In the four+ years since launching the original A: Intro to Photoshop Workflow, much has changed: cameras have more dynamic range. Adobe has added more tools to ACR. Lightroom has matured. The back engine has changed too, specifically in the way highlight recovery is handled. We use more different cameras, so consistency of output matters more than ever. It is therefore only natural that workflow also progresses; after a good six months of development and testing under a very wide range of shooting conditions, cameras and subjects, I’m proud to offer A3: Workflow III for Photoshop and Lightroom. You can use either PS or LR, though PS will still give you a slightly better result with more control. I have been using this for my own work since January, and it’s cut my processing time by a good 15-20%. The proof of result is here: almost every image you’ve seen on this site since the beginning of the year has been processed (or reprocessed) with Workflow III.
Workflow III unifies workflow across Photoshop and Lightroom, works with a single curve in RGB mode only, eliminates the need for color correction and includes my custom profiles for most popular cameras (2014 onwards Nikon, Canon, Sony, Olympus M4/3, Fuji X Trans, Leica CCD and CMOS, Hasselblad CMOS, Pentax, Ricoh GR, iPhone) compatible with both PS and LR.
It’s faster than ever, and for CC users, makes the most of the new tools and supersedes the previous two workflows. Buyers of previous Workflow videos will know just how fast and consistent we can get – Workflow III is better; allowing you to spend more time shooting.
Click here to buy, or read on for the full list of changes, and testimonials. We are also offering two discounted launch bundles paired with the complimentary Monochrome Masterclass, and the Outstanding Images Ep. 4/5 Style episodes.
A3: PS, ACR and Lightroom Workflow III ($80, runtime 3h15m in six parts with camera profiles)
The obvious questions:
Why is there a Workflow III?
Because post processing tools and cameras have both matured, and we can have both better results and faster by taking advantage of this. The biggest change has taken place in ACR’s interpretation of highlights – there’s far more recovery available now, and the tonal smoothing that used to have to be accomplished by subjective local dodging and burning is no longer necessary. Workflow III also removes a lot of the subjectivity that was previously present in Workflow II – places where one had to decide which tool to use and how much adjustment to make have been minimised/reduced to optimise consistency and speed. It is the same workflow I have developed for and use in my own production environment, where quality, consistency, control and speed are paramount: saving 10s per image over 1,000 images is nearly three hours!
What does Workflow III include?
Fast end to end steps and logic to get you from a good raw capture to a natural, balanced output file with smooth highlights and rich shadows – regardless of camera used.
A consistent process to maximise output file quality and deliver accurate color and tonality.
Demonstrations of this workflow across a huge range of cameras/files from the current CMOS medium format Hasselblads to an iPhone 5 in both Photoshop CC and Lightroom CC. It is compatible with all Adobe products that use ACR 9.x onwards.
The workflow works with Photoshop OR Lightroom, and I show examples in both programs. PS will still give you a slightly higher quality result with more control for edge cases; if I had to say, the LR-based result with this workflow would be somewhere between 95-99% of the PS-based result.
Use of new tools included with ACR 9.6.x onwards, plus explanations and optimal settings for all commonly used tools – since the underlying engine of the tools frequently changes with each iteration.
A translation of the workflow from Photoshop to Lightroom, with an explanation of the differences, comparison of the results and proof of consistency.
My personal camera profiles for most common cameras and brands, developed from tens of thousands of exposures, for both PS and LR, plus instructions on how to do so. The profiles will get you to a neutral and consistent starting point. Profiles are included for current (~2014 onwards) Canon, Nikon, Hasselblad, Olympus, Leica, Fuji, Sony, Pentax, Ricoh GR and iPhone cameras.
Does this invalidate Workflow I and II?
If you’re using CC 2015 or later, yes. If you’re using CS3 or CS4, then Workflow I is still most applicable. If you need extremely high color accuracy, and/or want to understand color management, e.g for product work, or you have an unusual camera/capture combination that’s not covered by the profiles, then you need Workflow II. In addition, Workflow II also covers curation and image sorting/indexing.
