How to use Live Trace to trace an image and how to recolor it once traced and how to harness the power of Kuler to recolor it with a color scheme.
Check out the rest of or tutorials on our YouTube channel.
I'm Helen Bradley - I'm a photographer and Photoshop professional. In this Photoshop and Lightroom blog you will find powerful Photoshop and Lightroom tips, tricks and techniques that will help you get more out of both programs. You will also find step by step guides for working creatively with your photos in Lightroom and Photoshop and any other cool applications I know you will be interested in knowing more about.
How to use Live Trace to trace an image and how to recolor it once traced and how to harness the power of Kuler to recolor it with a color scheme.
Check out the rest of or tutorials on our YouTube channel.
We hand draw a lot of images that you can buy and use as borders for your photos. These scanned sketches need to be cleaned up before selling them as there is often some residual mess from the scanning process.
Some of this might be dust on the scanner glass and occasionally we get small ink dots on the paper.
To remove these flaws from the scans once the scans have been made, we use Image > Adjustments > Levels and drag inwards at both ends of the slider to make the blacks blacker and the lights lighter. Sometimes a midtones adjustment is made to darken the blacks too. This fix gets rid of any small discolorations on the paper.
Then obvious problems can be fixed by painting over them with a white brush.
One other way to clean up when you got black line art on white paper is to make a selection of the white content. Start by making the background layer a regular layer by double clicking on it in the Layers palette. Set the Tolerance for the Magic Wand to ten or fifteen and click on the white areas to select all the white content. Then delete by pressing Delete.
Now click the Add a Layer Style icon at the foot of the Layer palette. Choose Stroke and create a stroke that is red in color and quite big – just how big depends on the image – here mine is 40 pixels in size.
What this stroke does is to identify where the spots are on your image. Everywhere there’s a red dot on the image there is a stray tiny black or colored dot on the image itself – right in the middle of the red dot. It is this dot that is surrounded by your coloured stroke and the colour just makes it easier to find and fix it.
Grab a small hard edge eraser and start erasing the problem areas. All you need to do is to click in the middle of a dot and the problem will disappear. Make sure not to get too close to the lines if yours are uneven as there will be some natural bumps in hand-drawn images but you don’t want too much.
When you’re done and everything is nice and clean drag and drop the stroke layer into the trashcan.
Then you can put fill the areas you want to fill back with white by setting white as the foreground color and use the paint bucket to fill the empty spaces with white. Alternately add a white filled layer below your image and merge the two layers together.
If you like this frame, it and others are for sale for less than a buck for 10 here.
When you add an object to another scene you will typically want to anchor it using a shadow.
Here I have an image of a zebra that I want to incorporate in a larger image.
I masked out the zebra to add it to the image and included its own shadow with it.
In place, the result is less than satisfactory.
I would prefer to create my own shadow so the first thing to do is to remove the shadow that I brought in with the zebra which can be done by simply masking it out. With a mask you’ll paint on with white to reveal the layer it is attached to and in black to conceal it. In this case I want to paint in black to remove the shadow.
Once this is done I duplicated the zebra layer to create a second version of it and then dragged this layer’s mask into the trashcan. When you do this you’ll be asked if you want to apply the mask before removing it, and I clicked Apply to do this. This puts one version of the zebra by itself on a layer.
Now Ctrl + Click on the layer thumbnail for the zebra layer to select it. Press Delete to delete the zebra but to leave the selection intact. You’ll still see the zebra but you’re seeing the one from the layer below not the one you just isolated. Make sure that black or a dark gray is selected as the foreground color and press Alt + Backspace to fill the shape with the black color.
Target the Move tool and click on the shape. Choose Edit > Transform > Flip Vertical to turn the shadow upside down and then drag it into position. You will need it to line up correctly with the feet of the animal or with the base of the object that you’re trying to put into the image. In this case it didn’t line up exactly and needed to be rotated to the correct angle. Drag it into position and you can then shrink the shadow by dragging on the sizing handle to make it smaller.
You can also hold the Ctrl key as you drag on the corner handles to skew the shadow into shape. When you’re done, click to confirm the transformation. You can still continue to work on the shadow after this if necessary.
For example, you can also use Edit > Transform > Warp if you really need to bend the shadow into position. If the animal’s feet are on the ground the shadow should be attached to the bottom of the foot. Legs that are in the air like the rear leg of this zebra can be left floating.
