![]() ![]() ![]() Besides just being faster than working in Photoshop, by converting in Lightroom you are still working with a raw file instead of a converted TIFF, so the photos retain much higher image quality after conversion. For my workflow, a 36-exposure roll of raw files requires about 864 MB of disk space when converted to TIFFs and color-corrected, those images require nearly 15 GB! I was filling up my laptop’s SSD with 2 or 3 rolls of film. ![]() The Lightroom method is much faster and avoids having to create and store a huge TIFF file for every scanned image. In addition, I no longer have to take every image into Photoshop. So far I’ve found that I can usually find a profile that provides very good color correction, then make brightness adjustments using the exposure slider.Īlthough the sliders still work backwards because the image has been inverted, this method does not require any cumbersome messing around in the Tone Curve to correct colors in the image. And since the Profile Browser provides preview thumbnails and full size previews of the selected profile, it is very easy to select the best profile to apply to the image. Using a handful of these, I can quickly preview and select one that provides a near-perfect inversion and color correction for almost any photo. I have created a set of profiles for each film stock based on a variety of photos captured under different lighting and exposure conditions. However, using a standardized capture process, no more than 2 or 3 profiles are needed for each film stock, primarily to get a good conversion under different lighting conditions. Unfortunately, there is no universal profile for a given film stock. So there’s a little bit of work required up front to create some profiles for your film stocks, but once created, you can use those profiles to process all of your negatives very quickly.īefore & after applying a film negative profile and adjusting exposure. This LUT-based profile can then be used on other scanned negatives in Lightroom to invert the image with just one click. Using this process, I was able to create a LUT from a color correction layer group in Photoshop then create a profile to invert a scanned negative in Lightroom using that same LUT. ![]() In the most recent video, Matt explains how to export a color lookup table (LUT) in Photoshop then create a new Lightroom profile based on that LUT in Camera Raw. I am grateful to Matt Kloskowski for publishing a couple of Youtube videos on the powerful new Profiles feature of Lightroom. I don’t pretend to fully understand the process or the inner workings of the software that makes this possible, and I would have never figured this out on my own. But with the 7.3 release of Lightroom Classic in April 2018, Adobe has now given us the tools to invert color negatives with just one click. Since I started shooting film again just over a year ago, I’ve been hoping to find a simple process to invert scanned color negatives in Lightroom, but until recently it’s been impossible. There is a new plug-in available for inverting and color-correcting color film negatives in Lightroom called Negative Lab Pro that hands-down produces fantastic results and provides an all-RAW workflow within Lightroom. ![]()
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