How Best To Move Your Images From Lightroom To Photoshop For Editing

In this episode, we’ll be looking at how best to move your images from Adobe Photoshop Lightroom to Adobe Photoshop for editing. This question came up from one of our members on the ForteSpy Online Community for creative professionals so we decided to do a detailed post on it.

 

Image Opened in Lightroom
Image Opened in Adobe Lightroom Classic 2018

 

Setting Up Adobe Photoshop Lightroom

First off, we import our RAW files into our preferred RAW processing software, which in this case is the Adobe Photoshop Lightroom Classic 2018. After performing our preliminary tonal adjustments/edits in Lightroom, we are now set to take the files into Adobe Photoshop for editing. Before we do that, we need to set up/instruct Lightroom to seamlessly communicate with Photoshop. On the PC (Windows) platform, we’ll go to Edit > Preferences; On the Mac, we’ll go to Lightroom > Preferences and click. We’re greeted with a dialog box which pops up showing us various settings. Our concern now should be the External Editing Tab. Select that tab and it shows a list of parameters we need to pre-define. These parameters are then applied to our images as they leave Lightroom to Photoshop or any other external editor of our choice. In this case, Our external editor would be the Adobe Photoshop CC 2018.

External Editor Options

  1. File Format: You have either PSD or TIFF to select from depending on your workflow.
  2. Color Space: You have ProPhotoRGB, AdobeRGB (1998), Display P3 and sRGB.
    • ProPhoto RGB has the largest colour space and would be advisable to use this if your RAW image has this colour space.
    • AdobeRGB (1998) is a commonly used colour space especially for images destined for print.
    • Display P3 is a newly introduced colour space which is very close to the AdobeRGB (1998).
    • sRGB is also a commonly used colour space especially for images destined for screens or web purposes (online usage).
    • N.B Kindly ensure consistency with your chosen in-camera colour space.
  3. Bit Depth: You have either 8 bits/components or 16-bits/components to choose from depending on your workflow. 8bit files are usually smaller and more compatible with various programs and plugins, but will not preserve fine tonal detail and dynamic range as well as the 16bit data.
  4. Resolution: The default value is 240 but I usually keep mine at 300. You can set yours to your preferred value.
  5. Compression: With PSD files, there is no compression option; with TIFF files at 8bit, you have three compression options; None, LZW and ZIP while with TIFF files at 16bit you have two compression options. None and ZIP. If you decide not to choose any compression option, that would be fine but if you decide to choose a compression option, you’re okay with either of the options. They do basically the same thing, which is to reduce the size of the image without removing detail or colour information.
  6. Stack With Original: This option would enable you to stack the edited version from Photoshop next to the Original version when viewed in Lightroom afterwards.
  7. Edit Externally File Naming: In this column, you can specify a preferred naming nomenclature to be applied after an image leaves Lightroom to an external editor of your choice so that when it returns to Lightroom, it can easily be distinguished from the original image.

When you’re done setting up Lightroom, click OK.

Setting Up Adobe Photoshop CC

Launch Adobe Photoshop and go to Edit  > Color Settings on the PC; same on the Mac. Most of the parameters are okay at default settings. Make sure you have the following boxes clicked. Profile Mismatches and Missing profiles (3 boxes). Click Okay

color settings
colour settings

Importing To Photoshop

At this point, we can now go back to our Lightroom application which is already open. Go to the Develop Module and select the image(s) you want to edit in photoshop; Right-click >Edit > Edit in Adobe Photoshop 2018 and the RAW file moves over seamlessly to Photoshop with all the edits applied to it in Lightroom for you to continue editing. After editing in Photoshop, you go to File > Save, and then open Lightroom, You’ll see the edited copy of the image stacked next to the original image with the pre-defined file naming you set up initially. If you want the images to appear individually in Lightroom you can go to the Library Module and select Photo > Stacking > Unstack. This separates them and they are now two individual images.