Another tool that can be used is the Puppet Warp tool if you are using Photoshop CS5. You can also use the Liquify filter and use the Forward Warp tool to push the shadow around so that it matches the feet.
When you’re done blend the shadow into the underlying image using a blend mode. Modes such as Multiply and Overlay are good choices. Reduce the Opacity of the shadow layer until you get a blending of the shadow into the underlying image.
To move the shadow and the animal together make sure that you select both layers in the layer palette before moving them so that the two travel in unison.
For this image I finished off by cropping the image to remove the bottom part of it leaving just the zebra on the blue background.
(photo by: Luis Gustavo)
A quick tip for Photoshop that will save you some time. To see an image at 100% size all you have to do is double click the zoom button in the tool bar.
While Dreamweaver has some rudimentary tools for photo editing, if you want to do some real image editing, you’re better advised to take the image to a photo editor to do so.
From Dreamweaver you can send an image to Photoshop by right clicking it and choosing Edit With > and choose the image editor to use from the list. If Photoshop is not in the list you can browse to find it, if desired.
However, it’s better still to add Photoshop permanently to the list and to do this, choose Edit > Preferences > File Types/Editors and in the Extensions list, select the file extension to set the external editor for. In most cases you will be choosing .jpg .jpe .jpeg.
In the Editors box, click the plus (+) symbol above the box and browse to find the executable file for your version of Photoshop (or another program if desired). In most cases this will be in your C:\Program Files or C:\Program Files (x86) folder.
You can make an editor the primary one by selecting it in the list and choose Make Primary and then click Ok.
Next time you choose Edit With, you’ll be able to choose Photoshop and the image will be passed from Dreamweaver to Photoshop – if Photoshop isn’t open it will be opened automatically for you.
If you don’t pre-prepare your images before adding them to a page in Dreamweaver, you’ll need to resize them in the program.
If you click an image and check the Properties panel, you’ll encounter your first problem. The selectors that let you adjust the Width and Height of the image do not do so proportionally so it’s perilously easy to skew your images out of alignment.
One alternative for resizing an image is to click the image and use the sizing handles to resize it. Hold the Shift key as you do this to scale the image in proportion.
There is also another way and that is to click the image and choose Commands > Optimize Image. This is the same dialog as you get if you click the image and click the Edit Image settings button in the Properties tab (it’s just difficult to work out what button this is because it is so tiny). This opens the Image Preview window.
Click the File tab and you can scale the image to a fixed percentage or check the Constrain checkbox and adjust either the width or the height and both will be adjusted automatically in proportion.
Under the image are tools for moving around the image in the dialog, cropping it, zooming in and out of it and setting a magnification for viewing it in the dialog.
From the Saved Settings dropdown list you can select an optimization setting for your file, if you select JPEG – Smaller File the image will be saved as a low quality JPG. JPEG – Better Quality will result in a better quality but overall larger size file. For photos always select a JPG option and never GIF.
With the Preview enabled you can read off how long it will take to download the image at the currently selected quality at a 56kbps download rate.
There is also a button in the bottom right of the left hand panel that allows you to optimize to a fixed size. Click it and you can set a target size for your image such as 20kb, click Ok and the image quality will be adjusted to give you file that is no larger than the size requested.
In the Options tab you can select to sharpen the color edges if desired. When you’re done, click Ok to configure the changes for your image.
Other image options include Brightness and Contrast and Sharpening both of which you can select by clicking the respective Brightness and Contrast, and Sharpen buttons in the Properties panel.
These options can also all be found by clicking Modify > Image. Here are options for optimizing the image, editing with an external editor, editing the original with an external editor, cropping, brightening, adjusting contrast, resampling and sharpening the image.
One of the most confusing things for Photoshop users will be the concept of a transparent layer in Gimp.
Consider the situation where you open an image such as this hand drawn frame here. The image is a BMP image and what I want to do is grab the middle out of the frame so that I can put something behind it.
If this were Photoshop, I would convert the background layer to a regular layer by double clicking on it and press Ok. Then I would target the Magic Wand tool and click in the middle of the frame to select the middle area then press Delete to make it transparent so I can drop an image in behind it.
If you try this process in Gimp, all you get is an extreme level of frustration as nothing seems to work. Select and delete does absolutely nothing !
Here’s the solution. With the layer with the image on it selected, right click and choose Add alpha channel. This then allows you to select an area on the image using the Fuzzy Select tool, and press the Delete button. Then choose Select none and you will have a transparent middle to your image. It’s an easy process once you understand what’s happening but an extremely frustration one until you do.
