Posts Tagged ‘process’

How to Go About Editing Your Portfolio

Photographer Zack Arias has written up a lengthy and insightful post detailing how he goes about updating and editing his portfolio:

Here begins the process of lining up your children and, ummmm, figuring out which ones you love more than the others. This begins the painful process. It’s painful to not only choose but if you are a true creative this is the part where your self doubt, anxiety, and loathing start to show up. You come back to your BIG edit and it all sucks.

The images that you want to shoot are not in this folder. They are still out in the world waiting for you to capture them. As you start to go through 1,000+ of your “best” images they all begin to suck. You want to trash them all and just go shoot a new book. Well sorry Charlie, you can’t do that. You can’t go shoot a new book. Those elusive images are just that… elusive. You have to harden yourself during this process and realize that you are building a body of work with what you have to work with. If you ever say “I’ll just do this when my work is ready” then you will never do it. That kept me from this process for a long time. Kick the demons out of your head and get to work.

Arias recommends that you should go through this process at least twice a year, as it will show you holes in your body of work that you can then go out and fill.

Editing Your Portfolio [Zack Arias]

Restoring a Tintype Photo from the 1870s

Photo restorer Bob Rosinsky of Top Dog Imaging wrote an interesting article describing how he restored a tintype photograph from the 1870s brought to him by a client.

My standard operating procedure is to use an ultra-high resolution camera combined with a top-of-the-line macro lens to photograph tintypes. I use strobe lights to illuminate the artwork. Strobes produce “hard” light, much like the sun on a clear day. In addition to the strobes, I place a polarizer over the camera lens and polarizer gels over the strobe lights. This eliminates all reflections and enables the camera to pick up a greater tonal range along with more detail.

[...] I began the laborious process of restoration, which involved a prodigious amount of retouching.

Reminds us a bit of this 76-year-old Chinese Photoshop master’s work.

Restoring a Photograph from the 1870s (via kottke.org)


P.S. Earlier this week another tintype photo from the same decade sold for $2.3 million.

Behind the Scenes of a “Friends in Frames” Photo Shoot

When Calle Hoglund had his buddies over one night editing a music video, he got the idea of creating a photo manipulation with his friends looking out from photo frames. The project took three hours from start to finish, and luckily for us they created a stop-motion behind-the-scenes video showing how it was done.

Workflow for the Time Lapse: Shot with my 40D every second then uploaded it to Lightroom3 where I cropped them before exporting to Quicktime Player 7 where the Timpe Laps is being made. Finally I added the two Time Lapse movies to Final Cut Pro where I added the pics and music.

It’s a fun glimpse of photographers being creative.

(via f stoppers)

Shadow of a Tennis Ball

Here’s a photograph I randomly snapped on a tennis court a few days ago:

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It was taken with my Sony DSC-P200, a 7.2 megapixel point-and-shoot camera released back in 2005. Compared to my Canon 40D, the image quality is much less contrasty, and much duller. One of the things I like to do to quickly and easily improve photos from the P200 is to process the JPEGs in Adobe Camera Raw as though they were RAW files (though it’s less flexible compared to if you shot a RAW file).

In Adobe Bridge, you can right click the photograph and click “Open in Camera Raw…”, or press Ctrl+R.

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This allows you to use the sliders and tools provided by ACR rather than processing the JPEG in Photoshop.

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For this particular photograph, I made the following edits:

White Balance and Exposure : Unchanged. I liked the warm look of the photo, and the exposure looked fine.
Recovery: +50. Certain areas of the photograph were clipped due to the harsh sunlight. By sliding recovery upwards I can get some of the detail back in those areas (like the glow on the side of the tennis ball).
Fill Light: +20. I wanted to boost some of the shadow areas to make the difference between shadow and highlight less pronounced. Moving recovery and fill light up helps to even out this difference. Careful though… too much of either will make your photograph look either murky or strange.
Blacks: +10. Look at the photograph. There doesn’t seem to be any black, and everything’s gray. Increase the black point to where the darkest of those gray pixels become black.
Contrast: +70. We lost a lot of contrast when evening out the shadows and highlights via the recovery and fill light sliders. Get this contrast back with the contrast slider (or the tone curve section for more control).
Clarity: +30. For photographs with a murkiness due to near-direct sunlight, I’ve found that increasing clarity helps to improve the look of certain areas, like the hairs of the tennis ball.
Vibrance and Saturation: Unchanged. I could have dropped one of them to make the colors more natural, but I liked how it looks a little over-saturated.

Here’s the final condition of these main sliders:

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I also did sharpening amount +80 and lens vignetting -50.

Here’s the final result of fiddling with 7 sliders total in ACR (hover over it to compare it to the untouched image):

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Using Adobe Camera Raw (or Lightroom/Aperture) to post-process your JPGs is a really quick and easy way to give them an extra boost.

If you have any questions, comments, or suggestions, please leave a comment!

See you all next Monday, when we post an interview with Otto Kitchens.

Happy shooting!