Tip

  • If there are two or more photos you wish to composite in Photoshop, right-click and select “Edit in” and “Open as Layers in Photoshop.” The images open as one layered file in Photoshop.
  • If you are exporting a TIFF, PSD or JPEG file. Right-Click on the image and a dialog box will pop up with three options as follows; Choose from “Edit a Copy with Lightroom Adjustments,” “Edit a Copy” or “Edit Original” and the image would open in Photoshop.
  • DNG or camera raw files open directly in Photoshop.
  • If you have a conflict of colour spaces between Lightroom and Photoshop you’ll get a notification prompting you to either go ahead with the embedded colour space that is coming from Lightroom, or you change it to the assigned colour space in Photoshop or you ignore colour management entirely.
color profile
colour settings

Conclusion

With these simple steps, it’s that easy to take your images from Lightroom to Photoshop and back to Lightroom. You can go ahead and practice this tip so you get a grip of it. Just in case you have a similar or totally different method of achieving the same results you can do well to share your thoughts in the comments section below.

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SHUTTER SPEED : Understanding Exposure in Digital Photography

The next important factor to be considered while trying to achieve a perfect exposure in digital photography is shutter speed. Like I mentioned earlier, the other two are Aperture and ISO. Firstly, we’ll give a brief introduction to what the shutter is in a DSLR camera, what it comprises of, how it works before we finally go into discussing shutter speed and features associated with it.

What is a shutter in a DSLR camera?

In photography, a shutter is a device that allows light to pass for a pre-determined period, exposing photographic film or a light-sensitive electronic sensor to light in order to capture a permanent image of a scene. The shutter is constructed such that it automatically closes after a certain required time interval. Operation of the shutter is triggered by a button called the shutter button or shutter-release button.

What is a shutter button?

In photography, the shutter button or shutter-release button is a button located mostly on the right-hand side of the DSLR camera body. When the button is pushed, the shutter opens for a pre-defined length of time; allowing light into the image sensor. During this process, an image is captured and the shutter closes afterward.

How does the shutter work in a DSLR camera?

Looking at a typical DSLR camera, the shutter comprises of 3 primary mechanisms; namely the mirror box, the bottom door and the top door. When the shutter button is pressed, the reflex mirror is tilted backward allowing light further into the camera. When the mirror flips upwards/tilts backward, a small door slides open from top to bottom, exposing the image sensor beneath. After that, another door slides down, covering the entire sensor. This process usually varies in time depending on the length of your exposure (shutter speed). After the second door closes, your reflex mirror falls back into place. The doors would then assume their default positions and technically, this process is known as Actuation. A typical DSLR camera can withstand close to 100,000 actuations in its lifetime.

shutter speed-How the shutter operates
How the shutter operates courtesy premiumbeat.com

What is shutter speed?

In Photography, shutter speed or exposure time is defined as the length of time the shutter remains open allowing light to get to the image sensor; also allowing the camera to take a photograph.

Features associated with shutter speed.

  • Shutter speed controls exposure – It is used to control the brightness of an image. The longer the shutter speed, the brighter the image. This is possible because the shutter is open for a considerable length of time to allow the image sensor to gather more light.
  • Shutter speed is measured in seconds – This could be full seconds (i.e 1 second, 5 seconds, 10 seconds etc) or fractions of a second (i.e 1/500, 1/250, 1/125, 1/60, 1/30, 1/15, 1/8 etc). The larger the denominator, the faster the shutter speed; the lower the denominator the slower the shutter speed. for example; 1/500 is faster than 1/30.
  • Shutter speed is used to freeze movement in an image – By using a very fast shutter speed, motion is frozen. For example, using the featured image above, the image taken at 1/1000 sec freezes motion.
  • Shutter speed is used to capture motion in an image – By using a very slow shutter speed, motion is captured. For example, using the featured image above, the image taken at 1/80 sec captures motion.
  • Shutter speed and focal length – As a rule of thumb, always use shutter speeds with a denominator greater than the focal length. This helps to prevent camera shake especially in situations where image stabilization is absent

Conclusion

So while making things as simple as possible, we’ve been able to analyze the shutter speed as regards to digital photography and how it plays a significant role to achieve a perfect exposure while capturing an image. We have looked at Aperture, Shutter speed, next would be ISO.

Kindly share your thoughts in the comment section below.

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APERTURE : Understanding Exposure in Digital Photography

On our series of demystifying photography, we’ll be looking at one of the three cardinal factors that determine exposure in photography; which is Aperture. The other two are ISO and Shutter speed. Before we go ahead, it’s advisable we have a good knowledge of the structure of a DSLR camera

What Is Aperture

Aperture can be defined as an opening in a lens through which information in form of light travels into the camera body/structure. This could vary in size. The larger it is, the more light that gets into the camera.