If you envy your friends their iPhone Instagram app and their iPad grunge photo editing apps then PSKiss has the solution. PSKiss recently released its PSKiss Photogram which is the first ever (at least as far as I’m aware) app like extension for Photoshop. It has all the coolness of an iPad app and it works on the desktop.
PSKiss Photogram is an extension so it installs like any extension and, when running, you see an iPad style interface with Instagram like features all running in a panel inside Photoshop.
You can download the extension from pskiss.com and right now the starter price is $9.90 which is comparable with many iPad apps. The extension is called Photogram and it has a distinctly retro look – it’s tag line is “Bringing the 70’s into Photoshop”.
Once you’ve downloaded the zip file, unzip it, fire up your Adobe Extension Manager and install the ZPG file. If you are using Windows 7 or Vista you may need to run the Extension Manager as an Administrator to install the extension in the correct location. To do this, right click the Adobe Extension Manager in your Start menu and choose Run as Administrator.
Once installed, close Photoshop if it’s open and then re-launch it. Start by opening an image that you want to work with. I grabbed an image of some graffiti I shot this morning with a view to using it with this extension.
Run the extension by choosing Window > Extensions > PSKiss Photogram. The panel opens showing a series of image effects including Holga, Expired Polaroid, PolaroidPZ, Wrong Velvia and others. They are a mix of faux retro camera effects which are guaranteed to give your photos a very different look.
In addition to applying effects you can also crop your image to one of a number of crop ratios including No Crop, 1:1, 4:3, 2:3 and 16:9.
The app also lets you add light leaks by turning on the Light Leaks switch and add a date stamp which is set using the image metadata.
To apply an effect to an image, set the crop ratio, set the date stamp and light leaks switches then click an effect. You can wind back the processing using the History palette so click on Open in History to revert to the original image. If you choose a different effect it replaces the one you just applied and isn’t added to it so you don’t need to wind back your changes if you want to experiment with different effects.
The light leaks are random so they move around each time you click to add an effect.
If you want the same effect but a different crop, select a different crop and then reapply that same effect to it. You can tell which effect is in use as it has a glow around it and the title bar of the image indicates which effect is in use.
When you’re done, you can save the image as you would any regular image.
Labels: apps, diana, effects, grung, Helen Bradley, holga, impossible project, ipad, iPad apps, light leak, lomo, photogram, Photoshop, photoshop app, photoshop apps for iPad, polaroid, PSKiss, retro, velvia, vintage
By Helen Bradley
On Monday, Adobe launched its Photoshop Touch application for the iPad. This long sought after app runs on the iPad 2, and not on the iPad 1, and it requires that you have iOS 5 installed. The app costs $9.99 which is at the high end of the price range for photo-editing apps in general but Photoshop Touch seems to have got the feature set about right so most people will probably consider it worth the money.
I use the iPad a lot for working with photos I’ve shot using a digital SLR camera in raw and which I’ve resized, converted to jpeg and downloaded to the iPad. Those images I have on the iPad are there because they are funky or because they lend themselves to some artistic play. So, I looked at Photoshop Touch in this light – I wanted to see if it would be part of my iPad image creative workflow. For heavy duty work, Photoshop and Lightroom will remain my tools of trade.
When you launch Photoshop Touch you get two options, viewing the tutorials or doing some work.
There are 10 tutorials that you can work through each of them is project based so you learn the program by learning a technique not by learning how individual tools work. These are text and image tutorials and not video ones, but they are interactive so you can learn as you go.
The second option is Begin a Project which is where I’ll start. You get the choice of adding an image from your iPad, the Adobe Creative Cloud, the Camera, Google or Facebook. I chose Local Photos then the Photo Library and an image from my iPad.
In the main editing area you’ll find the tools on the left, layers on the right and menus across the top. The program pays lip service only to Photoshop. Some icons are familiar but others are more iPad than Photoshop so Photoshop users may find it a bit confusing where iPad artists will find it more familiar.
You can add multiple images and multiple layers. I wanted to texture this image so I clicked the Add Layer button and selected Photo Layer.
Once you select a second photo you get to size it as you import it – you can also rotate, flip or skew it too. Click Done to proceed to the editing area.
Now, with the layer selected, you can apply adjustments to it.
