Its all a load of nonsense
September 22, 2008
Well, last week I did something I should have done ages ago… I picked up a laptop specifically for use “on location” in my occasional photojournalist-type activities.
That’s to say, one I can carry with me to an event and use to post to blogs or upload photos or whatever in “real time” should the need arise, and particularly where the event lasts for longer than just a day.
In other words, I’m unlikely to lug it around with me if I’m just going to cover a “one off” demo. But something like the recent Climate Camp… well, that’s another matter entirely.
Although I’ve been aware for quite some time that I really should have such a bit of kit, the actual incentive to get it was driven by two separate and specific experiences.
The first occurred during (or rather, immediately after) my coverage of the Carnival Against the Arms Trade in Brighton, back in June this year (see this post).
At the end of the protest/demo I found myself at a sort of club or social centre frequented by activist types where some of the locals were desperate for photos to send out straight away to the media, press agencies and suchlike.
Well, me being on hand I was asked if I’d mind any of the pics I’d shot being used.
Stupid question. Of course not. That’s what I was there for.
But we then ran into a huge problem. I shoot in RAW only. And their set-up wasn’t geared up to process RAW files. And even if I’d processed the shots in-camera into JPEGs they had no means readily available to transfer them to their computers. Nope… not even a card reader!
Well, after a lot of messing around, and downloading/installing some software, and me madly dashing out to get a USB card reader from the local Maplins I eventually managed to get some pics sorted that they could use.
But alas, too late. Another photojournalist-type had pipped me at the post. Dammit!
Realistically of course, being that it was a one-day event I probably wouldn’t have taken a laptop (along with all necessary gubbins) anyway… assuming I’d had one.
What the incident did cause me to do though was make damn sure I always carry, at the very least, a card reader with my photo kit.
Nothing like closing the stable door after the horse has bolted!
The next experience was at the recent Climate Camp (this post refers), which lasted for about a week and was exactly the sort of event at which I should have been kitted up.
But oh no, not me! I’d relied on the good offices of a mate who’d said he’d bring his laptop.
Problem was, there were three of us photojourno-types wanting to use it… and yep, you’ve guessed it… almost always at the same time.
And the other problem was internet access. The Camp’s internet link didn’t get up and running either as quickly or as smoothly as we’d anticipated. Ending up with mate eventually having to journey into the local shopping centre and buy one of those web’n'walk dongle thingies that enable mobile access to the internet.
Top marks and full credit to mate for doing so, but it proved to be painfully slow uploading pics etc, and of course it didn’t resolve the “three users bottleneck” issue.
It was the guilt that did it for me. Guilt at having relied upon someone else (nothwithstanding their kindness and generosity) for providing a facility that I should have been equipped with anyway.
Well, now I am! Laptop, plus one of those web’n'walk dongle thingies. Ye gods. I’m actually beginning to feel like a proper photojournalist. Its quite worrying really.
Anyway. Before acquiring this nifty bit of kit I’d already pretty much spec’d it to myself…
It had to be lightweight. I’m already carting around more than enough weight as it is (what with my stupid two cameras and associated accessories) and really don’t need to stuff another weighty lump into the backpack.
It had to be fast. Loadsa RAM and a reasonably fast processor to cope with doing stuff with RAW files using Lightroom.
Had to be wifi-enabled (of course), and ideally running XP.
Hmm… p’raps I need to explain that last.
The obvious thing to go for (and much favoured amongst pro photographers) would be a Mac. Thing is, I have issues of long standing with Apple and thus on principle won’t get any of their gear. Stupid I know, but that’s the way it is.
And whilst I’d briefly considered Linux I had reservations about its handling the sort of work I’d want to throw at it (reinforced by a bit of research I’d done) plus Linux can sometimes be a bit of a pig when it comes to communications-type stuff (i.e., connecting to an internet access point). Which would rather defeat the whole object of the exercise… no point carting a laptop around if you can’t upload stuff etc straight away.
So really XP was the only viable option (didn’t fancy Vista after all I’d heard about it).
To proceed then… it had to have a reasonable size screen. Didn’t need something huge like I have on my “PC replacement” laptop, but neither did I want a dinky 12″ (or less) screen along the lines of what I’d seen on a rather super little notepad. My concern was that such a small screen size could make photo editing/processing a tad onerous (especially with my eyesight!).
Didn’t need a huge hard drive… I favour the external USB-powered portable hard drives for data storage etc… and I’ve already got a few of those knocking around somewhere.
