CANON DPP WORKFLOW PDF

Even though Canon EOS DSLR and mirrorless cameras produce exceptional image quality, most pictures can be improved by varying extents through post-processing. Mundane pictures can be given the extra POP needed to become exceptional. Exceptional pictures can be tweaked to perfection. To take advantage of the benefits of post procesing, you should create your own digital workflow. The insect that chose to fly past your subject as the shutter opened can be removed. The shot you grabbed with time to do nothing but press the shutter release can have its exposure corrected.

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Even though Canon EOS DSLR and mirrorless cameras produce exceptional image quality, most pictures can be improved by varying extents through post-processing. Mundane pictures can be given the extra POP needed to become exceptional.

Exceptional pictures can be tweaked to perfection. To take advantage of the benefits of post procesing, you should create your own digital workflow. The insect that chose to fly past your subject as the shutter opened can be removed. The shot you grabbed with time to do nothing but press the shutter release can have its exposure corrected. Blemishes can be removed from your loved ones or from those paying you. The shot taken with improper white balance can be adjusted to perfection.

OK — close to perfection. Sometimes I'm never satisfied. Following are the typical steps I am using in my digital workflow. Keep in mind that the following list of steps is not conclusive as MANY other steps become involved when necessary, but this digital workflow should get you started. The obvious start to a post-processing workflow is to get the images onto the computer hard drive. DIM automatically copies the. CR2 files or any other files you specify a filename extension for — including.

MOV from any device mounted to the computer as a drive letter. This includes most memory card readers and many cameras can be directly attached to a computer this way as well. Image files are copied to a designated location on the computer's hard drive. Multiple shots taken during one second get an incrementing number appended to their name. CR2 format percent of the time. Once learned, DPP is also relatively fast to use. That DPP is free with the camera is appealing to all. I generally shoot more pictures than I need, so my first DPP task is to selectively delete pictures.

I delete liberally thought others recommend against such. If a picture is blurred or out of focus, it gets deleted. If the exposure of a non-exceptional-otherwise image is off by more than a small amount, good-bye.

You will find that you need to continuously raise the bar on the minimal acceptable image quality as your skills progress - all of your photos may now be better than your best were three years ago. DPP makes use of the Recycle Bin — You get a second chance if you delete something you really wanted.

Cropping and horizon leveling comes next in my digital workflow — if needed. Images taken with a fixed focal length prime lens typically need cropped more frequently than those taken with a zoom lens. It doesn't seem to matter how hard I try, I frequently end up with a horizon that is not level. The angle adjustment within the trimming tool rescues me from this deficiency. Click and drag to select the cropped area. Drag the crop frame around and stretch the corners to fine tune the selection.

Click outside the crop area and drag to rotationally align the image turning on the grid feature helps in this task. If a group of images needs a similar crop, select the Copy button.

You can then selectively Paste the crop into other images within the selected group or — select the Apply All button to paste the crop into all selected images. For example, if you know that all selected images need a crop, simply use the Apply All function and then adjust the position and size of the pasted crop on each image. At this point in my processing, I make sure I am using a calibrated monitor external to my laptop.

Why is a calibrated monitor important? Monitors do not universally display colors correctly or the same. You can go to great lengths to get your colors and exposures exactly right on your monitor, but your picture may look terrible on a different monitor — or when printed. If you are not using a monitor calibrated to a standard for your post processing, you are probably wasting your time.

A calibrated monitor insures that reds will be red, greens will be green I next begin adjusting the individual images. I select all similar images — typically all shot in similar conditions — and not more than a manageable quantity. Of the images selected, I pick one that is most-representative of the group. I am going to adjust this image and copy the adjustment "recipe" to the rest. I'll next give you some general image adjustment steps to try, but keep in mind that these steps vary from picture to picture and that this can be an iterative process to completely fine tune an image.

I usually begin by selecting the "Standard" Picture Style and setting sharpness to what is appropiate for the camera and lens I'm using usually between 1 and 3. These settings can also be made the default in-camera settings. Be careful to not over-sharpen your images I see this frequently. Adjusting brightness is often the next if-needed setting adjustment my digital workflow. This method is often referred to as "exposed to the right" or ETTR. The brightest pixels in the image will show on the very right side of the histogram - but will not be stacked against the right wall indicating blown highlights pure white — no detail.

I vary this practice based a lot on the subject and situation, but often I will have a few pixels blinking overexposed on my camera LCD. This practice often means that my images are somewhat overexposed and need a little -EV correction. Setting proper white balance is usually my next workflow task. Don't rule out using the auto white balance setting, but a custom white balance often works best. Is there something neutral gray or white but not over-exposed in the image or in another image shot in the same light conditions as the primary subject?