Aperture Size

The size of the aperture can be controlled by the Iris. In Digital Photography, the aperture is measured in f-numbers (for example f/8). The f-numbers or f-stops can be used to describe how wide or narrow the aperture is. A smaller f-stop means a larger aperture while a larger f-stop translates to a smaller aperture. This is another area photographers find confusing but once you understand the ideology, it sticks.

Below a graphic representation of Aperture.

Aperture Explained
Aperture Explained

Depth Of Field.

We can hardly discuss Aperture without making reference to Depth of Field. Depth of Field can be defined as the amount of your shot that is in focus. A large Depth of Field means that most of your image would be in focus. This can be produced using a small aperture (large f-number/f-stop) such as f/16.

Large Depth of Field
Large Depth of Field (Large F-number/Small Aperture) F-stop f/13 Exposure time 1/160secs ISO 160

A small or shallow Depth of Field can be seen as an image with only a portion of it in focus while the rest of it remains blurry or fuzzy.

Shallow Depth Of Field
Shallow Depth of Field (Small F-number/Large Aperture) The image was taken at the LetstalkphotographyPH meeting f-stop f/1.8 Exposure Time 1/200 secs, ISO 1600 Focal Length 50mm Subject Distance 2.5m Metering Mode Centre Weighted Average No Flash

DSLR Lenses are manufactured to have specific values on how wide or narrow the aperture can get. The lens specifications usually state the largest f-stop and the smallest f-stop. A lens with a maximum f-stop of f/1.2 is considered to be a fast lens because it allows more light to pass through compared to a lens with a maximum aperture of f/4.0

Here's a brief video produced by Olufemii Tutorials that also explains Aperture

We tried to keep things as simple as possible while explaining Aperture as it relates to Exposure in Digital Photography. Feel free to share your thoughts in the comments section below.

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Understanding Exposure in Digital Photography

As simple as the title of this editorial sounds, many “Professional Photographers” are yet to have a grip on what Exposure in Digital Photography really means. Learning is a continuous process and so This is would be the first in a series of editorials where we’ll be taking an in-depth look at Exposure and how it can be demystified. Kindly attempt to read our introductory Editorials to this series which talks about what photography is and a detailed explanation of the DSLR Camera.

Definition of Exposure in Digital Photography

Exposure could be seen as how bright or dark your image would be. It’s imperative that we capture our images with the perfect exposure; meaning it shouldn’t be too dark or too bright.

For us to capture a perfect exposure, we must correctly and creatively combine the three cardinal factors which play a contributing role towards achieving a well-exposed image. They are Aperture, Shutter Speed, and ISO. A simple guide to achieving a perfect exposure is the use of the exposure meter. This could be seen when you look into the viewfinder of your camera.

Light meter scale as seen inside the viewfinder
Light meter scale as seen inside the viewfinder

If it tends towards the right, there’s a tendency for the image to be over-exposed; if it tends towards the left, there’s a tendency for the image to be under-exposed. Having the mark at the at the dead center tends to give a perfectly exposed image. The outcome may vary under certain situations but it’s good we have this as our guiding principle.

We’ll be looking at the three cardinal factors {Aperture, Shutter Speed and ISO} and how they individually and collectively {Exposure Triangle} contribute towards producing a perfectly exposed Image.

Did you find this tutorial helpful, please share your thoughts in the comment section below?

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Ways To Improve Collaborations While Working With A Creative Team

The importance of teamwork cannot be overemphasized when it concerns success on any project.  From the established organizations to that small start-up firm, they all harness the power of team spirit to achieve spectacular results. That being said, we need to also know when to honor requests for collaborations and when not to get involved. Don’t get me wrong; The primary objective for any collaborative session is to create outstanding results that would create or add value to each Creative Professional involved. Results you know you can’t achieve on your own.

How to Improve collaborations while working with a Creative Team.

Have a clear objective.

This is part of the planning stage. Team members should discuss extensively on what they want to achieve, how they intend to achieve it, tasks are delegated and everyone executes theirs professionally.

 

Set Smart Goals.

The objectives must be realistic and time-bound. For further clarity, it’s always good to use a mood board, whiteboard or any form of visual representation of the possible end product to help serve as a reference point.

Establish An Atmosphere of Trust, Mutual Respect, and Safety.

Every member is prolific in his or her own field and so should be respected for that. No one is too small and no one is too big. The atmosphere should encourage diverse points of view, perspectives, and creativity. During my collaborative sessions, I usually generate healthy discussions among my team, we discuss their craft, I give them words of encouragement and make sure they’re relaxed throughout the session.