And a useful battery life.
So, that was the spec. And I… um… nearly got close to matching it.
What I’ve actually ended up with is a really cool-looking bit of kit (its shiny black with a sort of cherry-red handrest and gorgeous blue lights!) that’s… er… bent the spec a bit.
Well, the screen size is ok. And the hard drive isn’t too big (160Gb). And its not that much heavier than what I’d planned for (just over 2kg). But it is wifi-enabled (”They all are nowadays” did I hear someone say?).
But hey, its got a huge amount of RAM (4Gb) and reasonably fast (two point something or other GHz) dual processors.
Works a treat. Its great. Mind you, I haven’t yet tried carrying it around with me (along with all the other kit). Still, deal with that when I come to it.
Oh… I nearly forgot to mention… its um… running… er… [hush!] Vista.
Oops.
In fairness I have to say that so far my experience with it has been pretty good. I’ve already tinkered around with it a fair bit (as geek types tend to do) and I’ve not yet encountered any of the slowness or “hangs” that rumour had me believe would be inevitable. And, despite what I’ve heard others say, I don’t find the interface impossibly different to that of XP (so no huge learning curve). In fact, on present showing I’m having difficulty restraining myself from remarking that this is the best MS Windows os to date (bar Win2K and NT which still outstrip everything else of course).
And (oh joy!) I’ve finally got my head around using the touchpad instead of plugging in a mouse. Now I’ve configured it how I want it… which essentially means switching off that damn irritating tap-to-click feature. Great!
However…
I’ve now discovered that all that stuff about colour calibrated monitors, “correct” colour balance and suchlike (you know, all that stuff that’s caused me so many headaches in the past) is just a load of nonsense. Utter rubbish. Sheer twaddle.
Lemme explain.
New laptop grasped in my grubby little mitts, what’s the first thing I do? Plug it in, flip up the lid, and switch it on of course. Get it fired up and start playing.
Tinker with the interface a bit. Yeah, I can handle this. Cancel that bloody tap feature on the touchpad. Good. Find Explorer and set the view to how I want it (never did like Explorer but it’ll have to do ’til I can afford to get the Vista version of my fave file organiser, “PowerDesk”… and for some bizarre reason money now seems to be really tight. Can’t imagine why!).
Rummage around in the registry a while (”Hmm, not having that starting every time I boot up” sort of thing). Connect to my router (now that was fun and games, but I sussed it eventually… all to do with tweaking some settings on the firewall I’d just installed). Update the AV proggie I’d also just installed. Run Windows update. Install a few other things. (Btw, rummaging around in the registry is not recommended unless you’re confident in what you’re doing!) Install a few more proggies. Begin to get bored.
Drum fingers on desktop. A few slurps of coffee. Bit more drumming. Randomly click a few keys and stroke the touchpad (hey, I could get quite used to that!). Definitely getting bored now.
Aha… check out Flickr. Call up the newly-installed Firefox (just like an old friend) and go to my Flickr page.
Yucch!!!
All the photos are crap! They’re ‘orrible! But after a little bit of investigating I find that so, too, are everyone else’s. Well, that’s some comfort at least.
So spend the next 45 minutes or so twiddling and tweaking the colour adjustments for the screen. Its still not quite right, but at least its a bit more acceptable now than it was straight out the box.
And, so we’re all very clear on this, by “acceptable” I mean not too dissimilar to the displays on my other machines… allowing for unavoidable hardware differences.
And note that this task did not feature as the first (or even second, or third, or…) thing I did when I opened the lid! Ponder on that.
The whole point being, how many other people would be as finicky as myself in trying to make such colour adjustments? Change the brightness a bit maybe, possibly the contrast, and maybe even the gamma, but that’d be about it. At least, that’s it for most of the people I’ve observed sitting before a new machine.
And what of all those people who never even think of adusting the screen colour, brightness etc, assuming how it looks “out the box” is how its meant to look? (Which is pretty much what I did actually!)
Another point being, I’ve now got… um… four laptops (forget the PCs, and the machines I use elsewhere) all of which render colours slightly differently or with, if you like, a different colour bias.
So which one’s right?
In the good old days when I used to be involved with the printing industry and graphics pretty much everyone worked to a set colour standard (the generally used one being the Pantone system). You could quote a Pantone number (which referred to a specific and unique colour or shade) and pretty much guarantee that, regardless of the processes involved, the printing machine used, the brand of ink used etc, that colour could be reproduced identically from one print run to another, from one printing house to another. (Assuming the colour of the substrate was the same of course.)