Why don’t I just wait for Workflow IV?
I honestly don’t know when or if there will be one: it depends on when Adobe changes its conversion engine again, and how they change it. For the moment, Workflow III is the fastest and most consistent workflow I can give you: it has to be, because I use it for my own and commercial work. I don’t have time for inaccuracy or slowness.
How is Workflow III different from I and II?
Workflow I required individual color adjustments to each file. Workflow II required camera profiling and accurate white balance (or something to subsequently white balance off with the eyedropper). It also required you to determine where the optimum transition between LAB and RGB modes lay. Both only worked with Photoshop. Workflow III provides camera profiles, has a simple step to set color precisely, and works with both Photoshop and Lightroom. There is no transition point between LAB and RGB color, becuase the entire workflow is in RGB. I also show you how to compensate for the most common edge cases.
So why do I need Workflow III?
Because it is what gives me control over the presentation and output of my images; it is the simplest, fastest and most consistent post processing workflow I know – (up to 30s per image depending on your file sizes and computer); it delivers identical or better quality to previous workflows; it works across all cameras; it’s applicable across PS and LR, and you don’t even have to profile your cameras. Because you use LR and I’ve not had a solution for you up to now. Because you’ve used the previous Workflow I and II and know it does what it says on the box. Because less time spent in front of the computer means more time shooting, and because a solid workflow is required to get the most out of the investment in hardware: the higher performing the hardware, the tighter discipline and tolerances must be across the board to consistently extract that performance.
A3: PS, ACR and Lightroom Workflow III is now available to buy here at the Teaching Store, with several introductory bundles.
Testimonials for previous post processing videos:
Brian Eisenberg (PS Workflow II): Just wanted to drop you a quick line and let you know how eye opening watching your PS workflow videos are. I am nearly at the end of Workflow II. You’ve really cemented an optimal workflow that really balances creativity/vision and post-processing. It is refreshing to see your minimalist approach as compared to more heavy handed post-processing approaches.
Frank (Monochrome Masterclass, Outstanding Images Ep. 1-3, Fundamentals): Finally got around to finishing the Monochrome Masterclass video’s too. So much info to process, I want to go back to Ep’s 1 – 3 and make my own notes as to what the critical points are so I can keep hammering home those fundamentals then do the same for the Monochrome Masterclass. Will eventually get around to buying and watching the Photoshop workshop too.
Bryan Gonzalvo (Intro to PS, PS Workflow II, Outstanding Images Ep. 4 & 5): As I wrap up another year of working for a promotional marketing agency and another year of improving my photography, I just wanted to send a personal ‘thank you’ for all you have done for me.
Since finding you and your wonderful blog two years ago, I have read all of your technique, philosophy, and reviews that you have on your website. Many of them I have re-read because often times there is too much info to take in and put into practice at the same time.
I have invested in Intro to PS, PS Workflow II, and Outstanding Image 4 & 5. Without these, I don’t think I ever would have elevated my photography from the level of where I was at. I wanted to shoot RAW before and experimented but never knew if I was doing it right, what steps to take first then last, etc. At that time, I never felt my developed RAW images were any better than the JPEG from the camera, in fact, some were worse. Now I only shoot RAW and keep the post-process development in mind as I photograph. It’s very rewarding!
Ray Evans (Intro to Photoshop, Photoshop Workflow II): I’ve just downloaded and spent a few hours watching A and A2. What I fool I’ve been. I should have bought these years ago ! Professional, informative, easy to follow etc. Brilliant – money well spent. A very pleased customer.
Mark (JTL Photography) (Intro to Photoshop, Photoshop Workflow 2): I have two of Ming’s photoshop videos (the new workflow and the monochrome video), and they are well produced, well explained and immediately applicable. They’ve cut my post processing time considerably and (I haven’t figured out why yet) the pictures also load faster on my iPad. The older pictures take a while to render fully, but the pictures which I run through Ming’s workflow render almost instantly without any delay. Basically it teaches a quick (once you get the hang of it) and effective process which gives consistent results.
