From RAW to Print: My Complete Post-Processing Workflow

Post-processing can make or break a photograph. I’ve refined my workflow over thousands of images to be both efficient and effective, maintaining image quality while bringing out the vision I had when capturing the shot. Here’s exactly how I process landscape images from RAW import to final print.

Phase 1: Import and Culling (30 minutes per shoot)

I use Lightroom Classic for its combination of cataloging and processing power. My import process is standardized to save time:

Import Settings:

Create dated folders with location names
Apply copyright and contact IPTC data automatically
Build 1:1 previews for faster culling
Create a smart preview for mobile editing

Culling Process:

First pass: reject obvious failures (focus, exposure disasters)
Second pass: rate keepers (1-5 stars)
Final pass: flag the absolute best for processing

I’m ruthless during culling. If an image doesn’t make me pause and feel something, it doesn’t get processed. This saves hours of wasted editing time.

Phase 2: Global Adjustments (10-15 minutes per image)

Every image gets these adjustments in this exact order:

Lens Corrections and Profile

Enable lens corrections first—this affects everything else. I also enable chromatic aberration removal automatically.

White Balance

I always shoot in daylight WB, then adjust in post. This gives me maximum flexibility.

Before and after white balance Proper white balance transforms the entire mood

Exposure and Contrast

Set overall exposure first
Add base contrast (usually +10 to +20)
Adjust highlights (-30 to -70 typically)
Recover shadows (+20 to +50)
Set whites and blacks using Option/Alt key

Color and Saturation

Adjust vibrance before saturation (more natural)
Typical vibrance: +15 to +25
Saturation: -5 to +10 (less is more)

Phase 3: Local Adjustments (20-40 minutes per image)

This is where images truly come alive. I use a combination of tools:

Graduated Filters

For sky enhancements:

Darken overexposed skies
Add clarity to clouds
Enhance blue tones in sky
Create depth with multiple gradients

Radial Filters

To draw attention:

Brighten key foreground elements
Add vignettes subtly
Enhance specific areas of interest

Brush Adjustments

For precision work:

Dodge and burn specific elements
Enhance textures selectively
Clean up distracting elements
Add atmosphere

Local adjustments example Local adjustments create depth and guide the viewer’s eye

Phase 4: Color Grading (10-15 minutes)

The HSL panel is powerful but dangerous. My approach:

Hue Adjustments:

Shift blues toward cyan for cleaner skies
Move oranges toward yellow for warmer tones
Adjust greens toward yellow for natural foliage

Saturation Refinements:

Reduce blues slightly (prevent oversaturation)
Enhance oranges (for golden hour glow)
Subtly boost targeted colors

Luminance Control:

Darken blues (adds depth to skies)
Brighten yellows and greens (lifts landscapes)
Use carefully—easy to go too far

Phase 5: Sharpening and Noise Reduction

This happens last in Lightroom:

Sharpening:

Amount: 60-80 for landscapes
Radius: 0.8-1.2
Detail: 50-70
Masking: 60-90 (hold Option/Alt to visualize)

Noise Reduction:

Only if ISO was 800+
Luminance: 20-40 max
Color: 25-35
Detail: 50 (preserve texture)

Not every image needs Photoshop, but for prints or portfolio pieces, I take it further:

Content-Aware Fill

Remove distracting elements:

Sensor dust spots
Distracting branches
Power lines or human elements

Frequency Separation

For smoothing without losing texture—especially useful for skies with noise or compression artifacts.

Luminosity Masks

The most powerful tool for selective adjustments:

Target specific tonal ranges precisely
Create natural-looking adjustments
Build complex selections easily

Photoshop refinements Final Photoshop touches elevate an image to print quality

Final Sharpening

Use high-pass filter or smart sharpen:

Create sharpening specifically for output size
Different sharpening for web vs. print
Fade sharpening to 70-80% opacity

Phase 7: Print Preparation (10 minutes)

For images going to print:

Soft Proofing:

Use printer/paper profiles
Check gamut warnings
Adjust colors for specific output

Resizing:

Use Photoshop’s Preserve Details 2.0
Add noise reduction if upscaling significantly
Apply output sharpening

Color Space:

ProPhoto RGB during editing
Convert to sRGB for web
Adobe RGB or ProPhoto for printing

My Workflow Principles

Non-Destructive Everything

Every adjustment is reversible. I use adjustment layers in Photoshop and never work directly on the background layer.

Process with Intent

Every adjustment serves the image’s vision. Random slider pushing wastes time and degrades quality.

When to Stop

The hardest part of post-processing is knowing when to stop. If I find myself endlessly tweaking, I step away for a day and return with fresh eyes.

Save Incrementally

I save versions throughout processing:

Image-01-Basic.psd after global adjustments
Image-02-Local.psd after local work
Image-03-Final.psd ready for output

Tools and Presets

While I don’t rely on presets, I do use:

Custom Lightroom develop presets for initial settings
Photoshop actions for repetitive tasks
Saved layer styles for common adjustments

Time Management

A typical workflow timeline:

Import/Cull: 30 minutes per shoot (20-30 images)
Basic processing: 10-15 minutes per keeper
Advanced processing: 30-60 minutes per portfolio piece
Print prep: 10-15 minutes per final image

The Most Important Rule

Post-processing should enhance what’s already in the image, not create something that wasn’t there. If you find yourself dramatically transforming an image, you probably captured the wrong scene.

Great photography happens in-camera. Post-processing is about realizing the potential that was captured, not manufacturing something artificial.

This workflow has evolved through thousands of images and continues to refine. The key is consistency—develop a repeatable process that becomes second nature, then you can focus on the creative decisions that truly matter.

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