Provide Necessary Infrastructure.

For example, at ForteSpy Studios, we make sure there’s a conducive environment for every member of the team to work without any disturbance/interference. Every member also has a dedicated workstation. This also contributes to creating amazing results.

Keeping Healthy Relationships.

As Creative Professionals, there’s an associated amount of ego that comes with that status. Appreciating others, engaging in purposeful conversations and the ability to tame that ego is very important. We should find ways to communicate with each other, not just as professionals but as human beings. This would help build trust and the much-needed bonding among team members. This connection between team members is key.

 

Having mentioned these key tips, the question now is, how do you know when to say no to a collaboration. It’s simple.

We mentioned earlier that the primary objective of a collaboration should be to create outstanding results that would go a long way in adding value to your life/business; results you can’t really achieve on your own.

If you’re contacted for a collaborative session or you initiate contact for a collaborative session and you sense any form of distrust, disrespect or any member acting unilaterally or in isolation, kindly flee. Those are clear signs of possible failure. Here’s an example of a collaboration that went bad.

Hope I’ve been able to shed some more light on this topic. If you have more ideas to share kindly share your thoughts in the comments section below, we’ll be glad to hear from you

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ForteSpy Community; Explained

THE FORTESPY COMMUNITY; EXPLAINED

It’s precisely one month since this enviable platform was launched. For those of us on board and for the benefit of those who are yet to be part of this noble course, let’s share a brief insight into what this platform is all about.

CONCEPTION

Earlier this year I thought of a better way to network as Professionals whereby we could meet, share ideas, learn and inspire each other…. An idea came into my head and I decided to bring it to fruition. The idea was to create a global space dedicated to Photography reviews, news, editorials, and an online community for creative Professionals.(Modelling, Videography, Makeup Artists, Motion Graphics and Visual Effects Creation, 3D Animation, etc). After extensive deliberation, I started the design and building of the site in April and concluded on the 30th of April, 2017… It became fully operational for everyone on the 1st of May, 2017. It has a section for news, business tips, ideas, Editorials, product reviews also and then the online community proper.. it houses a very robust forum structure and groups according to your genre of Creativity.

A couple of Editorials have been published and a number of Creative Professionals have joined the community. This publication is designed to enlighten members and intending members on how to use this platform because it’s pretty advanced and future-proof

WHAT'S NEXT

WHAT’S EXPECTED OF MEMBERS

As it is with any community, group, forum or gathering, one thing is to be a member, another thing is to participate and make a valuable input. The good thing about this platform is that whatever goes on here impacts positively on the society at large. As a photographer, videographer or creative professional of any sort, we encounter challenges daily, no one knows it all. So I hereby encourage every member and intending members to incorporate into your workflow active participation in this community; endeavour to share at least one piece of your craft every day, throw up at least a topic of discussion every day. It could either be an image or a video file, visual effects, animation, anything. tell us how you created it, challenges you faced and how you overcame them; from the community responses via comments, we’ll definitely gain a whole lot of knowledge and get better at what we do.

The site is equipped with a featured image/video functionality which automatically populates posts with the highest number of likes, shares and comments. These posts would form a stream/gallery which would appear on pages of this platform or a dedicated page. As it pops up, members can vote, comment, share other members works; at the same time Google is picking keywords and metadata from your image/video files and making it available online. In the end, you get noticed and more businesses start coming your way. All these features have been taken care of at the design stage.

Incorporate this into your daily workflow. No content is bad. As an amateur, don’t be shy about sharing your works or asking questions. Constructive criticisms are welcome. No discrimination of any sort is allowed here. As a professional don’t feel you know it all. There is always something new to learn daily. Your presence here may just be the leap someone needs. Impacting lives is key. Let’s endeavour to keep our communications civil here and have maximum respect for each other.

CONTACT

CONTACT FORTESPY

If for any reason members or intending members would want to contact the team behind this noble platform, you could use any of the available channels on the site. There’s a small envelope symbol on the bottom right, you’ll see it while viewing in desktop or Tablet mode. you can use that to communicate with the site admin. you can also use the contact page which can be accessed through the footer area.

THANK YOU

THANK YOU

Once again We want to say thank you to members of this great community. It’s clear that you believe in the vision and the need for us all to come together, learn, share knowledge and inspire each other. To those who are still undecided, don’t wait any longer, the time to be a part of this is now. This is the place to be.