Guido di Paola (Photoshop Workflow 2): I just want to tell you the money I spent for your videos is by far the best investment I have ever done in my photography! The results I get with Photoshop compared to what I used to get with Lightroom (and with a not well thought workflow) are so much better, I simply didn’t expect such a difference. I am going back to select older photos in order to re-process them, discovering some hidden potential that I didn’t imagine.
Bryan Gonzalvo (Photoshop Workflow 2, Outstanding Images Ep. 4/5): I’ve been shooting for 20 years. I have read all your technique and reviews since finding your site about two years ago. I only shot JPEG before because I didn’t know how to process RAW. Then I bought your Intro to Photoshop about a year ago and haven’t shot a single JPG since! Later I purchased your Outstanding Images 4 and 5. And my work now has a style that I am more proud of. The PS2 workflow is worth every penny! Curation was great! I do some but not enough I think. Working in lab color is so much better! Adjusting HSL after curves to get the color right was always challenging for me.
Clint Kapp (Intermediate PS): Just got done marveling along with you in the Intermediate Ps video. So much stuff I used to use from back when I needed to, lots of cool little tricks I wasn’t aware of (never used “distort” before) and the re-visit through “actions” was most welcomed indeed. I must emphasize how much I appreciate the rhythm and speed at which you teach. Not too fast, not too slow and the clarity of the information as you present it is just one part of what makes the learning experience so satisfying. The other and more significant factor is the experiential wisdom that peeks through in your teaching; the insights into what works, what doesn’t, what might and why… Fabulous. Your clear invitation to play and experiment is the key to reducing the enormity of Ps in general and really creates a welcoming attitude towards finding one’s own way to enhance an image to convey a specific feeling or essence without creating a Franken-Photo as so many do…
Arpit Srivastava (PS Workflow II): I had purchased your photoshop workflow video a while back and havent had the chance to implement some of the learnings. Today I pulled out the color passport and did the color caliberation and WOW – what a massive difference it made. Even with the caliberated monitor – I had no idea the nikon D610 native color response was so different from actual colors. I opened up some old photos and applied the color profile on them and the difference is just so remarkable – they started looking so natural – the one big complaint I had with all my photos – the colors just looked off. I would say just for that bit only the videos are worth the money – and there are so many other things in it to improve my photography.
Mark Sisco (PS Workflow II): I am very grateful for the videos. Well done! You’re workflow is much simpler than I expected, honestly. It has been very enlightening, especially steps for using LAB, how you process bright files and subsequently apply your curves, and sharpening.
Caleb (Intro to PS, Intermediate PS, PS Workflow II, Monochrome Masterclass, Outstanding Images Ep. 1-5): After many classes/workshops with excellent teachers, including Sue Ann Hodges at NESOP, George Dewolf at Maine Media Workshops, Steven Johnson at Mono Lake, Paul Caponigro in Camden Maine, several at Santa Fe, I find your depth of knowledge, clarity and guidance to be the guiding light (greatly complemented by the wisdom from those above). I’ve invested ( intentional use of word) in all your PS and Outsatnding Images series 1-5 videos. While combined not inexpensive (and for many users not all required to learn deeply) I find the cost vs benefit ratio to be unmatched (again not taking away from the great learning above). Great job Ming!! I look forward to more and hope you stay with us for years to come ( but appreciate the sacrifices you make for that…I’m VERY happy to give a little bit back and truly encourage others to view his videos for the modest price vs gain received!!)
Mikko Ritala (Photoshop Workflow II): Just wanted to chime in shortly on this. I downloaded WF2 recently and it has made a big difference. The most important lesson for me was calibrating my cameras properly. I shoot mainly landscapes and nature, and nailing accurate color was always difficult for me, requiring extensive HSL adjustments. Now I simply set the WB correctly and get accurate, pleasing color straight off the bat – it just works. Overall contrast is also improved, I don’t have to recover shadows or highlights nearly as much as before. I’ve re-edited some pictures from the past year with this workflow, pictures that I wasn’t confident in publishing before. I’m extremely pleased with the results and I’m proud to say three of them have made it into this group. It gives me confidence that I’m moving in the right direction. I want to thank Ming for all the hard work he has put into his site, education videos and this Flickr community. It has made all the difference for me.