I chose Curves as this was a texture and I wanted more contrast. There are no adjustment layers so the Curves adjustment is being applied just to the targeted (top) layer. As you can see, you can adjust the RGB composite channel or the individual red, green and blue channels.
With the texture layer still targeted you can apply a filter to it by clicking the FX button. There is a range of filters including Basic, Stylize, Artistic and Photo. Some add things like drop shadows, blurs and glows and others are more artistic.
I chose Stylize > Old Photo, configured the settings and tapped Apply. Unlike Photoshop where the foreground and background colors need to be selected before you run a filter, here you can select the colors to use in the filter settings – this really is a feature that Photoshop should have.
To blend the layers you click the Layer icon and you get a choice of blend modes and the chance to adjust the layer opacity.
There are no masks but you can use a gradient to fade the effect – when you do the gradient is applied to the layer and you can only undo it by tapping Undo – you can’t go back and edit it.
You can also add a new Empty Layer and fill it with a gradient.
And then blend it using a layer blend mode as I have done here.
I finished by cropping the image and then saving it.
You can then email it or send it to the Camera Roll or upload the project to the Adobe Creative Cloud so you can access them from there.
There are limits to Photoshop Touch and one is the 1600 x 1600 pixel image size limit. The text tools are rudimentary and, as a long time Photoshop user, I’d like to see editable masks and editable text. That said, for fixing photos and tinkering with creative projects this program is a welcome addition to the Adobe family.
This app will appeal to a range of users. There are plenty of basic tools that are easy to use but also some more advanced features for working with images. The Scribble Extract tool does a reasonable job of extracting a subject from a background and you can tinker with gradients and fades to get some interesting effects. You don’t need to know how to use Photoshop to use the app but your knowledge won’t go astray.
Labels: Adobe creative cloud, Adobe Photoshop, adobe photoshop touch, blend modes, camera, create, edit with adobe photoshop touch, effects, extract filter, facebook, filters, google, Helen Bradley, how to, images, ipad, iPad app, Layers, masks, photoshop for the ipad, project, tips
One hidden feature of the Lightroom print module is the ability to add a frame to an image. In this post I’ll show you how to add a frame to an image before exporting it as a JPEG image ready for uploading to the web or printing.
In Lightroom 3 you can create an image and export it as a JPG image from the Print module – however before you set this up, it’s a good idea to create a frame to use. I’m going to use a hand drawn border but you can use anything of your own design.
Start in a program like Photoshop and create a new image the size that you want to print from Lightroom. This is a critical step because the border image that you’re about to create cannot be resized any larger in any dimension than the Lightroom file dimensions that you plan printing to.
So, for example, if you want to print a landscape image on letter paper you need to create a frame image of the exact dimensions (or at least the exact ratio of dimensions) of an 11 x 8.5 inch sheet of paper. If you do this, the frame can be sized to the full size of the image in Lightroom.
Set the resolution of the new image as desired – I do this so it matches the resolution that I want to print from Lightroom at – so I use 300 dpi
Design your frame making sure the inside of the frame is transparent if you plan for your frame to be placed over the image in Lightroom.
When you are done, choose File > Save As and save the image as a PNG format file so that the transparency information is retained – the JPEG image file format doesn’t support transparency.
Close Photoshop, open Lightroom, select the image to print and click to open the Print module.
From the Layout Style panel select Custom Package. In the Print Job panel select Print To: JPEG File. Select Custom File Dimensions and set the size to the same 11 x 8.5 inches that you set the frame to be.
Set the File Resolution to the desired resolution – I’ve used 300 dpi.
You will add the frame as a graphical Identity Plate. So open the Page panel and select the Identity Plate checkbox. Click on the identity plate box and, from the menu which appears, choose Edit then select the Use a Graphical Identity Plate option button. Click Locate File, select the frame png file you just saved and click Choose. You will most likely be warned that the file is very large – if so, click Use Anyway and click Ok.
The frame will appear as an Identity Plate over the top of the image. Adjust the Scale slider to size it up to 100 percent which should ensure the frame fills the page size that you are working with.
As the middle of the frame image was created as transparent, the image underneath it shows through it.
You can use the Render Behind Image option to place the frame under the image if that’s the way you have designed it to work.
Once you’ve added your identity plate select to print to file and the framed image will be printed to a new file.
Before I am done, I click the Identity Plate box again and choose Edit and then from the Custom dropdown list I choose Save As to save the graphic frame as an Identity Plate I can use at any time in the future.