It could be consistently reproduced by the use of what were called “spot” colours, or it could be used as a standard by which the product of colour process printing could be accurately measured.
And of course all graphics-type people always had on hand a Pantone colour book (”book” is a bit of a misleading term really. It was actually a thick wodge of colour swatches that had to be replaced fairly frequently cos of colour fade) as part of their standard equipment.
And I’m guessing that sort of standard and consistency still applies if one’s photos are to be actually printed in hardcopy form.
But what of web usage? Far as I can see if the web is the intended final form of presentation for one’s pics then all such standards fly completely out the window.
This is a problem I spent ages tussling with not so very long ago, with the output of the GX20. And I’m reminded of a phrase I read when, in the course of tussling with that problem, I started reading a helluva lot about RAW files and how they’re processed…
“Generally, there is no one single “correct” interpretation of a given raw format. Vendors make a relatively subjective determination of what the best “look” is, and then adjust their converter to produce that result.”
Whilst that refers to the interpretation of a RAW format, I’m beginning to suspect it can equally as well be applied to the notion of “correct colour”.
Consider this…
You can photograph a particular scene in, say, the brightness of the midday sun. Then exactly the same scene in the early morning. And in the evening. On an overcast day. On a rainy day. On a day when the sky’s laden with snow. And so on. Even just hours apart on the same day. And each one of those photographs will show (very often quite markedly) different colours. We all know this, don’t we?
So which one’s “right”?
Remembering that I’m talking exclusively about web usage here, we can then add to this mix the fact that we can’t know what screen a given person’s going to see our pics with, or how carefully they’ve adjusted the colours, brightness, contrast etc… if at all!
And two supposedly “correctly” adjusted screens from different manufacturers may well render colours significantly differently.
So what, if anything, can we do to introduce some degree of consistency into this? Some way of ensuring that the way I see a particular image in terms of its colours, brightness etc will also be seen by someone else, using a different screen.
Perhaps that’s an impossible requirement. I don’t know. I wish I did. And no doubt I will periodically revisit this dilemma (as I’ve already done) many times in the future.
But until I learn of a way of satisfactorily resolving it, all talk of colour accuracy and worrying about consistent colour reproduction on the web is, far as I’m concerned, a load of nonsense!
Microsoft’s failed Yahoo buyout bid
May 5, 2008
Can’t let this momentous event pass without at least a brief mention. Ok, so I’m a bit behind everyone else, but that’s really only an illusion.
In fact I’d written a rather lengthy post about it quite a few hours ago, but somehow I then managed to start ranting on about the relative merits of Yahoo vs Google and, well, the whole thing got a bit out of hand. So I pulled it.
But this news (about Microsucks walking away from the deal) caused me to experience something almost approaching joy. Phew! At least now they won’t get their hands on Flickr (which was the main cause of my concern)… for the mo’ anyway.
Almost makes me wanna forgive Flickr for allowing video uploads. Especially if that was a ploy on their part to help up their value and thus evade the MS clutches.
Video and Flickr
April 9, 2008
Damn and blast!
Just as I’d started to get comfortable with Flickr (and actually begin to really like using it) they have to go and do that damned irritating web trick of introducing a change that affects every user, across the board.
Now don’t get me wrong. Whilst some acquaintances may (based on superficial observation) regard me as something of a stick-in-the-mud, a Luddite, I’m not necessarily averse to change, or technological innovation.
But what I’d really like is for the change to happen at my pace, not to have it thrust upon me whether I want it or not, whether I’m ready for it or not.
Sure, a lot of resistance to change consists in the having to get used to something new. Aside from the fact that anything new frequently contains a few unanticipated bugs that require sorting (which entire process is calculated to irritate even further), resentfulness of the change will also frequently manifest in being hyper-critical… an unreasonable intolerance of anything that doesn’t quite conform to how one thinks something should work.
These issues can be, and usually are, overcome in time. We get used to something, then get comfortable with it, then bang!…. another across-the-board change is introduced. And the entire process starts all over again. The resentfulness, the griping, the learning-curve, the growing familiarity… and so on, and so on.
I’m well aware of all of this, but still stand firmly by my initial moan. Why the hell can’t these web-developers simply provide us with a button we can click when we’re ready to implement the new feature or whatever, when we get bored with the existing interface, when we’re starting to look for some fun new feature, rather than at their whim when they think fit to thrust it upon us. Surely that can’t be too difficult to do in these days of Web 2.0
A bit like having user-definable skins for an interface really.