Tom Morgan (Monochrome Masterclass): A few months ago I purchased your Monochrome Masterclass videos and thank you so much for them as I found them to be the most useful purchase changing the way I now edit my photos. I do read all your posts and check on your latest Flickr images. It has now become part of my daily ritual and a very pleasant one at that.
Jessica Winograd (PS Workflow II): I recently purchased Photoshop Workflow II and have enjoyed working my way through the course. Not only have I learned valuable techniques but I have also been learning what it is about your photos that I find so magical and appealing. I hope this will help me as I develop my own style.
Mikko Ritala (PS Workflow II): I highly recommend this video, I’ve only spent about 10 hours practicing with this workflow and my images are already starting to turn out much better than before. I took a small catalog of old pictures that I edited with this workflow and then compared to previous exported versions. The difference has been an eye-opener. I still need to get my cameras profiled correctly to get the most out of it.
Mark (PS Workflow II): After trading in a BHC (Big Heavy Camera) for a NLC (nice light camera), I had some money left over, so I figured that as education is better than gear I should give this (and the Monochrome masterclass) a shot. The Monochrome video is useful and interesting, but the PS Workflow is even better. I’m highly impressed. The nice thing about these videos is that they are immediately applicable, but also have enough depth of ideas and details to bear repeated viewings. I just signed up for the trial run of CC2014 (PS and Bridge) and having seen what they can do, I will be subscribing to the monthly model, if for no other reason than to be able to put into practice everything mentioned on the Workflow 2 video. I haven’t run any files through this workflow yet, but I’m very much looking forward to the results. Seeing the examples on the video going from rather “meh” looking files to highly striking finished products was quite enlightening. The improvements to ACR are nice too. As the “nice light camera” I picked up was a used X100, the section on X-Trans was appreciated too. Thanks for two excellent products!
Graeme Allan (PS Workflow II) – After purchasing ‘Photoshop Workflow II’ I suffered an identical epiphany following application of the principles in ‘Monochrome Masterclass’: I undertook a major ‘delete’ of most of what I thought I knew and returned to ‘Square One’. Significantly, for me and my output, this is entirely ‘pleasurable pain’. Thanks Ming for quality instruction, quality methodology and helping to increase my potential to find possibilities, and alternatives in my editing.
Klifton (PS Workflow II) – Just a quick note of gratitude for all your hard work. You’ve enlightened me in more ways than any other photographer. Your style, your tools, and your methods. They’re all right! I’m making my first trip to Asia in a week. I can’t guarantee I’ll come back with anything earth shattering, but my chances are greatly improved thanks to you. I purchased a GR (using your Amazon link), and I couldn’t be happier. Complimenting it will be an FX Nikon body with 60 2.8G and 85 1.8G. I also purchased and studied your Photoshop A2 video (along with the Intermediate and Monochrome). Your usage of the dodge/burn tools have been hugely useful, as well as the lab mode in Photoshop. I’ve used PS for well over a decade, and always avoided the dodge/burn tools for some reason or another, but thanks to you… I’m now using them to great success. Thank you for all you do! You have single-handedly made me a better photographer, more so than any one else. Keep up the great work!
Andrew Hiscock (PS Workflow II, Intro to PS Workflow) – I am working my way through your photoshop workflow videos at the moment. I purchased the first set (I & II), and they are wonderful. I have gone back through my catalog and edited some photos in which previously I was not able to bring out what I saw when I took the picture, and now I have finally a result I am happy with. Also, while I already knew before that education is more important than simply buying more gear, after watching these videos I now 100% believe it. For example, where I used to run into situations where I would think “maybe I’m just running into sensor limitations” I now think “I can fix this with curves”.