If you have any observations, suggestions, kindly state them using the comments section below.

Overcoming Creative Blocks

Creative blocks could be described as a situation whereby a photographer, writer, artist or any creative professional is unable to get access to his or her creative bank. This apparent barrier to inspiration prevents one from creating new work. It could last for days, weeks, months and in extreme cases, years.

First of all, we need to acknowledge that this situation does exist and the make a conscious effort to avoid it or overcome it if the situation arises.

CAUSES OF CREATIVE BLOCKS AND THEIR REMEDIES

  • PERSONAL ISSUES

Life isn’t a bed of roses. At certain times we experience certain problems that take the most part of us. For example, grieving a loved one, marital issues, having to deal with children and possibly schooling. The pressure from these issues could hinder our access to inspiration. To deal with this, we’ll have to solve the issues as they come and if they become too difficult for us to handle, it’s advisable we just let it pass. There’s no problem that’s permanent. it’ll surely come to an end some day

  • LACK OF RESOURCES

Some people have this notion that conditions must be perfect before results can be perfect so they inadvertently spend their precious time brooding over their lack of expensive gear, finances, time or knowledge. This then causes a negative effect on their creative pattern. The best way to handle this is to make a conscious effort to exploit the available resources to your benefit. Make the best out of what you have. In the end, you’ll be amazed at what you can do.

  • NEGATIVE CRITICISM

If you work in a team, you can relate to this. You may have your work constantly criticised negatively by team members or rejected by your team leader. This may result in you doubting your talents and creative ability; Anxiety sets in and you find yourself overly conscious about the outcome of a project or task. If not properly checked, this situation can lead to creative blocks. To resolve this, you’ll need to program your mind to go against what scares you the most. The effect of will power can never be over-emphasised. Get back to the drawing board and start again. You’ll gradually find yourself overcoming those barriers of inspiration.

  • SUBSTANCE ABUSE

A lot of Creative Professionals are guilty of this. By substance abuse here, I mean the use of alcohol and/or drugs to help stimulate or keep the creative juices flowing. It gets to a point where the body is either accustomed to it and can’t function without it or requires higher doses of the substances to perform. The absence of these substances or its overdose could lead to depression or in extreme cases; death. The moment depression sets it, it begins to affect one’s creative process. To resolve this, it’s best to avoid using substances but if one is already caught up in this then the services of a therapist need to be consulted.

  • SUDDEN LOSS OF VALUE FOR ONE’s CRAFT

You may wake up one day and just begin to question what you do and why you do it. Something you derive so much joy in doing before suddenly becomes a chore. At that point or period, you’ll experience difficulty doing anything creative.To resolve this, you’ll have to do something out of the ordinary like; taking a walk around your vicinity, going to somewhere new, set out new assignments with timelines and trying to see things from a different perspective. These steps would definitely liberate one from the barriers of inspiration; otherwise known as creative blocks.

In summary. it’s worthy to note that creative blocks do exist. The syndrome is real and to avoid it, we must constantly be at work creating quality content. If there are other causes or remedies, feel free to contribute by using the comments section below.

How To Prepare Your Images For Online Use

WHY DO WE PREPARE IMAGES SPECIFICALLY FOR ONLINE USE?

It’s very important we prepare our images properly before we publish them online. In summary, this has to do with reducing the file size and yet retaining its quality. This deliberate act of ours helps to optimise the loading time of our websites and ensures that whatever file we prepare, the quality is maintained after publishing.

IMAGE FORMATS

The following image formats are considered while preparing files for online use.

  • Mode of Compression

This could either be lossy or lossless. When an image undergoes lossy compression, it means that the resultant image size is reduced and retains the same quality as the original copy and is seen at close range. This makes it ideal for web use.

For lossless compression, the resultant image retains the same quality as the original but with a larger file size which makes it not so suitable for web use.

  • Image File Type

There are three major image file types used for web purposes; they are the JPEG, GIF and PNG. They all have their advantages and disadvantages.

JPEG

This is the most preferred image file type used on the web. It’s perfect for photographs because it provides a huge colour palette to play with. You can use it to store images that contain gradients, millions of colours, HDR, etc. It’s a lossy format and is stored in any quality (low, medium, high) but they don’t have support for transparency.

