Photography Post-Processing and Workflow Flashcards

24 sample cards from the Post-Processing and Workflow deck

Sampled from the end of the deck, so these are different cards from the ones shown on the syllabus page.

1. What is color grading (split toning)?

   A creative step—distinct from corrective white balance—where different hues are applied selectively to shadows, midtones, and highlights (e.g., teal shadows with warm orange highlights) to establish a stylistic mood.

2. Contrast the Highlights slider with the Whites slider.

   Highlights targets the bright tonal range below pure white and is the main tool for recovering blown detail (e.g., skies). Whites sets the white point—the very brightest tones—defining where pure white begins on the histogram.

3. Contrast the Shadows slider with the Blacks slider.

   Shadows lifts or lowers the dark tonal range above pure black, recovering shadow detail. Blacks sets the black point—the very darkest tones—anchoring where pure black begins and controlling deep contrast.

4. What keyboard trick shows exactly where clipping occurs while setting white and black points in Lightroom?

   Hold Alt (Windows) / Option (Mac) while dragging the Whites or Blacks slider: the preview shows a clipping mask, revealing precisely which pixels and channels are being pushed to pure white or pure black.

5. Define barrel and pincushion distortion and state which lenses typically produce each.

   Barrel distortion bows straight lines outward from center, typical of wide-angle lenses. Pincushion distortion bows lines inward toward center, typical of telephoto lenses. Lens-profile corrections automatically remap the image to straighten lines.

6. What are chromatic aberration and vignetting, and how are they fixed in post?

   Chromatic aberration is colored fringing (often purple/green) at high-contrast edges caused by the lens focusing wavelengths differently; vignetting is corner darkening. Both are removed automatically by enabling lens profile corrections and 'Remove Chromatic Aberration' in the RAW editor.

7. What problem do Transform/Upright tools solve?

   Perspective distortion—especially keystoning, where vertical lines (e.g., buildings) converge because the camera was tilted upward. Upright/Transform applies vertical, horizontal, or full perspective correction to make verticals parallel and horizons level, usually requiring a slight crop.

8. Name the three primary local adjustment (masking) tools in a RAW editor and their basic geometry.

   The adjustment Brush (paint freehand), the Linear/Graduated mask (adjustment fades along a straight gradient), and the Radial mask (adjustment inside or outside an ellipse). Modern versions add AI masks such as Select Subject and Select Sky.

9. What are luminance and color range masks used for?

   They restrict an existing local adjustment to pixels within a chosen brightness range (luminance range mask) or a sampled color (color range mask), letting an effect apply only to, e.g., bright sky tones or green foliage, with clean automatic edges.

10. What are dodging and burning, and where do the terms come from?

    Dodging selectively lightens areas; burning selectively darkens them. The terms come from the darkroom: dodging blocked enlarger light from parts of the print (less exposure = lighter), while burning gave extra exposure (darker). They sculpt dimension and direct the viewer's eye.

11. Describe a classic non-destructive dodge-and-burn setup in Photoshop.

    Create a new layer filled with 50% gray set to Soft Light (or Overlay) blend mode; painting white lightens (dodge) and black darkens (burn) at low opacity. Alternatively, use two Curves adjustment layers (one bright, one dark) with black masks painted in where needed.

12. What is the classic use of a graduated (linear) filter in landscape editing?

    Dragging a linear gradient down from the top to darken and add contrast/saturation to a bright sky while leaving the foreground untouched—digitally replicating a graduated neutral density filter, with a smooth feathered transition at the horizon.

13. How is a radial filter typically used to emphasize a subject?

    Place an ellipse over the subject and either brighten/sharpen inside it or invert the mask to darken and desaturate everything outside—creating a custom off-center vignette that draws the eye to the subject.

14. What are layers in Photoshop and why are they fundamental to workflow?

    Layers are stacked, independently editable image elements composited from bottom to top. They isolate each edit (retouch layers, adjustment layers, graphics) so changes can be reordered, re-opacitied, blended, or discarded without touching the original pixels.

15. State the fundamental rule of layer masks.

    'White reveals, black conceals': white areas of a mask show that layer's content, black areas hide it, and gray gives partial transparency. Masks hide pixels non-destructively, unlike the eraser, which deletes them permanently.

16. What is an adjustment layer and why use one instead of a direct image adjustment?

    An adjustment layer (Curves, Levels, Hue/Saturation, etc.) applies its correction to all layers beneath it without changing their pixels. It stays editable indefinitely, carries its own mask for selective application, and can be clipped to affect only one layer.

17. Compare the Clone Stamp with the Healing Brush/Spot Healing tools.

    The Clone Stamp copies sampled pixels exactly (opacity/alignment controlled by the user)—best near hard edges. The Healing tools copy sampled texture but blend the color and luminosity of the target area—best for blemishes and smooth areas, but they smear near strong edges.

18. What is frequency separation in retouching?

    A technique that splits an image into a high-frequency layer (fine texture, pores) and a low-frequency layer (color and tonal transitions). Skin tone can be smoothed on the low layer while texture is retouched independently on the high layer, preserving realistic detail.

19. What is compositing in photography?

    Combining elements from two or more exposures or images into one seamless final image—e.g., sky replacement, focus stacks, or adding subjects. Convincing composites require matching perspective, light direction, color temperature, grain/noise, and edge quality across elements.

20. How do the Multiply and Screen blending modes behave, and what is each commonly used for?

    Multiply multiplies pixel values and always darkens (white becomes neutral)—used for adding shadows and density. Screen inverts, multiplies, and inverts back, always lightening (black becomes neutral)—used for adding glows, light effects, and lightening exposures.

21. What are luminosity masks and why are they prized by landscape photographers?

    Selections/masks generated from the image's own brightness values, targeting specific tonal ranges (brights, midtones, darks). Because the mask is built from the pixels themselves, adjustments blend with perfectly smooth, self-feathering transitions and no visible edges—ideal for exposure blending and tonal control.

22. How do you create a basic 'brights' luminosity mask in Photoshop?

    Ctrl-click (Cmd-click) the RGB composite channel thumbnail in the Channels panel: this loads a selection where each pixel is selected in proportion to its luminance (pixels above 50% brightness selected more than 50%). Intersecting the selection with itself progressively restricts it to ever-brighter tones.

23. Why is a Black & White adjustment (or channel mixer) better than simply desaturating an image?

    Desaturation discards color information with one fixed conversion, often producing flat gray mush. A B&W adjustment lets you set how each color (reds, yellows, greens, blues, etc.) translates to gray, so you control tonal separation and contrast between colors that would otherwise render as the same gray.

24. In black-and-white conversion, what is the effect of a red filter on a blue sky, and what standard formula weights RGB for perceived luminance?

    A red filter (or raising reds/lowering blues in a B&W mix) darkens a blue sky dramatically, making clouds pop. Perceived luminance is weighted because the eye is most sensitive to green: $L \approx 0.299R + 0.587G + 0.114B$ (Rec. 601; Rec. 709 uses $0.2126R + 0.7152G + 0.0722B$).

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