights. Again, show a bit of restraint or you might have some pretty whacky or even non-existent highlights.

Fine tune via contrast. Depending on what I'm processing, I may not touch this at all, and/or wait until I'm in Photoshop, using curves instead to get the desired effect.

Here's where I might tap the clarity slider to remove haze and bring some detail back into the image. I'm not a huge fan of clarity and find it easy to go overboard with it. The big word of warning is that lovely, natural skin tones hate clarity, so if you're working on portraits, tread lightly or skip it altogether!

But what about the white balance you ask! Well, here's where I adjust, warming or cooling the image depending on what I'm trying to achieve. I don't like to put too much warmth into my images, so this is often used to warm up the shadows and not much more. I never bother with auto adjust. After all, I've gone to this much trouble to tweak my image, what's one more step?

Finally I go into the vibrance and generally ramp it up at least +25. It doesn't affect skin tones and I like nice, punchy colours. You can also go the other way if you're dialing the colour down for a vintage look etc. I seldom touch saturation at this point, and if I do, it's generally not more than +/- 4/5 in either direction.

Now is when I treat the noise. If you've boosted the fill light or exposure (or generally brightened the image) chances are you'll find yourself faced with some colour and luminance noise. No worries! First I enlarge the image to 100% and move to a section of skin tone and if possible include some shadow (colour noise especially loves shadow). Then I jump over to the noise controls, and as a base I boost the sharpening amount to +25, radius to 1.0, detail to 25. From here I jump down to colour noise. As a basis I work from colour 35 and colour detail 50. Obviously this will need to be tweaked, but I find it easier to move from this point. Once I'm happy with the amount of colour noise, I move in for the kill on luminance noise. My base point is both luminance and luminance detail at 50. I like to leave a bit of noise in my images so they don't go all soft and gooey, but it's up to you. Rather than ramping up the luminance detail, I generally go back to my sharpening controls and tweak from there. The more you sharpen, the more noise you'll bring back, so it's a fine line!

* Oh, I nearly forgot the asterix! Not everyone is trying to achieve the same outcome as me. I like to use the histogram and aim for a fairly natural, bright and punchy coloured image and these steps work just fine for that result. But if you're after a different result, you may want to pay more attention to your image and ignore the histogram altogether! The key is to know what you want to do before you start sliding around in the Control Room!

Then I open the image! Once in Photoshop I may do a number of things from running some of my actions, tweaking curves, adjusting saturation, colour and vibrance, convert to black and white, sharpen, add a vignette, and the list goes on!

Once I'm happy with everything I'll save the file. If I'm using the image on the web I'll also resize to 72dpi and either 760px wide for a portrait image or 960px wide for a landscape (I may also just go with 800px on the longest edge, depending on the destination). The web resized image will then be saved in the web folder.

And there you have it! My workflow. As I said earlier, everyone has their own way of doing things and this is my personal preference. You may find it long and tedious or not detailed enough - it's up to you to find a workflow that works for you!

Happy shooting!