If you like sharing your photographs online, whether on Facebook or on your own blog, you should learn how to properly resize your images. While your camera can take very high resolution photographs, it is always a good idea to down-size or “down-sample” those images, not only because most websites won’t accept large images, but also because making those images smaller will actually make them look better, if done correctly. In this quick tutorial, I will show you the proper way to resize images in Lightroom. A separate article on how to do this in Photoshop can be found in my “how to properly resize images in Photoshop” article. I use the below method when exporting images out of Lightroom. You can employ this technique to any photograph – whether it is a portrait or a sweeping landscape.
How to properly resize images in Photoshop
If you like sharing your photographs online, whether on Facebook or on your own blog, you should learn how to properly resize your images. While your camera can take very high resolution photographs, it is always a good idea to down-size or “down-sample” those images, not only because most websites won’t accept large images, but also because making those images smaller will actually make them look better, if done correctly. In this quick tutorial, I will show you the proper way to resize images in Photoshop. I have seen people employ all kinds of different techniques when it comes to resizing images in Photoshop. The below method is how I personally do it and it has been working great for me, at least based on your feedback. You can employ this technique to any photograph – whether it is a portrait or a sweeping landscape.
Why Downsampling an Image Reduces Noise
One of our readers, Mike Baker, sent the below email to me today. I thought it was a great and interesting analysis of why downsampling an an image reduces noise, so I decided to share it with you (with his permission, of course). Trying to digest this stuff makes my head spin, but it is a great read. You might need to read it several times to understand what he means, especially with all the mathematical formulas (I had to):
You recently commented about downsizing a high-resolution image to a lower-resolution in order to reduce the apparent noise. While I knew that this is an effective way to reduce noise visible in the images, I had not thought in much detail about the technical reasons why this works.
After a long evening’s thought on the subject, and running a few questions past my friend and fellow engineer, I believe I have a (reasonable, though perhaps not perfect!) handle on the subject…
If the image signal and the image noise had similar properties, averaging neighboring pixels in order to reduce the resolution would not improve the signal-to-noise ratio. However, signal and noise have different properties.
There is (in general) no relationship between the noise in neighboring pixels. Technical junkies call this “no correlation”.
Correlation is the long-term average of the product of two signals N1 x N2. If two signals have no correlation, then the mean of their product is zero.
The signal in neighboring pixels has a high degree of correlation. If you add uncorrelated signals, then their “power” is added, meaning the combined signal is the square root of the combined power.
N_comb = sqrt(N1^2+N2^2) and for N1 = N2 = N we get N_comb = sqrt(2)*N, where N1, N2 are root-mean-square (RMS) values of the noise.
However, if signals are highly correlated, then their sum is effectively the sum of their magnitudes:
S_comb = S1+S2 and for S1=S2=S we get S_comb = 2*S
So, if we add the content of two neighboring pixels, we get:
SNR_comb = S_comb/N_comb = sqrt(2)*(S/N)
So, the signal-to-noise increases by square root of two, which is about 40%.
Now, you may say that the signal in neighboring pixels is not always 100% correlated. The correlation between the signals depends on the image content. If the image content is very smooth, the correlation is high. If the image content varies very fast, the correlation is low. Of course, noise will be more noticeable in smooth areas and the effect of resampling the image will be stronger.
Adaptive noise filters take into account the absolute signal-to-noise and the image content. They reduce the resolution more in areas that are smooth and have poor signal-to-noise and keep the original resolution in areas that have strongly varying image content and high signal-to-noise. You can think of it as a joint optimization of SNR and resolution.
Now, we also need to look into the different sources of noise:
- The first source of noise is dark current which is caused by electrons that accumulate in the individual pixel well, even if there are no photons entering (lens cover on). Dark current becomes dominant for very long exposures. For normal exposures the errors from trapped electrons are negligible.
- The second source of noise is the read-out noise. This is essentially generated by two sources: A) Noise added by the amplifier and B) Noise generated by the analog-to-digital converter. It is a fixed amount of noise that is added to each image during read-out. When you choose the ISO setting on your camera, you essentially set the read-out gain and therefore the read-out noise. The higher the ISO, the higher the read-out gain and the less read-out noise. Of course if you pick an ISO which is too high you will get signal saturation. So for low-light situations always pick an ISO that is no higher than needed to capture the image you want.
- The third source of noise is called “quantization noise” and is a bit harder to understand. It has to do with the fact that (in low-light conditions) we don’t sample a smooth, continuous flow of photons but rather discrete bunches of photons. The problem is, that a source of light does not produce a stream of photons that are spaced equally in time. So, if you image a low light source that sends out (on average) 100 photons per second, you may receive 90 photons for the first second, 105 for the second etc.. The average error will be on the order of the square-root of the number of photons (or electrons in the pixel sensor well). A typical sensor well contains between 20,000 and 60,000 electrons when fully charged. The maximum amount depends on the pixel size. A sensor well with 20,000 electrons has an error of approx +/-141 electrons when fully charged or +/-0.7%. A well with 60,000 electrons has an error of approx +/-245 electrons when fully charged or +/-0.4%. While we may be able to reduce dark current and read-out noise by cooling the sensor, there is essentially nothing we can do about it. If we keep on shrinking the pixels, we will have smaller and smaller electron wells and less and less electrons trapped.