PNG

This is another popular image file type used on the web. it’s a lossless file format and there are two types namely PNG-8 and PNG-24. PNG-8 can store up to 256 colours while PNG-24 can store millions of colours but with a larger file size. The primary advantage of the PNG file type over the JPEG file type is that it supports transparency.

GIF

This is a lossless file format. It can save up to 256 colours. The format is a bitmap which means it consists of tiny pixel squares. A GIF image may contain more than one frame so it could be animated. This file format was later re-packaged and re-introduced as PNG

  • Image File Size

Images have a file size measured in kilobytes (KB) or megabytes (MB) and a file dimension measured in width and height (in pixels). You can think of them as the weight and size of the image.

SAVING IMAGES FOR THE WEB

There are so many applications that could be used to produce this but we’ll narrow our focus down to just a few important ones that concern us as photographers.

  • Adobe Photoshop Lightroom

This is a popular image editor used by professional photographers and amateurs as well. It has a user-friendly interface and it’s very functional. After launching the software, you go to your top left corner and select File>Export or use the keyboard shortcut Ctrl+Shift+E and the export dialog box pops up which displays two columns. The process begins with the options on the right column.

Export Location

This helps us define the location/file path to which exported images are saved. We could even choose a location anywhere on our internal hard drive or an external path.

File Naming

This row gives us the option of re-naming our files during export. There are a couple of options in the drop-down menu you could as well choose from.

File Settings

This area allows us to specify the file format to be applied, for this purpose, we’ll stick with JPEG. The quality should be between 75% and 100%. The colour space for web is sRGB. We also have an option of setting a definite file size which could always come in handy.

Image Sizing

Majority of the smartphones that are manufactured these days come with a standard screen resolution of 1920 x 1080 pixels so I’ll want to select the Resize to fit option and choose long edge; set the size to 1080 pixels and resolution to 72 pixels per inch (this is what the web sees. Anything greater than this is a waste).

Output Sharpening

In this option, I leave it at sharpen for screen. The Amount is set to standard. In some cases, you may decide not to sharpen depending on your post-production workflow or use a higher amount of sharpening.

Metadata

For Online use, I usually include all metadata. There are other options you could choose from when you click the drop-down menu.

Watermarking

It’s always advisable to use some form of watermarking on your images before sharing them online. This could be in form of a text or a logo. Using watermarks are good and its use is also a matter of personal preference. Some photographers use this while some don’t. We’ll be discussing this in detail in a future editorial.

Post Processing

This row allows us to tell the application what to do after exporting the images. I usually leave it at Show in Explorer. This ensures that the export folder where the images are stored opens up for me to view my job after exporting.

Having gone through the process of exporting images for the web using the Adobe Lightroom desktop application, we can go ahead and save these settings as a preset so we use it subsequently when the need arises. To do that, we’ll go to the left column and click the Add button below. This brings up a dialog box to enable you to save the name of the preset and under your preferred folder. When you’re done with that, you click Create and it’s saved.

The cool thing about this is that you can apply it to a huge number of images at once as it executes this command during export.

  • Adobe Photoshop

This is pretty straight forward also. To prepare our files for web use, we go to the file tab at the top left corner of the application , when we click it, we go to the Export>Save for Web (legacy) option or just use the keyboard shortcut Alt+Shift+Ctrl+S; the export dialog box pops up and here we can control parameters like the Image type, Quality, Color space, Image size and Metadata info to be included. After putting in our desired parameters, we can now save.

In Photoshop this is easily done on a single image. Batch processing files in Photoshop isn’t as straightforward as it is in Lightroom but we’ll be covering that in detail in a future editorial.

That being said, I hope we’ve been able to learn something new from this Editorial. Have you been doing this? what other means have you been using?

Kindly share your thoughts in the comments section below.

Welcome Onboard

Welcome to ForteSpy!

ForteSpy is a global space dedicated to Photographers, Videographers and Creative Professionals as a whole. With an operational base in Port-Harcourt, Rivers State, Nigeria, West Africa, we hope to positively reach out to the world.

ForteSpy offers an online community dedicated to Photographers and Creatives where knowledge can be shared, members can also learn from each other and be inspired. Editorials would also be published routinely which covers photography reviews, news, business tips, industry trends and any other useful information.

You can subscribe to our push notifications system for alerts on new articles and also head over to the community section and be a member let’s all grow together. As time goes on, this community would continue to grow and definitely evolve into something everyone would be proud of.