Armed with Photoshop you can create any sort of frame and import it as an identity plate to add a border to an image in Lightroom.
I just uploaded a new video tutorial on how to create a faux hdr image in Lightroom. This image really didn’t inspire me when I first looked at it, but clearly at the time I captured it something had caught my eye. When I applied this faux hdr effect to the image it just came to life. The process is very quick and very simple, and the video is very short – only just over 5 minutes and you’ll know all you need to know to salvage your own images.
One technique I’ve seen used a lot lately on blogs, websites and even email newsletters is a hand drawn frame effect.
In this post, I’ll show you how to create an effect like this and save and use it for your images.
Start with a new image in Photoshop. A good size frame is important to create as you can size it down but not size it up as successfully. Start with an image around 4,000 pixels square with a resolution of 300 pixels RGB color and transparent background.
When the image opens, fill the background with a color of your choice, I’ve chosen a blue fill color.
Add a new layer and then select the brush tool and a smallish brush. You want something that is going to ‘paint’ looking a little bit like pencil marks so I chose the Chalk 11 pixels brush and sized it up to around 57 pixels.
Select black or a dark brown or dark gray color as the foreground color and hand draw your frame. It will help if you use a tablet to do this although that’s not necessary and a mouse can be used.
Draw the frame so it has closed inside and outside edges to make the next step easier.
Target the Magic Wand tool and click inside the frame. This selects the inner portion of the frame.
Choose Select > Inverse to invert the selection.
Now hold the Alt key and click with the Magic Wand tool on the outer area of the image so you remove the outer edge from the selection.
To eliminate any anti-aliased edges, choose Select > Modify > Contract and contract the selection by around 12 pixels.
Add a new layer between the frame drawing and the background and fill it with white.
Return to the frame layer and select the inside again, this time choose Select > Modify > Expand and expand the selection by around 12 pixels.
Add a new layer and fill the selected area with a black/brown or dark color. This is the template for your image.
Save this image as a layered .psd file so you can use it anytime in future.
To frame an image, open an image to frame and this frame too.
Drag the background layer of the image into your frame image holding the Shift key as you do so to center it. Press Ctrl T + Ctrl 0 to size the image to size. Make sure the image layer is directly under the drawn frame and above the dark template layer.
Now, with the image layer selected choose Layer > Create Clipping Mask to clip the image to the size of the inside of the frame.
You can move the image layer using the Move tool so it is positioned as desired.
Now size and save the image for print or the web.
If you don’t have a fish-eye lens or don’t have yours on hand when you need it, don’t worry. With Lightroom (or Adobe Camera Raw) you can create a fish-eye effect with any photo. Here’s how:
Start with an image that lends itself to being made a fish-eye image. You want something that was shot with a fairly wide angle lens to begin with so you don’t want to be zoomed in very close on your subject.
With the image open in Lightroom go to the Develop module and select Lens Correction and then the Manual tab. You’ll see the Distortion slider at the top of the Transform tools. Drag the Distortion slider to the left to blow out the middle of the image.
Deselect Constrain Crop and decrease the value for Scale so that you can see the image edges very clearly. If you like the result you can stop at this point.
Alternately if you want to give the image a bit more punch, you can go one step further by exporting the image and importing it again and repeating the process. To do this, right clicking the image and choose Export. Export the image as a non-lossy format image such as TIFF, enable the Add to This Catalog checkbox so the image comes back into Lightroom automatically and select a folder for the image – the same folder that the original image is stored in is the best choice. Click to Export the image.
The exported version will then be automatically imported back into Lightroom. You can find it by returning to the Library module, open the Catalog panel and click the Added by Previous Export collection – it will be in that collection.
Select the newly imported image, return to the Develop module and again drag the Distortion slider to the left to increase the bowing in the image. Make sure Constrain Crop is not selected and decrease the Scale until you get a good result on your image.
At Halloween last year I was asked to photograph some kids I’ve shot from time to time since they were born. Basically their mum likes to have some up to date photos of the kids and Halloween seemed like as good a time as any to get some shots.
When I’m shooting like this, my aim is to get some good shots but nothing formal and I prefer not to use a flash because I get a better response from the kids without one. I captured the images in raw and I chewed through three small size camera cards in about an hour and a half.