Andre Yew (PS Workflow II) – The rest of the workflow is pretty marvelous. Editing in Lab mode is really satisfying. Thanks for showing us all of this, Ming! I also found I could almost everything in LR that Ming does in ACR, so LR users, don’t let that stop you from adopting this great way of editing. The only exception is the really useful-looking area-selection for the WB eyedropper tool, but you can always do this manually by averaging measurements at many points. In fact, many of the things Ming discusses in ACR (negative value sliders, many different settings applicable to the gradient tool) have been available to LR users for quite a while now.
Jonathan Usher (PS Workflow II) – What a wonderful Photoshop workflow resource – thanks Ming; I’m getting a lot out of the materials and the many samples that you work through. Thanks again for a wonderful video course.
Eric Hanson (PS Workflow II) – Just finished watching Photoshop Workflow II video parts 1 and 2. Highly recommended. The new process is simpler, takes less time and results in cleaner output of files and more accurate color. I use to love the old curve adjustment in the previous videos however the new curve adjustment is two part and preserves both color and saturation. Part one occurs in ACR and handles the proper roll off of highlights and part two occurs in PS and handles the shadows. Also the color profiling of the camera is a step I have never done before and this technique is included in the video. This will make my configuration much closer to Ming’s. Essentially closing the gap further. Ming explains what shortcuts to configure in PS to speed up the flow. He also explains a few of the tools he uses in PS. It is very nice to see the video in the latest version of PS as now everything matches very closely. The new process is very easy to adapt to the previous processing videos. The inclusion of several RAW files and finished JPEGs is a game changer. I am going to copy the RAWS to a separate directory, process them and then compare to Ming’s processed files to see the differences. It is fun having Ming’s RAW files loaded up in Adobe Bridge. Gradients take a more important and more precise role than before. The ACR filter is a great addition to PS and Ming explains its use in the workflow well using a mossy fallen tree image and a very large image from his trees series. From time to time Ming will pause and explain a point or two at a beginners level without taking away much time or distraction from the flow. It’s almost as if someone is reminding him from time to time to explain a point at a more basic level.
I am quite sure it is Ming catching himself. If you own a Fuji X-trans camera and /or are considering the purchase of one this video is perfect. This is covered as the final topic and Ming explains that almost everything still applies except for some steps which are either different or reversed. The samples are well chosen to demonstrate the uniqueness of the sensor and really show how processing them in adobe in the same manner as RAW files from a Bayer filter camera results in poor image quality and how to turn that around to get proper output. The changes needed are clearly explained. I Really like the section on curation. The intro and section on curation are the first 46 minutes of the first video. It is very helpful hearing Ming discuss strengths and weaknesses of various images. I wanted him to keep a few of the images he discarded. He also explains why he picks one over another and I learned a lot from that as well. This is something he does as part of his Master Classes and it was fun to see it in action. The examples section is key to understanding the new process. The two images from San Francisco are nicely captured and processed and will allow me to see those type of images in the future. There are several edge cases in the selected images and Ming does a great job to explain these points. A very well done video.
Gerner Christensen (PS Workflow II) – Beside the very useful repetition of the curation part of the workflow, the color management and camera profiling comes as a gift from heaven. Furthermore I have seen new tips and very useful stuff in the ACR filtering part. Great Ming! Next, the Lab Mode post processing flow is a huge improvement on how to preserve your colors. The files comes out cleaner and to me with far more appealing colors. This is a huge advancement to the former set of working steps. It is faster that way and the file quality has been vastly improved. What is there not to love about these new videos! Thanks again Ming.
Graeme Allan (Monochrome Masterclass) – Again, thanks for the directions in your monochrome videos. As I said, my workflow has changed, significantly. I suppose the key elements I have learned revolve around exposure to the right and, when in PS, refining the use of curves and dodging/burning.
Initially, I could not believe that 5% was going to do anything when dodging and burning. I was wrong.
