Workflow is, of course, a very personal thing. The site that I write for, Luminous-Landscape, has some very good articles by Michael Reichman about workflow and there are also some interesting pieces on http://www.outbackphoto.com
. My own workflow for the R-D1 looks like this.
1. I shoot in RAW mode (very often set to B&W so that the pictures are automatically in B&W when they're previewed and batch-processed)
2. I use PhotoRAW to batch process each folder of pictures to JPEG just to make viewable files for editing. That doesn't allow me to make any corrections but all I need from this process are "readable" files.
3. Using Breezebrowser or Thumbs Plus (the former recognizes ERF files and is a great program to have for organizing RAW files) I look through the JPEG conversions to determine which frames are to be deleted all together (both the original RAW file and the associated JPEG) and which frames will be getting further attention.
4. I archive all the RAW files that make the initial edit to Kodak Gold CDRs (two copies burned of each CD)
5. For the files that are now going to get serious attention, I re-open PhotoRAW and process them frame by frame (with all needed adjustments) to 16-bit TIFFs. This is where I do initial color correction (if working in color) using the WB eyedropper, make slight EV corrections if needed, etc.. My goal is to make a file with as much detail as possible in both the highlights and the shadows. 16-bit files are much more robust when going through various tonal changes (levels, curves, etc. in PS CS) 8-bit files quickly fall apart with significant tonal changes, leaving very gappy histograms where lots of tonal information is just *gone*
6. I open the a chosen file in PS-CS. I use Photokit sharpener (see review on LL by Michael) in at least two stages: 1) Initial capture sharpening just to recover some of the detail lost by the AA filter. The R-D1 files are often described as "soft" but they're actually no softer than those from many 6MP DSLRs. The Canon 10D files are even softer. Sometimes I'll get into the layers menu and back-off the Photokit capture sharpening a bit.
7. I work with the file in PS CS, leaving it in 16-bit all the way through if I can.
8. I size the file for output (300 ppi for work going to an art director or graphic designer, 240 ppi if it's going to my Epson 2200). If the file is going out to be worked on by someone else, I do no further sharpening. If I'm printing it, I do output sharpening according to the paper I'm using.
As for the lens tests, I'm playing around with them for starters but have a mountain of work to get done before I can even begin serious testing.