My deal with their mum is that I get to use the photos for my work and she gets a disk of pictures. To keep this fun – so it doesn’t feel like work for me – I need a fast and effective processing workflow. I need to get the images off my camera, sorted, processed, burned to a DVD and delivered to mum in time for her to enjoy them.
Thanks to Lightroom the process was simple and, in all, I reckon I spent less than 2 hours getting the photos from the camera cards to a DVD. Here is what I call my Happy Snap Lightroom workflow – it’s what I do to quickly process casual snapshots:
To begin with I have some criteria I work by. I never give away substandard photos so anything blurry, out of focus or over exposed gets permanently deleted. Then I sort out the best of the images intending to give mum around 50-60 photos of the kids – it’s a nice range of images for her to use to scrapbook and post to Facebook and it doesn’t over burden her with too many photos to choose from.
To begin, I download all the images from all three cards into a single folder on my hard drive (if there were only one card I would omit this step).
From there I import the images into Lightroom at the same time copying them to their permanent storage on my external photo drive and making a backup to a second drive. Copying rather than adding images to the Lightroom catalog lets me make backups and also add my metadata to the images so, when they popup on Facebook my copyright details are embedded in them.
Importing all the images in one step also means that when I’ve started the import process – which includes rendering standard previews – I can start working through the images and I don’t have to do it multiple times or switch out cards as I work – (the process works for me – your mileage may vary).
The first time I run through the images I am looking for images to delete as well as getting a general look at what I shot.
As I work through the images I’ll press X for images to delete and use the right arrow key to move past everything else. I’ll select to delete all out of focus images, anything where someone has their eyes closed or similar, and anything I don’t want to put my name to!
Once I’m done I choose Photo > Delete Rejected Photos to delete the images from my primary external photo drive. There are still copies on the backup drive and my hard disk but not on my main photo drive.
On the second run through the images I pick those I want to use. By now I have a rough idea as to what I have and what I might want to give mum. So this time I run through the images pressing P to pick an image and using the right arrow key to move past those she won’t be getting.
Once done, I isolate the picked images by clicking the first of the filter flag icons above the filmstrip. Then with only the picks visible I press Ctrl + A to select all of them and then click New Collection > Create Collection and type a name for it. Because the images are already selected, I leave the Include Selected Photos checkbox enabled and click Create.
Now I have a collection of the picks and it’s time to process them. I start out by selecting all the images in Grid View in the Library and from the Quick Develop panel I select Auto Tone. This gives me a head start on fixing them but, because of the lighting, pretty much all of them needed a white balance adjustment.
Switching to Develop module with the filmstrip visible I selected the White Balance Selector and then made sure that Auto Dismiss was disabled. This allows me to adjust the white balance on one image and then click on the next one in the filmstrip and continue to adjust the white balance from one image to the next without having to reselect anything. Basically all that most of these images needed was some white balance adjustment.
For those that needed cropping, I cropped as I finished with white balance adjustment and then moved on to the next image. This ensured that each image was dealt with only once as I progressed across the filmstrip.
So, having fixed the worst of the problems I work backwards through the filmstrip to see if any of the images warrant special attention. If so, I make a call to fix them or simply remove them from the collection. To remove the image, right click it and choose Remove from Collection .
Here I had one issue with a couple of images where one child’s face was in shadow. For this, I used the Adjustment Brush tool at a small size with a large feather radius. I brushed over the areas where her face was in shadow and then adjusted the Brightness and Exposure to lighten to her face. In the same images other faces were overexposed so I added a second Adjustment Brush adjustment with the opposite settings to attempt to deal with this. The final result wouldn’t stand up to close scrutiny but is just fine for the web and 6 x 4 printing.
Once this was done it was time to export the images. Because they’re all in a collection, Ctrl + A selects all the images. I chose File > Export and then exported them as JPG images, 80 percent quality at the largest size and I added sharpening to them in the process. I made sure these images all went to a new folder so that they would be isolated from everything else and easy to find.
From there, it was a matter of launching Ashampoo Burning Studio, grabbing all the images and burning them to a DVD.
This workflow is one giant step better than simply burning the images direct to a DVD. It takes only a little more time with Lightroom to sort and apply some basic fixes to the images and it also means that only the best of the images get circulated and those that do have my copyright information embedded in them.
So now it’s over to you. What’s your “happy snap” workflow? Do you capture snapshots in raw? Do you process using Lightroom? And how do you get your images processed quickly so you’re not spending hours on images that are really just family snapshots?