Two cases in point… a few weeks ago my principal hosting provider introduced a new (global, of course!) interface for their hosting control panel. Sure, it looks prettier, more swish and colourful, and I don’t doubt that (once I get used to it!) it’ll prove easier to find things than with the older version.
But dammit, I liked the older version! I had no criticisms of it and I didn’t want a new all-bells-and-whistles control panel.
Second example is this new wordpress.com dashboard. I don’t doubt that in time I’ll get used to it. But I resent the need to have to get used to it. I liked the old dashboard, it was easy to understand and use, and I don’t welcome the change.
So now the same thing with this new Flickr video feature (which they call “long pictures”… that is to say, max permitted size for a video clip is 90 seconds).
Oddly, its the max size that they’re permitting for these clips that I find to be the most attractive feature. Lends itself perfectly to the sort of thing that’d come straight off a mobile phone or point & shoot digicam with video facility. And practically ideal for the sort of usage to which I’d likely put it… newsworthy “incidents” at protests and demos for example.
No need for editing. Just upload the raw clip straight as it comes off the device, already in the right format. Superb.
However… its a feature I wasn’t looking for, didn’t ask for, and don’t want.
If I want to do anything with video then I’ll use my (practically un-used) YouTube account. The fact that its practically un-used should speak volumes!
For me, Flickr is a photo site. I don’t want videos integrated with it, and I resent having them thrust upon me with no choice on my part.
Wouldn’t have been quite as bad if the Flickr staff had not just recently managed to sort out a few long-standing bugs that were causing problems even without video clips!
Now this, and the potential buy-out of Yahoo by Microsoft (with precisely what impact on Flickr users I wonder?) is beginning to make me question my choice of photo-sharing site. Pity, really.
So having said all that, don’t be surprised to find masses of video clips populating my photostream in a coupla years’ time (assuming I’m still alive and kicking then of course, and haven’t simply expired from the stresses caused by change-overload!).
Bear with me…
February 23, 2008
For the casual visitor to my Flickr photostream it may appear that I take an inordinately large number of pics inside Bedford’s “The Bear” pub. And they could therefore be excused for thinking that I spend a lot of my time in a rather inebriated condition.
Now I’ll readily confess that I’m a tad partial to the odd glass of whisky (or, even better, the Irish whiskey) here and there (and here, and here, and here) but that is not actually the real reason that the Bear’s becoming one of the most photographed pubs in the town.
The reality is that I have connections with that establishment (and the staff and management thereof) going back quite a few years… more than I care to think about in fact.
Consequently whenever I’m in town (usually about once a week) I tend to end up there for my lunch and liquid refreshment (no, not alcohol but coffee… of which I consume prodigious quantities).
And it just so happens that the bar manager there is a close friend of long standing; and that over the past couple of years or so we’ve both, coincidentally, developed an active interest in photography.
Also coincidentally, The Bear just happens to lend itself to photographic experimentation by virtue of the fact that the lighting in there is really unusual and provides an exciting challenge, at least for novices like us. And of course there’s lots of interesting objects to play around with.
Consequently, between the two of us we’re beginning to amass a rather large collection of licensed premises pics. Unfortunately, most of them will eventually end up in the Recycle Bin… one of the most prevalent “issues” with the unique lighting conditions therein is that so many of our pics end up really “noisy”.
(As an aside, I’m gradually beginning to suspect that noise is not as much of a detriment to a photograph as I’d been led to believe. Yes, on some shots its clearly unacceptable but, ever so slowly, I seem to be developing the confidence to assert “I don’t mind about what’s normally regarded as acceptable. I like this!” For it seems to me that some shots are actually enhanced by a bit of noise. And removing or minimising it can have an adverse impact on the overall visual impression.)
Another of the issues that afflicts us is blur due to camera shake caused by a combination of the odd lighting and the impracticality of using a tripod in there… whilst we try to find things to rest the cameras on that’s not viable for many of the shots we want to take.
Anyway, from all the shots of The Bear we’ve taken over the past months we’ve still managed to salvage a reasonable number. And of the shots I’ve taken (as distinct from those by my mate) there are just a few that I really like.
Now the curious thing is, I don’t actually know why I like them. To my eye they all seem to share something in common (aside from being shot in the Bear) but I can’t really determine what.
