Retouching, reshaping .. making good.

Not every image comes straight out of the camera just how we want it, retouching, reshaping .. making good is the last step.

Making good pictures is a numbers game, young photographers generally snap more while the more experienced approach with their own style, knowing what has worked before.

Personally I am not about making heaps of files without a design process, going from one shot to another for me is either a process of evolving the look or looking for a new look to compliment what has already been made. 

Simply speaking my way is "Shoot review shoot review" but don't dwell on the review bit ok.

This being said there are times when for one reason or another the only salvation is going to be some time in Photoshop.

The eye is driven to distraction, the first thing once I have a good base image is to look for the chids, yep that's my name for the adjustment layer working out distractions.

Next up retouching I am looking to clean up, enhance tones. This has to be done with some caution, enhancing is my way rather than wholesale change on an industrial scale. All retouching is kept to its own adjustment layer too.

Reshaping, this is where a slight tweak will make the image stronger, last week I modified a jacket shot on a client, we didn't have the perfect fit so out of camera it was fixed. There are no rules here, just deliver what the client wants.

Photoshop adjustment layers, use them if you are not doing so already.

“Why I Won’t Shoot for Free”…Fashion Photographer Benjamin Kanarek

“Why I Won’t Shoot for Free” a post by Fashion photographer Benjamin Kanarek.

"I wanted to share my RANT with you via this incredible Video with Author Harlan Ellison.  One of the Sci-Fi Greats.

He mirrors my sentiments perfectly.  The only difference is I would swear a lot MORE!!!

I think I have paid my dues.  Don’t insult my intelligence and ask me to do a job for free!

Are you listening?"

I thought to share this post of Benjamin's after receiving just such a request yesterday, then thinking back to the media company that asked to use my Manchester Riot material for free. Hello do you know much danger I was in to get that material.

Coming from a finance background maybe I understand more than most there is no such thing as free, everything carries a cost, depreciation, overheads, direct costs, indirect costs it goes on and on.

Pro gear costs, big time.

"Shoot for free"  can I pass.

Benjamins original blog post click here

Benjamins photography website clients include Vogue and Bazzar click here

Dancers Portfolio shoot.

Dancers portfolio shoot, getting noticed.

A high quality feel and look is important it should be designed and presented well.

The look right now is well light and a clean style, retouching subtle with a push towards fashion.

Grey Card, if in doubt create a custom white balance.

Grey Card, if you are in doubt about what colour the light source is, I recommend creating a custom white balance by taking a sample shot.

For those people new to photography from time to time you will create great pictures, but for some reason the colours look, funky.

Without going into the detail this can easily be corrected using a grey card.

Assuming your camera has the custom white balance function, all you need do is create a file of the grey or white card. Next step is to set up the custom white balance using this file.

The camera will look at the reference file and removing any colour cast from images using this profile when you camera has been set to this custom white balance.

Creating the sample file and setting up the custom white balance profile takes in total less than 30 seconds.

One last note, this profile will work only in the light your made the file in, if the light source or environment changes you will need to make a new file

There is another option, to sample from a neutral object in post production if you have this in your picture, that choice is upto you.

Professionals leave nothing to chance, I prefer to have a good starting point every time.

Burst shooting and multiple exposures mode.

Burst shooting and mulltiple exposure mode, lets talk about exploring image dynamics.

This option of shooting is about shooting multiple single images rather than discussing HDR.

This mode is where I go looking for a choice of looks, I am thinking what is the light giving me right now.

Is the light good with lots of options, poor, strong and harsh, where can I go creatively.

Using one of the latest pro camera's either the Canon 1DX or the cheaper 5d mk2 gives you greater creative freedom in low light, so this option cam be more of a deal in the newer pro cameras.

My three shot burst give me generally an under and over exposure image in addition to a default look to consider what happens next. These images I either quickly compare setting up a shoot or later deciding where the final look could go.

Most cameras now allow burst shooting in a multiple exposures mode.

Photographers three phases of development.

While learning and refining their skills I believe that most photographers progress through three distinct phases in their development.

Phase One occurs immediately after they purchase their first “good” camera and discover photography’s potential for fun and creativity. During this time, young shooters are fearless and enthusiastically explore their world. Each and every memory card is chock full of files that contains images that look so much better than they could have ever imagined. Unfortunately, this blissful period doesn’t last long and is quickly replaced by the next phase.

During Phase two, the photographer’s level of enthusiasm is still high but is somewhat diminished when reviewing their latest images only to discover that these new photographs are much worse than they had expected. Unfortunately, this phase can last a long time but the shooter continues to improve their skills by reading publications like Shutterbug and blogs like Photofocus, workshops offer you access to real professionals to shortcut and reduce the pain of this phase and eventually onto the third and final phase.

During Phase three the images the photographer sees in their viewfinder and what they actually capture are exactly what they expected. There are no surprises. It’s just as good or bad as they expected when they pressed the shutter button. While reaching this phase can be fulfilling, some of the magic is understandably lost. The upside is that fewer images are made because there’s no “shoot and hope for the best.” The biggest challenge occurring at this phase is that a photographer can end up shooting the same images over and over for years and years. So it’s up to you to break free from your comfort zone and do something to make sure that doesn’t happen.

Read my post visual pushups, get working with people at the next level, be inspired by the players more advanced, give yourself a five year plan, work your arse off.

Keep a folder of your fav images, the top 30 from the last 6 months, take time to look back and see your progress.

Remember the three phases of development.

Working close, controlling the light.

Some photographers prefer to work long, shooting with a 70-200 lens which for a full length shot means you need a long studio space, probably no less than 10-12 metres.

My preference is always working close keeping any artificial light tight to the subject. Controlling the light, lighting the subject with an equal emphasis controlling the spill of the light, the light you don't need or want in the picture.

Most lighting kits as sold do not help you do this.

Having a preference to how you go about your work means you get consistent looks, another benefit of working close is being able to work closely with the client.

Working close, control the light.