Gerner Christensen (Monochrome Masterclass) – I have now finished viewing the video and it is again a most inspiring one. As with all Mings videos it is a showcase on how to improve yourself in the entire workflow as well as learning how to become efficient in PP.
Time ago I did not believe I would need any efficiency through-putting my pictures, but as the hit rate rises step by step it has become more important to me not to sit too long at my desk and repeat over and over again the necessary clickings for each and every image. This video is full of hints and tips for fast and serious PP. By shortcuts and action recordings the dull part of PP can be eliminated.
I found the part using non-destructive curves interesting, but will park it for later usage until I am more certain in what I want to achieve.
The prelude about seeing the world in B&W and how filters works for your images is very fruitful to watch as well.
I will see this precious video again and again, just like I did with all the other videos. Seeing a video again after some time unlayers new facets of photography.
At last this video actually came to me as a kind of saviour in order to see my local boresome surroundings in a new way. How many times I saw an interesting scene spoiled by mismatching colors, things that should not be there and made me think ‘this does not work, but the shape or texture is interesting’ … suddenly the entrance door could be capturing it in B&W. I don’t know why I didn’t really see the B&W as an option, but now I do.
Thank you Ming for adding another valuable video to the already precious collection.
Michael Letchford (Monochrome Masterclass) – I’ve just bought the long awaited Monochrome Masterclass. Excellent job. Very much worth waiting for. Like all of the other workshops you’ve done, I’ll have to watch it 10 times before it all sinks in!! Lots to think about and experiment with. There are also some cracking images used in your examples, which are inspiring in themselves. Loved the Havana images. Well, I would, wouldn’t I?
Eric Hanson (Monochrome Masterclass) – Just finished watching The Monochrome Masterclass workshop video parts 1 & 2. Very enjoyable and highly recommended. I broke it into three evenings. I really enjoyed the lecture portion that is shot in B&W where the filters and light change to illustrate the various points and B&W conversion options and the fact that you covered colored filters in this section. I also like your set and the composition and leading lines as well as the color of various objects to illustrate your point. Every potion of the lecture was instructional and very intentional.
I also like the photos chosen for conversion as well as the sample photos. The example photos have a variety of lighting conditions and on my way to work it was cloudy and almost rainy but I could see opportunities to shoot, the potential in the scene and what the finished output would look like. These were things I would have passed by the day before. And the good thing is we have this weather often and it is nice to shoot in a wide range of conditions. I see the Monochrome treatment really extending the number of shooting days.
I also really like the low contrast photo section for foggy weather etc. These are some of my favorite scenes and I will see the potential in them the next time I see them. For the low key high contrast portion I learned that you expose to the right (ETTR) and then bring them down in post. This was very helpful. Also the concept of high contrast low key was an insight that I had not thought of much before. Many of your images are shot this way and I really like them and I now know how to shoot and process them. The photo of the three people on the sea wall with the sunset was inspirational. I hope to shoot a low key high contrast series using the ideas in this video soon. I am most excited about the section on balanced monochrome images as I have been trying to figure this out for sometime. Trying to get close to some of the photos you have taken. You clearly show how you obtain the results and I know I can get much closer now then I could before.
I also like the pace of the video and the vary intentional use of props and lighting in the first part. You have also convinced me to get a Wacom tablet finally… Well done. I really appreciate the information and newly learned skills.
Andre Yew (Monochrome Masterclass) – Crepuscular dodging! When do we burn the ephemeris? I was surprised to find myself inspired by the high-key, low-contrast examples, so I have to go make some of those images now. I also liked how you showed the video in the various styles — green filter is really not flattering for humans!
Finally, I hope people realize and appreciate how comprehensive an approach you’ve presented. It’s not just another filter program slapped onto a random image, so I wouldn’t be surprised if some who were expecting Mingstagram filter will be disappointed … their loss. Instead the B&W conversion takes into account artistic intention and what the image needs to present itself strongly. One of your best videos: thank you!
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