I didn’t take any of them to achieve a particular effect, or visual “style”. Its just the way they turned out.
If anyone has any thoughts on it feedback would be appreciated.
A beginner’s thoughts on post-processing
February 11, 2008
Trawling through a friend’s blog the other day I came across an article discussing some aspects of a topic with which my thoughts have been much engaged recently… image processing/manipulation.
“In the downside, I mentioned one of the problems is image manipulation and this may well come as a surprise to some, photographic images have always been used by the media to show and reinforce articles to the viewer/reader this really happened on the adage that the camera doesn’t lie and now images can be very heavily distorted and easily, but it is not just image manipulation that is an ethical problem. What the photographer shoots in the first place has an impact on the viewer, the saying “a camera is a window to the world” is very wrong as it is only looking at a fraction of what is in front of the photographer, let alone the world. The process in framing the image in the camera, the decision on what to leave in and what to leave out, all has a bearing on what the viewer understands to what is being described by the image.
Cropping after the image is taken and done in post production also has a distinct way of changing the image and can be manipulated by an editor of a publication to change the meaning, yet again, to put a direct slant on a story and is a common occurrence in newspapers often done to make the image fit the columns width of text.
Corrections of image exposure, white balance and contrast are also hotly debated amongst ethical discussions by documentary photographers as some feel there should be no need, others argue that they are keeping the image to how it was seen originally by the photographer and are keeping the image true to how it was when the photographer clicked on the image.
Posing is also a not an option in ethical photographers book, if you are going to pose your subjects you may as well set up a knife or gun attack as you would get higher sales, portraits are often naturally done as if the photographer was not there”
(Read the full article here)
Thanks in no small part to the encouragement of this same friend (he of the aforementioned blog) I became interested in digital photography a couple of years or so ago, the main attractions being the “instant” nature of the entire process (permitting the immediate viewing of photos just taken, which in turn facilitates the equally-as-immediate diagnosing and remedying of technical defects in the shot - exposure, colour balance, framing etc) and the ease with which modifications can be made to the photograph afterwards using nothing other than a bog-standard PC and a halfway-decent image editing app.
Both these features were of fundamental concern to me as some years previously I’d ventured into the realms of film photography and in very short order found I was a complete incompetent. And the learning process simply didn’t happen as the time-lapse between taking the photographs and having the developed prints returned to me by the processing laboratory was such that I couldn’t recollect the camera settings I’d used when examining a given shot (and didn’t know enough about the technical aspects of the subject to take a stab at guessing them), so couldn’t really effectively diagnose the cause of defects.
(Anything as basic as taking notes at the time of the shooting was of course way beyond my comprehension, or inclination, at the time!)
Admittedly I went some way toward overcoming this problem by mastering darkroom techniques and beginning to develop my own film, but by that time the initial interest in the whole thing had gone… so I gave all the kit away and vowed never to touch photography again!)
Well, here I am some 25 years later, and once more dabbling in photography.
My first revisit into this realm was with a Konica-Minolta point & shoot, and I discovered another bonus of the digital version of the art. No longer was one hampered by the limitation of 16, 24, or 36 exposures to a roll of film. With digital take as many shots as you like (up to the capacity of the available memory of course) then immediately delete the rubbish ones and carry on shooting.
Brilliant!
That particular technique doesn’t smooth out the learning-curve of course, but at least it means that statistically you’re bound to end up with at least some half-way decent shots.
And so it was. Unfortunately, I didn’t find the K-M to be a particularly inspiring camera so didn’t really become “hooked” at that stage.
But it was sufficient to cause me to wonder whether I’d benefit from treating myself to a slightly better camera, so I invested in my very first DSLR, a Canon EOS400d (otherwise known as the Digital Rebel… and I can’t think of a more apt description of myself!).
Suddenly I had all these extra settings to play with, and I could almost instantly see the results of any changes I made (somewhat misleading of course, because the LCD screens on these cameras aren’t all they’re cracked up to be). But with the ability to record camera settings for any given shot (via the metadata/exif info feature) and “tweak” the end-product on a PC (technology with which I’m well familiar) I was off, like the greyhound after the hare, and the camera went virtually everywhere with me.
But here I encountered my first major hang-up. I found I was a mite uncomfortable conscience-wise with too much image manipulation!
Shooting off at a tangent for a moment, my previously-mentioned friend (soon to be erstwhile if this carries on!) had also introduced me to the wonders of Flickr (the extremely popular on-line photo-sharing site), which I found to be quite addictive.