If so, select the Eye Dropper tool and then click around on the gray or white object until the preferred white balance is reached and again click on the Eye Dropper tool to de-select it. You might want to get this setting from another image instead — such as a Gray Card shot. Certain subjects lend themselves very well to the white balance task.

For example, soccer balls are often mostly neutral white and since they are round, you can select from the side of the ball that best represents the light your subjects is receiving potentially ranging from warm sun-lit to cool shade. If you find a custom white balance setting that works well, you might want to register it as a preset for the next similar image. If not using auto or custom white balance settings, I most frequently use a Kelvin setting.

Select Color Temperature in the drop-down box, click on the drag bar and roll your mouse scroll wheel up and down until you are happy with the result. A specific color temperature setting is easy to make slight adjustments to later — perhaps when reviewing the image a second time.

Remember or write down the ideal color temperature setting for the various situations you frequently encounter — such as at a church or in your living room at night. I frequently will make a small contrast adjustment to my images. For small adjustments, drag the left bar of the histogram in the RAW tab of the Tools palette from left to right until the desired change is made.

For stronger contrast adjustments, use the Contrast slider — experiment with how this adjustment affects the image. Some images will respond nicely to a boost in saturation — and others may look great with less saturation. I most frequently use the "0" setting especially with people in the picture , but again, experiment with this setting.

For a finer saturation adjustment, use the Saturation setting on the RGB tools tab. I usually use no noise reduction until high ISO settings are reached noise reduction can negatively affect image detail and then I tend to only use a small amount of noise reduction. Of the Tune options, I most frequently use the chromatic aberration correction adjustment. Use this frequently to view your image before and after changes.

You can also right-click on the image and select Copy recipe to clipboard, then press CTRL-Shift-Z to revert to shot settings, then right-click on the image and select paste recipe. Note: keyboard shortcuts, when available, are usually faster than using a mouse — learn to use them to save yourself time. If working with more than one image that needs similar processing done to it, I copy the recipe to the clipboard right-click on the image and select Copy recipe to clipboard and again right click on the image and select the Paste recipe to all images option.

All of your images in the edit window should have the same adjustment settings at this point but they remain unsaved. At this point in my digital workflow, I run the images that need something removed from them through the Stamp tool. This something can be sensor dust, blemishes on someone's face, Select the images and press Alt-S. In the stamp tool, double-click on the area of the image needing stamp adjustment and drag the enlarged image around to make the proper area visible.

Alt-click on the image to select the source for the stamping tool, roll the mouse scroll wheel to size the copied area large sizes have a softer edge with brush selected , and click where the replacement needs to be made.

The tool will remember the offset between the source and the first stamp made, so not all subsequent stampings may need a new source. With the space bar held down, click and drag to pan around the image. At this point in my digital workflow, it is often helpful to stop — and review my work at a later time. Fresh eyes can pick up things I missed the first time.

Select the folder you want the. Higher quality means larger file sizes, but I usually use a setting of depending on the images and their purpose.

Change any other settings you desire. Click Execute when ready. The files will be processed in the background — you are free to continue working on other tasks.

With my high quality JPGs created, I now move them into my permanent storage folder structure. The RAW files that I am keeping I only keep the more important ones are stored in the same folder structure but under a separate main folder.

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Getting to grips with new software is often a steep learning curve however. Written specifically for version 4 of DPP, this eBook is a clear, user-friendly guide to the software, its features and benefits. Yet at the same time all of the in-camera corrections can be changed if you feel that the settings are not right for the image. Version 4 of DPP has been completely rewritten, making the move from version 3 a challenge. Once you're familar with the new version, your EOS workflow will be streamlined and the time needed to process your images will be reduced. This fourth edition of Nina's popular guide has been written to include DPP version 4. A separate title is available for version 3.

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Thomas is a professional fine art photographer and writer specialising in photography related instructional books as well as travel writing and street photography. Another method that is sometimes used is to work with the software supplied with your camera as a starting point, and then finish in Photoshop. For those used to working in Lightroom, this approach may appear clunky, but it does have some advantages. A few people that I follow on twitter had been saying positive things about it, so I thought I might give it a try. It may well just be some kind of incompatibility with my ageing Mac Pro though, so you may have a different experience. They are also not as fully featured as applications like Lightroom, and you are expected to export your photo as a tiff, jpeg or send to Photoshop.

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Beyond putting together your camera, lenses, and other components, a nearly endless number of activities, products, and techniques can help you optimize your photography workflow and results. Here I cover those that I think are important for you to consider as you move ahead and use your equipment to its fullest potential. Some of these accessories are already integrated in your camera, such as one to help you make the most of Picture Styles, while others may require that you add them on or use software. All of them, however, fall under the umbrella of establishing a consistent workflow and system for managing, editing, storing, and accessing images. Continue Reading. The Quick Check mode, accessed from [

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