The above errors of 0.7% or 0.4% appear rather small and we would not be able to notice them. However, in low-light situations, sensor wells will be only partially filled. If we only manage to trap 1000 electrons, the error becomes 3%. If we only trap 100 electrons, the error becomes 10%.
Notice that the term “quantization noise” has nothing to do with the signal quantization by the analog-to-digital converter. It has to do with the fact that your signal actually arrives in quantums of energy.
What do you guys think? Anyone wants to challenge Mike’s analysis? :)
Lightroom 3.6 and Camera RAW 6.6 have been released
Adobe has just released final versions of Lightroom 3.6 and Camera RAW 6.6 that have been in “release candidate” state for over a month (download link for Windows and Macintosh). As shown on Adobe’s blog, the update fixes a number of serious bugs, in addition to providing full support for the new Nikon 1 V1 / Nikon 1 J1 cameras and a bunch of new lenses from various manufacturers.
Here is the full list of newly supported cameras:
- Canon PowerShot S100
- Fuji FinePix X10
- Leica V-LUX 3
- Nikon 1 V1
- Nikon 1 J1
- Panasonic DMC-GX1
- Ricoh GR Digital IV
- Samsung NX5
- Samsung NX200
- Sony NEX-7
A bunch of new lens profiles have also been added. Here are the lens profiles for the Nikon mounts:
- Sigma 12-24mm F4.5-5.6 DG HSM II
- Sigma 150mm F2.8 EX DG OS HSM APO Macro
- Sigma 105mm F2.8 EX DG OS HSM Macro
- Nikon 1 NIKKOR 10mm f/2.8
- Nikon 1 NIKKOR VR 10-30mm f/3.5-5.6
- Nikon AF-S DX Micro-NIKKOR 40mm f/2.8G
Note that two of the lenses in the above list are the brand new Nikon 1 Nikkor lenses. I will be publishing reviews of these lenses within the next couple of days. Nikon 1 10-30mm f/3.5-5.6 will be the first to be reviewed and compared.
Photoshop vs Lightroom
Whenever Lola and I post images on our website and the Facebook fan page, we get plenty of requests on post-processing from our readers. One question that keeps coming back all the time is about Lightroom vs Photoshop – many beginners do not know differences between Lightroom and Photoshop and have a hard time choosing which one to get first. In this article, I will show the main differences between these two software packages from Adobe, what they are used for and what you can do in Photoshop that you cannot in Lightroom. Most of this article will also apply for Aperture vs Photoshop discussion, because Aperture and Lightroom share very similar functionality.
1) What is Photoshop?
Photoshop was originally created as a tool for simple image editing, which since 1990 has grown into a monster software suite with many functions and capabilities to accommodate graphic designers, architects, animators, publishers, photographers and even 3D artists. Think of it as a Cadillac of image editing with an unlimited potential that can grow not only with software updates and upgrades, but also with special plugins known as “filters” from Adobe and third party software companies. Want to stitch multiple photographs into a single panorama? Or create a High Dynamic Range photograph? Or get rid of skin blemishes? Or perhaps make a person look taller, shorter, thinner or fatter? Yup, Photoshop can do all that; and much much more. It would be pointless to try to list what Photoshop can do, because it would probably be a never-ending list. The term “Photoshopped” is now a part of our daily jargon, because we are constantly exposed to altered images that might look realistic while being fake – that’s the power of Photoshop.
2) What is Lightroom?
The full name for Lightroom is “Adobe Photoshop Lighroom”, which may sound confusing, because it contains the word “Photoshop”. In a way, it makes sense, because Lightroom can be considered a subset of Photoshop with specific functionality that Photoshop does not and probably will never have. It was created for the main purpose of managing a large number of images, keeping them organized in one place. Photoshop is a very advanced image editing tool, but when you edit hundreds of images, keeping them organized becomes a problem over time. Before I started using Lightroom, my photography workflow solely consisted of Adobe Camera RAW (which allows opening, manipulating and converting RAW files) and Photoshop (which I used to fine-tune images before saving them into my hard drive). It was a complex, cumbersome and inefficient process, even after I semi-automated it through a batch process in Photoshop. The biggest challenge was organizing edited images in my hard drive, sorting and cataloging them. I am not even going to talk about finding images, because it was an impossible task that required reviewing thousands of thumbnails and image metadata in order to find what I was looking for. As my file catalog grew, I realized that I had to find a better way to organize my photographs. And that’s when I discovered Lightroom.
Case Study: Skin Color Problems
Another case study was submitted on Nikon D7000′s handling of colors. Here is what our reader writes:
Hello Nasim, 2 months ago I bought my first Nikon camera – D7000. I’ve read much about it and decided that this is best camera for me, but recently I am noticing that in certain lighting conditions colors are inadequate. There is an awfull yellow-green color, especially noticeable on people’s faces. Skin on pictures is also has strange color. Changing wb temperature is hardly helping. As an owner of the D7000 could you tell me if this is the problem of all D7000 cameras or is it malfunction of mine? What can i do to fix this?