However, in browsing other folks’ photo uploads I gradually came to the realisation that many of the photos I was looking at were quite obviously heavily post-processed (manipulated in one way or another after the original shot was taken) to enhance their appearance. Whilst acknowledging the visual superiority of these, I nevertheless found myself drawn more to the “authentic” images (as I thought of them) that appeared to be virtually straight off the camera, “as shot”. In some way they seemed to me to be more “honest”, and certainly more revealing of the photographer’s skill (or lack of it - as in my case) with the camera.
Absent any conscious mentation I’d sort of classified all the identifiable post-processed and cropped images as “cheating”, and thus dismissed them.
(On reflection I suspect this topic feeds into another debate entirely… that of whether photography qualifies as art or not. But I’ll save that for a future post.)
This meant that, to remain true to my convictions, then necessarily I must restrict the post-processing of my own shots. Such was my position until fairly recently, when a change in my thinking was catalysed by a rather unfortunate photo session in which I ended up with virtually 100% rubbish photographs and, if I were to share any of them at all on Flickr (told you it was addictive!) some fairly extreme post-processing was called for.
I say “catalysed” because this need crystallised out numerous random thoughts which (I realised) had already begun to bubble away in the murky depths of my mind.
And these thoughts were all related to a developing analytical view of my innate aversion to post-processing which, I now feel, may have been somewhat hypocritical.
To explain…
It (currently) seems to me that the task of producing a photograph is a process rather than a single stand-alone act. And that a distinction between pre- and post-processing is simply one of convenience rather than one that addresses the “authenticity” of a given shot.
The ultimate intention surely is to render a final image that adheres as closely as possible to how the photographer saw a given scene in his or her mind at the time, or, perhaps more accurately, how the photographer remembers the scene.
The ability of the camera to reproduce a scene as the photographer sees it can be fairly extensively modified by such pre-shot techniques as adjusting exposure, white balance, focus/depth-of-field, and so on. All of these settings can have a major impact on the end product, and alter it quite dramatically (as I’ve - unfortunately - discovered!).
Is it not then equally legitimate therefore (in the process of producing the final image) to seek to remedy any “incorrect” initial camera settings by the use of whatever off-camera tools are available to us (the equivalent, in fact, of what used to be done in the developing laboratories of old)? For is not post-processing merely an extension of the processing that occurs before the shot is taken (by selecting a particular shutter speed, ISO, and indeed the use of specific types of lenses, filters etc)?
And by the same token is not moderate cropping simply a refinement of the initial composition achieved through the viewfinder?
Or is it all simply a means whereby lack of skill in using a camera, or insufficient attention to detail initially, can be fairly effectively masked?
Where I do find myself with what may be regarded as a residual hang-up is in relation to the actual subject-matter or intent of the photograph.
Although I’ve mellowed (or matured maybe?) quite considerably in this matter in relation to what I think of as “scenic” shots, where I’m beginning to regard even extensive post-processing to enhance the image as legitimate, I still balk at applying the same principle to shots of (for want of a better description) “newsworthy events”. In other words (and this was the lever that catapaulted me into photography once again), the sort of shots that fall within the remit of the citizen journalist.
Where these are concerned I’m still very much of the opinion that the end-product should be virtually straight as it comes off camera, with maybe just a tad of white-balance and exposure adjustment if necessary.
Discussion’s welcome, as my thoughts on this are by no means comprehensive, final or fixed.
Example of a really rubbish photograph (from the session mentioned above) rendered just about bearable by the application of some very extensive (though basic) post-processing. (Just wait till I master the more sophisticated Photoshop techniques!).
Before…
(1/200 f/5.6 200mm)
After…
Whilst superficially there may not appear to be much difference between the two aside from contrast and colour-intensity, in fact numerous individual tweaks were required to achieve the end result. A result moreover which, to my eye, is quite pleasing and certainly closer to how I remember the scene looking.
Virtually every photograph from that same session required post-processing to a similar extent. Can’t really understand why… lighting conditions for most of the time seemed almost ideal; I was under no pressure time-wise or otherwise of any sort. Everything should have worked out fine. And for the first batch of photos (some half-dozen or so) it did. But then somewhere it all went pear-shaped.
Here’s an example of a photo from the first batch of the session that required virtually no post-processing at all…

