And here is a sample image that was attached to the case study:

How to Watermark a Photo in Lightroom 3
In this article, I will show you how to watermark a photo in Lightroom 3 using the standard, available tools. Adding copyright watermarks to photographs in Photoshop can be a very time consuming task. Although you can create a batch job for watermarking multiple images in Photoshop, it is a rather slow and cumbersome process that involves recording actions for different layouts. Embedding watermarks in Lightroom 2 was also painful, because you had to use a separate plugin that had to be installed and configured. Gladly, Lightroom 3 now has an integrated functionality to embed watermarks that you can use in batch action while exporting your images. Let’s go over the new method of embedding watermarks and how you can use Lightroom 3 to watermark all of your vertical or horizontal images during the file export process.
1) Why Watermark Your Images?
The first question you might ask yourself is – should you or should you not watermark your images? There are many opinions on this matter. Some photographers argue that watermarks prevent theft (which I and many others disagree with), allow self-promotion and help build brand recognition, while others argue that adding watermarks spoils the viewing experience and does more harm than good. Let me quickly point out what I think about watermarks and when they should and should not be used.
Portrait Editing: Before and After
In this article, I will show you an example of how I process portraits (before and after) and what my portrait editing workflow is like. Many of our readers ask how I post-process my images for my wedding blog and I decided to put together a quick example. Obviously, every image is different, so while some photos take very little of my time in Lightroom, others might take a while to process in Lightroom and Photoshop. This image in particular is from our recent “Bridesmaids Photoshoot“, a collaborative effort by many talented individuals in Colorado.
For any portrait work, it is best to shoot RAW. First, because the skin tone is very important and any white balance issues can be quickly taken care of in post-processing and second, because you can recover a lot of details from a RAW file. For me it all starts in Adobe Photoshop Lightroom. If I cannot get something done in Lightroom, I import images to Photoshop for further processing. Both Lightroom and Photoshop are very powerful applications – you can get a lot done without using any plugins or other third party software. Do not be afraid to experiment with either Lightroom or Photoshop, as it will only help you broaden your knowledge and build up your post-processing skills.
The close ups usually require a lot of work, due to the abundance of details and features. But the amount of time you put in all depends on the type of look you are trying to achieve. Here is the original image SOOC (straight out of the camera):
How Much is Too Much?
When it comes to our wedding business, Lola put me in charge of “QA” (Quality Assurance) before images are delivered to our clients. After she is done with all post-processing work, we sit down together and review all images. She is naturally good at working on images and her creative and artistic side really comes into play when she photographs and then edits images. I have a very different approach to photography and I often pay lots of attention to such things as image sharpness, detail, framing and angles. It is surprising to see how well our different perspectives merge into a productive environment – while we sometimes do disagree, we both understand that our ultimate goal is to provide the best results to our clients.
On average, Lola and I come back with approximately 1,000-1,500 images per wedding, all shot in 14-bit NEF (RAW) format. Once we sort everything out and pick our favorites, we leave approximately 500-600 images that will be delivered to our clients, with only about 1/10th that are retouched in Photoshop. I was once talking to a photographer based out of Florida, who told me that he only takes between 100-250 images per wedding. When I told him how many images Lola and I take, he laughed, arguing that most images are probably duplicates of each other and that we should learn how to take fewer, but higher quality images. Being in business for over 30 years as a successful full-time pro, he definitely knew what he was talking about. But I also realized that his habit of taking fewer pictures definitely has to do with film days, where more photos meant more photo lab work. With digital SLRs that have a shutter lifespan of at least 150 thousand clicks, we no longer need to worry about the cost or working with chemicals in a lab. So, what is better – take fewer, but higher quality images right on the set, or take as many pictures as possible at different angles, perspectives and settings? As far as I’m concerned, I am somewhere in between. I think that taking very few pictures is risky, as you might think you got everything right on camera, but you might have missed some details – eyes closed, focus not 100% accurate, etc. The last thing you want is a frustrated customer that asks for another picture you do not have. On the other hand, walking with a DSLR and shooting non-stop is also counter-productive, since then you have to deal with too many images and the process of choosing the best ones and working on them later might take hours of precious post-processing time. Wedding photography is a tough business to be in mainly because of a photographer’s time, especially if complex Photoshop retouching is involved. Details can take away too much time and the question that I have been asking myself lately is “how much is too much”, when we work on images.
Take a look at the below image, as it came out of the camera:
How to Smoothen Skin and Get Rid of Blemishes
Many of our readers ask me how I smoothen skin and get rid of blemishes. While the manual process below is fairly simple, there are some available presets and programs that could be utilized to help streamline the process for photographers. Many professionals though (including myself) prefer to have a full control over the image and do all the blemish removing and glamor skin smoothening manually.
This is probably the most known and most used method out there to help you achieve the radiant skin tone. Once you know all the steps, it gets pretty easy to utilize this method. I will use the following image as an example:













